ALIAS CINDERELLA

Sun (Auckland), Volume III, Issue 626, 1 April 1929, Page 15

ALIAS CINDERELLA

SUCCESS OF "THE PATSY” MODERN AMERICAN COMEDY “T{ie Patsy,” a comedy in three acts, by Efarry Conners. Presented at His Majesty’s Theatre on Saturday evening by J. C. Williamson, Ltd. OAST: air. Harrington A. S. Byron Mrs. Harrington .... Vera Gerald Grace Harrington .... Eileen Sparks Patricia Harrington .... Irene Homer Tony Anderson . . . . . Brandon Peters Billy Caldwell Sam Wren It is not surprising that “The Patsy” has 1 been a success in two or three continents and both hemispheres. Were this not the case, doubts would be cast on the efficacy of situations which are the pillars of popular comedy. Not for a moment does this imply that the theme of Barry Conners’s play is hackneyed; rather does it suggest that in weaving his tale he has chosen designs and tints of tried and proven value. And to the whole he has imparted a delightfully human touch.

That is the secret of “The Patsy’s” wide appeal —the human angle of the story that strikes a responsive chord in the audience immediately; causes Mrs. Jones in the back stalls to sympathise at once with Mrs. Harrington behind the footlights; rouses Mr. Smith in the circle to silent envy of Mr. Harrington; galvanises everyone to vociferous approval of the Patsy herself.

In the analysis we find three theatrical evergreens. First the Cinderella plot, presented without disguise, and complete even to the appearance of a cruel and haughty sister. “Patsy” is American for “Cinderella,” modernised into becoming the younger daughter of a middle-class family whose resources are barely capable of exploiting socially the older miss.

Next the husband-worm-wlio-turns situation. In domestic comedy this has never been known to fail. Harrington, the worm, is the sole family supporter of Patricia the Patsy. After two acts of hen-pecking he asserts his authority, showing Mrs. PI. that “mediaevalism has not passed,” amid tremendous enthusiasm.

Lastly, the blind lover problem, in which the Patsy is enamoured of one who regards her as a little girl and, stupidly enough, wishes nothing more than to become a sort of big brother to her. This, as always, is highly intriguing and excitingly plausible. Thus “The Patsy” is a three-in-one proposition, every point of which has decidedly attractive merits. It is constructed with exceeding cleverness, and the atmosphere of American suburbia rings true. Because of this truthfulness the dialogue is neither particularly smart nor amazingly witty. It is composed of cute, laughable “wise cracks” which suit the circumstances excellently. On Saturday evening Miss Homer made an all-embracing conquest. Easy naturalness was the keynote of her comedy work, and she called to her aid a queer slovenliness of diction that at fir§t repelled, then added surprisingly to her charm. It is worth seeing “The Patsy” to hear Mr. Byron laugh. Pie can produce the most infectious explosion of mirth enjoyed for many an evening, and is a genial, easy actor to boot. His performance was admirable. Miss Gerald is an equally efficient mistress of hysteria. Her outbursts were gorgeously noisy and convincing, while, between times, she managed a sound characterisation.

Miss Sparks was exceedingly liberal with her shading, but her work was vigorous and always amusing. Her “‘catty” moments were deliciously if rather appallingly real. Mr. Peters offered us a steady, pleasant performance of sound merit, and Mr. Wren was equally successful.

The mounting of “The Patsy” was carefully correct down to the middleclass wallpaper in that tempestuous American home.

Withal the comedy is a pastime full of fun that is fresh and novel, sentiment that is not sticky, and moments of pure delight. It will reign in Auckland for a brief season.

They have found a fitting vehicle for the two-fisted giant of the movies, Victor McLaglen, on the Fox lot. The man who made his performance of Captain Flagg in “What Price Glory” the talk of the world, is playing the title role in “Strong Boy,” a story written by Frederick Brennan and directed by John Ford. McLaglen is said to be ideally cast in this picture, which deals with a railroad workman who rises to power in finance and industry.