Variety (Dec 1905)

VARIETY. Shows the week THE HEAD OF THE HOU8E. The peaceful calm hovering around the Head of the House betokened a desperate resolve. The Information came kerchunk that we were going to see "Man and Superman" at the Hudson Theatre. It occasioned no surprise. I immediately knew we were going to see it, and we did. "There," said the Head of the House as we were leaving, "isn't that a relief after all this vaudeville?" "Your brains are all in one spot," says she, "and if your head is ever opened, even that spot won't be found." "Off again," says I. "Suppose I must understand everything I see?" "You're a dead one anyway," says she, "when you are not around a continuous something." "You are keeping me too busy trying to avoid a separation," says I. "Sixty dollars a week," says she, "and never mind the legal part." "I wish I had it," says I. "It would be cheap at a hundred." "I suppose you think that show at the New York Sunday night was great?" she says. "Well," says I, "it was a cheap show for the house." "Why?" says she. "Because the spec- ulators have such a graft on the tick- ets?" "Speculators?" I says, "there were only twelve." "How many does what is supposed to be a reputable theatre generally sup- port?" says she. "I don't know," says I. "It all de- pends." "How many does it take," says she, "to sell all the tickets in'the box of- fice?" *$ "Two could do it, excepting the three last rows," says I. "I've heard that 'three last rows' so often there," says she, "that I can imi- tate the box-office man's voice." "He's only there to accommodate the speculators," says I. "You can bet the house stands in," says she. "You win," says I. "If you knew the New York, you would have known that." "Why do they do it?" says she. • "Because it's so soft," says I. "Gee," says she, "New Yorkers are marks." "If they weren't," I says, "the New York Theatre would have to be run on the level." "Why do'they have that 'Warning Against Speculators' over the front en- trance," says she. "Oh, that's to hide a dirty spot that needs painting," says I. "Who runs the Sunday nights?" she says. "Werba?" "Don't ask such fool questions," says I. "Do we go to a show every Sunday night?" says she. "What else is there to do?" says I. "There's another place you could go to," says she. "Where?" says I. "Guess it out," says she, "and then go. »» THE COLONIAL. It may have been the intention of Arthur Prince in assuming that stage name to have it read "Arthur, 'Prince of Ventriloquists,' " but it has been modi- fled to read "The World's Greatest Ven- triloquist," which may or may not be true, as you view his performance. Mr. Prince enters upon the stage garbed as a British naval officer, using one dummy, a boy dressed as a sailor. The dialogue throughout is in reference to the boy's duties while on the ship, and is exceed- ingly bright and mirthful. Prince is ne^er removed from his dummy more than nine inches, and the impression created on the audience is that it is wonderful ventriloquism, es- pecially as it is impossible to perceive a muscle or twitchng of his face while speaking, except through a glass, when the under side of the chin may be ob- served to move ever so slightly, and the cigar held in his mouth almost constant- ly to tremor. Mr. Prince has not the knack of "throwing the voice," but rather the trick of changing it to perfection. Rap- idly and repeatedly, the dummy speaks in an altogether different tone from that used by the manipulator, which together with the deft handling of the head gives to the illusion a natural semblance. An attendant places the head upon the dummy before Prince appears, and Prince himself, to avoid all suspicion of collusion, removes it again before his exit. Applause in plenty was given. The five Mowatts in club swinging gave a performance which shows a great deal of improvement, new "stunts" hav- ing been added. The auburn-haired and blond boys have no mercy on themselves or the others in throwing the clubs, and several spectacular formations attract the merited approval of the house. Nick Long and Idalene Cotton in "Managerial Troubles" offer an act full of comedy, and well liked. It allows Miss Cotton to give an impersonation of Mrs. Fiske in "Leah Kleschna," which to anyone who may not have seen Amer- ica's greatest actress in this play will appeal as a life-like study. The voice and mannerisms are absolutely true. The two Pucks, a young boy and girl, are so self-conscious that the value of their offering is hurt thereby. If the boy is blase, his age does not indicate as much, and they both should attempt to keep within the assumption their ap- pearance creates. Strong teeth and knotty muscles mark the Griff Brothers on the rings. Medals or badges occupy some space on their breasts. From the front the badges re- semble those given out to the "enter- tainment committee" at a ball. The three Dumonds are billed as the "first reappearance in New York." It would have been a very simple matter to have added "since the last time." The Dumonds are so well known that those by whom they are liked applaud before they appear, while the others leave the theatre in haste. The Camille trio on the horizontal bars and some pictures finished off what is probably one of the best bills the Colonial will present this season. PROCTOR'8 TWENTY-THIRD 8T. Christmas presents occupied the at- tention of everyone at this house on Monday. Cinquevalli (reviewed under New Acts) was given an ovation by the audience at the conclusion of his per- formance and some one sent the juggler an immense floral wreath. Louise Dres- ser was very attentive to a couple of handsome diamond rings adorning her fingers—for the first time apparently, from the fond manner in which they were caressed—while she sang three songs. Miss Dresser does not seek to impress the audience with the quality of her singing voice. The song first seems to be the principle worked upon, which is a proper one, and in her case meets with much success. Although she mentions "my brother, Paul Dresser," in announcing a new song, that may be forgiven, but the song itself should be discarded for something more in keeping with Miss Dresser's style. Progression in the family is a happy trait, for Jack Norworth is out in a different monologue—different from what he has used before, and different in method from the others. He calls it "The College Boy" and is dressed as a "soph." At Princeton or in any college town the boys would go wild over him. In a house removed from a college campus his slangy expressions come too thick and fast for ready comprehen- sion. The monologue is good; Norworth doesn't hold up the house on the points of his stories for a "hand," and in the song always sung by him as long as memory carries back, he manages to give tt-a topical twist by having a verse on the principal feature of local news as reported in the newspapers. At Proc- tor's it is August Belmont acquiring the surface roads. Barrows and Lancaster played "Tac- tics," a real, substantial sketch, with two substantial actors in it—James O. Barrows and Harry S. Robinson. Miss Leslie Bingham played the part allotted to her in a creditable manner, but as most of her scenes were with John Lan- caster her acting may have seemed good by contrast. Radie Furman as a remembrance of Fanny Fields is well known. A new costume improves her looks greatly, but a mechanical delivery still holds her back. Fanny Fields had to leave the country to be recognized as a laugh- maker of value in this line. The Grand Opera Trio sang the prison scene from "Faust." Blanch La Vigne shows considerable improvement, since first assuming the character of Mar- guerite. Shean and Warren were the laughing hit of the bill with "Quo Vadis Upside Down." Other than Sam Ber- nard, Shean is the funniest "Dutch" comedian who ever appeared in vaude- ville. Hill and Sylvianyi on the unicycle, Toledo and Price In twists and turns, and Colby and May, who were on the bill so early that one would have to miss a breakfast to see them, filled out a show that will please all downtown. PASTOR'8. It is well enough in its way to go to Pastor's, and the regular habitue of the vaudevilles would be greatly enriched in technical knowledge were he to go there often. It is an educator as to what is "good" and "bad" among vaudeville acts. This week Daly and Devere are the question mark. You can not help but wonder why George W. Munroe with his grotesque horse play, which amuses the idiotically inclined, should be a head- liner at a comparative large salary, while John Daly, who is immensely su- perior in brogue, comedy and voice, should remain exactly in the same va- riety position he occupied long years ago. Both are guided along their the- atrical existence by the same line of endeavor, and if all that is necessary to success in it is a disagreeable guffaw, Daly should cultivate one without delay. Sam and Ida Kelly in "Si and Mandy" are another pair of sketch artists to cause reflection. Kelly is a "rube" and a mighty good one. Much better than a few who have been seen in the legiti- mate. He has the right conception of the "hayseed," and does not depend upon weekly funny papers for material. Miss Kelly as a "Sis Hopkins" girl does fairly well enough, and there are any number of enjoyable laughs throughout their time upon the stage. George Overin and Kate Fisher in a sketch including a little of almost every- thing attracts the most attention from Overin's makeup as a scarecrow. He is so well made up that you can not de- tect the features. The encore is the badly done portion of their entertain- ment^ Artists, and especially the young ones, should give the applause answer more attention. If you create a suf- ficiently good impression to receive a re- call, don't spoil that impression. The Albertys, "comic acrobats," are not comic at all. Neither is any comedy attempted, so the responsibility for the billing is not theirs. Hand balancing is the main interest of the turn, with one backward spring from the floor to a chair, which, whether ever done before or not. which Miss Alberty questions, does not matter. It is a fine trick, finely executed. Gavin and Piatt have a sketch called "Hands Up," and the name is the worst part of it. Why not call it "The In- truder." It is by Edward Locke, and there's a dog (called "Peaches") in it which is featured. They lower the tone of the offering thereby. Gavin should refine the burglar somewhat. It would be much better to make a gentleman in the rough of the character. The woman carries her end very well, and their voices blend. More attention should be given to the singing. If the dog should be left at home altogether the loss would not be noticeable, save for the im- provement. Frank Bush Vernon, the ventriloquist, Mr. and Mrs. Allison and Hoey and Lee were also on the bill. v Frank Lynne, an English comic singer, opens on the Proctor Circuit February 5. M. S. Bentham is arranging to place the six "Tiller Girls" from the defunct "White Cat" in vaudeville.