Variety (October 1909)

16 VARIETY NEW ACTS NEXT WEEK Initial Presentation, First Appearance or Reappearance in or Around New New York. ( NEW AGTS Or THE WEEK j Yvette Guilbert (New Act), Colonial. Jan Rudanyi, Fifth Avenue. Helene Greatrex, Fifth Avenue. Violinski, American. Lyons and Yosco, Hammerstein's. Lottie Williams, Greenpoint. Musical Stoddards, Bayonne, N. J. Celesto, Perth Amboy, N. J. Ryan and Richfield. "Mag Haggerty, M. D." as Mins.; Full Stage. (Interior). Colonial. Thomas J. Ryan and Miss Richfield are playing for the first time in New York at the Colonial this week the fourth sketch in their well known "Mag Haggerty" series. The newest one is just as fresh and delightful in its humor as was the original or any of the later ones. The humor does not arise from "lines" or situations but from the exquisite charac- ter relations of the patient daughter and the irritable, but simple old Irishman. This time Mike Haggerty, the ex-hod- carrier thinks himself ill. At the opening the doctor is just leaving, after telling Maggie (Miss Richfield) that nothing is the matter with her father except un- accustomed high living and all he needs is to be made to exercise. The daughter plans to administer a course of treatment on her own account that will cure the old man of his delusion. Accordingly she fills the whiskey bottles with kerosine to pre- vent his drinking, puts him on a diet and applies massage with no gentle hands. All of which is accompanied by Mike's loud protestations. The action takes place on Haggerty's birthday. He enters in an invalid chair wheeled by the faith- ful John (Phineas Fanning), the butler. The old man demands to be entertained and insists upon having the butler join in a game of poker. This incident is ten minutes of the best comedy in the sketch. Some of the butler's "fresh" talk Is a long way out of character, but it makes t)ie laughs and serves an excellent purpose in "feeding" Mr. Ryan. At the opening Fanning is the doctor, in which double part he needs a lot of coaching. At the finish the old man in his dislike of the butler forgets that he is an invalid and starts a rough and tumble fight with him, making a big laugh for the curtain. Ryan and Richfield never had a better vehicle and never displayed their rare abilities to better advantage. Rush. Clark and Otis. Singing and Dancing, ia Mins.; One. Royal, Brooklyn. This man and woman work hard and accomplish fair results. They lack in finish, would bom-fit through hotter ward- robe and in a general way should endeavor to bring more smoothness into their offer- ing. They are both fair singers, dance well and in their routine of hard-shoe steps do the best work in the act. The woman's rough and ready style of work- ing ami her manner of dressing detracts considerably. Walt. "Models of the Jardin de Paris" (Musical Comedy). 30 Mins.; Full Stage (Interior: Special Set). Fifth Avenue. Billie Burke is sponsor for the "Models of the Jardin de Paris." Although he has not given vaudeville exactly what the program states, "A ludicrous Picture of Studio Life in the Great French Capital," Burke has arranged an amusing burlesque skit that with polishing up win do nicely. It is strange but still a fact that many good vaudeville patrons who would be shocked at the idea of attending a bur- lesque performance simply fall all over themselves laughing at purely burlesque humor wnen dished up in a vaudeville house. The idea of the "Models" is not new. A French artist frames it up with a wise guy to trim a stranger. They ex- hibit a number of models supposedly mechanical for which the easy money fel- low falls and the passing of money plays an important part. Carroll Henry is fea- tured. He is the "wise guy" and a comedian who will gather laughs in any house. His method is entirely his own and quite unusual. The repeating of a catch line was always good. Henry is not rough but still there are several places that might be toned down. This goes along with the proceedings in gen- eral. George R. .Raymond as the "mark" plays opposite Henry. Raymond does very well as a dyspetic looking "souse" securing laughs, but his work is always secondary to that of the feature. Harry H. Lamont does well enough as the ar- tist with a French accent lost now and again. June May is the leading woman. June resembles the former musical comedy star of the same surname, and seems to be trying to imitate her. She succeeds rather well. Miss May doesn't have a great deal to do and more of her and less of the comedians might aid a bit. Miss May's singing of "Carrie, Marry Harry" was particularly pleasing, rendered with an Eddie Leonard "Wah, Wan." Miss May makes three changes, all neat but inexpensive. Four "ponies" are supplied who do one nurnlwr around the opening and figure in the finale. The girls are a sprightly quartet and could be given a little more leeway. The finish is a "chat- ter" number by Miss May and Mr. La- mont in which the comedians figure much after the manner that Bickel and Watson did in the "patter" song of the '08 "Fol- lies." It makes an excellent finish and the house insisted upon several repeats. The act as it now stands is running too long. A cut of from six to ten minutes would do away with draggy spots now evident. A couple of numbers inserted and the absence of the comedians from the stage for a few minutes will help the present layout. Burke has something good in line. All it needs is polish. Dash. Kendal Weston and Co. (a). "What Money Can't Buy." 27 Mins.; Full Stage. Fifth Avenue. The idea of an English noblewoman applying at the office of a rich American in Ipndon, whom she had just turned dpwq on a matrimonial proposition, for a loan of $1,000 is asking the audience to stretch their imaginations to become in- terested in the story. That is the story however. The woman desires the money to elope with an Englishman who has de- frauded the bank at which he worked of $50,000. The bank happens to be the property of the American so he gallantly fixes it up after dragging the story from the woman. She leaves, only to return and confess that the American is one of God's noblemen and she will marry him despite his money. There is really more to the playlet than the telling would lead one to believe including "pounds" instead of "dollars." There are many bright lines that contain humor of the proper sort and there are also a few kind applause attacks referring to "the country where a man is judged by what he does and not by his ancestors," etc. The playlet would have been much stronger had the girl not returned, but as many believe there must be a happy ending, what's the difference if conventions are adhered to. The play- let has been nicely staged and is well acted throughout. Kendal Weston plays the American evenly although he is a bit inclined towards a light comedian. He makes the character likeable however, al- though the dialog calls for a few things not generally approved of . A real man in love would not ask his lady fair what she wanted the "paltry" thousand for. Sadie Calloupe has quite as important a part as Mr. Kendal. Miss Galloupe does not quite reach the emotional mark called for, but she does not over do. The Fifth Avenue audience took kindly to the play- let and a hit was recorded. Dash. At the Dijon. Dayonne, N. J., last Satur- day night, Dan Sherman (Sherman and De Forrest) and Percy Darrett, who was working with him in "A Jay Circus," fell from a trapeze. Sherman broke a rib and Darrett was seriously injured. It will take a few weeks for both to recover. Al Reid. Songs and Talk. 13 Mins.; One. Columbia. Al Reid is called (at the Columbia) "That Little Johnny." There seems to be little reason to doubt that Reid comes from London, or at least that he has been there, for he has selected numbers from the best known of the London music hall favorites. Reid, however, is not the first to sing the songs over here. All that he is using have done service on this side before. Reid is a tall, good-looking chap, wearing evening dress nicely. He seems to be a bit strange to the single act thing, and will have to acquire more self- possession before he can hope to be con- vincing. Ho semi-recites the songs, mak- ing each word understandable. This is necessary in Reid's case, for the lyric's count. A quantity of talk used with George Robie's "As a Friend" will hardly do. They laughed at it at the Columbia, but that bunch laugh at things that any- where else would be considered tragic. Reid on Wednesday night was easily as big a go as anything on the bill. It will, however, need some working and seeming- ly experience to place him right. Dash. Edgar Foreman and Co. (a). "The Anxious Seat." (Comedy). 20 Mins.; Full Stage. Royal, Brooklyn. This is a lively sketch, worked out along noisy lines with laughs due at frequent intervals and as frequently extracted by the methods of the players. Mr. Fore- man's voice was built for larger places than the Royal and it is safe to say that no one can miss a word he utters. The young woman assisting in the good work is a dazzling blonde whose looks alone should send almost any act past the line; but she is a clever actress besides and aidsJj materially in the result. The other man in the sketch does, probably, the best he can, but that's not very well. The burden of the sketch falls upon Mr. Foreman. He is working all the time, the attendant result being a laughing success, farcical and forceful. The sketch tells of a man who, after a quarrel, has deserted his wife because she accused him of marrying her for money. The man's faithful friend has a scheme to advertise the husband as an astrologist and fortune-teller, hoping thereby to obtain riches and replace the husband in the good graces of his wife. The advertisement falls under the eye of the wife. She is the first patron of the bogus astrologer. His wife does not penetrate his disguise and the husband uses his foreknowledge to amaze her with his supposed powers. In this way he is able to restore himself in his wife's es- teem. Of course the idea is overdrawn and the situations are improbable, but laughter is the result sought and it is at- tained in abundant measure. Walt. Banda Roma. (20). 25 Min.; Full Stage. (Special Drop). Grand Street. Dressed as sailors in white suits, stand- ing in a semi-circle in front of a drop representing the turrets and rigging of a man-of-war, with the leader cavorting around the center of the stage, this band makes good music. The leader does most of his "crazv stuff" with hands and head, being entirely sane in his foot work. Classic music mighty well played con- stituted most of the act, a woman singer contributing one number. For a closing number a patrol is played which intro- duces the tunes of "our country," winding up with the National anthem and much red-fire. All that most of the more widely known bands can say to Banda Roma is: "Co get a reputation." Considered solely as a musical organization it delivers the goods. "Walt. Mills and Flynn. "The Minstrel Misses." i2 Mins.; One. Plaza. Styling themselves "The Minstrel Misses" these young women work as in- terlocutor and end in black satin knee pants and black Tuxedos, presenting a natty appearance. The "tan" make-up of Miss Mills better serves than does the ex- treme Mack with which Miss Flvnn covers her face. They have solos and duets, dance a little and offer very few new jokes, but have abundant scope to work the idea into a lively specialty. They could vastly im- prove conditions by using "gags" and jokps ot more recent vintage than those now em- ployed. Given bright, fresh material they will improve jjrcatly. Walt.