Variety (June 1916)

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12 NEW ACTS THIS WEEK 3HB9 NEW ACTS NEXT WEEK Initial PraasmUtion, First Appearance) or Re*ppearsiiie« la or Around New York George White and Lucille Cavan- augh, Palace. Minnie Dupree and Co. (New Act), Colonial. Woolf and Stewart, Colonial. Lydell and Higgina, Brighton. Keith Bronx Players, Royal. Kate Condon. Songa. 16 Mine.; Three (Interior). Majestic, Chicago. Chicago, June 14. Kate Condon is no stage novice. She attained an enviable stage reputation in other years, not alone through a mighty sweet voice, but Miss Condon also had looks and stage personality. The program says Miss Condon, a "prima donna contralto," was "lately star of the Gilbert & Sullivan Opera Co." Miss Condon upon her appear- ance Monday afternoon at the Majestic in the fifth position looked real well and was dressed becomingly in a gown which was in excellent taste with Miss Condon's dark complexion. Miss Con- don sings well; stage training still stands her in good stead, and, while it would not be telling any tales out of school, her voice does not possess the lustre, strength nor tone of other years; yet she does sing sufficiently well to entertain. Miss Condon had a stage pianist, but he did not assist on the opening number. Her repertoire ran mostly to light Irish folk songs, and they were well received. Miss Condon made a change for her "Gypsy Song,"' and she also sang "Moonlight" effec- tively. During the change, Herbert Johnson played a piano solo. Miss Condon's program appeared to give ex- cellent satisfaction to the Monday Ma- jestic regulars. On the "come back" to vaudeville Miss Condon is reason- ably satisfying in her song repertoire. Mark. George Fox and Lillian Ingraham. Songs. 17 Mins.; One. City. A boy and girl turn, needing changes to brighten it up. It might be better to work in "two" and use a parlor set instead of "one" with a grand piano and a parlor lamp. It becomes neces- sary to use the spot almost through- out the entire act for that reason. The opening song, "I Love You," was easily one of the best numbers. However, from then to the next solo number by Mr. Fox a good bit of attention was lost through a medley of songs sung by Miss Ingraham. As Miss Ingraham does not possess a voice, less singing might help. A "cessy" number toward the closing is a gem, and Mr. Fox put it across in such fashion it drew solid applause. He next renders an Italian number* with his partner, still at the piano, joining for a little harmonizing at the finish. The material is there, but they should reframe, for the turn drags around the centre. A couple of minutes less might do it. Isabella D'Armond and Co. (1). "Ths Demi-Taaae Revue" (Variety). 18 Mins,; Three (Special 8et). Colonial. "The Demi-Tasse Revue, Served and Poured by Addison Burkhart" brings Isabelle D'Armond back to vaudeville and the American stage, after petite Isabelle's foreign wanderings for a couple of years or more. With her on the return trip is Bobby O'Neil and a very attractive stage setting, done in shades and cretonne (if that is the way to spell it), also a couple of matched lamps, with a baby grand in- cluded in the parlor outfit The open- ing sight sends the turn into favor that is not difficult to hold, following the appearance of the principals, Mr. O'Neil first showing, after which Miss D'Ar- mond pops into view. They talk, sing, dance, imitate, burlesque, recite and play u-kay-lay-lees. That should be sufficient to call the couple a variety turn, particularly since u-kay-lay-lees are becoming a wonderfully popular in- strument for so many people who never knew they had music in themselves, but believe u-kay-lay-lees have. All ukees sound alike and are said to cost an equal amount, ten dollars per, no professional discount and extra strings extra. They all sound alike and are all played alike, thereby denoting that the u-kay-lay-lee is the bunk musical instrument of the universe. Neverthe- less and notwithstanding however, Miss D'Armond and Mr. O'Neil did very nicely throughout, in whatever they did, if a few things are excepted, such as the rag melodrama, the Gaby and Harry impersonation, and the reci- tation of "Scotty" by Isabelle, all alone. She's such a little girl to attempt such a,big recitation, as a pianolog bit! But Miss D'Armond did quite well with a piano-played medley that started off with a "Very Good Eddie" selection. In fact, whoever framed the "Demi- Tasse" was quite careful to hover around sure-fires, in which of course the rag metier must be figured, or was so figured at one time. As a pretty look- ing little redhead (now), Isabelle D'Armond has no trouble in convinc- ing. Mr. O'Neil is a personable young man, of the juvenile type, light on his feet, without many steps to prove it, and able to talk, with a near-sweet sing- ing voice. It was he who had to make the mistaken announcement about the recitation, as mistaken as the recitation itself in this act, and particularly where it was placed in the routine. The D'Armond-O'Neill turn can get over, but it should be fixed up a bit, in run- ning and material. Sime. Russell and Evans, Songs and Talk (Bench). 12 Mina,; One. Jefferson. A man and woman character team. Man is an Italian, with his partner as a "kid." The male member's dialect makes it apparent he could take any other nationality and do equally as well with it. The main portion consists of vocalizing, with the man leading in this division. More of this and less comedy would help. Lida McMillan and Co. (4). "Moonlight Age" (Comedy Drama). 25 Mlna.; Full Stage. Harlem O. H. Again Lida McMillan comes to the foreground with another new sketch, this one, however, hardly measuring up to some of the others she has recently tried. Perhaps Miss McMillan will probably locate a worthy piece if she decides to continue looking for mate- rial but when this one was picked a poor move was made. Miss McMillan would be doing herself justice to shelve this one before going further, for it is an impossible thing, with nothing to hold attention; and what comedy and dramatic situations present themselves are hardly strong enough to overthrow the faults of the rest It cannot help but drag, through running 25 minutes. Ruth Curtis and Frank Sabnrn. Songa. 12 Mins.; One. Harlem O. H. A "two-act" hardly strong enough to hold a spot on some of the better small time bills. The woman, rather plump in stature, carries the turn, although she does not possess a voice of extra quality, suggesting a cabaret performer most of the time. Her partner accom- panies her at the piano, playing a solo to make time after one of her exits. She has some numbers well suited to her style, thereby giving the act a strong finish. Ziegler Twins and Ellsworth. Songa and Dances. 10 Mine.; One and Full Stage. Fifth Avenue. Girl twins and a youthful appearing chap comprise a likable dancing trio. Opening in "one" witn a song, they go to full stage for the main portion of the turn, which is dancing. The girls handle a novelty number nicely, rather copying the style of the Dolly Sisters in their work. They also do classic dancing that suffices. The man has some good Russian steps and dis- tinguishes himself in them. Opening the show at the Fifth Avenue the first half, this trio capably handled the situation. Fred C. Hagan and Co. (3). Comedy Sketch. 14 Mina.; Full Stage. City. A light comedy sketch a bit old in idea, but good enough to travel the rounds of the smaller houses. Designed purely as a comedy skit, it lives up to it. Plenty of laughs during the run- ning, and, while the playing (especially the mother-in-law, around whom the main idea is woven) is nothing out of the ordinary, the sketch should be kept busy. Hudler, Stein and Phillips. Songs. 12 Mins.; One. Fifth Avenue. A male trio, well groomed, and pos- sessing the necessary harmony to leave a pleasing impression. Ranging from a six-footer to a somewhat more dim- inutive chap, this trio has the neces- sary personality and vocal ability to make itself known. AMERICAN. Nothing particularly entertaining about tbe bill at the Root tbe first half of the current week, tbe comedy acts running to a low grade as a rule with but little of a redeeming nature In tbe balance of the program to offstand the handicap thus created. Business was sur- prisingly good considering the elements, but the attending conveniences at the Roof are probably responsible for this condition, and those same conveniences which Include prin- cipally the smoking privilege and the venti- lating arrangement should hold up the aver- age attendance at the west side Loew house during the coming hot season. Will Oakland and Co.. one of the recent Loew acquisitions from big time, headline the bill In bis singing specialty, "At the Club," with a quartet in support of the principal. The vooal efforts of the quintet stand out nicely while unfolding the story, but consider- able improvement could be made in the ar- rangement of harmony. The Oakland turn is a novelty for small time though, and while It may not draw any patronage It will please everywhere. The Isabelle Bisters opened with a musical turn arranged on a light comedy basis, the girls working through a routine with violins and mandolins, dancing to their own accom- paniment, etc It's a light-weight arrange- ment for any time, but sufficiently good to open such a bill as It did at tbe Roof. Mills and Lockwood held second spot with a routine of talk delivered In rural make-up and dialect. This pair should relegate a good portion of their repertoire to the ash heap. The coke fiend impression and the accom- panying expectorating stunt brought them perilously near to the "honky tonk" division. A yodle song at the close earned them a great hand, but this excellent Impression was marred by their previous work and until they reno- vate their routine Mills and Lockwood will either stand still or glide backward. Roy and Arthur offered the Juggling turn formerly shown for years by Bedlnt and Arthur. The work of the comic is too well known to comment upon and It is extremely difficult to express a review of the "straight" without a comparison with Jean Bedlni, and In this such a comparison Is practically im- possible. The pair earned a run of continu- ous laughs at the close of the turn and could be safely credited with a good report. Prince and Deerle gave a reasonably good account of themselves with a light comedy line of talk and considering their ability one might suggest a consultation with a capable writer. Their present material Is hardly up to the mark expected from such a capable team. Maurice Samuels and Co., in "A Day at Ellis Island," worked to a succession of healthy laughs despite the Inconsistencies of the playlet, which at times approach a ridicu- lous point. The bit attending the presence of the Catholic priest should be toned down out of respect for the cloth. More speed would aid the playlet materially. They scored nicely at the Roof. The intermission period followed with Belle Ruthland opening the second half. This girl makes a rather attractive appear- ance, sings well and shows good taste In her vocal selections. She made the best im- pression of the evening up to the time of her appearance. After Oakland's organisation of singers had shown their wares, Levan and Devlne ap- peared with a comedy singing and piano act. Levan is there In every respect, but should eliminate Burt Oreen's piano playing "bit" and Jack Norworth's announcement Idea Im- mediately preceding It. This pair took away the honors of the evening and should do equally well anywhere. The Four Kings closed, with Charlie Chaplin's "The Fireman" following. Wffnn. JEFFERSON. Just an ordinary eight-act show at the Jef- ferson the first half with the bill lacking any- thing of large proportions or in the way of a name. Business Monday night was satisfac- tory considering the favorable turn of the weather towards outdoor amusement. Tamada, a Japanese roller skater who Juggles, opened the show. He did well. Holmes and Rellly, with operatlo selections, No. 2, got along In good style, with the man working in the pit leading the orchestra. A big laugh was regis- tered when he stepped upon the stage and showed himself to be a near seven-footer. The present numbers are familiar operatlo selections. The sketch was presented by Leila DavlB and Co., of the suffragette variety with an effeminate man. The cosmopolitan audience failed to grasp a large portion of the dialog bit with the big woman showing her power in sny physical way they enjoyed It Immensely. Russell and Evans (New Acts), No. 4, after which Charlie Chaplin In "The Fireman." Jim McWilliams opened after the picture with a pi analogue going over easily at the finish while having the audience whistle. The De Pace Opera Co.. In a conglomeration of vocal and Instrumental work rather pleased through having In tbelr offering numbers which are away from the stereotyped operetta variety and up to date. The playing of the string Instruments proves one of the best bits In the act, with the singing harmoniously bandied. Harry Steppe, at this house hut a few week' a so with his "Step Lively Girls." returned this week with a male partner called Martin Tbe Steppe comedy Is a standby downtown. The act can fit In houses like the Jefferson where there Is a certain tendency to enjoy burlesque comedy. The Big. Frans Troupe clo «-d the show.