Cirrus@Austlit

Revusical.

The Age records:

'In the course of a tabloid musical comedy, The Plumber's Dilemma, on Saturday, [Jim] Gerald appeared in golfing costume and as Nero at a fancy dress ball, and it would be difficult to imagine anything more comical. Earlier in the performance he had given a clever sketch of a hen-pecked husband afflicted with the 'flu, and in his listening-in to a wireless story of Red Riding Hood was perfect pantomime. He was supported by the usual small but talented company, the strong point of which was the delightful dancing' (28 May 1934, p.11).

Revue.

Revusical.

A mini musical comedy in two scenes, Broadway Nights saw Jim Gerald appear as a night clerk in a New York hotel.

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).

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.

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.

Revue.

It remains unclear what relationship this Christmas extravaganza had to the typical pantomime production of the 1920s. In 1927, the Sydney Morning Herald records:

'in the guise of Mrs Dolly Dimples, a virago whose redeeming characteristics were an unlimited fund of repartee and a keen sense of humour, Mr Gerald provoked rounds of applause... Phyllis du Barry was warmly applauded for her dancing and singing, and Betty Lambert, as Mrs Dimple's wayward daughter, Marjorie, was well received. Mickie the cat whose antics were enhanced by malevolently flashing eyes and a constantly moving under-lip was ably played by Ray McLean' (27 December 1927, p.2).

Other characters included the Wicked Demon King, a bad boy and girl, the Fairy Queen, and beautiful swans. 'Pantomime novelties' were also advertised as being presented.

Four years later, the Argus reported:

'The pantomime atmosphere is present, but Mr Gerald has done without a story. Mr Gerald is exceedingly funny as the dame, and he has excellent support from Miss Heather Jones as principal girl, Miss Vilma Kay as principal boy, Mr Reg Hawthorne as the baron and Mr Howard Hall as the demon. A feature of the performance, and one which delighted the large audience on Saturday night, is that provided by the Chong Chan Fat troupe of eight Chinese conjurers, magicians and jugglers' (28 December 1931, p.9).

A 1932 Sydney Morning Herald review provides perhaps the best description, recording:

'Many of the pleasant traditional things of Christmas pantomime are included... The happiness of the principal boy and the principal girl, though menaced at the beginning by a demon in green tights, is finally assured by "the fairy queen who always spots, the wicked demon and his plots".' The review also indicates such features as 'trap doors and windows for imps to leap through, a haunted castle with buried treasure, a resplendent Palace of happiness, and a mysterious forest where the dancers may be white rabbits or nymphs, or even a strange-looking but accomplished donkey' (26 December 1932, p.2).

Jim Gerald's costume comprised, in part, white stockings and elastic-sided boots. The principal cast largely comprised members of Jim Gerald's revusical troupe, supplemented by specialty acts and other artists contracted to the Fullers. For the 1931 Melbourne production, the company comprised some eighty performers (Age 28 December 1931, p.9).

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).

Revusical.

Bubble and Squeak 'is aptly named from the fact that is just a succession of merry concerted items, comedy gags, up to the minute sketches, bright dancing ensembles and haunting and ear-catching melodies', writes the Brisbane Courier's theatre critic in a preview of the 1927 Empire Theatre season. (23 July 1927, p.6). A review of the premiere published two days later reports, however, that the vaudeville elements were fashioned around a dramatically organised narrative. Set thirty years in the future, the story explores the proposition that men might be 'relegated to the position now occupied by women'. The review also reports that in the role of the neglected husband

'who stays at home and minds the baby while his wife goes out to the club, Jim Gerald rose superior to his previous efforts, if indeed it requires any effort on his part to keep the audience in roars of laughter at his clever acting and witty sayings. It was evident that much of his by-play was spontaneous, and for that reason most effective. A charming actress, Miss Essie Jennings created a great impression as the neglectful wife, while as the un-blushing temptress of the easily-led husband, Miss May Geary, imparted to the role the keenest interest' (25 July 1927, p.21).

Confusion over the production's dramatic organisation similarly occurs through two later reviews, one in 1927 and the other in 1930. For example, the Sydney Morning Herald theatre critic writes of the 1927 Fullers' Theatre production:

'The entertainment has no connecting plot, being just a series of comedy sketches, interspersed with gay music, ballets, and colourful tableaux. The dancing corps, which is a valuable asset of this company, is given unusual opportunity in the new programme, the result being a succession of modern, costume and symbolic dances. Swiftly changing scenes place the action successively in Spain, Egypt and Iceland. Mr Gerald is exuberant in his fun making, and the central figure in several amusing sketches. One of the funniest is that in which the humorist forecasts the decadence of husbands and home life in 1950. A snowball battle between the company and the audience, in an artic setting makes a merry and lively close to the evening's fun' (31 October 1927, p.6).

A 1930 Age review indicates, on the other hand, that the production was plot-driven and that it 'concerns the eternal triangle with two women and one man', set in 1950. 'The man stays home and minds the baby, cooks, sews and does the house work. Jim is the poor neglected husband of a member of parliament. The vamp wants him to flee with her. Torn between duty and love he chooses love, and is leaving when the crying of the baby recalls him to his responsibilities'. (The review concludes with 'let's hope Mr Gerald is not a good prophet'). According to the same critic, the plot is set up in a scene in which Gerald enters into a competition with Lord Birkenhead to forecast the future (5 May 1930, p.10).

Two songs known to have been inserted into the 1927 Brisbane season story were 'Where Did You Get Those Eyes' and 'Bubble and Squeak' (both sung by Betty Lambert).

Revusical.

'The plot concerns a case of mistaken identity, in which an 'electrician of lowly degree' (Mr Jim Gerald) is elevated to a baronetcy', writes the Brisbane Courier's theatre critic. 'This leads to a multitude of amusing situations, which allow the comedians full scope for their capabilities. As "Sir Michael Mifikins", Mr Gerald doffs his well-known baggy suit and battered hat and appears attired in a toga, in which he cuts many humorous capers. While comedy, of course is the principal element in Not Likely, the singing side has not been neglected, and many bright vocal numbers are introduced' (23 May 1927, p.18).

Among the songs incorporated into the 1927 Brisbane season were 'Because' and 'Smile a Bit' (sung by May Geary), the trio 'No Fooling' (Messrs. Hawthorne, Crawford, and Payne), and 'Kippers' (Dalton Payne). The 1930 revival (staged under the title The Naughty Earl) included the duet 'Land of Tummyjollibad" (sung by Jim Gerald and Reg Hawthorne).

Revusical.

Jim Gerald plays the part of Hector, a well-meaning but feeble-witted valet. The Brisbane Courier records in a review of the 1927 Empire Theatre production that one of the best things of the evening was a scene in which Reg Hawthorne's character endeavored to initiate his valet into the mysteries of the gentle art of bar tending (9 May 1927, p.26). One of the more popular sketches written into the story involved Betty Lambert's character, 'a dainty little lady' who gives Hector 'a lesson in the art of flirtation' (Brisbane Courier 9 May 1927, p.26). During the course of the story, too, Hector accepts a position as a lion tamer ('with the result that a promising career comes to a sudden end') and attempts a career as an opera singer (Brisbane Courier 1 August 1927, p.21).

One of the musical highlights of the 1926 Bijou Theatre production is said to have been Jim Gerald's duet with Laurel Barrett, 'Waiter', while Ray and Dot McLean's novel whirlwind dance in scarecrow costumes during the 1927 Empire Theatre season apparently created a 'furor' (Brisbane Courier 1 August 1927, p.21).

Songs known to have been incorporated into the revusical at that time were 'The Moon' (a male quartet), and 'Pale Moon' and 'I'm Looking at the World Through Rose-coloured Glasses' (both sung by May Geary). Reg Hawthorne also drew much applause for his yodeling songs.

Revue

As with Nat Phillips' Stiffy and Mo Revue Company, Jim Gerald sometimes concluded his seasons with a request programme, whereby patrons were invited to submit their favourite scenes, songs, or comedy sketches for inclusion in the final week of shows. The name of this request show appears to have changed over the years and according to the city it was being presented in.

The 1933 production is described in the Sydney Morning Herald as comprising fourteen sketches, which were as varied as the first-part entertainment, Happy Ideas. The outstanding item according to the paper's theatre critic was 'The Burglars Union,' which starred Jim Gerald, Tom Dale, and Reg Hawthorne. One of the musical highlights is said to have been 'Come to the Fair,' which was performed by Vilma Kaye, Frieda Bohning, and Will Perryman.

In reviewing Don't Tell the Wife at the Empire Theatre in 1927 the Brisbane Courier records:

The plot, what there is of it, hinges upon the interpretation of a will. May Geary as Lulu was a splendid vamp, and snared the affections of Harold Pottleberry, played by Jim Gerald in his inimitable manner. When the lady discovers that Harold does not benefit under the will she promptly transfers her affections to a village bumpkin, who really inherits the money. She successfully vamps him - and marries him at the finish, having really fallen in love.... The comedy is in three acts, and some charming lighting effects were secured (21 March 1927, p.17).

When the show was revived some three months later, the paper's critic provided further insight into the storyline:

Of course Mr Gerald is the husband. He is a gay dog; and the sad thing about it is that he had led his future son-in-law into trouble, too. When the curtain rises the wife who must not be told discloses the fact that Harold Pottleberry - her husband - has been out all night. He has not been home for 36 hours; and when he does arrive he is in the condition of not caring whether it shows, although he is conscious of the moral power of his wife. He is a henpecked man. He admits it with glee; but his spirits are irrepressible'. The revusical is said to have finished with a 'pretty scene in China Town (4 July 1927, p.10).

An Age review provides additional details concerning the storyline as staged in 1930:

The plot... centres round the distribution of a large sum of money left by a clerical relative of the Pottlebury and Smith families. Members of the Pottlebury family - mother, father and daughter - are buoyed up with expectations but Tom Smith (a country youth) does not trouble greatly about the amount he is to receive. When the will is read it is disclosed that Mr Pottlebury (who by the way is given to excessive drinking) is dismissed with the deceased prelate's blessing, his wife receives 15/- and the daughter £2,000. The remainder of the estate, valued at £50,000, is bequeathed to Tom Smith. A friend of the deceased, Patrick Flannagan, engaged to Hilda Pottlebury, also expected to be remembered in the will, but was cut out. There was a condition, however, attached to the legacy of £50,000. It prohibited Smith from making an offer of marriage before 6pm on the day the will was read - a period of four hours. Then the fun began. Pottlebury and Flannagan conspired to persuade Lulu, a fascinating French adventuress, to make "lightening love" to Tom Smith, and force a proposal within the limited time at her disposal. She, however, falls in love with him herself and will not permit him to propose until the final stroke of six. The scenes were full of humorous situations which gave Jim Gerald ample scope (28 April 1930, p.12).

Among the songs included in the 1933 Sydney revival, which is described in the Sydney Morning Herald as 'a laughable domestic revue in three scenes' (13 March 1933, p.5), were 'Here are We' (Frieda Bohning and chorus), 'Life is Just a Bowl of Cherries' (Heather Jones), 'Millions of People' (Jim Gerald), and 'I Want You Lu Lu' (Reg Hawthorne).

The cast of characters includes Mr and Mrs Pottleberry, Hilda (their daughter), the son-in-law, a French count, a detective, a lawyer, Lulu (a vamp), a maid, and a bumpkin. A review of the 1928 Fullers' Theatre season indicates that some Gerald played a number of roles in the show. 'Mr Gerald kept the audience in continual laughter ... in this comedy in which he ludicrously impersonated a Spanish senorita, a coy maid-servant, a picturesque Chinese and a drunken husband', writes the Sydney Morning Herald theatre critic. 'There is a plot in this play about a will and the schemes of those who try to break it; but the interest in this is quite secondary to that of the clever fooling of the comedians and the bright songs and dances of the principals and the Twinklers. The piece was written and produced by Mr Gerald' (30 January 1928, p.6).

The musical numbers for the 1927 Brisbane production, which was expanded to an entire evening's entertainment, included 'Strolling Back' (sung by Ernest Crawford), 'Lu Lu' (May Geary), 'Millions of People' (Jim Gerald), and 'I Want You Lulu' (Reg Hawthorne). A review in the Brisbane Courier indicates that this 'rare two and a half hours of fun' included 'a large number of new and up-to-date sketches... new scenes, gags and business' (2 July 1927, p.26).