PRINCESS THEATRE

Evening Star, Issue 19796, 21 February 1928, Page 4

PRINCESS THEATRE

ANOTHER LIVELY REVUE Emanating as it did from tho fertile imagination of George Wallace, the new show at the Princess Theatre is an effervescing pot pourn of song, dance, and story, cleverly conceived to show an entertaining company at its best. The flattering receptions accorded the inimitable George _ nightly are striking illustrations of his popularity with Dunedin audiences. It is impossible not to bo amused by this delightfully natural comedian. Ho has the happy and enviable faculty of being able to create laughter, even without opening his expressive mouth. Whatever the standard of the rest of the company may bo, George Wallace is in a class by himself, and his performance never varies. Ho does not rely on versatility for Jjis effects, but in a natural expression, of his own whimsical self. He dominated the show last evening, and invested all his “ pathetic little ” numbers with rare artistry. In the sketches in which he did not appear his absence was sorely felt. Many of the efforts relied solely upon his presence to carry _ them through, and the manner in which he turned far-from-promising material to good account earned the warm applause of the audience.

The opening chorus, in which ‘Don’t Worry ’ was an appropriate adjuration, presented the full company in an attractive setting, elaborate i'rocking and staging lending a colorful effect to the scene. Thereafter the quality of the programme varied. The ‘Stop Press Topicalities ’ of the two Daleys were deservedly popular. The pertinent ditties of this entertaining pair, their pointed thrusts and witticisms, all in the best of spirit, were put over in a manner that could not bo denied. The two constitute a happy pair at the piano, and their act together is invariably one of the most popular on the programme. ‘We Won’t Have to Worry Any More ’ formed _ the basis for some really clever hits. Miss Daley also played ‘ Blue Skies ’ from what appeared to bo a triple piano score. George Wallace was in his happiest vein and kept the audience in a roar of merriment with his absurd but vastly entertaining fooling. Marie' Nyman possesses one of the most attractive soprano voices heard in vaudeville for a considerable time. She knows exactly how to use it, and her numbers are always a pleasure to listen to. 1 A Kiss in the Dark ’ was sung with delicacy and expression. Miss Nyman would be heard to better advantage in songs with something to commend them. Mr Marshall Crosby was in excellent voice, and quickly established himself as a warm favorite with ‘Rose O’Ryan,’ sung with an infectious brogue. 1 Amateur Theatricals ’ afforded George Wallace unique opportunities for fun making, which he exploited to the full. As the general nuisance in an amateur theatrical production he was fairly in his clement. The humorous but worked-to-death theme of the relations-in-law blight formed the basis of ‘ The Exterminator,] another sketch which was quite amusing. George turned on a flood of potted serio-comedy in the second half of the’ programme. He surprised the audience by appearing in immaculate evening dress, minus the check shirt, the baggy trousers, .and the' other accessories one naturally associates with his general appearance. In a ‘ Pagliacci ’- like prologue ho introduced a revue (if it could be called a revue) which was rather ambiguously entitled ‘ Some Night.’ The general idea was not quite clear, but it appeared that a mysterious gentleman possessing occult powers rather inconvenienced some wealthy people, who were living in idleness and ease, by transforming them to denizens of the underworld, just to give them a sample of the condition of affairs in the nether social regions. The effort wended its way through seven episodes, in a variety of settings, and was replete with crooks, dope addicts, and the other undesirable persons so necessary in effective melodrama. George Wallace was naturally the outstanding performer. Both ‘The Drunk ’ and ‘ The Court ’ were admirable settings for him. A touch of pathos was introduced by Marie Nyman and Marshall Crosby with ‘Old Pal,’ the poignancy of which had a marked effect on the impressionable George Wallace. The fact that the musical numbers wore for the most part quite irrelevant did not in any way detract from their success. ‘The Cute Rascals ’ —to compromise between the two distinct titles of the young ladies of the chorus—pleased the eye with their graceful manreuvres. This programme will be repeated nightly this week.