ST. JAMES THEATRE

Sun (Auckland), Volume III, Issue 796, 17 October 1929, Page 14

ST. JAMES THEATRE

JIM GERALD AND COMPANY Another packed house greeted Jim Gerald and his revue company at St. James Theatre last evening when they presented their “Happy Ideas.” As usual, Jim Gerald takes the brunt of the show on his shoulders, and carries the revue right through the evening’s entertainment. With his clever wit and eccentric dancing, Jim Gerald kept the large audience in a continuous state of merriment. With Letty Craydon in “Everything We Like, We Like Alike,” they put across one of the snappiest numbers which brings forth repeated applause. Mercia Elliot, the Twinklers, and the girls dance and sing well in their number, “Walking With Susie.” In several items the Twinklers dance with great zest, and were recalled repeatedly. Tom Dale sings “My Mother's Eyes” with great feeling. In the second half of the programme the company put on a five-act revue entitled “The Naughty Husband,” where newly-married couples are separated from one another on their wedding day. With such a plot, the company is able to bring forth some clever sketches. The musical numbers and the work of the ballet are very good in this revue. Jim Gerald, Tom Dale, Linda Foy, and Essie Jennings, the newly-married couples, who are separated through the steamer sailing too soon, kept the house in roars of laughter with the awkward situations in which they are placed. The whole show from beginning to end is one which will keep the “blues” away. The present programme will be repeated until Monday evening next. BRITISH TALKIE “BLACKMAIL” TRIUMPH OF PRODUCTION The part of Alice White in British International’s all-talking picture, “Blaqkmail,” is very cleverly and sympathetically played by Anny Ondra, a sweetly beautiful blonde, whose voice records perfectly. It is not an easy role to play, and it is all the more creditable that Miss Ondra should play a London girl so convincingly. John Longden. Donald Calthorp, Sona Allgood, Charles Baton, and Harry Jones are players whose roles are outstanding, while Phyllis Monkman gives a brilliant character sketch of a garrulous Cockney that is the high-light of small roles.

The reproduction in every way can be considered a triumph. Incidental noises are convincing; every word is distinct and amplified to perfection. The action is perfect, and the treatment throughout is admirable. “Blackmail” constitutes a triumph for British International in particular and the British industry in general. It is Britain’s challenge to America, and there is not one reason why its London reception should not be repeated wherever the English language is understood. ,