PRINCESS THEATRE

Evening Star, Issue 19659, 12 September 1927, Page 2

PRINCESS THEATRE

BAUD BOX REVUE “ Those in favor say ‘Aye; contrary ‘ No 1 ; carried unanimously.” That would have been the result of a motion commending the second Band Box show had it been put to tho two big audiences which assembled at the Princess Theatre on Saturday. The opening production had been voted a good one, but the current bill is infinitely better, and as bright a show as one would wish to see. Particularly must Mr Gale Wyer bo complimented upon the production, ono or two of the scenes being quite charming. The • Big Silver Moon ’ scene, for instance, was really beautiful. In this number Vera Benson sang the song, while, above her, swaying to and fro, was the prettiest little “ girl in the moon ” imaginable, to wit, Heather Jones, who sprinkled stardust over the dancing nymphs below.' The dressing, lighting, and general effect were very fine. But this is a feature of the whole show, this care for detail and effect, a feature which helps considerably the able and evenly-balanced little company in its work. . On Saturday a pretty and vivacious opening ensemble put everyone in good heart, and when Heather Jones declared in song that she was “ Looking at the World Through Pose-Colored Glasses,” because she was so happy and well, the audience took the cue and did likewise. Sam Ward, Charles Norman, and others soon gave them a chance to laugh by combining in a comical ‘ Easy Money ’ stunt, in which revolvers, bank notes, and “ mugs ” were plentiful. The Syncopated Steppers (libelled in last week’s programme by being called “ Stoppers.” _ as though thev bottled up one’s spirits insteed of letting them free) danced an acrobatic dance, and then Elsa Scott, in crinoline and long frilled—-that is to say, in clothing of the period, sang in wide-eyed, artless fashion ‘l’m a Funny-faced Step-mother’s Child.’ It must have been the step-mother who was funny-faccd. because Elsa is attractive; ask anyone! A sketch, based on the old theme of domestic infelicity, of jealousy and “tho other man,” gave Charles Norman and Vera Benson (the latter a new comer who was well received) a chance. Indeed, tho thing went further than is customary; a sort of modern Mrs Candle lecture but with hearty responses from Mr C—and no twin beds, cither. Ibe laughter of the audience, nervous at first, grew robust as tho wrangle dovelopeS, and the pair left the blankets to go their separate ways. Miss Ena Gordon sang tunefully about ‘ Mary O’Neill,’ and Ward Lear junior warbled jauntily regarding ‘ Sweet Georgia Brown.’ Then followed ‘An Advertising Drama,’ lucidly explained by Galo Wyer, and opening up 'great possibilities in the spoiling of dramatic productions on the same lines as onr scenic resorts are spoiled by advertising signs. •Charles’ Norman’s curate number ‘Dandelions and Daffodils ’ included a clever eccentric dance, while the audience found the interlude ‘ Funny Faces ’ not unfamiliar, but still funny enough for a laugh. The pretty 1 Silver Moon ’ number already described concluded the first part. _ The second part was taken up with a rollicking playlet entitled ‘ Black Eagle,’ that being the name of a fearsome outlaw whoso “mother was a she-wolf and his father a flash of lightning.” The scene was Izzy Cohen’s’saloon in the wild and woolly town of Red Dog, and while there was lots of wildness—nrovided by the said qneerly-parented Eagle—and wooliness —in tho form of sheepskin ‘chaps,’ worn by everybody—all this was toned down by the neatness and sweetness of the cowgirls, of the new schoolteacher, and of the “pride of the ranch.” There was the sheriff, too. authoritative but human, when it came to love. Lots of fun was provided by Sam Ward, Charles Norman, and Billy TJovis, the latter’s make-up and “business” as the pseudo BirchEagle being great. Sam, of course, was the saloon keeper, and his remarks and actions, especially when tho supposed Eagle invades the saloon, never failed in their mission. Charles Norman, a seller of horse medicine, endangered tho enngmity of the production by over-emphasis, both in makeup and comedy. But ho was extremely funny, generally speaking, and those limber logs and irresponsible arms of Ins form a great asset. All the rest of the comnany did well, and the playlet finished, as it began, with a bang. The musical numbers in tin's second Dart were particularly pleasing, llio best being ‘l’d Kiss Yon if I Only Had tbo Nerve’ (Galo Wyer and Heather Jones). ‘Mexicali Rose’ (Ena Gordon), and ‘Then I’ll Be Happy’ (Heather Jones). The same bill will be repeated throughout the week.