Cirrus@Austlit

Revue.

Revue.

Revue.

Revue.

Revue.

Revue.

The production comprised fourteen scenes.

Revue.

Revue.

Billed in advertising as 'A Jovial, Joyous, Rougish, Rompish, Diverting Bouquet of Captivating Melodies, Goegeous Spectacles, Whimsical Quips and Bright Clean and Healthy Comedy' (Age 5 June 1926, p.22).

Revue.

Revue.

Two of the sketches reported to have been included in the 1926 Melbourne production were 'The Tragedy of a Dinner' and 'The Strike.' Alec Kellaway also drew praise from the Age theatre critic for his rendition of 'Romany Love Song.'

Revusical.

Although the Moon and Morris Revue Company repertoire comprised mostly revues, the company is known to have occasionally staged one-act musical comedies. In reporting on the Brisbane debut of Dad, Choom and Co, the Brisbane Courier notes that not only was it built around a 'well-constructed story' but also nothing had been left undone to infuse an 'outback atmosphere,' and that there were 'many deft touches in this direction' (30 August 1926, p.9). According to paper's theatre critic:

'The opening scene is set in London, and shows in satirical vein the booking up of a batch of immigrants at Australia House. Later the [scene] is changed to a drought-stricken area of Australia, and depicts the trials and tribulations of "Dad" during this troublesome period. His labours are not lightened by a couple of raw recruits to the farming industry, and the efforts of the new arrivals to 'make good' leads to much hilarity. The brunt of the fooling falls on the capable shoulders of Messrs George Moon, as Jacob, and Dan Morris as Dad.'

Advertising in the Brisbane Courier also describes the show as 'a fair dinkum Aussie play.'

The musical programme is said to have involved numerous songs (four of which were performed by Alec Kellaway). One of the features, according to the Courier, was the trio dance 'Spirit of the Land,' performed by Nell Fleming, Shannon Raye, and Irene Vando.

Revusical.

Described as an 'alluring... picturesque and romantic revue,' this production was unlike most of the Moon and Morris Revue Company repertoire in that it was plot-driven. According to the Brisbane Courier, the story dealt largely with Spanish bandits and marauding gypsies. 'George Moon,' writes the paper's theatre critic, 'was funny as the proverbial circus as 'Tony' a sort of suburban mountaineer. Especially comical was when he confided in song to his hearers how he "hated women like 'ell," not merely because they were "blots on the landscape of life" but because they were ''slugs on the cabbage of bliss"' (2 August 1926, p.10).

Revue.

'The second portion of an excellent programme comprised a novel revue by the popular Moon-Morris Company', records the Brisbane Courier in July 1927:

'In Issues, this week's presentation, every portion of the audience is catered for. The comedy element prevails, chiefly as a result of the efforts of George Moon, Dan Morris and Ed. Warrington, while the individual vocalists were supported by a daintily costumed ballet. The sketch "A Dud Dream," written by Ed. Warrington, proved a scream, while "Courage" provided full opportunities for the dramatic abilities of Nell Fleming, Tony O'Brien and D. Marcel. The concluding item, "Musical Memories" was a fitting finale to an offering of outstanding merit' (26 July 1927, p.17).

Revue.

The Brisbane Courier's theatre critic writes of the revue portion of Moon and Morris's 17-23 July 1926 programme that 'The Moon and Morris Revue Company, and the current offering, Wit and Wisdom, goes with a swing from the first to the final curtain. It is a potpourri of dancing, music and song, backed up by a clever ballet and colourful stage settings, and through it all Messrs. Moon and Morris have interspersed a series of skits that bristle with fun. This quaint pair long ago danced their way into the hearts of Brisbane audiences, but there seems no end to the diversity of their dancing, and this week they introduce much that is new' (19 July 1926, p.9).

One of the sketches known to have been included in the show was 'At Sea' (with Alec Kellaway and Nell Fleming). Kellaway also drew praise from the Courier's critic with his renditions of 'Musical Wisdom' and 'Dirty Hands' in other parts of the revue.

Revue.

In reviewing the opening performance at the Empire Theatre in 1926 the Brisbane Courier records:

'Words and Music was the title of the musical merry-go-round produced by Ed Warrington, the most amusing sketch being "The Honeymooners" interpreted by Nell Fleming as chic and charming as ever, George Moon, Alec Kellaway and D. Marcel. To appreciate the mirth-provoking qualities of the sketch a visit to the theatre is necessary. Words could not adequately convey the uproarious laughter that followed the antics of George Moon in his capacity of hotel detective. Another amusing interlude, "Words, Music and Dance" by Messrs. Moon and Morris to which they gave a clever and finished exhibition of dancing was one of the choicest items on the programme and the original burlesque, "Gentle Methods" in which warders and prisoners are wont to unduly fraternise had a significant reference to recent Brisbane happenings' (12 July 1926, p.16).

Revue.

In its review of Moon and Morris's opening production at the Empire Theatre in 1926, the Brisbane Courier records:

'In the revue, Make it Snappy, Ed. Warrington kept strictly to the title all the way through. It is described on the programme as a "musical go-as-you-please," but it is much more than that. The scenes (including a vista of the Thames embankment at night) are beautiful. There is no dragging. The jokes finish, as all good jokes should, when they are at their height. In each of the nine "snaps" there is something either to tickle the funny bone or to delight the eye or the ear. There is an original touch about this revue. As clever and as charming as she is beautiful, Nell Fleming is the Angel of the piece. Alec Kellaway, who is given plenty of scope to use his fine baritone voice, is the Stranger, and he holds the stage alone in the tenth snap. Durham Marcel is the Miser. Ed. Warrington himself represents Power, and the full company Happiness. The arrival of Moon and Morris, in the second snap, is the signal for a cannonade of laughter. Whenever they appear on the stage together the joy of the audience is complete. The most mirth-provoking incidents occur in a lunatic asylum, where George Moon and Ed. Warrington are engaged as painters, and the laughter reaches high-water mark when two of the refractory patients escape from their cells and attack them. In the third snap dainty Kathleen Howard has the stage to herself, and she literally exudes joyousness and charm' (5 July 1926, p.17).