“CARNIVAL TIME”

Sun (Auckland), Volume I, Issue 240, 30 December 1927, Page 14

“CARNIVAL TIME”

SUNBEAMS AT THE NATIONAL As merry and bright as their name suggests, the Royal Sunbeams put i the National's big audience in excellent humour last evening with a pleasantlyvaried revue. These Australians, who have crossed the Tasman several times, are perfectly trained, and a striking contrast to the dancing shows put on by amateur children. Last night s programme was a complete change. Jackie Clarke, the infant comedian, who bears a striking likeness to the Jackie of the moving pictures, “put over" “My Girl Said ‘Yes,’ ” in excellent style after the opening chorus, with the help of Baby Doreen, surely the world's youngest soubrette. Daintily waltzing on her toes, Jean White proved that she had the feeling and technique of a dancer. In an Hawaiian speciality, Thelma Forrest and the Tiny Tots sang of the joys of Waikiki and swayed in an entertaining hulu-hula. The spectacular ballet, "Butterflies and Roses,” was colourful and pleasantly arranged. Noni Miles danced the solo. With Eastern music, the temple maidens headed by Thelma Forrest, danced with serpentine charm. Jackie Clarke was welcomed back with two comedy songs, “Mother, Speak to Ethel” and “She Knows Her Onions.” The possessor of a sweet voice and a personality, Harry L ssher, the boy soprano, was a big favourite. He sang “When Mother’s Eyes Are Smiling” and “Y’esterday,” and there were calls for encores. The Acrobatic Sunbeams did some amazing things. They somersaulted, and balanced in precarious positions, giving the audience not a few thrills. The scenery and dressing of the show was full of colour. In addition to the Sunbeams Revue the management had provided a splendid moving picture drama, “Singed, which is the story of a woman who could not undo her past, etched against a picturesque and colourful background that carries the spectacular from an Oklahoma oil-boom town to a wildcat oil well in California, and on to San Francisco. Miss Sweet plays the part of a dance hall girl who becomes wealthy through an oil gusher, and Warner Baxter the part of “her man,” erstwhile derrick man, for whom she “goes straight.” Their riches turn the man’s head and he attempts to discard the girl in order to marry a San Francisco society debutante. It is this situation that brings about one of the most tragic and powerful climaxes that has been written into a script in many seasons.