RED, WHITE AND BLUE.

Manawatu Standard, Volume LVII, Issue 224, 21 August 1937, Page 2

RED, WHITE AND BLUE.

FRANK NEIL REVUE. SPLENDID PERFORMANCE. The Coronation motive has proved to bo a happy one in many ways this year, and not the least in the entertainment world. Redolent of brilliance and gaiety, it is a fino basis on which to build, and it was a happy day when tile Frank Neil. Revue Company adopted the theme for a splendid programme. The name of Frank Neil is in itself sufficient assurance of highclass entertainment, both in New Zealand and Australia, but for Coronation year ho has assembled a company particularly rich in talent. Last evening it commenced a two-night season at the Opera House, presenting an excellent programme that was deserving of a much larger audience. Snappily staged, splendidly balanced, and- unusually bright in the musical department, it could not have failed to please the most fastidious critic. Generously proportioned —the performance occupied three hours —the revue did not merely consist of a better presentation of first-class numbers, but the very successful introduction of a number of entirely new acts. The Coronation theme was introduced with the first scene, following a. spirited orchestration, with a. series ol cabaret turns. It brought before the audience Charles Norman, the popular comedian, who shone in succeeding acts, chiefly in company with Chick Arnold, an equally talented humorist and. an ideal foil. New gags and clever patter found a ready response. The Broadway Tappers provided a bright display of tap dancing, giving wav to three typical revue skits compered by Jack Kellaway and presented by Charles Norman, Chick Arnold. Bernard McCaffrey, and Sylvia Kellaway, which met with well-merited applause. The ballet work of this company devolves upon a dozen young Australian girls, and they leave little to he desired. Natalie Raino and the Red, White and Blue Ballet introduced “One, Two, Button My Shoe” in a novel setting, and were subsequently seen in “A Night in Spain” and ‘‘Marianne, the Miller’s Daughter.” with Sylvia Kellaway at the head. The frocking was especially attractive, and the tap work of a verv high standard. The first of the specialty performances was the very amazing balancing feat by the Harris Sisters, two quite young girls, whose suppleness and grace were superb. It was a nicely staged item and got an enthusiastic reception. Margaret Grimshaw, whose sweet soprano voice has been entertaining audiences at the Sydney Tivoli, presented an appealing interpretation of “L’ Amour, Toujours L’Amour” as an introductioii to the act of the Artistos, whose adagio turn was a revelation in grace and poise. Beautifully performed, it was an act the like of which is often attempted but is infrequently so successful. A distinct hit was scored by Bob Parish, an American negro radio star, in baritone solos at the microphone. Assisted by a high-fidelitv instrument, he sang three songs splendidly, the richness of his voice being accentuated by the amplification; especially well received were “Love Me For Ever” and “Ah ! Sweet Mystery of Life.” An essentially novel touch —and a particularly successful one—was the whistling and harp act by Sisson and Neal, two talented young American women. The bird imitations of the siffleurse were a sheer delight and Miss Sisson proved a versatile artist; Miss Neal’s harp solos were as refreshing as they were appealing, and her treatment of modern melodies was delightful. .The first portion of the programme concluded with the tableau, “The Fleet’s In Port Again.” The solo was handled excellently by Bernard McCaffrey, who was later heard in a delightful rendition of “Good-Bye” (“White Horse Inn”) and in other acts. The tableau achieved a striking climax, as a remarkable model of the Queen Mary, finely proportioned in perspective, ‘‘berthed” at the quay, the realistic effect being heightened by the clouds of steam arising from tiio “vessel.” Wally Reynolds and his orchestra introduced the second half of the programme with a snappy entr’acte, passing on to a series of laugh-provoking sketches and a welcome reappearance of Margaret Grimshaw in soprano solos. These gave way to probably the most spectacular act of the performance—the sensation wire-walking performance of Con Colleano, an Australian whose displays have received acclaims on the Continent. It was a delightful act, culminating in a series of daring somersaults, of which the forward somersault proved to he the most dangerous and spectacular. Tt was a magnificent exhibition and was warmly applauded. A reappearance ol Bernard MeCnffey and a comedy turn were succeeded by another head line” act in the appearance of Irene Vermillion, American acrobatic dancer, anrl the Four Dart Trumpeters, Evelyn Elias, Monzelle. Bruce, Virginia Faust, and Martha Hart. Miss Vermillion excelled in her graceful dancing and displayed amazing suppleness and poise. The trumpeters were a distinct novelty and proved to ‘be a highly talented combination. The triple-tongue work was delightful, and the versatility of the players in handling a variety of melodies with ease quite remarkable. Another bright sketch preceded the final act, “The Coronation Tableau.” featuring the Red, White, and Blue Ballet in a colourful presentation with coloured flags, based on the Coronation theme. At the conclusion Mr Norman expressed thanks for the enthusiastic reception the company . had been given. Judged by any standards, the company is an excellent pne —quite the best for a long period—and there was not a weak link in the whole chain of entertainment, which had the advantage Of splendid staging. The concluding performance will be given to-night.