ENTER “NANETTE”

Sun (Auckland), Volume 1, Issue 22, 18 April 1927, Page 10

ENTER “NANETTE”

SPARKLING MUSICAL COMEDY A CROWDED FIRST NIGHT “No, No, Nanette!” a musical comedy in three acts; bdok by Frank Mandel and Otto Harbach; lyrics by Otto Harbach and Ivan Caesar; music by Vincent Youmans. CAST. Pauline Gladys Hermes. Sue Smith Elsie Parkes. Billy Early Charlton Morton. Lucille Nellie Dean. Nanette Elsie Prince. Tom Trainer Claude Holland. Jimmy Smith * Jimmy Godden. Betty from Boston . . Marjorie L’Strange. Winnie from Washington Phyllis du Barry. Flora from ’Frisco Olive Grant. It is rather a relief that “Nanette” has arrived. For years we have heard about her from overseas—about her dancing, her humour, how many times she has been re-frocked, and how much the box-office receipts have realised. For years, too, we have listened to “Tea for Two” and “I Want to Be

Happy” until they have been relegated to the limbo of forgotten musical comedy tunes. Fortunately these melodies take on a new lease of life in their proper setting. But there are other melodies in “No, No, Nanette,” just as pretty, just as haunting, as the two mentioned. By 8 o’clock on Saturday evening a hydraulic battering ram would have been needed to make room for more people in His Majesty’s Theatre, where “Nanette” had unpacked her charming frocks and her refreshing melodies at the instigation of J. C. Williamson, by arrangement with Sir Benjamin and Mr. John Fuller. It was a wonderful tribute to the advance messages which have been forwarded periodically from England and Australia. “Nanette’ ’is Joseph Coyne’s success, “His Lady Friends,” turned into a musical comedy. The transformation is justified, for “Nanette” is a very charming little lady. Unlike most musical pieces “Nanette” has a definite story to tell. It romps along for the three acts with more melody than three of the average musical comedies we know, and everybody dances. The principals dance, the chorus dances, and speciality dancers dance. It is the ideal combination of song, dance and fun. The humour is fresh, and most of the cast is composed of newcomers, which is another thing in “Nanette’s” favour. New faces always add to one’s initial interest in a show. Reverting to the story it is not often that a man who has made millions out of manufacturing Bibles is accused of harbouring three mistresses. In case he should be misunderstood we hasten to add that he did it out of kindness of heart; the poor chap had a wife

v/ho refused to spend money. That, of course, could happen only in musical comedy nowadays. This Bible “king” had decided to take “Nanette” away to his seaside cottage so that she might see life. Naturally complications arose. Even if a wife refuses to spend her husband’s money it does not prevent her from becoming curious. And thereby hangs the tale of “No, No, Nanette!” Diminutive Miss Prince has a wonderful part as Nanette. It enables her to sing and to dance, both of which she does admirably, and to display her charms to the best advantage. She has youth on her side, too, and an amazing vitality. Mr. Godden is a delightfully unaffected comedian who obtains his results with a minimum of effort. Mr. Morton is second in command in the laugh-department. He has a nice easy way with him and an agreeable singing voice. Miss Hermes was blatantly amusing in a broad comedy role, but her part demanded strenuous treatment. Miss Dean donned an array of beautiful frocks and sang when occasion demanded. Mr. Holland was the nice young man of the party and behaved as most lovers are wont to do. Miss Parkes was relegated to a part which did not give her many opportunities to show what she could do. A frothy chorus made an effective bank of colour for the principals. “No, No, Nanette!” will stay in Auckland for a fortnight.