Variety (October 1913)

18 VARIETY NEW ACTS NEXT WEEK Initial Presentation, First Appearance or Reappearance In or Around New York Frances Stevens and Co., Fifth Ave. Chadwick Trio and Co., Fifth Ave. First-Hadley Co., Union Sq. Mile. Ernette Asoria, Union Sq. Weber, Beck and Frazer, Union Sq. Mile. Fatima, H;nMincrstcin*s. Betty Callish, Col '.lal. "At the Switchboard," Colonial. Schwarz and Co. (3). (Also known as Schwarz Brothers.) "The Broken Mirror" (Comedy). 19 Mins.; Five (Parlor). Evelyn Nesbit Thaw Show. The Schwarz Rrnthers, or Schwarz and Co., in "The Broken Mirror." pre- sented the turn in American vaudeville for the first time Monday at the West End theatre, New York, and lived up to all previous reports heard of this truly remarkable act of its kind. In "mirror work," where two people dressed alike give the illusion of a reflection in the glass, the Schwarzcs have no equal. Not alone that their intricate and difficult performance is highly finished in every way, the act is hinged upon a complete story that carries a large quantity of comedy, adding laughter to surprise. The mir- ror business is continued for the greater part of the 19 minutes the act runs. It is timed to a nicety, almost delicately spaced, so exact are the simultaneous movements of the two men involved. No attempt is made to keep secret that two are engaged in the illusion. The tale of the sketch pre- vents that, for the story is of a valet, having broken an expensive plate glass flamed mirror, who seeks to hide the accident from his master by appearing behind the mirror himself, half dressed as the head of the house is, and mak- ing the master believe the mirror is still intact. The finish is a strong laugh through which the valet escapes blame for the breakage. A servant girl is employed, making a company cf three. The S^hwarzes walked away with the hit of the Evelyn Nesbit Thaw show at the West End. It is a big novelty comedy act. 8ime. Three Ampler Brothers. Equilibrists. 9 Mins.; Three (Interior). American. Two Amplcrs do the equilibristic work right well. The third "brother," a tall, ganky-shankcd individual, flits in and out in a hell hop's livery, acting solely as assistant. With those legs and arms he looks like part of the act but he isn't. The other men keep your eyes open and one doesn't mind the tall boy. The Amplcrs have an act that would fit in nicely on any vaudeville bill in the biffper houses. The piece de resistance is the work on a ladder and a nickelplated frame supported on the feet of the understander. The men maintain their balances well and hold them without any unnecessary steam- ing and puffing. The Amplers must be seen to he appreciated. As equili- brists they helonff in the front rank. Mark. Florence Holbrook. Songs. 24 Mins.; One. Majestic, Chicago. Chicago, Oct. 1. After a four-weeks' postponement, Florence Holbrook, one of Chicago's home-made professional favorites, final- ly got around to her Majestic engage- ment with a 24-minute routine of songs, some startling gowns, a novel opening and Harry Marshall. The pro- gram announcing merely that Harry was at the piano, but in this instance the program formed a faulty opinion of one Harry. Harry propelled him- self into the limelight every second of the 24 minutes and managed to make Miss Holbrook assume the ap- pearance of a first-class assistant. Professionally, it may have been con- sidered rude of Harry, but it certainly was a good thing for the act. Debut- ting may not be Miss Holbrook's idea of the essence of bliss, for she worked throughout with a nervous fear of everything. And when her ballad, "I'll Be There," performed a graceful dive, she went to pieces. The turn opens with Marshall in the orchestra pit. The number is interrupted and succeeded with an argument which brings Marshall to the stage. This bit (formerly in an act by Marshall and Penfold) and one other number con- stitute the two redeeming sections of an otherwise weak vehicle. Then fol- lows a sticcession of pianologs, bal- lads, solos and duets, closing with a novel song-plugging system. Marshall sings through a chorus, advising ""the audience that anyone guessing the last line of the song can step to the box office and get a copy of the piece. Jules Von Tilzer originated this by announcing that he would give gloves to the lady singing the loudest, but then Marshall can sing and Jules had to do something to get away with it. The new lamp-shade gown was intro- duced by Miss Holbrook, a stunning creation in blue that pleased the femi- nine portion of the audience. A pink af- fair was worn at the opening. Miss Hol- brook has clothes, her usual store of magnetism and a clever "assistant." With a little pruning, the pair should qualify for a route, but hardly as a headline attraction, unless in such towns like Chicago, where the prin- cipal has established a favorable repu- tation. At least half the act can be discarded. It runs to the draggy period now. Wynn. Cantwell and Walker. Singing, Dancing, Talk. 17 Mins.; One (Special Drop). Fifth Avenue. The "new act" of Johnny Cantwell and Rita Walker is a sort of "home made" affair, including some very ancient jokes, published songs, the former double dance of McKay and Cantwell done singly by Cantwell, and a lot of "nut" stuff done along familiar lines. Cantwell seems to be so thor- oughly satisfied with himself as to give the impression that he feels that he doesn't need an act. Miss Walker is a pretty girl, but with no especial talent. They might call in some com- petent vaudeville writer before going any further. Jolo. If TOO don't advertise In TABISTT, dos't advertUe at all. John Bunny. Monolog. 15 Mins.; One. Hammerstein's. John Bunny still has the same face, but returns to vaudeville with a differ- ent act. Mr. Bunny seems to depend upon his face only for these vaudeville engagements, according to the program matter, which says, "The best known face in the world." Maybe, and may- be not; but once you see the Bunny phiz you will never forget it. In this latest thing Bunny probably believes is an act, the moving picture actor starts off with a film of himself, in bed, having forgotten about the the- atre engagement. An announcer first appears about before the curtain in- forming the audience Mr. Bunny cannot be found, but not to become impatient. Then the picture starts. It shows the announcer racing to the Bunny home and getting Bunny out of bed, bring- ing him back to the theatre with Bunny dressing in a taxi en route. As the film ends. Bunny slips through the sheet. It is necessarily a large slit, since Bunny is stout. When talking about himself, and that is about all he does do in the "monolog," Bunny remarks that the Vitagraph Co. doesn't dare put him in many "chase" pictures through fear he might grow thin, los- ing his value. Since his fortune seems to be in his face, one can't altogether accept that piece of confidential infor- mation; but yet, in vaudeville Bunny must talk through his face, and that stands it off some. For John hasn't much of anything to say. He winds up the talkfest with a "cissy" story, and returns for an unearned encore with his sneezing bit. The trouble with Bunny as a monologist is that he can't get 'em over, and another slight fault with the present act is that he has nothing worth getting over. But the act summed up is the moving pic- ture, which was not worth while in the first place, though it is better than the remainder of the act. Willie Ham- merstein should have allowed John to have his rest. If that announcer had not awakened Bunny! Ah I Sime. ^ NEW SHOWS NEXT WEEK Initial Presentation of Leftltlnuite Attractions In New York Theatree "Today," 48th Street (Oct. 6). "At Bay." 39th Street (Oct. 7). "The Great Adventure,** Booth (Oct. 10). Rogers and Davenport Singing and Talk. 20 Mins.; One. Miner's Bronx (Sept 28). Nice looking light singing comedian and pretty girl. They sing very well together and show unusual enterprise in the arrangement of their numbers. They have caught a highly effective trick, that of doing only one verse of a song and then hurrying oq the next number, or slipping easily into a short bit of talk. What the turn lacks in brightness of dialog it easily makes up in speed of running under this ex- cellent arrangement. The man has a really exceptional voice for rag songs and ballads and makes the most of it. They have chosen their songs well from the current catalogs. They use only one mushy ballad and "kid" that. The girl wears three pretty frocks, the last a real creation. The finale was a quarrel song, uncommonly well han- dled. It let them away to a life-sized riot The pair ought to be in line for the parade of the regulars. Rush. William V. Mong and Co. (2). 'The Dyspeptic" (Dramatic). 16 Mins.; Three (Interior). Royal (Sept 28). William V. Mong is a character actor who has done both legitimate and vau- deville service. In his new vaudeville offering he portrays a crusty old codg- er whose stomach is tricky. He mis- trusts the young physician he has called in to live under his roof and administer treatment. His mistrust goes further when discovermg the Doc is smitten with his daughter. Old Man Dyspepsia then takes medicinal instruc- tions from the stable hand with direful results. When Doc would take away his daughter on his refusal to take his medicine he storms around and orders the young folks from his roof. Then a pain grips him amidship, and he final- ly permits daughter to hand him the relief stuff. The Royal audience seemed to enjoy the act very much, and there were three or four curtains at the finish. Mong is a capable actor and handles his character splendidly. He is beyond the material at hand. With the proper vehicle Mong could reach the top of vaudeville. Mark. LeRoy, Talma and Bosco. Magic 24 Mins.; Full Stage (Special Settings). Fifth Avenue. It is twelve years since LeRoy, Talma and Bosco appeared in New York and their return should be wel- comed. They are very good perform- ers in their line, dress the stage welV and work with speed and style. From the start to the finish they do not stop an instant, going from one trick to an- other and always with an abundance of comedy. They do large and small stuff, including the "producing" of pigeons, rabbits, etc., coin palming, levitation, cabinet substitutions, etc. Jolo. "Minstrel Kiddies" (7). Songs. 15 Mins.; Full Stage. Royal (Sept 28). Here's an act strong on young voices. They sing song after song with little attempt at dancing. No jokes are olTcred and it's just as well. A boy named Harold Carey acted as interlocutor. The others are six girls in white Buster Brown outfits. The act needs more rehearsing and a bet- ter arrangement of numbers. For in- stance, the boy sings a Rube song that is wholly out of his range. Then again, the kiddies sing several songs that sound suspiciously like one house's out- put. Anyway, these numbers are not worked up to their full strength. About the only reason for "minstrel" is that the act is arranged as a semi-circle and the boy announces the songs. The turn will pass in the pop houses. A complete remodeling might send it higher. Mark.