MIRTH AND MELODY

New Zealand Times, Volume LIII, Issue 12623, 7 December 1926, Page 8

MIRTH AND MELODY

FULLERS’ BRIGHT OFFERING. Hector St. Clair’s latest revue, “The Mustard Pot,Y was presented to a large audience “in His Majesty’s theatre, last evening. Hector this week has struck the happy medium, all tastes are catered for, and the show is brimful of healthy humour and delightful mirth and melody. While the irresistible little revue star, with his “tramway accident make-up” and slow-motion comedy, is the backbone of the entertainment, he has assembled about him a talented and versatile company capable of sustaining interest in the numerous burlesque numbers and adding humour to amusing situations. This week they excel themselves, and the audience is kept in a fine mood for two solid hours. The “pot” opens by the entire company bursting into song, and then follows a riot of fun. Probably the best niynber is “Servants Ojd and New,” which introduces an irascible lord and a stately, domineering lady, who command obedience from their servants, from the butler down to the coachman. “The worm turns” in Hecto-r St. Clair, who becomes dictatorial and sways the household in return, and his absurdities in this piece are exceptionally well put across. “Incredible Happening” is a scream from start to finish, and tells of impossibilities, such as a cabman, despite entreaties by a customer, refusing toVnccept a generous “tip,” and a thoughtful wife, going out for the evening, arranging for a captivating young woman to keep her husband company in her absence. Other equally acceptable numbers are: “P.C. Forty-Three” and “The £SOOO Kiss,” which gives Hector St. Clair, Leslie Pearce, Ray McLean, Maylin Maguill, Lilian Grey and Victor Roberts ample opportunity to display their ability. Of the incidental numbers tho Rodney sisters again prove their charm and grace in simultaneous and classical song and dance numbers, their biggest success being scored in “Paddlin’ Madelin Home.” Hylton Osborne and Leslie Pearce, who have voices of distinctive range and beauty, were in great form with new’ and popular .vocal items.

The vaudeville portion of the programme was never better, and there is not a single number that does not please. Flora McDonald and Dalton Payne, two “irresponsible Scots,” made their debut, and met with instantaneous success, tho audience being reluctant to let them go when their time was up. The former is a smart comedian, who possesses the Scottish w’it and general humour, but in addition is a gifted musician. His partner has much to commend her, and delighted in new' and original songs with her melodious mezzo-so-prano voice. The show abounds with “darkies” direct from the States— Grant and Bates, singing, dancing and joking their wav to popularity; and Frank Rogers coming with new’ ventriloquial stunts, such as soothing a crying baby, and imitating a dog bringing home the cows. Clyde and Yvette, who remain over from the previous week, aro skilful soft-shoe and simultaneous dancers, and offer a smart and bright turn. Last, but not least, is Amy Rochelle, who lives up to her reputation of possessing a “golden voice,” and is a child mimic of the highest order. The programme will be continued fhrnMgh'uit lb'* work and should find fumin' wit.h Fullers’ natrons-