“HIS HIGHNESS”

Sun (Auckland), Volume III, Issue 631, 6 April 1929, Page 15

“HIS HIGHNESS”

GEORGE WALLACE REVUE ANOTHER SUCCESSFUL WEEK Fifteen weeks at the St. James Theatre with an entirely different production each week. That is the pres-ent-day achievement of popular George Wallace. His sixteenth week began last evening, and he is now on his way to the record for Fullers’ luxurious new home. Last evening’s show was something much more than the usual vaudeville revue. “His; Royal Highness,” a carefree musical extravaganza, occupied every minute of two and a-half hours, was mounted with lavish generosity and packed to overflowing with songs, laughter and action.

For the work of the versatile Australian comedian alone, “His Royal Highness” is bound to keep the boxoffice busy to-night and next week. George as a policeman, an outlaw, a street loafer, and each of his dozen and one characters, is excellent, but as the usurping king of Betonia he reaches new heights of humour. Betonia is one of those little kingdoms tucked in a corner of Europe. Its ambassadors, Marshall Crosby and Si Meredith, visit New York to find the missing heir to the throne. They seek a man with a peculiar scar on his shoulder, and by accident discover that Tommy Dodd is so marked. So Tommy leaves his pie-cart and his girl, and journeys to the Old World. Soon Tommy, alias the inimitable George, finds himself arrayed in purple and in command of his kingdom. Then the fun begins. Dark plots are hatched, a thrilling railway accident, realistically produced, with a cunning trick setting, is brought about by the malcontents, and a lady in black throws her wiles in the balance. In the end George’s, or, rather, Tommy’s, imposture is discovered, and he returns in disgrace, but with money to buy a brand-new piecart.

All this was burlesque and gorgeous burlesque at that. From the moment of his first appearance, plus the black, baggy trousers, George Wal’ace held his audience in the hollow

of his capable hands. There were | laughs in dozens in both acts, and each of the eight scenes, while any j interlude which did not include the I principal figure was doomed to almost perfunctory consideration. Such preferences, however, did not i apply in the cases of the supporting principals, each of whom is a favour- . ite in hi sor her particular sphere. Marshall Crosby played a prominent part -with tj-pical gusto; Marie Nyman \ was as demurely successful as ever; Jim Romaine, Jack Scott and Si Meredith were well to the fore; Olive Partridge presented a neat little study, and so it went. Musical numbers were sprinkled j plentifully throughout the pi*-ce. George Wallace syncopated his way . through “Red Lips,” and led the Six ; Rascals in some whirlwind footwork, : besides presenting his screamingly j funny “Ethel.” Mr. Crosby sang , “Nirvana” and Marie Nyman “Waiting for Ships That Never Come In,” “I’ll Go Away,” and “Some Lay, Somewhere.” Maida Jones and the Six Rascals. Evelyn Dudley and Si Meredith, wer** 1 others who kept the musical ball , rolling breezily, while the St, James Orchestra gave admirable support. A word in praise of the general j staging, which was even better than j anything arranged previously by Mr. : Wallace. Several of the settings were j surprisingly ambitious, and the en- 1 sembles were full and brilliant.