Variety (Nov 1906)

VARIETY NEW ACTS NEXT WEEK Minnie Seligman and William Harcourt, Hyde & Behman's. R. G. Knowles (Reappearance), Colonial. Renard Trio, Colonial. Cameron and Flanagan, Harlem Opera House. Dewey and Thornton, Pastor's. NEW AGTS OP THE Marino. Auto Defier. is Mins.; Full Stage. Hammerstein's. What has proven a sensation in Paris was a "thriller" in New York on Monday afternoon at Hammerstein's after Marino, the strong man, had allowed a three-ton touring car carrying four men to run over his body. Before the back wheels of the machine had had time to pass over him the piercing shrieks of two women startled the already terrified audience. "Thrills" were aplenty from the moment of Marino's entrance; the snorting and "chug-chug" of two automobiles; the preparations for the star event, and the rapid dash of the car on the stage across the back of the man placed the audience on its toes at a ten- sion that required only the hysterical women to relieve. For spectacular effect and nerve-racking qualities Marino's ex- hibition relegates the circus acts of the past to the background. Not the least part of the entertainment was furnished by P. J. Casey, who, acting in an emer- gency, announced the attraction in a strong, resonant voice penetrating every point in the auditorium. Mr. Casey's enunciation is a model, his appearance wholesome, and he commanded the rapt attention of the house through his earnest statements. Introducing Marino in a con- cise speech of one minute, Mr. Casey after- ward invited a committee upon the stage who examined the automobile and the man. There was no deception about either. A few preliminary strong feats were gone through before the main event. Marino will attract large crowds; the act will surely create talk, for it is presented in full view of the audience and the possi- bility of trickery does not come within the range of suspicion. It will probably prove the most profitable shortlived at- traction Hammerstein's has ever held. Sitne. May Tully and Company (a). "Look, Stop and Listen." 25 Mins.; One; Close Full Stage. Twenty-third Street. Miss Tully makes her individual bow to vaudeville in a decidedly clever sketch, presumably her own work. In the part of a stranded "barnstormer" she has a quantity of exceedingly bright lines and some picturesque slang. A slight but neat- ly constructed plot having to do with the stage ambitions of a country girl and the love affair of a young farmer gives a framework upon which to hang several specialties and a bit of emotional acting. In everything she did Miss Tully showed ubility of an unusual order, being en- dowed with a decidedly attractive per- sonality and a speaking voice of ex- quisite quality. Her imitations of Marie Cahill, Leslie Carter and Ethel Barrymore were well enough done to merit serious no- tice, although Miss Tully seemed inclined to burlesque. Rusk. week) Kocian. Violinist. 14 Mins.; One. Colonial. Of course it's out of the question to demand bird imitations or syncopated "coon" numbers from Kocian, but it does seem that in consideration of feature bill- ing and the Williams payroll, the violinist, who is making his vaudeville debut at the Colonial this week, might make some slight concession to his change of audi- ence. Instead of which the Bohemian ex- acted from the Colonial mixed audience the same uncompromising standard of tech- nical appreciation he would have de- manded of a selected audience of the shock-headed elect at an afternoon in Carnegie Hall. Visibly and audibly the house enjoyed his three brilliant numbers, calling the artist half a dozen times before the curtain. He responded to no encores. Rush. Maud Edwards. Ventriloquist. 13 Mins.; One. Hammerstein's. Miss Edwards made her first American appearance some weeks ago in Brooklyn. She is a ventriloquist depending upon her sex for novelty. Technically, she classes fairly, gathering more appreciation for the singing the ''dummy" does than with the talk. Perhaps this is for the reason that the lines in use are not over bright, and some very stale for this city. The lack of that rapidity of ventriloquial speech shown by her fellow countryman, Arthur Prince, is a drawback. There is consider- able about the act suggesting that either she taught her brother, Tom Edwards, now also appearing on this side in a sim- ilar specialty, or the reverse. Miss Ed- wards would be esteemed highly by the audience did she gown herself more be- comingly in womanly dress than is pos- sible in the riding habit worn. The final song, "Sue Dear," was well sung and much liked, but one verse would have been ample. Sime. 'The Geisha's Dream." Electrical Novelty Act. 18 Mins.; Full Stage. Keeney's. Rather a mixed performance, the basis of which is posing with electrical effects, with the time padded out by stereopticon slides of quite the wildest and .most un- heard of color schemes. The idea is some- what akin to the series that proceeded "The Darling of the Gods," except that the Belasoo pictures reflected the curious Japanese artistic atmosphere. These slides more nearly suggest scenes in New- ark Bay. In the posing series, involving three women and a man, the lighting is well handled. One bit of pantomime shows two girls silhouetted behind a Japanese paper window. This part ended with a disrobing that made the Brooklyn audi- ence gasp a trifle, but the delicacy of its handling let it past without offence. A Japanese dance was neatly done and a girl in fleshings, attended by two Geishas, who goes through the familiar postur- ings under colored lights, makes the fin- ish. Jos. Hart, who promoted the number, seeks to raise a burlesque olio act into the vaudeville class. Rush. Frank Richards and Company (a). "The Daffy Athlete." 1 a Min.; Full Stage. Pastor's. Mr. Richards was formerly of Reno and Richards. His present sketch nicely rep- resents the interior of gymnasium. The most attention is given to the comedy, although the acrobatics could be made to stand out were that desired. Mr. Rich- ards is chief comedian and has for a foil a scarecrow, played in a somewhat loose manner by one of the company. There are some good comedy bits, and others which do not class as well. The piece seems to need packing together. 8i m t , Kroneman Brothers. Novelty Acrobats. Full Stage; Close in One. Colonial. Apparently a pair of Englishmen, the Kroneman Brothers have developed a de- cidedly entertaining comedy acrobatic of- fering. They use some clean ground tumbling and two-high handstand work in the early part and close with a good comedy stunt, using a long dress to cover the understander of a two-high. The idea is not a particularly novel one, but this team works it up cleverly wth a quantity of capital comedy incidentals that win them substantial laughs. One of the men talks from time to time, using a catch line that could be dropped with profit. For encore there is a laughable lion-tam- ing bit of business that is amusing, and the brothers leave a good impression after their exit. Rush. Hamilton Hill. Baritone, ia Mins.; One. Union Square. Billed as "The Australian Baritone," the program announces that this is Hill's first American appearance in five years. He sings three songs in a strong voice of decidedly pleasant quality and the Tues- day matinee audience demanded two more. Mr. Hill might Americanize his afternoon attire with benefit. Rush. Gussie Francis and Company (4). Novelty Singing Sketch. 16 Mins.; Two. Keeney's. Miss Francis has a high, clear voice which for vaudeville purposes—and par- ticularly for '"coon" singing—is a bit over- educated. Her efforts are backed up by four picks and a special drop. The first number started the act along nicely, but the effect was injured somewhat by the use of a polite love song which fol- lowed. In all the numbers the "picks," a rather adult quartet, are used only in the choruses, where harmonious effects are shown. The picks wear tuxedos and satin knickerbockers throughout The absence of dancing is noted as something of a novelty. The use of one of the boys as a comedian might give relief from the straight musical character of the offer- ing, but following its first showing small changes of this sort will doubtless be made. As it stands the number is pictur- esque and offers a better grade of music than the average of its class. Rush. The Four Masons. "A Country School." 15 Mins.; Full Stage; Close in One. Union Square. William A. Mason, formerly in vaude- ville with his daughter Corinne under the firm name of Mason and Frances, heads the act, the other members being Mrs. Mason, son and daughter. The setting shows a country schoolroom with the three scholars. The usual geographical and historical questions with ridiculous answers furnish the comedy of the early part, together with the tricks of the scholars. There are several quartet sing- ing numbers in which Mrs. Mason's voice is lost for the most part. The boy gives promise of developing into a real come- dian. Rush. P. J. Casey. Announcer and substitute. Time, 6 months; should close at once. Morris & Hammerstein's. "Pat" Casey, of the Morris office, who has been the hit of the Hammerstein bill this week as the announcer for Marino, on Wednesday entirely forgot his theatrical engagement and walked into a restaurant at three o'clock in the afternoon, order- ing lunch. As the meal was spread before him a neighbor said, "Pat, 1 thought you were on at Hammerstein's about now!" Mr. Casey reached the theatre in time, minus the lunch, but he hasn't recovered his breath yet. Usher. OUT OF TOWN Rawson and Clare. "Just Kids" Majestic ("Bon Tons" Co.), Kansas City. "Just Kids" is a very clever little sketch introduced in the olio of the "Bon Tons" by Guy Rawson and Frances Clare. Mr. Rawson plays the part of a drunken son who proposes to the girl (Miss Clare) and is refused as she is betrothed to another and better man. The playlet has In- terest lightened by comedy and heightened by pathos. It is refreshing to see a touch of nature presented with different meth- ods after so many bizarre efforts. Miss Clare's magnetism is a large force in the success. The sketch should be enlarged. I'.ot 11 the idea and manner of presentation are good. Fair plait* Apollo. Feats of Strength. ao Mins.; Full Stage. Lafayette ("Baltimore Beauties'* Co.), Buffalo, N. Y. Placed in the olio as an added attrac- tion this week, Apollo, a famous Scotch athlete, is making his first appearance in this country. He has a full stage setting, rich in coloring, including four living statues in armor, who after assist in his exhibition of strength. Some exceedingly clever feats are given. For the finale Apollo sustains the weight of a piano with six men, while another dances upon it. The act was fully appreciated, and pleased. Dickson.