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The Spike: or, Victoria University College Review October, 1920

"The Dogs"

"The Dogs"

The delightfully fizzy sensation of going to "The Dogs" is now a memory pigeon-holed away somewhere in the cerebral centres or relegated to the limbo of lost but unforgotten things. Our Extravaganza was the success of the year. Cabaret, camp and election- mart mingled joyfully amidst a blare of trumpets so pulse-stirring that "The Reveille" which followed many months after seemed like the wailing notes of the "Last Post." For two whole nights, Folly trod on the heels of Youth and Merriment on the corns of Time, and everyone "went gay."

To those of us who entered the theatre, as nescient as at our nativity, the foreword gave some idea of the pot pourri that was to follow. Parliament was to cut its way through the jungle of the ages. As the piece progressed, the idea developed—which is not usually the case in such productions as these. The interest of the audience was caught and—what is better still—held from the excellent rendering of the considerably modified "Prologue to Pagliacci" until the final lowering of the curtain. Parliament typified in 2020 A.D. as a palace of kicking legs and popping corks is a prospect that throws out definite hope for the future. Of the four scenes this was easily the most successful. As a spectacle, superb. Nothing could be more artistic than a black-and-white colour scheme carried into effect, and this effect was well sustained by the somewhat alluring frequenters of the Cabaret. The first act, also—that taking place in the vicinity of Sherwood Forest— made an effective opening and the slaughtering of Simon de Montfort provided not a little amusement. Acts II. and III. tended at times towards the wearisome. Politicians, on the platform or in the House, are generally too lacking in individualism to make good subject-matter for humour.

Digressing for a moment from the reviewing of the revue, let me say a word about histrionic talent. Mr. Mazengarb did not disappoint us. Indeed, he and Lady Blastor shared the honours of the evening. As "officah" and "The Right Henry" he swaggered as ungracefully and warbled as untunefully as circumstances demanded. Mr. E. Rishworth, who played Lady Blastor, had a more difficult role to fill. He showed himself to be a master of the page 50 art of coquetry, and caused as great a flutter as the Prince when he arrived on the scene. Without this talented lady the act would have been rather flat Premier (Miss H. Easterfield) cut a very dashing figure and fully convinced the audience that not only could she sing but also that she believed all the words of her song, "How we put them in their place." The air "Take a Pair of Sparkling Eyes" was singularly inappropriate, mais n'importe! The Prince of Wales (Mr. W. Watkins) fully played to "the dear boy, so unspoiled by popularity" that he was. I am forced to confess that his acting and dancing are more reliable than his voice, which has a tendency to lose its way as it ascends. Sir Simon (Mr. P. M. Smith) and Sir James (Mr. K. Low) both acted well; I predict a great future for the former if he pursues his military career more assiduously. But lest we forget! Misses A Cooke and R. Horsley looked very charming and sang very sweetly in the opening to Act IV., and what more can we expect?

Now, what of general impressions! I am not going into comparisons because I am not an archaeologist, and leave the past to the author of "The Golden Bough." The show, taking everything all round, was a triumph of spectacularism, and gained in magnificence what it lost on the vocal side. The choruses showed up the absentees from the practices, and consequently did not afford as much satisfaction as they otherwise might have done. Yet, where is the humour of yesteryear? Where the side-shows? Raid the Cabaret, run a tote in Parliament, do anything to raise a real, hearty, democratic laugh instead of this titter from the intellectual, who, for the most part, would smile at anything.

Finally, let me say that whatever praise is due must be apportioned also amongst the members of the orchestra (the conductor, Mr. W. H. Stainton, in particular), the six "trippers of the light fantastic," Miss M. Richmond, and, last but not least, Mr. E. Evans, who threw himself heart and soul into making "The Dogs" as great a success financially as otherwise. That he succeeded in both no one will attempt to deny. Were he not so shy and unassuming I should say a great deal more, but he knows it all already, and so there you are.

Lew.