Variety (June 1916)

SHOW REVIEWS 13 ZIEGFELD FOLLIES. Zlegfeld hu found a substitute (or u flag finale, It's a oooch danoo and It's going to be the big hit of the "Follies of 1910" with the averag* audience. With a sosno sot on the banks of the now notorious Hawaiian 'LI Li river, tho entlro oompany, lod by Ann Pen- nington and Barnard Granville, goee into that waist wriggle ozorclso. It must mako tho hoart of poor old dear "Olrl In Blue" expand with anger when she realises how often she was under bonds to keep her waist line still, be- fore they dlscoTered that the national pastime of Honolulu was oooch dancing. Just before the flagless finish. Miss Pennington had done her 'U LI all alone, and apparently In the approTed way. There are other hits In "The Follies" of this year, which opened at the Amsterdam Hon- day. They are led by Flo Zlegfeld's great triumvste. Pulchritude, Production ft Per- sonality. Among the personalities to stand out are Fannie Brloe, Mr. Oranville, Miss Pennington, Carl Randall and Frances White, with Don Barclay, a newcomer, also a con- tender, whilst gifted Ina Claire Is always and so often so much to the fore that one must figure Miss Claire as about Zlegfeld's present biggest playing asset. Sam Hardy strikes now and then, most solidly as Lou- Tellegen. William Rock never gets a real chance, for William Room Rock, and the stage is packed with dancers of all varieties, while Bert Wiliams hasn't gotten set yet, nor has he the songs that are his looked for stand-bys. Justine Johnstone and Allyn King are in the first division of P's. To the show business the wonder of this season's Zlegfeld show will be Bill Fields singing and Impersonating. In the "Pictorial Palaoe" scene, Mr. Fields Is ex-Secretary Daniels and Roosevelt, singing a verse each time, getting away with It but looking allock- ed himself after the final line and dasedly exciting. Later he does his Juggling on a croquet layout, using the mallet and ball for the bouncing. In this Mr. Fields has an original Idea of a magnetised mallet that at- tracts the ball as he Is about to strike It In production, scenery and costuming, "The Follies" Is once again pre-eminent. Joseph Urban has provided settings that linger in the eye. The costumes are always Ziegfeldlan, which tells everything. In scenio novelties, other than Urban's, the standing out one is a water illusion by Frank C. Thomas, a cinema effect, of a ship moving at sea. A Zeppelin followed by aeroplanes flies over and beyond It. Then the ship is seen to be struck and slowly sinks. In its place merges from the watery depths a sub- marine. The effect Is striking, for a neutral country. A staging effect, new on Broadway, is call- ed "The Sparking Girls," and done by the chorus during the song, "Somnambullstlo Melody," led by Miss White. A large mat was dropped down from the flies and laid on the stage, in a dark scene which remained In semi- darkness, as the girls, dressed In white, while dancing upon it, caused light flashes at times when their feet appeared to hit certain sec- tions of the mat that may have been lightly electrically charged. During what looks to be the song hit of the show. "Good-Bye, Dear Old Bachelor Days." sung by Mr. Granville, a library set was used, also In semi-darkness, and as the song proceeded, the lyric telling the bachelor was to be married on the mor- row, furniture and pastels were stripped off, the hanging being taken up above, leaving the decorations of "paintings" and so on In a pure white rslief. Girls' heads appeared through these In very nicely simulated pastels or paintings. Ned Wayburn staged the show. These ideas In staging run along his style of work and apparently were conceived by Mr. Wayburn, who made his best mark In producing num- bers the "cooch" finale, which had plenty of ginger. Other number bits were not out of the ordinary, to any extent, though consider- able action by the girls were Injected through dancing. On comedy the performance runs to tra- vesty, with Shakespeare highly advertised. The "Romeo and Juliet" burlesque holds sev- eral good laughs, and the "Othello," In which Mr. Williams has his broadest chance, will no doubt be worked up Into a very laughable bit. The travesties are not prolonged and carry more humor In dialog than action. In "Othello" Mr. Williams as the Moor says to Desdemona (Mr. Barclay), "Who have you been runlng around with lately, Desperate- money?" "Not a single soul, excepting the 72d Regiment," is the reply, thereby giving Barclay, of course, credit for tbe laugh. Mr. Williams seemed to work too slowly In this bit. A "Recruiting on Broadway" scene was cut out after the first performance. Other changes were also made, from the program, Mr. Will- lams' single and Rock and White's double, both In "one," being moved up from the sec- ond Into the first act. This gave Miss Brlce almost a clear field In the second portion for her funnylsms. She caught the house from her first entrance of the evening, when com- ing Into that section with a "Nljlnskl" song that Miss Brlce "made" with her mugging and gestures. Miss Brlce later walked off with the comedy hit of the show, while singing two songs In "one." They were "The Hat" and "The Dying Swan" (the ballet dress), both done by her when lately In vaudeville, the two songs having been especially written for Mies Brlce by Blanche Merrill, who was not men- tioned on the program In this connection. It was around 11 o'clock when Miss Brlce caught the comedy hit. Other than that the only fun of the second act was the W. C. Fields turn, and a burlesque on the cocktail mixing from "Fair and Warmer," the latter executed by Miss Claire and Mr. Hardy during a •*«•, "Ain't It Funny What a Difference Just a Few Drinks Make?" Miss Claire was all over the show. Her Jane Oowl and Geraldlne Farrar Imitations In the "Pictorial Palaoe" were wildly applaud- ed, and In this scene likewise Miss Brian as Theda Bare put an addition on her comedy honors. It looks as though "The Follies of 1916" will plaoe Fannie Brloe where ana has belonged for a long while slnos, without the proper recognition, as one of Amerloa'e real comediennes. Mr. Randall brought much admiration to himself by an excellent Impersonation of NUInsky In the "La Spectre do la Rone" bal- let that was very well put on. The opening scenes of the show should not be overlooked. Mr. Randall scored there also, and in scene two, Mr. Granville as Mark An- tony delivered a finely written oomedy ora- tion, and delivered It so well the audience immediately suspected what Mr. Oranville later gave proof of. that the longer he plays the more finished he becomes, whether talk- ing, singing or dancing. And "The Follies" as ever eays again that If you can't dance well, you'd better not try among Its bunch of fast steppers. The book and lyrics (which means comedy as well) were written by Oene Book and George v. Hobart. The lyrics are of high grade and the comedy will be Improved In volume, but It's a big show of many scenes and numbers, making It fast as a whole. There's so much the comedy must be grabbed In a moment In this end Mr. Barolay taken from burlesque made a good showing. A season with the Zlegfeld show will do wonders for that boy, who Is over- burdened with personality. It makes a laugh so easy for him he may mistake the per- sonality for ability and stop trying. Again there appears to be no startling song hit, though another may develop as did the "Frisco" and the rag from last year's show. Louis Hlrsch, Jerome D. Kern and Dave Stamper furnished the score for the different Buck lyrics. The red fire of the performance Is "Unpre- parednesa" In the first part that might have passed away with the "Recruiting" scene with- out having been mourned over. The show's finale is Zlegfeld's "Dsnse De Follies" (Am- sterdam Roof) where Bird MUlman did her pretty wire walking, and Miss White gave the tag to the show by singing "The Midnight Frolic Rag." "The Follies" Is there sgaln, because It can't fall while there are women, dresses and pro- duction. And this Is the tenth year, accord- ing to the program, that Zlegfeld has been furnishing them under the T< Follles" title. This year's performance Is bigger than ever. Whether better than ever remains to be seen, but whatever the ultimate verdict, It's still "The Follies." gisse. PALACE. From an angle of general entertainment the current Palace bill could hardly be Im- proved on, the layout carrying practically everything essential to a first-class vaudeville program with a few surprises added for extre measure. The topllne honors are given to Dorothy Jardon with the Theodore Kosloff troupe of dancers In the extra feature division, this be- ing their second week. Miss Jardon lived up to every expectation, Jatherlng In the evening's hit in next to cioe- ng position, being forced to the limit of her repertoire. What a remarkable abundance of personality le centered around this girl's efforts? Her appearance Is stunning in every particular and she has selected numbers that stand out Individually and collectively. In her line of stage work Miss Jardon runs sec- ond to none. The Initial surprise of the evening came with the introduction of Nina Payne and Joe Nlemeyer in second spot. This pair have built a singing and dancing turn that should eventually bring them to the attention of pro- duction managers. Opening with a double song they proceed through a list of dances with special costumes and scenio affects that appear quite as original as well done. A futurist dance of eccentric design marked Miss Payne's best solo effort with "The Merry Minuet" In lyric and dance proving the ban- ner number of the outfit. As a modern song and dance team Payne and Nlemeyer estab- lish a pace that will find few followers. They scored an easy hit. although somewhat handi- capped by the early position. Apdale's Animals opened and gave the show a rattling good start, the speed and variety of stunts shown earning a generous hand at the finale. "The Red Heads" came In next spot, with James Carson, Milt Francis and Eleanor Butter In the featured roles. This turn has established itself and Its reception at the Palaoe was right In line with past performances. Stsn Stanley closed the first section with his comedy talk and bounding net bit, the opening division pulling solid laughs from the entire house. Stanley has built up a routine of comedy talk that he knows how to deliver for the greatest results. His male aid could strengthen his talk, eliminating the waits with a prearranged "spiel," but this Is but a minor defect and hardly noticeable to the average auditor. Stanley took down the com- edy hit without opposition. The Kosloff aggregation repeated their last week's success, tbe cleverly arranged routine satisfying the entire house. It makes a good summer prospect with a continual change of numbers. Ben Welch preceded Miss Jardon with his dual comedy role, the Italian portion being superfluous In this Instance. After getting away nicely with a safe hit he returned for a dmmntfto recitation and slowed things up. Notwithstanding his attempted exhibition of versatility he would do better with the single oharacter. Ruth Budd closed and held the majority In. Wysm. FIFTH AVENUE. The first halt bill at the Fifth Ave, this week over ran with men. Act after net ap- peared with only male members. This did not appear to please the audience, which In- cluded a large portU Ave. recently had an all-girl show which drew Ion of males. The Fifth nicely, and this week's first half program did likewise, Zleglor Twine and Ellsworth (New Acts) opened the ehow with daaeing that was heartily enjoyed. Hndler, Stein and Fall- Upe (New Acts) next offered songs, appre- ciated from the start. Mme. Benson and Co. in a oomedy sketch furnished some laughs, although the piece does not appear to have any great strength. Mme. Benson In the role of a film vampire looks fetching In an at- tractive negligee. The main portion of the oomedy le created by the man playing the old hick. He works well with the star and between they manage to pat It over. Trovoto followed the picture and took down the first big applause hit of the evening. The violinist had no trouble In getting started and finished very big with the whistling. The in- cessant applause called for a s pe e ch , need In- stead of an enoore. Beginning with Trovoto, whloh practically marked the second half of the bill, the stage was graced but by one young woman, she appearing In an uenaspleu- oue capacity with the Tom Smith-Ralph Austin turn. These boys put over their customary comedy hit and helped materially the oom- edy end of the show, whloh wss all oomedy. Tbe Smith-Austin opening brought n good laugh, aa did the general antics of the two. The wearing*of the alarm cloak for a wrist watch by Smith baa been done for some time by Kate SUlnore. The remainder consisted entirely of men, first coming Clark and Verdi, whose Italian comedy was liked, and Hanlon and Clifton In the closing spot In their offering "The Unex- pected." COLONIAL The "summer policy" for the Colonist is having n try-out While an attempt like this in a residential neighborhood where the reel- dents can afford a vacation In hot weather le wholly a gamble, still with any sort of a weather break and the kind of ehows the Colonial le giving this week, the house should find thst nt least summsr vaudeville Is rent- productive. And thst would mean a conse- quent profit, slnos the rent or the fixed coot of the Colonial wae probably charged off by the ending of the regular season. Ths Colonial bill Monday night looked like a circus for ho* weather. It had a lot of show, some well known names and further, contained entertainment of the summery sort, which means much singing and dancing. Next week's show In tho same house, plas- tered all over the plaos, looks very big also for this time of the year. One doesn't ex- pect much on Broadway In the vaudeville way after Decoration Day up to Labor Day (ex- cepting at the Palace, where the transients may be depended u.on). So a Colonial bill of moment In these times Is calculated to ex- cite more than casual oomment Monday evening the house filled slowly but surely, until by Intermission the attendance could be called good. It was the first break In the weather after a siege of rain and this wss distinctly against good business. Many women were In the thsatre and they made the applause. Some women ere the beet audi- ences in the world and they like what they like, leevlng no argument. A couple of the turns wsre wholly new. Closing the first half came Jarvls and Dare, and second after Intermission were Isabelle D'Armond end Co. (New Acts). Miss D'Ar- mond may have had a bit the worse of the position, ae there were a couple of mixed "two-acts" ahead of hsr, but It bespoke the confidence of the management that might have Justified the appearance of "Isabelle D'Armond" In the lights outside, for Miss D'Armond Is ae well known If not more so than any other turn on tbe Colonial program this week. But the Colonial doesn't like to Juggle too freely with new acts. That has been noticeable there In the billing all sea- son and perhaps It's the wisest course In the long run. The Jervls-Dare skit Is a playlet with a set and called "The Bride Tamer," by Bdgar Allan Woolf. Mr. Woolf gave a humorous Idea ae his portion nnd reduced It to lyrics for the far greater share, with music by Percy Weniich, but It depended upon the players, and In this depsrtment Sydney Jar- vls almost alone carries the sketch. Vir- ginia Dare Is picturesque as the unwilling and unfettered bride wLu must be tamed, and Is, but she doesn't seem to grssp ths role for Its best value, which may be a matter of opinion or direction. Mr. Woolf staged the skit. The set Is a cousin to an Egyptian night scene and in Its effect Is moot fetch- ing, the bridal suite scheme being exquisitely carried out for ths audience's eye. A slight fsult Is Mr. Jarvls doing the telephone bit behind a screen. He might have taken that pieoe of business Just Inside the bed- room door. It's too stagey as at present. But Jarvls' personality and robust voloe, to- gether with the lyrical story and earns of the muslo, will put this playlet across any- where as a musical comedy sketch. Just before that act was Brltt Wood, who has vaudevllllsed a mouth-organ through ragging It. Here again Is personality, more of magnet lam in this instance. TLe young man does nothing much excepting to piny very well a month organ and make It sound like something else. But thst seems enough. Me has a good in. tvldual idea of oomedy, holding It In, however, and seems able to dance, not doing much of that. He eaters with a banjo that has aa attachment for the mouth-organ, starting off In that way. Tale, with a yokel style of dress and a rangy languid manner of handling himself, sends him over. There was no denial the house liked him, perhaps better than hie syncopa- tion on the mouth-organ. And before him. In No. 8 spot, ware Sarah Psdden and Co. In "The Uttle Shepherd of Bargain Row." The program note of the In- spiration for the vaudeville tabloid doesn't mean anything to those not familiar with It. This Is a drawback, leaving Miss Psdden to depend upon her slang nnd her laugh for whatever the sketch brings. For vaudeville purposes It would seem a better plan to have another playlet written around Nora Blake that did not refer so often to vagueness, as this one does, for those who have not rend, seen nor heard the other versions. Ths Ramsdell Duo opened the show. Gum- mines and Oladings were second. The Alvln Brothers closed the performance, with Kramer and Morton opening the second part. The blaekfaoe boys made them laugh. Next to dosing was Nellie Nichols la a long tarn, made so and mads to appear longer even by an Italian "character** "production" bit involving n scene in full stage, it isn't placed right In Miss Nichols' act end doesn't belong anyway In the midst of her present repertoire. She sang an "Isaacstein* song that has a very poor first verse, end finished very well with "Kelly," a new Irish number. BU*4. CITY. „. A •5°* J mal L timt • aow **■ ■aown »t the City the first halt and Monday night found a fair elsed attendance. Kennedy and Melrose opened the show with some acrobeUos and knockabout comedy, fea- turing the Bert Melrose table fallat the close, George Fox nnd Lillian Ingraham and Arthur Upson closed tbe first part, scor- ing a substantial success through the novelty of his turn nnd ths excellent inahner la which he delivered his numbers. For n while It ap- peared ae though he might hold up proceed- [**». Charlie Chaplin in "The Fireman"fol- lowed. -J3WF and Rom » wita *■•!* banjos, were SU!! II L*JS B of •«"■«*•*•«• "MTU. The throwing of banjos and playing them at the same time struck the house righL with the opcratlo finish closing a successful pleoo of work which was rewarded wUh etronTaJ: p . lmu ^- L ¥ >nard •»« Wlllurd wsrehext to doeing with some bright dialog, a good deal 2£ F .P l <H. ltt '••»»•' wlttThT remainder over the heads of those present tSsToE song used Is a Uttls old, and just ranged to get across. The male member should use another number where hie awkwardness in f^W would sot be eo prominent A dano- !n « ™? wsa liked. Lasky's "Society BuST closed the performance. ■*«■■•# *>wm i»» * HARLEM OPERA HOUSE. •hJi* •? arl,m ?*•*• Hou *« ooatlnuos to neck tbem In, nnd for whet reason can easllThi seen, "iyery o^t in the^reekTEoSTr n£ del feature Is the attraction, besides thi regulsr blg-tlmo bmdllnerlinunger SwWto i&JKi thm danc# «»*••* bold forth, nnd almost every person In Harlem or that Vtmn. lty with the Uaat bit of ur^lchoreeS abuiS present thst evening in an endeavor timh the coin given to the belt Swaj^lem cou- ples were on tbe stage Tuesday nlsrbT thit more than anything 7tU holJTn* up taT"enUre show. A little trouble started when thenrlea! wsre awarded, but to aatSfy alenti2? tlon who thought diff^uy tfan thoTSet Md continued to clamor for their fevorltee! tte house management finally handed tbeothe? couple an extra prise. "" ***** The regular program consisting of six note JET ,f n| ? ?*7 l TOm "»• ordinary; In feet the bill on tbe whole fell a bit below the usual run. Fred Bowers wae the headline? closing the show to ths hit of tie eVenSJg' Bowers has arranged an offsrtngttet should satisfy any audience, for he must carry a car- load of scenery (a different drop beingT used ifli^? 1 nun »*'>. which gives his turn a distinctive appearance, besides setting it off ?• tooA u •° > ™V lw - Th « colored fillow etm draws his applause when dancing. 2*JS!.--i l i rw «?. WM ■ hown •»* following rame Charlie Wilson, a nut comedian with a slsm-beng routine of talking and kidding Th «r thought he was funny, or else laughed at him through his foolish antics HovSvsr /M./!^ ,Ted a P* M,n * score. Tburber and 'Madison came next with some department ■tore talk that has been beard before. The women looked ettractlve in a black drees snd mad* i striking appearance upon the audience. During tLls turn the house cat hap- E2 6 ii!L itr K I ! up £ n tt# **«•' ^Unt •round the place while the woman was singing. Of course all the attention wae thrown right at the .at and after a hearty laugh by the auditors she continued with her number. It did In no way Interrupt the ehow. They re- ceived the best returns after the male mem- ber did a little eccentric dancing, which by the way Is more appreciated than some of thst talk. The Retter Bros, opened the show with Ruth Curtis snd Frank Saburn and Llda McMillan and oompany (New Acts) following In order