Variety (July 1919)

mm ,_; '-:'- - ' . •■ " "**;; •»/ »^- 18 NE Ms? ACTS THIS WEEK ■■■-'■■■ '■<"•■;• ■/•:;■:■■ y.-.i.': Lewis and Dody. Comedy and Song*. 12 Mint.; One. 23rd Street. Lewis and Dody, the "two Sams" of burlesque, are again in vaudeville, but only for the summer. Perhaps the knowledge that their vaudeville ap- pearances are but an excursion be- tween the burlesque seasons may be the reason why they have not paid as careful attention to their material as they should. Lewis doing Hebrew and Dody again a "wop," the pair opened with a group of comedy "gags" which for the most part are not fresh. Get- ting down to songs they fared much better. As a comic duet, "Oh, La, La, OuiOui" got over well. Dody fol- lowed with a single "Great, Great Grandson of Christopher Cojom," Lewis also soloing with a comedy number, "The Vegetable Man." For a finish they did a burlesque ventrolo- quial bit, easily the best thing .in the routine. Lewis' mugging and dummy imitation drew laughter naturally. He didn't move his lips, for that was un- necessary anyhow. The Sams were the hit of the show, without opposi- tion. But they could have landed greater punch with more vocal stuff, whether of a.parody nature or other- wise, for both can sing. The pair have all the ability necessary. What they need is material. Ibit. "Just a Girl" (10). * Girl Act. 24 Mine.; Full Stage. American Roof. "Just a Girl" starts with an ensemble number followed by dialog which in- forms the audience an English noble- man is expected. (The scene is a hotel lobby, a center door fancy being used on the American Roof). Six| girls are carried. None of the six can sing, and if any can dance it wasn't noticeable. The four numbers show a marked need of rehearsal. The costuming of Jhe choristers is very gaudy, the four changes smacking strongly of "turkey" burlesque. Following the opening num- ber two comics get into the proceed- ings. One, a "silly ass" type, could be funny with the right material. The other, a bell boy, whose chief comedy asset is mugging, overplays through- out. The female principals,, two in number, stand out.. The turn needs a--" producer, new numbers, an entire new line of comedy and costumes. As now cbnstituted it looks hopeless for any- thing except the smaller houses. Bell. "Fiesta Etpanola" (14). Spanish Revue. 23 Mini.; Full Stage (8); Two (5); Full (10). Fifth Ave. The "Fiesta Espanola" is a Spanish revue with a company of 14 people, two men and 12 women. There are prac- tically eight principals and six in the chorus,'although some of the principal girls work on the ends of the chorus in several of the numbers and bring the ensemble line to eight.' The entire company appears to have been re- cruited from the members of "The Land of Joy" at the Park Theatre a little over a year ago. Although none of the principals is listed in the' billing matter, it is easy to recognize Antonio Bilboa, who was the principal male member of that show. He is pre- senting all of his routine as it was in the show and his dancing is still as superb as it was in the larger produc- tion. The other man is a baritone who has but one song. Of the women there are three of the soubret order, each with solo numbers, and there is one number in which they work together; a "sister team" of Spanish dancers and a toe dancer who does solo work. The opening number is led by one of the soubrets with eight girls behind her. It is followed by a Spanish dance by two of the girls. Then comes the ad- vent of Bilboa in his heel routine. It is stepping of a type new to vaudeville audiences and received hearty applause. Another' ensemble number and then four of the girls with bells, used as c as tenets offered another dance. For a change in scene a trio of the women principals work in "two, putting over one number which seems something of an audience affair as the greater part of it is done ddwn at the foot- lights. The toe dancer next appears and runs through a speedy routine. In full stage again the baritone leads < a number with six of' the girls, which also brings Bilboa and one of the girls to the fore at the finish. Another single number and then an ensemble of the entire 14 people closes the act. What is needed is a touch of comedy or s j me sort of a program explanation regarding the act. As it stands now it is decidedly effective from a scenic standpoint, wonderfully dressed and a fast moving dance and song entertain- ment, but the - majority of vaudeville audiences will wonder what the sing- ing is all about. Fred. Lew Hilton and La Vetta, Songs and Comedy. 18 Mins.; One.* American Roof. Lew Hilton is from burlesque. La Vetta arrived in vaudeville from the same place, judging by her costume. The act opens with a song by La Vet : ta, which is interrupted by Hilton, who makes his entrance from the audience. Hilton assumes the Hebrew character, following conventional methods as to make Up and comedy. Hilton is a good comic, but at present is inclined to rough it too much. A travesty recita- tion excellently delivered registered the best score for him. The rest consists of songs, gags and burlesque comedy bits, some new and many very old. The closing number, a travesty waltz, made unnecessarily rough by Hilton's hand- ling of the woman, landed very big on the roof. Fo/r the majority of small timers this will have to be modified. Good feature act for the pop houses. . Btll. —:,. j ■.-.:• £,' ■"':. Burke and Valdor Co. (1). - Dance Act. ' u( IIS Mint.; One and Three (Special). P> City. • This act was aimed for big time ex- hibition, but missed its aim just a little. It has class, special sets, the special ■%. ■•;■' piano accompanist, and able artists, but does not attain its goal because of the dance routines. There is a Span- ish solo, with castinets by the girl. The boy does some Russian hook steps clad in what looks like gaudy South American dress. The boy's raven locks and equally jet eyes hint strongly at 7 ~ Spanish blood. So it may be but a matter of native taste for dances of his people. As they stand, better small - time, and smaller big time. Abel. Cuba. Rope Dancer and Monologist. 9 Mins.; Two. City. ! Cuba does not stall, but sails right into things and comes out with flying colors. Working fast and hard, some introductory chatter and gags lead up to a "dog trot" dance that scored. Likewise the rest of his routine had a telling effect on his audience. He seemed a little cramped for room and might use a bigger stage. Cuba should prove a novelty on better bills than the present. Abel, Kamerer and Howland. Songs and Talk. 15 Mins.; One. American Roof. Man and woman in a typical small time singing and talking turn. The man has a pleasing singing voice and gets away with a couple of pop num- bers creditably. The act opens with a double song, followed by a single by the woman. A short routine of talk next, consisting mostly of old gags. Toward the finish the man attempts a bit of dancing. Act closes with a double number, which the man works up by some fast ground tumbling. The comedy talk is weak. With this sec- tion bolstered up the turn can go along nicely in an early, spot in the pop houses. Bell. Crane Sisters. Singing' and Dancing. 15 Mins.; One. American Roof. The Crane Sisters follow the regu- lation routine, opening with "Mammy of Mine," which they harmonize with excellent results, and following with a succession of single and doubles. The girls work in an experienced manner. Abbreviated costumes with the usual number of changes, until the final number is reached. The girls don pan- telettes for this, carrying the same at- tractively. First rate small timers. Bell. Brindamoor. Magic. 16 Mins.; Full Stage. 125th St. (June 29). Brindamoor .formerly was a hand-cuff king and jail breaker. He is offering a magic act with a male and female assistant. The big trick is a variation of the cabinet illusion. He places the woman on slab way up stage and then attaches the side, top, and ends of a coffin-like box, afterward strapping up the outside. It is raised from the flies and two assistants pull ropes attached to the ends when a pistol is fired. The contrivance falls open, flattening out, and a moment later the subject calls from the back of the house and comes down an aisle to clamber on the stage. The egg in the bag and several stock magic stunts precede it. It's an inter- esting turn of its kind but vaudeville seems to have outgrown this type of offering. Al Riccardo. Ventriloquist. 12 Mins.; One (Special Hangings). 23rd Street. Al Riccardo has been out for some time, probably most of his appearances having been in the West Using'the dummy his routine is along regulation lines, glancing at a magazine while working, smoking and drinking a glass of wine, etc. His finish differs from others in that he removes the head of the dummy, continuing to operate the mouth with the lever. This stunt brings the dummy face close to his, allowing close scrutiny of his own still visage. During the bit he .sings and, unike others, Riccardo enunciates very clearly. It is a neat small time turn. Ibte. Three Tivoli Girls. Songs. . 10 Mins.; Four (Special). In gypsy attire, in a woodland set, the girls render a routine of better class popular numbers, including, for harmony reasons probably, "Annie Laurie." The very familiarity of this old standby prohibits its further use. Their voices are resonant and har- monious and should get them around the present time. Abel. Allen and Richmond. Song and Dance. 12 Mins.; One. City. If the two-act had lived up to the high standard set by the chatter, it would be on the big time. For some reason, they drop the talk and soft shoe it in mediocre style. Droll, seem- ingly listless, ad-iibbmg a good deal, throwing a few. witty shafts in the guise of asides, the man, in essaying to pick up the acquaintance of the girl, monologued for fully five minutes —and held interest and eyes focused on himself, not forgetting that a fairly pulchritudonous yoifng lady was stand- ing on the opposite side of the stage inviting the cruel.gazes. In spite of that, the house to a man was eyes and ears with male member of the duo. Arid then, upon winning her acquaint- ance, instead of entering into the usual and inevitable discourses subjects, love, baseball, marriage or war, they attempt dancing. The stepping is just small-time-second-spotty. A good au- thor's assistance should work a veri- table metamorphosis for the turn. It belongs oh the big time, for the couple, contrary to the. usual run of things, are better chatterers than hoofers. As it stands, this time is their present caliber. * Abel. Goslar and Lusby. Songs/ Piano and Dances. 11 Mins.; Full Stage. 23rd Street. Irving Goslar' formerly offered, a pianolog. Now teamed with Miss Lus- by the pair have worked out a neat song and dance routine, Goslar hand' ling practically all the vocal numbers. After an opening duet Miss Lusby in soubret attire went into a dance before retiring for a costume change. Her return with the first of several toe dances found her attired in a black frock of period design. Goslar during the change offered a ragtime opera song which was liked and (during the second costume change gave "Let Us Give a Job to a Soldier," following it with "Chasing Rainbows." The num- ber didn't fit his voice particularly well, but during it's course Miss Lusby in a third neat costume change demurely moved about on her toes to the time of the catchy melody. A fast dance was used for la closing. There is a touch of class about the turn. It suf- fered somewhat through being spotted to close a weak bill. The pair should have no trouble in securing bookings and might fill an early spot on the better bills. Ibte. Armento and Bedechele. Comedy Acrobats. 10 Mins.; Three. Two men, one garbed as bell boy, the other in summer apparel assisted by a walking dog. The animal walks on front and hind legs and later barks to orchestra accompaniment. Back hand springs and twisters are featured. One trick is a hand jump from a pedestal to a table to the floor, the dog dupli- cating the trick. The closing trick is a one-hand stand on a pole. Nothing unusual, good small time openers or closers. Hugh Norton and Co. Comedy Sketch. 18 Mini.; Full Stage. American Roof. Hugh Norton assisted by a competent and decidedly goodlooking young wom- an is offering a conventional "man and wife" coinf ay sketch with the custom- ary trimmings. The couple are newly married and after the regulation "honey and dearie" business they go into a series of petty quarrels, as per schedule. The turn carries a number of standardized ■ laughs and will get over in the small houses. Both play- ers, however possess the ability to carry a much better line of material: Bell. Nellie Moore, i Songs. 12 Mins.; One. American Roof. Nellie Moore averages up well with single women on the small time. Open- ing with "Good Man is Hard to Find'" Miss Moore runs through a likeable routine of pop numbers, including "Al- coholic Blues," which she does particu- larly well. A black jet semi-evening dress is worn. One change at least might be advisable. Act will do as an early number on the small time bills. b, W# '•.':''-••■■■■•,:"'-■'!■,■/■■■;■■' ..v KS$3 ' - , ■