AustLit

Revusical.

The Age records:

'Following a first half of vaudeville turns... [Jim Gerald] staged a sort of revue entitled Mixed Brides, throughout the action of which he ignored anything approaching sequence and story and frolicked through the scenes and below the footlights at his own sweet will. His most brilliant effects were achieved with Frieda Bohning, who is singing charmingly on the deck of a ship. The two hands of Miss Bohning trying to prevent the comedian from falling might have been the imaginary hands of everyone in the crowded house so skilfully did Mr Gerald play on the fancy of his audience' (9 April 1934, p.10).

'The title aptly describes the new Connors-Paul revue which began at the National Theatre [Launceston] last night for a three nights' season It is a lot of fun. It is a revue of exuberance and colour in which the whole company contributes to merriment and music that last the evening through. Never was the splendid Sunkissed Ballet seen in more plcturesqlue numbers, and Launceston has not seen the comedians in crazier mood. And even if at moments their exuber ance miight possibly have been slightly overwhelming, the reception which they won was proof positive of their popular appeal' (Examiner 21 April 1934, p.8).

Comprising a mix of sketches, skits, scenas, songs, comedy routines, and ballets sourced from international revues, and from local writers (including members of the company), Tell the World was used as Connors and Paul's opening show for their 1934 Launceston season. In reporting on the opening night the Examiner's theatre critics wrote:

[Tell the World] is a spectacular show, a show full of laughter, of music, of dancing, of magnificent settings, and beautiful clothes, and the 20 original "Ideas" which constituted the programme were received enthusiastically by a crowded house. It is doubtful if two such laugh makers as Messrs. Syd Beck and Stan Foley have ever been 'teamed' together in any previous revue company to visit Launceston—and it is certain that no comedians have had their efforts more fully appreciated. Mr. Foley's masterpiece was his recital of the manner in which he won a place in the Test team, and the dance that followed was uproarious. Mr. Beck's mispronunciations, which run through the show, and his general delightful clowning also established him as a warm favourite. Both comedians carried their fun throughout the show in a manner which de lighted every section of the audience... There is talent of every description. Mr. Mike Connors and Miss Queenie Paul, the founders of the company, have for many years been noted for their vaudeville work, and the examples which they presented on Saturday-night were explanation enough of their long success, Mr. Connors, as ever, was particularly happy in the patter choruses, of which he is a past master. Miss Paul's capabilities as a producer as well as a most. pleasing soprano, were fully demonstrated in the brilliance of the ballet work. Her's is a ballet that has been brought to the height of perfection, and the elaborate settings in which the bigger scenes are set, are truly spectacular (2 April 1934, p.8).

Connors and Paul's 1934 Brisbane season saw them joined midway through February by Roy Rene and , while English character comedian Harry Thurston is thought to have left the company. While the authorship and/or origins of the show have not yet been ascertained, Rene's presence along suggests that the show contained locally-written (or improvised) material. In its review of the Brisbane opening night the Courier-Mail records:

'The new show carries the appropriate title of Laughter Unlimited. It comprises an excellent blend of bright musical numbers, clever dancing items and colourful songs scenas, but it is the comedy element which prevails. 'Mo' and Stan Foley have long been recognised as two of Australia's foremost mirthmakers and in the many sketches last night they were afforded every opportunity for the display of ' their talents. Stan Foley's story of "Ben Hur," and his handling of "an advertising drama," had the audience convulsed with laugher, while his partner in mirth was seen at his best in a sketchen titled, "Brothers in Distress," composed of tense drama and bright comedy. He was ably assisted by Sadie Gale and Mike Connors.... The other members of the company also were in fine form, Russell Callow, Sadie Gale, Lulla Fanning, Tom Collins, and the two principals, Queenie Paul and Mike Connors, singing delightfully. Doris Whlmp, Ronnie Hay, and Vi. Jagleman were [also] responsible for some clever tap dancing' (17 February 1934, p.9).

A one act musical comedy, Oh Baby concerns Jack Henderson, a man about town who has been receiving money from a legacy for a number of years on the understanding that he has a wife son and son, both of which he has not. Accordingly, when one of the trustees arrives unexpectedly he hurriedly has to find substitutes to fill the parts. Unfortunately, the aid of too many is called in, and from being a bachelor he finds himself dubbed a Mormon.

The musical aspects of the show included an opening ballet and featured the song 'Say Yes to Deacon Jones.'

[Source: Australian Variety Theatre Archive]

'Charming ballet numbers, tuneful melodies, the fun and frolic of Stan Foley, and the droll humour of Nick Morton gave the entertainment plenty of "pep" and swing. Mike Connors and Queenie Paul, as usual, were prominent in specialty numbers, full of sparkle and vivacity, and Mr. Harry Thurston, London's famous character comedian, sang excellent character songs, his study of a broken-down actor reciting his first triumph in the Shakespearean role of Macbeth being particularly good. One of the most amusing of several comedy sketches was that in which Stan Foley gave a realistic im personation of a ventriloquist's doll, Mike Connors being the unfortunate ventriloquist who found his strength well-nigh unequal to the task of balancing tho "doll" on his knee. "Short Stories from Life" provided some amusing sidelights on the lives theatrical people lead after the curtain has rung down on tho show. Songs by Queenie paul, Lulla Fanning, VI Jugleman, Stan Foley, Russell Cal low, and Tom Collins met with the hearty appreciation of the audience, and specialty dances by Doris Whlmp and Ronnie Hay, and the Ritchie Boys were among tho most popular Items on an excellent and well-balanced potpourri of music song, and laughter' (Courier Mail 3 February 1934, p.9).

Revue/revusical.

Staged as a second half musical revue during Connors and Paul's 1934 Brisbane season, Gay Paree not surprisingly focused on the theme of Paris. It may have also been produced more as a revusical than a revue, especially given the first half of the nightly entertainment, 'Happy Moments,' was billed as vaudeville but may have been produced along the lines of revue (vaudeville was rarely if ever given a production name while this was typically the case with the revue format).

[Source: Australian Variety Theatre Archive]

Revue

Another of Mike Connors and Queenie Paul's revues, possibly purchased during their time in America, the feature event of the 1934 Brisbane season was the inclusion of English comedian Harry Thurston (he joined the company on 19 January). Among Thurston's specialities was his popular impersonation of Bairnsfather's 'Ole Bill.' Other items in the programme, some of which were likely localised or written by members of the company, included the sketch 'A Quiet Game of Bridge' (Fanning, Connors, Morton, and Whimp), 'The Hesperus' (a comic turn by Connors and Foley ) and the song scena 'The Masquerade' (featuring Russell Callow).

[Source: Australian Variety Theatre Archive]

Revue

Although Connors and Paul indicated that Sky High was one of several revues purchased by them while in the United States, the production likely included localisations of some material and the inclusion of some additional material by one or more members of the company.

In its review of the opening night production the Courier Mail's theatre critic wrote: 'Sky High is outstanding for its bright music, clever comedy sketches, witty gags, pretty and accomplished ballet girls. The costuming and dancing of the ballet in such numbers as 'Let's Make Up,' 'The Legionnaire,' 'Rhapsody in Gold,' and 'Only a Summer Night's Dream' were delightful… The feature of the programme is its brightness, however, and Stan Foley and Nick Morton never failed to convulse the audience. One of Morton's funniest turns was when he took charge of the Foreign Legion (the chorus) as the dyspeptic sergeant-major, and put the ranks through their paces' (13 January 1934, p.9). Another feature of the show was the Connors and Paul duet 'A Shanty in Old Shanty Town.'

[Source: Australian Variety Theatre Archive]

Revue

Comprising a mix of sketches, skits, scenas, songs, comedy routines, and ballets sourced from international revues, and from local writers (including members of the company), Fiddle De Dee included the highly popular 'Potty Pantomime,' reportedly a hit at the London Palladium in 1933. The 1934 Brisbane season also included several songs performed the previous week in Flying Colours 1933. (1933). Among the items recorded as being in the production were: 'Darkness in the Delta' (Lulla Fanning), 'A Beach Ball' (Sunkist Ballet), 'Laugh Clown Laugh' and 'Georgia' (Russell Callow), 'A Little Street Where Old Friends Meet' (Tom Collins), and 'Strike Me Pink' (Ronnie Hay and Doris Whimp).

Revue.

Essentially an all-ages vaudeville-style Christmas revue along the lines of the Jim Gerald Revue Company's regular first-part revue entertainment, Happy Ideas.

Revue.

Described in the Sydney Morning Herald as a 'merry Christmas frolic,' Joy Bells was essentially a revue for all ages. Among its features were the usual revue elements of song, dance, and comedy sketches, with the addition of a miniature circus, acrobatic displays, and musical scenas on the theme of Christmas. The Herald's review also reports that

'A sketch by Jim Gerald and Tommy Dale, in which the life of a busy bee was discussed, was an amusing piece of dialogue rounded off with an entertaining dance. A well-produced scena, "the Doll's Dream," was one of the features of the programme. The ballet and children represented dolls and the turn served as a good introduction for the Three Orlandos in a rag-doll specialty. The act was reminiscent of the old pantomime turn at its best, and deserved the applause that followed. The spectacular "Prosperity" which closed the first part was an ambitious setting representing the Empire. The whole company joined in the tableau, which was well conceived and artistically arranged' (26 December 1933, p.2).

Abdy's Animal and Bird Circus comprised 'performing pigeons, educated cats, trained dogs, dancing cockatoos and a cockatoo mathematical marvel' (Sydney Morning Herald 26 December 1933, p.2).

Revusical.

In reporting on Jim Gerald's final revusical for the 1934 Melbourne Tivoli Theatre season (prior to the company staging the full musical comedy The Honeymoon Girl), the Age theatre critic writes, 'With a range limited to well-worn paths it is surprising that Jim Gerald and his company of artists manage to attract large audiences to the Tivoli. The explanation is that the various turns or acts produced by this tireless comedian invariably strike a fresh note. Saturday's production was well up to the high standard set some time ago. As the title suggests, the show is a bright musical comedy and practically every contribution to the programme by different players met with liberal rounds of applause' (8 August 1934, p.10). The Sydney Morning Herald critic described the show the previous year as being 'a joyous jamboree of jazzy jinks and jollity' (20 February 1933, p.4).

Revusical.

'A three act revue which includes some lively situations in different countries,' records the Sydney Morning Herald, 'the revue, as the title implies, ends in sunny Spain, with the inevitable introduction of the bullfighting ring. The production is full of clever acting, and Mr Gerald provided plenty of good fun in the role of Mr Flatfoot - a shopwalker. Bright musical and dancing turns - there are eleven of them - are interspersed in the revue and the members of the company maintain a high standard of excellence in their respective numbers. One of the outstanding turns was the singing of "Wonderful Dreams" by Mr Tom Dale.' (26 February 1933, p.5). An advertisement in the same paper also indicates that at one stage during the story, Gerald played 'a valiant toreador' (23 February 1933, p.2).

In its review of The Stolen Garter (as the show later became known), the Age reports that during the course of the story, Gerald, as 'a shop walker of very fruity vintage,' had a fight with a bull, and, as the drunk coming home from a battalion reunion, he also did some clever acrobatics. The paper's critic was not overly impressed with the show, however, asserting that it lacked the vim and colour of the comedian's previous productions, although it still contained much that was entertaining. A jewel ballet and an acrobatic dance were said to have been two of the best of the dancing numbers (18 June 1934, p.11).

Revusical.

Jim Gerald played Silas Hawke, a bogus millionaire (aka the gink from Georgia), who frequently refers to his 'yat' (yacht).

Among the feature songs and scenes in the 1933 production were 'Paddy McGinty's Goat' (Jim Gerald), 'Roses of Picardy' (Frieda Bohning), 'Rock a Bye Baby' (Jim Gerald and Lily Coburn), 'When the Sun Comes Over the Hill' (Heather Jones and chorus), and 'Home to Our Mountains' (Will Perryman and Frieda Bohning).

Revusical.

Jim Gerald played Perkins, a money-lender who goes to Morocco to help search for a treasure belonging to one of his clients. The Sydney Morning Herald records in 1933 that the story largely revolves around the character of Robert Owens, the client, who will receive his uncle's fortune (in the form of the treasure) on condition that he marries the Egyptian girl Imadear. The problem is that Owens actually loves Isobel Jefferson. After a number of humorous incidents, Owens is eventually able to achieve both his goals (marrying Isobel and gaining the money) through the help of Perkins. 'Mr Gerald's part,' writes the paper's critic, 'provides him with plenty of opportunities for clever acting and the climax is reached when Perkins, disguised as a Moorish maid, discloses his identity' (3 April 1933, p.5). One of the other principal characters in the revusical is Mahomed (Emissary of the Sultan).

Among the musical numbers inserted into the 1933 production were 'Bedouin Love Song' (sung by Will Perryman), 'Ballet of the Harem' (Thelma Duff and chorus), and 'Dance of the Sultan's Favourites' (performed by Jim Gerald, Thelma Duff, and Jessie Gillam).

Revue.

Comprising a mix of sketches, scenas, songs, comedy routines, and ballets sourced from international revues, and from local writers (including members of the company), Flying Colours was possibly one of the first productions produced in Australia by Connors and Paul following their world tour.

'Dick Turpin's Ride to Walk' (Stan Foley), 'Poet and Peasant Overture' and 'Telephone Doll' (Sunkissed Ballet), 'Who Started It,' 'S.P. Bookmakers' and 'The Man Who Murdered the King's English' (Syd Beck), 'Laugh Clown Laugh' (Russell Callow), 'Lily of Laguna' (Connors and Paul), 'River Stay Away from my Door' (Lulla Fanning), and 'Oh Baby' (Connors and Beck).

Revue.

Upon his return to Australia in early 1929 following nine months overseas, Jim Gerald re-formed his revue company and put together a repertoire of both old and new productions. Although Everyone's records that the new material moved away from the revusical format, 'the stuff that landed him in the front row of local comedy merchants', and thus did not afford Gerald the same scope, the season's opening production, Happy Ideas, nevertheless still made a strong impression. In reporting that it introduced 'much in the way of novelty and effective presentation.' The magazine's critic further notes:

'It is mounted with a suggestion of lavishness, which is emphasized by the stage lighting. Evidently one of the wrinkles picked up by Gerald in America, varied coloured and ever changing lights [were] thrown from the wings on to a gold drop centre paneled by rich figured material' (1 May 1929, p.49).

Gerald returned to staging his traditional entertainment (a vaudeville first half and a second-half revusical) the following year, but retained Happy Ideas as a generic title for the vaudeville part of the programme. For example, a review of the second week's edition of Happy Ideas as staged during the 1930 Melbourne Tivoli season records:

'[It] was well named. In the eight ideas presented the company was in a happy vein, and kept the patrons in a state of laughter from start to finish. Jim Gerald himself displayed remarkable versatility, particularly in the haunted house scene, in company with Reg Hawthorne. The humour was original, and was deservedly appreciated' (Age 14 April 1930, p.12).

Each opening week of a season up until at least the mid-1930s also invariably saw the troupe present a week of straight vaudeville-style revue under the same title.

Revusical.

Described in advertising and reviews as 'a dreamy romance of blood-curdling pirates, Chinese mandarins, pretty girls and Jim as a rushin' Russian Admiral' (Argus 6 November 1926, p.42); a 'picturesque Chinese Phantasy' (Brisbane Courier 11 June 1927, p.2); and 'a hilarious revue of Lotus Land' (Sydney Morning Herald 6 February 1933, p.4). A review published in the Argus in 1926 proposes that 'the plot and production were above the average of music hall revues'. The critic goes on to add, 'Dressed in appropriately grotesque uniform, Mr Gerald, as the admiral in the Ruritanian Navy, had the type of part which he likes and plays best' (8 November 1926, p.9).

Once Aboard a Lugger was also claimed to be the best of the snappy revues staged by Gerald's company at the Empire (Brisbane) that same year. 'It is brimful of colour, action and humour from start to finish,' writes the Brisbane Courier's theatre critic, 'and there is plenty of bright and catchy music. The revue has a Chinese setting, which lends itself to spectacular scenic effects, and the opportunities in this direction are fully availed of. Jim Gerald fills the role of Admiral Pitchitoffski (an admirable admiral) and he revels in his burlesque of "the silent navy". There is a complete setting for intrigue and for laughter, with a beautiful white girl betrothed to a Chinese mandarin, pompous Russians, inscrutable Chinese, and a tang of the salt sea, but everything comes out right in the end' (13 June 1927, p.16). Gerald's character is further described in a 1926 Sydney Morning Herald review as 'a rather decrepit admiral who has as the entire personnel of his fleet an unobtrusively funny sailor' (the part of the officer and crew of the navy was played by Reg Hawthorne). The critic also records that 'Not the least humorous part of the revue was that revealing the submissions of the mandarin by the artifice of wireless' (26 April 1926, p.4).

The musical programme in 1927 comprised 'East is East' (sung by Howard Hall), 'Flies on Auntie' (Jim Gerald), 'China Girl' (Betty Lambert and the Twinklers), 'Sailing Home' (May Geary), 'Down in China Town' (Essie Jennings and the Twinklers), and 'Build a Bungalow' (Lambert and Hawthorne). One of the ballets presented was titled 'Yellow Peril'.

Revusical.

Described in the Sydney Morning Herald in 1926 as 'a new revue written by Jim Gerald' (19 June 1926, p.10), this one-act musical comedy is set in a hotel where two couples have come on their honeymoons. Jim Gerald (as the naughty husband, Teddy Short) manages to lose his masterful wife (originally played by Essie Jennings) and finds himself caught up with a beautiful actress, Mrs Loveday, who has also mislaid her new husband. The increasingly angry Percy Loveday, meanwhile, has to endure the nagging of Mrs Short, while they search in vain for their missing spouses. The Brisbane Courier's theatre critic writes that 'the threads of the story were kept intact from the beginning to the end, allowing for the introduction of scenic interludes and by-play. A most laughable farce ended the dramatic meeting of the two couples in the lounge of the Hotel Riviera, where hitherto "henpecked" Teddy lays down the law to a meek and respectful wife' (16 May 1927, p.16).

One of the best received songs of the 1933 revival was, according to the Sydney Morning Herald, Reg Hawthorne's rendition of 'When Dixie Stars' (13 February 1933, p.5).