New York Clipper (Apr 1923)

April 11, 1923 THE NEW YORK CLIPPER 9 PALACE Nothing out of the ordinary about the bill, outside of Hugo Riesenfeld and His Rialto and Rivoli Orchestras of 55 mu- sicians, who proved to be a popular in- novation. Comparatively speaking, the orchestra failed to score a hit of any larger proportions than at least two ten-piece orchestras that have played the house. "Bogus ticket" signs flanked the entrance to the lobby and two men with magnifying glasses scrutinized the tickets at the door. Eight Blue Demons, "The Whirling Arabians," gave the first half considerable momentujn, not always maintained by sub- sequent offerin|:s. Their style of acrobatics and tumbling is familiar to most theatre- goers and allows for a fast finish. The "Acromedians" in the second spot, Russell and Pierce, did their song and dance opening, depotding to great extent on the dancing for the success of their act. Usually their style of tumbling toward the close of their offering puts them across strong, but following tne Blue Demons took a lot of the ptmdi out of their efforts in that direction. Melissa Ten Eyck and Max Weily, with Max Dolin and Frederick Cromweed, in a dance, violin and piano presentation, have played the house quite often and their work is well known to vaudeville patrons. The dances created by Mr. Weily are very good, but the piece de resistance "Pirate Passion" might 'be exchanged once in a while for something else when repeating at a house. Excepting that the dances are the same as they have been for at least three engagements at the house, they are pleasing enough and -well executed. Mr. Dolin's solos on the violin were good as they always have been and Mr. Cromweed at the piano proved a capable accompanisL 'Women monologists are few and far be- tween in vaudeville and undoubtedly Trixie Friganza is entitled to take her place at the head of the few that there are. Doing her act "My Little Bag of Tricks," she manages to sell it for a solid hit The clowning bit at the conclusion of her per- formance, done with Max Weily, has ^been perfected so that it now is sure-fire and ' funny. "Broadway's Smart Couple," Florence Tempest and Homer Dickinson, with M. George Harriss at the piano, were bright in spots but for the most part the act all but died standing up. Dickinson has a . pleasing personality and material of the poorest sort. At times Miss Tempest seemed to be just passi and at other times showed some of her former clever- ness. The first half was closed by a marvelous showman and juggler, Enrico Rastelli, "The World's Wonder," who is a revela- tion in the art of novelty juggling and balancing. Cool throughout the act, un- pretentious, and in an apparently simple routine he held the house in strict atten- tion in a spot held by few jugglers, which speaks for itself. For detailed review sec under "New Acts." • The Runaway Four, opened the second half, with their clowning dance, and tumbling stunts, scoring their usual hit de- spite the fact that they were the third act on the bill to depend to great extent on their tumbling. Hugo Riesenfeld, scheduled for 20 minutes, did about-15 minutes more, oblig- ing with two or three encors, gather- ing up the flowers sent to him and making a short speech of appreciation. The or- chestra opened with a classical selection, followed It with another and then special- ized on "Qassical Jazz." (New Acts.) In the next to closing spot, Julius Tannen, gathered a few laughs with his new gags, but did not score as he did in the days before he forsook vaudeville for the furniture business. Helen Higgins and Natalie Bates, with Horace Bentley, in "Singdance," closed the show in a versatile dance routine, writh Mr. Bentley at the piano, and held them fairly intact despite the hour. The girls are very capable dancers. M. H. S. VAUDEVEiE REVIEWS RIVERSIDE A bill of nine standard acts, of which Belle Baker, Morton and Glass and Joe Fejer's Orchestra are the high lights, com- prised the new bill here last Monday after-, noon. The remainder of the show con- sisted of the usual diversity of variety en- tertainment and seemed to satisfy the di- version appetites of a rather slim audience. Van Horn and Inez proved worthy pace- makers in opening spot with a fast slating contribution featuring "six^ whirls a min- ute" and an ori^iral swivel neck spin. Both are accompkshed skaters, who blend with their -work and sell it with a gusto that is interest sustaining. The Gaits Brothers deuced in their usual sure-fire dancing act, scoring -well in solos and wowing them in the doubles. An es- sence of comedy injected _ by the taller brother make their offering the more likable, but it is die dandng that carries them under the wire at a good price. Harry Holmes and Florrie La Vere were as pleasing as ever in their novelty skit, "Themselves." The offering is subdivided into three episodes, the first of which is a box in a theatre. The couple ester and engage in a comedy argument regarding the show and their domestic trials. They recognize the opening act of the bill as one they have seen so often that they be- lieve they could do the act themselves. The husband has been imbibing in the "for- bidden liquid," becomes tipsy and goes into a doze. The wife also falls asleep. The scene shifts to "three" with the couple proceeding to do the act they were sup- posed to see at the theatre. All of the bits are very well done. Holmes' comedy bong a riot Santos and Hayes, who when last seen were heading their own production act, have shelved that offering for a "two act" From a physical standpoint each of the girls, are the extreme of the other and most of their comedy talk is centered upon this situation. Miss Hayes, who has an espec- ially pleasing voice, contributes a classic solo, while her partner handles a comedy number and a "blues" song to perfection. Later they join forces for a duet which takes them off. The differences of their physiques is a stable comedy angle and their songs are sufficiently well done to warrant a warm hand on any bill. Joe Fejer and his famous Hungarian Orchestra closed the first half and gave the audiences something new in the way of "orchestra acts." The seven pieces, aside from the piano and cymbalon, arc of the stringed variety and the arrangements are of a symphonic order. Although classics dominate their repertoire, they are handled in a way to make them enjoyable for vaudeville. Their first number was Liszt's "Hungarian Rhapsodic, No. 2." which was followed with Strauss' "Blue Danube Waltz." Fejer later soloed with "Chan- son Bohemian." A potpouri of popular airs wound up their confa-ibution and seat them off to flying colors. If yesterday's enthusiasm can be taken as a criterion the orchestra is going to have an unusually happy time of it in vaudeville. Antonio Ponsetle, a robust tenor, fol- lowed with a pleasant mixture of classic and popular numbers, while Morton and Glass were another delight in "April." Belle Baker, the headliner, followed w4th her usual song repertoire, which started out fast, rapidly increased in speed until the finish when the talented and beautiful singer had a hit of gigantic pro- portions safely stored away. A "hebe" comedy song, TJow Can Yau Tell What's Goin^ on Behind Your Back" and a "Dixie" song and "Crying for Yoii" were among her numbers tliat scored. Adelaide Herman closed the show with a series of spectacular illusions, some of which she has shown here before. E. J. B. ALHAMBRA Monday matinee at this house saw every scat sold and many people standing. The show, from beguuiiug to end, iwas excellent entertainmem, and the audience showed their appreciation. The Amaut Trio, starting the show, gave their usual good performance of dsincing and acrobatics, all three playing their vio- lins industriously, if not too musically, throughout the act Working hard to overcome the disad- vantages incurred by being second were Mason and Shaw. The position proved not to be a bit of handicap, the act going over in great style. Miss Mason looks as much like a boy as any boy could and has a typical boy's voice. A young man sitting near us kindly informed us that "Its a girl, sure—you never saw a guy kick like that" Even though we had seen the act before' we had our doubts all over again until she took her hat off. Edna Aug and Company, with the act running smoothly and keeping the audience in rapt attention followed. "The act b such a wisely balanced and delightfully admin- istered mixture of smiles and tears diat it is sure to score on any vaudeville audience. Miss Aug works with her usual artistry, her specialty, "Nerves" going over well and the rest of her acting being nothing short of great. The man's voice is of ex- cellent quality and range, but has not the volume one would expect from a man of his build. The rest of the cast are adequate. Bums and Lynn, opcniiq; with their "Hello, Haw De Ye Do" song, proved a succession of laughs. Their costumes are funny without being overdone and the style of hokum they use is agreeable to the audience. They shart slow but warm up and by the time they finish are a riot Their dancing is good. Closing intermission was the S. S. Leviathan Orchestra, presented by Paul Whiteman, Inc., and staged by R. H. Bumside. The act proved to be one of the most elaborately staged and all around entertaining orchestra acts in vaudeville. It is reviewed further under new acts. To Joe Darcy fell the_ rather difficult task of opening intermission. He started off with a haxtg, kept piling up all the way through and pretty nearly stopped the show at the finish, with the folks out front yelling "One more song, Joe." He doesn't have to worry at this house. Grette Ardine and Company, the "com- pany" consisting of two boys, both excellent dancers, proved one of the finest dancing acts on the circuit It moves with almost incredible speed throughout The two boys are partners in a modiste shop but busi- ness is bad and they advertise 'Trench models received today." A girl comes in, claiming to be a French model and tells her story, explaining that she can also dance. The tiiree do a dance and in it interpolate one bit that is as daring as anything ever seen in vaudeville and could well be saved for a finish. The two boys each take a hand and foot and swing her between them so that her face sweeps the floor at each downward swoop. This dance is a knockout Several other numbers, notably a great Apache, feature the-act, all connected by the sensible rhymed dia- logue. A fine act Murray and Oakland, opening in the dark with the mystery stuff about the hooch, recipe, get a laugh at the start. Their travesty on the mystery melodramas is amusing and their old fashioned duet is a great laugh. The Spanish bit and dance finish are also good. The young lady is really beautiful and of charming person- ality and the man is a natural comedian, who can do things that would appear vulgar in some one else and make them seem just funny. The Bcllis Duo closed the show with a fiiie acrobatic entertainment C. C. COLONIAL The opening matinee performance of "All Nationality Week" had a fairly good- sized attendance present A lot of at- tention was attracted before the perform- ance by a good "bally-ho" stunt arranged by Johnny Collins and Luther Gobel, who secured the willingness of Ben Meroff and Marburger's Orchestra to pot the stunt over. The boys were seated on mar- quis in front of the theatre and played sev- eral numbers from that position, getting a crowd tb gather in front of tiie ^eatre from several blocks around. One of the neatest gymnastic and con- tortion offerings we've seen in a long time, opened the show, being done by Benit and Partner. Not only is the work presented effectively, but the grace with which tbey are done, and the stunts themselves ga to make up an offering which is in a class by itself. To follow a "dumb" act and then tie up a show is certainly something to boast of, and Watts and Kawley stopped this show as cold as it was ever stopped. George Watt's funny delivery of his songs, his talk and everytiiiog about hii^ "were sure-fire. Belle Hawle/s sweet person- ality, nice voice and good work in feedhig Watt's also was a strong factor in the success of the act. They made tt great for the rest of the show, getting in the deuce position, tiie speed and warmth which a sh«rw generally doesn't acquire ""^ about the fourth act Ray Raymond and Dorothy Mackaye. assisted by Frank L. Cloude, also soared heavily with their entertaining comedy skit by Benjamin H. Burt Raymond's "souse" is of the rare polite stage in alcholicism which brings up wonderfol memories. And speaking of sweet, adorable women—well. Raymond could take even one more drink in the act—a toast to Miss Mackaye. We'd join him, and not for the liquor's sake alone. The <alk is very deverty done. Sometimes we regret going into rhapso- dies about beautiful women in shows, for we find we have used all oar ad j ec tiv es on one and left ourselves with hardly any for the next one which comes along. So we'll call it even and name them the "three peaches," Belle Hawley, Dorothy Mackaye and Martha Morton. Martha is back again at this house with Gordon Dooley and together they kept the laughs coming every minute they were in view. Doolejrs "falls," especially the one over the footiights onto the piano in the pit were screams. Martha's dance work is of the Morton type, and that's the very best "The Storm,^ featuring Edward Arnold, supported by Guy Gunnint^m. Bell Barnes, Max Von Mitzel and Isis Maynard, closed the first half. The third act from the play was offered, featuring the forest- fire, a masterpiece of theatrical staging as done in this act. The climax, of this al- most brought the audience to their feet with suspense. Arnold does excellent work and has very good support Lorraine Howard and Flo Lind are do- ing an act very mudi similar to the one which Miss Howard did for several years with Vemk Sadler as her partner. The "Wedding Bells" bit is featured in this offering as in the other, with parts of the talk being used. They did fairly well Mon- day afternoon. Ben Meroff, assisted by Marburger's En- tertainers, a seven-piece orchestra, gave a fine account of himself with his versatility both in instrumental lines and dancing, do- ing sensational work in the latter line^ All the boys in the orchestra are also versatile and do well with their specialties. In place of imitating Gallagher and Shean, Meroff and one of the boys, playing saxo- phone and clarinet imitate Lewis and Dody, using props for the catch-line. .As Lewis and Dody haven't fdayed this honse in some time, the audience wasn't very fa- miliar with the (nt which will go well where the other act is known. Lillian Shaw closed the show, holding them in and getting big laughs with her comedy. G. J. H.