Variety (May 1909)

16 VARIETY NEW ACTS NEXT WEEK Initial Presentation, Pint Appearance er Reappearance in or Around Htw York City. NEW ACTS OP THE WEEKJ Eddie Foy, Plat*. Alfred Johnson, Hammeretein'a. "Six Dancing Dandies," Colonial. Columbia Comedy Four, American. Harvey and Lee, American. Terry Twine, American. Young and La Dell, Perth Amboy. The Hogana, Perth Amboy. Jnnie McCree'a Comedy Players, New Brunswiok. American Comedy 4, Orange. Aaahi Troupe, New Brunawick. Hilda Spong and Arthur Forreat. ''Bird and a Cold Bottle." 17 Mine.; Full Stage. 135th Street. "Bird and a Cold Bottle" is another affront to the intelligence of vaudeville audiences. Stars from the legitimate when invading the variety field are wont to commit this managerial-quickly-for- given sin. In this case the offenders are Hilda Spong and Arthur Forrest. Miss 8pong is not unfamiliar with vaudeville. It is possible her former experience sent her looking for something in a lighter vein. She hit upon "Bird and a Cold Bottle/' a silly, inane farce without ac- tion, or anything else to recommend it. Not only doea the sketch fall hard, but Miss Spong herself is in no way suited to her role in it. Imagine Hilda Spong doing a song and dance. Of course, ahe doesn't sing "I Love My Wife/but Oh, You Kid," and do a buck and wing, but ahe does try a dance that is supposed to go with a Parisian atmosphere. Arthur Forreat doea aa well aa might be expected with the material given him. It is never quite plain exactly the sort of a husband he. is supposed to be. Mr. Forreat ia not to blame. This is one of his lines as he returns to the stage, not finding his wife as expected, "What shall I do until she returns? Ah, I know. I'll smoke a medi- tative cigarette and think of her." Out- side of the "meditative," it does not read nearly as foolish as it sounds. The plot of the farce ia a note found in the hus- band's overcoat, finally turning out an overcoat in no way related to the hus- band. The act flopped at 120th Street. It will flop anywhere just as surely. Doth. Roaedale Four. Singing. 10 Mine.; One. Plata. The Rosedale Four is put out under the management of William Josh Daly as a substitute for "The Country Choir" dur- ing the absence in Europe of the original organization. The new quartet does not give the entire act. They work only be- fore the woodland drop, singing several standard melodies and a medley. The singers dress in the same rural style as the former quartet, and make no change. In the earlier Daly act the change to a church setting and the various lighting ef- fects gave a pretty atmosphere. This is absent in the Rosedale Four. However, the singing is most agreeable, and at the Plaza drew down a substantial reception. Rush. Fred SoamaiL Dialect Songs, ia mine.; One. Alhambra. Playing throughout the west during the season, Fred Sosman enters New York vaudeville for the first time aa a charac- ter singing comedian, without setting forth the characters in make-up of any description, working entirely in full even- ing clothes. Each character has a song. There are flvo in all: "Dutch," "Rube/* "Coon," "Soubret" and "Italian," in that order. The "rube" could be taken out, for even with make-up, that is seldom funny. His "Dutchman" was quite good, and singing "Baby Doll" in "rag time" started applause, loudly continued after the "soubret." This effeminate imper- sonation with "I'm Crazy to Go On the Stage" seemed altogether out of place in the act, but was second best liked by the audience, Sosman using many old arti- fices employed by hundreds for a hundred years past, probably. His Italian, sing- ing "Spaghetti," was well emphasized and delivered, causing enough noise for an en- core, which Sosman stifled by bows. The "Spaghetti" song is announced as Sos- man's own. It holds a couple of familiar lines, and the gestures are well known. Sosman has at least gotten away from the customary dialect comedian of many characters. His "comedy" liea in his songs and characterizations. There is no dialog excepting the announcements pre- ceding each number. These announce- ments, together with the oM songs Sos- man employs, should be done away with. The songs may easily be replaced, but to give continuity to his act Sosman probably requires a good vaudeville writer of pieces. He should consult one. Work- ing in "two" with a special set of some kind, Sosman might proceed with his im- personations through a light sketch me- dium of a breezy nature. He has a lika- ble presence, and with snappy songs to hang the characters upon, can develop into a first class and odd comedy act. As he is, Sosman will be well enough liked in a way, and may become a favorite, in a way, also. If he wants to forge ahead he needs to think. While thinking he might try to make his Italian more dis- tinct from the "coon." They clash a bit at present. As a suggestion, if Sosman would have someone write him a piece where he might walk in a library set "panning" a club entertainment he had seen that night, and without addressing himself to the audience at any time, "roast" the different turns while imitating them, it might help. And it would be worth while for Mr. Sosman to pay money for his own songs or the exclusive singing rights of some one else's. Sime. There is a team of Hebrew comedians who have sent managers their press no- tices compiled in a small pamphlet. On the cover is an illustrated four-leaf clover. Unless the comedians want managers or anyone who may see the press sheet to believe their comedy is on a par with their judgment, they had better destroy the remainder on hand and recall those sent out. The Great Leater. Ventriloquist. 37 mine.; One. Alhambra. Anybody with "The Great" tacked upon his billing name is expected to be "good." So The Great Lester is good, very good. as a ventriloquist, and might be better liked even without "The Great" hanging about, entirely unnecessary. The' Great Lester has been working slowly towards New York. People who know him, say he worked anywhere just to work, which doesn't speak well for the perception of the "tank" manager if Lester gave the act out of town as presented at the Al- hambra this week. Lester recalls Arthur Prince instantly, though it is claimed he has never seen the English ventriloquist. Lester has none of Prince's material. It is through handling a single dummy with "back talk," speaking through the dummy while drinking, smoking a cigarette, and in appearance somewhat that the resem- blance lies. He is remindful of Coram also in causing the "dummy" to cry, with- out shedding tears. Lester has introduced a telephone, something new and akin to "the man downstairs" in voice throwing, although this is also gone through with later. For good comedy and manipula- tion of the figure, Lester secures the moat when the "dummy" calls him to account for "shoving." He has some work here which ranks with any of the talking-only ventriloquists. Touching on the com- mon variety of jokes, Lester falls off some, but this may be due to the length of the act, several minutes overtime. In twenty minutes he could leave a better impression. A corking good finish at present is a singing one. For the encore Lester walks into the aisle with the "dummy" on his arm, singing meanwhile. That might be incorporated into the song proper, Lester concluding with bows only. His "dummy" is a funny part of the act in looks. At first glance one is inclined to believe Lester is sadly wanting with his single figure. Later on the "dummy" becomes imbued with life almost, and one will then observe that perhaps no other wooden figure could answer as well. As a ventriloquist Lester is skilful. There is a faint movement of the lips, imper- ceptible at moments. The small quantity of slang is nicely balanced, but Lester might be a trifle more particular in his grammar; also wear a black bow with the tuxedo. Evening dress would better be- come him. In speech (and he is very dis- tinct at times through the "dummy," though more often guttural), Lester seems a foreigner while looking a native. Open- ing after the intermission at the Alham- bra, The Great Lester was* a big laughing and applause hit. Sime. Will the Detroit News kindly credit us for matter used from Variety's col- umns, or if that is unknown in the News office, will it hire some one to rewrite the news it likes the best? ffoeid Forbes and Carrie Bowman. Singing and Dancing, •5 Mine.; Two. Fifth Avenue. A very neat singing and dancing ar- rangement, under the title of "A Girl and a Boy," is the vehicle with which this young pair essay vaudeville. They were until recently principals in "The Ameri- can Idea." They open with a capital con- versation song, have a patter number, a bit of talk and close with a 6-minute series of impersonations, including Bessie McCoy, Clifton Crawford, George M. and Josephine Cohan. Both members of the team are lively young people, and Miss Bowman is a exquisitely pretty girl. She shows two modish frocks, both fresh sum- mer models, and dances most gracefully. Mr. Forbes changes from sack suit to eve- ning clothes. There is nothing startling about the bits of talk that occur occa- sionally, but the principals handle it smoothly, and it gets past. They were "No. 2" at the Fifth Avenue this week. After their reception there should be no doubt of their future in vaudeville. Rush. Leeds and La Mar. Songs, Dances and Talk. 15 Mina.; Three. 125th Street. Leeds and La Mar do very well until they talk. Then the act slows up. The talk seems to be necessary for breathing space between the fast dancing, but if there is any way that it can be dispensed with, it should be given thought. The talk itself is not good. As a sample, "I took my girl to a banquet. We walked down to the river and fell in and came up to the bank wet." The dancing is excellent. Miss La Mar is a good looking, lively sou- bret, and keeps things moving all the time, while her partner is active and adds to the speed. A burlesque boxing bout made the finish and brought them a gen- erous round of applause. The turn opened the show at the 125th Street house, start- ing the bill in first class style. Leeds and La Mar will pass easily where too mueh is not asked of them. Dm»h. fins Hill hns announced the plan of pro- ducing nn all-star cast for a revival of "Arizona" at the Aradcmy of Music, New York, in September. "Come Insider Review. Empire, London. They - are preparing for the annual spring invasion of Americans at the Em- pire. "Come Inside" is a half hour melange of popular American musical numbers, filled out with a quantity of flash patter and "kidding" that has a distinct flavor of the States. The one particular in which the piece falls down is its comedy. This was so at the open- ing, but when it has been tested out and brightened this defect will doubtless be overcome. In its present condition Sam Collins alone gains distinction among the laugh-makers. Except for him the show dragged. It seemed to please the Londoners, however. Among the Amer- ican numbers in the score are "You're in the Right Church " "Come on Down- town," "I Used to be Afraid to Come Home in the Dark," "I'd Like to oit and Look at You" and "Be Sweet to Me, Kid." Tbe lyrics have been "adapted" some- what to local uses, but a good deal of the original is stilt there. Other "bits" were the patter song from "The Soul Kiss" and the "Poster" number from "The Follies of 1908."