MOONSHINE AND MADNESS

Sun (Auckland), Volume II, Issue 568, 22 January 1929, Page 15

MOONSHINE AND MADNESS

“MIS’ NELL 0’ NEW ORLEANS”

IRENE VANBRUGH’S MOODS

“Mis’ Nell o’ New Orleans,” a comedy in three acts, by Laurence Eyre. Presented at Mis Majesty’s Theatre by J. C. Williamson, Ltd. CAST Kelly Daventry Irene Vanbrugh Delphine Falaisa . . . . Rowena Ronald Melanie Beatrice Fischer Zephyrine Pressy Preston Angelique Eileen Morris Georges Durand J. B. Rowe Felix Durand Ronald Ward Uno’ Boz Reginald Wykeham Pere Clement Dion Boucicault Tlio Vanbrugh charm almost lifts Mr. Eyre’s comedy from its sentimental machinery to something worth while. Fortunately, the author of ‘‘Mis’ Nell o’ New Orleans”' has countered criticism by describing his comedy as one of “moonshine, madness, and makebelieve.” Even this, however, does not excuseits saccharine qualities, nor the fact that almost every device known to the playwright from time immemorial has been brought from the cupboard of the past. The fact that there was no stage wedding is something in its favour. Despite all this, “Mis’ Nell” will be a popular production. It is the kind of comedy beloved by the general public, which hankers for sentiment and make-believe and “they all lived happily ever after.” The pity of it is that such an excellent company is wasted on such trite material, and all honour to them that they give such excellent performance. Here, again, one must acknowledge Mr. Boucicault’s genius as a producer. The story concerns beautiful Nelly Daventry, her old love affair, and her scheme to bring happiness to her niece Mis’ Nell returns from Paris to find this niece in love with the son of the lover who hud jilted her. Each family has sworn that there will be no alliance by marriage. But when Mis’ Nell discovers that her niece’s happiness might be wrecked, she decides on a scheme to outwit the lover of her youth. It is then we have Mr. Eyre’s “moonlight and madness.” Mis’ Nell plans a little dinner party, and becomes the girl she was on the night her engagement was broken off. Sufficient to say that the curtain falls on made-up quarrels, and the blessing of a priest who was the primary causf> of Mis’ Nell’s spinsterhood. because of his desire to gamble.

Miss Vanbrugh forces one to forget the sentiment and age-old devices of “Mis’ Nell” by her superb acting. Her technique is so exquisite that she conveys the illusion of reality with every glance of the eyes and every movement of her expressive hands. In the first act we saw her as a middle-aged woman, with the spirit of perpetual youth lurking in every cadence of her voice. When she delved into the wardrobe to masquerade as a girl, she never lost sight of the fact.that it was makebelieve. Always, by a grimace, a suggestion, she was elderly. charming Nelly Daventry. “Mis’ Nell’ possesses every mood in which Miss Vanbrugh cares to display her wonderful sense of comedy. One can never weary of those moods, or the art of Irene Vanbrugh.

Mr. Boucicault was much more at home as Pere Clement than he was as the Duke of Bristol in a former production. The part was less exacting, perhaps-, and belongs to the period with which Mr. Boucicault is most familiar. One felt that the priest was the pivot of the comedy, and that the happiness of all concerned was in his keeping.

Mr. Rowe and Mr. Ward gave us two more excellent portraits from an admirable stage gallery. Miss Ronald is better in her lighter mods. She has little sympathy for the part she plays in “Mis’ Nell,” though she gave a sound performance. Mr. Wykeham and Miss Preston each donned a coating of brown stain for their admirable negro characters. Smaller parts were played by Miss Fischer and Miss Morris. 'Next production, “Mr. Pirn Passes By.”

The sound picture has opened up another field in the production of short comedies. Additional sound comedies are announced for production at the Paramount Christie studios, following on the success of the first series.