CHEERY MR. DAWE

Sun (Auckland), Volume II, Issue 551, 2 January 1929, Page 14

CHEERY MR. DAWE

“THE MIDNIGHT FROLICS” AGAIN “No show without Punch,” says an old saw. “No ‘Midnight Frolics’ without Clem Dawe,” is equally true, besides applying particularly to the gay doings which take nightly in His Majesty's Theatre. Last evening the Frolics saluted the infant year with another medley of delightful entertainment, and again the young comedian whose name is associated, so closely with the production, fooled his way into the best graces of an enthusiastic audience. It was a capital New Year show; just the thing to round off the season of festivity, and complete the utter rout of the 1928 blue 3 and bogles. The performers were infected with that holiday feeling and gave of their best, using material that was equal in every way to past performers. One of the many virtues of "The Midnight Frolics” company is the amazing length and variety of its novel repertoire. Although the production presented for the first time last evening was the fifth of its kind ’ in Auckland, everything was straight “out of the box,” and the most blase variety “fans” found themselves waiting eagerly for more and demonstrating with the noise and gusto of a dozen Olvier Twists. “The Old and the New” were demonstrated and compared in the Frolics prologue, after which “the old” was abandoned definitely and completely, and the show proceeded on strictly 1929 lines. There were few slow moments, and no dull ones, while many of the items were outstanding and uproariously successful.

William Perryman opened the evening with a well-chosen song, “Constantinople,” after which “Little Clemmie" took the boards followed by his capable henchman, Eric Edgley The laughter died away in time for Phyllis Amery's singing and dancing interlude. She introduced the ballet, and the onlookers were at pains to demonstrate their pleasure. Oscar Beck was thoroughly at home in “My Old Shako," a well-worn but popular number that is never discounted when given with Beck gusto. “A Ballet Burlesque” provided a contrast and, incidentally, many moments of hilarity. Then Gregory Ivanoff and his violin appeared in “British Rhapsodie,” a colourful little number composed by the player and given with confident strengtn. Ivanoff is ons of the special drawing cards of the Frolics and his offerings are always appreciated. The eighth frolic was the first sketch of the evening, “Home Comforts.” This is a sketch with a distinct surprise, and future audiences are best left guessing as to the latter action of the piece. Sufficient to say that the sting is in the tail and is responsible for a monster laugh. Lilian Crisp, Oscar Beck and William Berryman constitute a most satisfying vocal trio, and their work last evening with a violin obbligato was excellent.

"Waiting” found Clem Dawe to the fore again under a barrage of laughter, and Dorothy White sent care flying with a number of pretty and popular songs. The Frolics Band closed the firS i t P° rtion of the evening with a melodious rush.

For the remaining hour the show proceeded with similar success. No lewer than four sketches were presented and, In each, Clem Dawe was completely successful.

a Amcry and John Robertson delighted the audience with a clever exhibition of eccentric dancing, and « , . r ,' e ,’r° r , y Ivanoff a sain wielded his fiddle bow with conspicuous effect. J-.es v\ hite is an entertainer with ? al, t '”' USh quiet ideas - He took !, s {a. 11 , share of the applause, as did the Dick-Dorothy trio. Worthy of special mention was a sketch, His Little Visitors," offered lor the first time in New Zealand