Show World (December 1910)

THE SHOW WORLD December 10,1910. RELIABLE RECORD OF VAUDEVILLE ACTS (E. E. MEREDITH NEWS SERVICE, BOOM 216, 167 DEARBORN ST.) FANNIE WARD & CO. Class— “B." No. 548. Time—19 M Seen —Star, Chicago, Dec. 6, 1910. known, the reviewer may have gone _.i record as saying that William Mor¬ ris is crazy to offer twenty-two-act bills, that vaudeville is on the wane or that Frank Tinney has put together an act gathered from every species 6ri black face comedian. This fact is re¬ cited in rebuttal if Torcat should ever make any claims. Seeing the perform¬ ance of Torcat and D’Aliza and their wonderful troupe of trained roosters later, the fact which impressed itself most prominently in the reviewer’s mind was that Torcat was still talking and turning his impossible-to-undersland English into first rate comedy. When “breaks” were made for comedy effect, an impression crossed the reviewer’s mind that the Frenchman may have been kidding the newspaper writer, hut it was not permitted long life. The re¬ viewer would rather believe that Tor- cat is a talkative chap who has not mastered English during his stay in this country and who is a sufficiently clever showman to turn his lack of knowledge of speaking the language into fun for the audience. The act opens in one with Torcat dressed as a coun¬ tryman and trying to tell of his trained roosters. The rise of the curtain after a minute announcement, shows a pretty set of a chicken village, with fences as high as a chicken’s neck and chicken jails and chicken vehicles. The per¬ formers are introduced by Mons. Tor- cat and Mile. Flor D’Aliza, an attrac¬ tive looking young lady. The roosters seesaw, do rope walking, maintain their balance on halls and other moving ob¬ jects, jump miniature fences, pull small wagons with rooster passengers, jump to the tops of pedestals and one actu¬ ally rides a bicycle, furnishing the motor power to make it go. The the¬ ater-goer cannot see game roosters without thinking of fight Torcat re¬ sponds to this desire in a comedy way. During the action of the act a little rooster is let at a great big one for a moment and for a finish the two roost¬ ers are made up as Gotch and John¬ son with clothing that keeps them from injuring each other, and they go to it, creating hearty laughter. Placed to close the show at the Star, Torcat and D’Aliza ran away with all hon- saw an interesting offering. Herzog first showed a black horse which re¬ minded the reviewer of Madam Bedini’s “Don,” although he does not equal the Bedini horse as a vaudeville attraction, by any means. Next a white horse was introduced which kicked a ball groom. The offering was concluded by a display of six coal black steeds which pranced around the stage at the com¬ mand of the trainer and stood on their hind legs for the final plaudits of the admiring crowd. en—Majestic, Chioago, Dec. 5, 1910. _y Required —Olio in One. Remarks —Lillian Ashley tells kid stories with a childish voice which makes them relishable. She also simu¬ lates a drunken fellow, while singing one of her songs, which is clever. Some of the same stories told by J. V. Gibson at smaller Chicago houses were well re¬ ceived when introduced by Miss Ashley. If the songs ranked as high as her other work. Miss Ashley would be a more pronounced hit. Class —“A.” No. I Place on Bill— Headliner. Scenery Required —Full Stage (Spe- Remarks —Torcat is the champion long distance talker “on and off.” When the reviewer started out for the Star he caught the same car as the French com¬ edian and carried on a conversation dur¬ ing the trip, or rather the reviewer agrfeed with most of what Torcat said. The Frenchman ran on with a flow of language which would, no doubt, have been entertaining could it have been understood. The reviewer nodded as¬ sent when discretion urged such a reply and shook his head significantly when the Frenchman looked like “No” was the answer. The reviewer agreed to most of what Torcat said. For all that is known, the reviewer may have gone Scenery Required —Center Door Fancy. Remarks —“An Unlucky Star” is an plexing to all __. __ its value if the story were carried the end, for it has a trick finish, which of the most audacious things yet husband; J. W. Dean, the actress’ ad¬ mirer, and Bernard Thornton, an author. Miss Ward’s role is that of an actress. The scene is her drawing room and as she enters her maid is answering a ’phone call from the admirer. The star instructs the girl to tell him it will be impossible to see him that night. This done, they* retire to an adjoining room. The husband, who has been referred to as “out of town,” lets himself in with a latch key and secrets himself behind the curtained doorway leading to an¬ other chamber, when a knock is heard at the main door. The actress is alarmed by the knocking and after attempting to rilssmarfp “‘Rillv” frnm vlnitfnc* Vi nr oH. dissuade “Billy” from visiting her, ad¬ mits him. They have a scene in which she fights from his declaration of love but half surrenders when a noise is heard. The actress thinks it is her husband; “Billy” draws his revolver and vows to kill him when he enters. The husband comes from the curtained doorway and gets the drop on the ad¬ mirer, when a man rises in the audi¬ ence and remonstrates with the players for spoiling a good scene. All parties get into a heated argument and as the players are about ready to try the scene again the author orders the stage hands to “strike” the set and the unlucky star is left on the stage, infuriated at author and stage crew, but unable to help her¬ self. . This idea comes as a great sur¬ prise to the audience, is new, and proves capital entertainment. McKEE RICHMOND & CO. tiling—“The Siege of the Seven is.” (Travesty.) Scenery Required —Full Stage. Remarks —Herzog’s horses did not hold the audience very well Monday afternoon and it was a pity, for it is a splendid act Possibly the fact of open¬ ing with the trainer on a single horse gave those in front the impression that the act consisted of a man showing a single animal. Again, the fact of a twelve-act show with one number Tun¬ ing particularly long, may have caused the entertainment seekers to have be¬ come tired by the time this feature was ready for them. Those that remained Richmond makes his entrance and - everything to travesty. The nurse (Juanita Hawleigh) exits and returns as a commander of the foraes, interviewing the spy in friendly uniform, who turns every military phrase into a laugh. flavor, and scoring strongly. RYAN & RICHFIELD. Billing —• “Mag Haggerty’s Father.” (Comedy Sketch.) Class— “B.” No No. 549. Time—13 Min- Seen— Star, Chicago, Dec. 6, 1910. Place on Bill —Second on Seven-Act Scenery Required —Olio in One. Remarks —Mae Taylor has made some changes in her act since seen at the Linden in September and the offering has been improved. She opens with a song about a cry baby in the moon, follows it with some baseball taSk, which goes poorly, and then sings of FAna Wallace's ROUE'S in “.Tumi LEW WILLIAMS Sc CO. Billing— “All is Fair in Love.” (Com¬ edy Sketch.) Class— “B.” No. 544. Time—17 Min- _ _ _ Unlucky_ extraordinary species of sketch , _ ' attempt to determine McGrue, and Miss Ward has the assist¬ ance of four players—Elizabeth Emer- -- maid; H. Pell Trenton, the actress’ Class —TXX/’ No. 546. Time—13 Minutes. -Thalia, Chicago, Dec. 5, 1910. charming at all times. Place on Bill— Closing Five-Acjt Show. Scenery Required —Full stage (Spe¬ cial). Remarks —McKee Richmond & Co. have been working on this travesty for some time, and that their efforts have not been unnoticed was proven when it was placed at the American Music Hall last Sunday to fill the spot on the program occupied by another act which hard other contracts calling for it to leave Chicago Saturday night. It was seen at a dis¬ advantage both Sunday and Monday night at the Thalia owing to the rail¬ roads having carried away certain prop¬ erties which are used for the final laugh. This left the act a great laugh-maker up to the point where the big climax should Class— “D.” No. 551. Time—13 Min- -Star, Chicago, Dec. 6, 1910. Place on Bill— Next to Closing. Scenery Required —Street in One. Remarks —The Star program an¬ nounced what is generally considered as the poorest act in vaudeville and a change was made, for when the time came, a card was displayed with the name of Emil Subers. Thus, intro¬ duced at a disadvantage, Subers may have gone up into the air for he started off with the old joke about the minis- asked the lad the way ' '' ' _ Although lacking in this particu¬ lar, the offering made very good at the Thalia, owing to the clever travesty oh military things. The scene is a military encampment, showing the hospital with the courtesy,, invited the lad i j relied upon as he did _ _ know the way to the postoffice. “You don’t even know the way to church,” remarked Subers, ruining his own joke (if you can ruin that old gag) and cor¬ recting himself with “postoffice” after it was too late. Subers is very orig¬ inal. The old joke about the fellow and his girl who agreed to save up funds and be married, has the lady save $4.75 and the joke adds, “we took the $5.” Subers has changed ” ’ - Time—23 Min- Seen —Majestic, Chicago, Dec. 5, 1910. Place on Bill— Sixth in Twelve-Act Show. Scenery Required —Interior in Four. Remarks —Thomas J. Ryan and Mary Richfield have frequently appeared at the Majestic and never fail to register a big success. Mr. Ryan’s stage Irish¬ man will be remembered along with Tom Nawn’s similar character. Mary Richfield and a Mr. Fanning give excel¬ lent support in the working out of Will M. Cressy’s delightful comedy. Seen —Majestic, Chicago, Dec. 5, 1910. Scenery Required —Street in One. Remarks —These boys were previously reviewed' in these columns under the name of Christopher & Ponte. It is their first chance at a first class audi¬ ence and while their talk did not go very well Monday afternoon, their songs and instrumental music were received with favor and a recitation-song, “Not Me,” used to close, enabled them to leave the stage with a great deal more appreciation than is often given Or- pheum acts in the same position. It is evident that these boys will accom¬ plish a great deal when they get their routine arranged just right. From the way the talk was received Monday after¬ noon, it would be well to cut it a great deal and depend upon the singing and the guitar and accordion playing of one of the team. No. 552. Tim Seen— Thalia, Chicago, Dec. 5, 1910. Place on Bill —Third in Five-Act Show. Scenery Required —Center Door Fancy. Remarks —The old Hebrew in this playlet is not a hypocritical schem'er,' but a man travailing with the troubling reveries of a melancholic imagination. His daughter is in love with the son of a hated enemy, a rival at one time for the hand of the girl’s mother and later an unfeeling reprobate who re¬ fused financial aid at a time when a few dollars would have saved the life, or at least have lengthened the days, of the woman for whose hand he had fought and who had preferred his friend. These thoughts, coupled with a super¬ stition in regard to suicide, provide the basic theme of the offering and intro¬ duce a Jewish character, differing great¬ ly from any presented on the stage un¬ less it would be Toblitzsky, and suffi¬ ciently away from the character made famous by Alexander Carr for vaudeville purposes. Lew Williams makes Abram Goldberg a legitimate character, and yet does not sacrifice the comedy of the playlet. The daughter, Maizie, played by Doris Cherie, knows her father’s op¬ position to her marriage with Dewey Rosenbloom (Robert Perrin) and schemes to overcome it by having the young man pretend that the refusal of the father to receive him as a son-in-law drives him to commit suicide. The girl does not know the reason of the old man’s objections to the son of his form¬ er friend until late in the action of the play, after the young man has pretended suicide in order to obtain the consent to their marriage, which was so much desired. After their little schemes prove successful the father tells the daughter all, and Rosenbloom overhears. When he learns of his father’s perfidy he re¬ turns certain moneys which Abram has given him under stress and agrees to relinquish the hand of his love. Abram has evidently had doubts of the wisdom of his course of action, for he relents . when in a position to separate the lovers and gives them his blessing and inci¬ dentally his pocketbook. Lew Williams . in Eight-Act — duet is something new iui mususu acts and J. G. Man¬ ning and Jane*»tcher are masters of the instruments To an extenf that this number alone is sufficient to make the offering desirable for the big bills. They play "Silver Threads” and in response to an insistent encore. Miss Butcher gave another ’cello number—“Sing Me to Sleep.” This is not the only unusual feature of the act, however. For a fin¬ ish the two play and xylo-marimba, a combination of xylophone and marima- phone—a sort of a double instrument which is rarely seen in musical acts. The beautiful music on this novel in¬ strument brought another hearty re¬ call. The musicians dress in white and open with a slide trombone duet, a med¬ ley. The second number is "Mediation” on aluminum chimes, followed by the ’cello playing and the xylo-marimba. It is a return date at the Congress within a month and the theater-goers of any section' are certain to welcome such a refined and entertaining musical offering. ROWE & ROSAIRE. Billing—Musical. Class—“D.” No. 545. Time—15 Min- Seen—Thalia, Chicago, Dec. 5, 1910. shows the various shades of the old Hebrew’s character splendidly. Robert Perrin is satisfactory both in comedy and pathetic scenes. Doric Cherfe is manager of the Thalia theater, stands sponsor for a new act in vaudeville and one which made a tremendous hit Mon¬ day night, with an audience anxious and willing to start off neighborhood boys with a hurrah. Rowe & Rosaire play violin and concertina. They are clever musicians, dress neatly and seem to have an unlimited supply of encores, which the Thalia audience would not cease calling for until the lights were flashed off. Every seat in the family theater was occupied and every hand seemed to applaud the youngsters. GEORGE W. DAY. Billing—Monologue. Class—“B.” No. 536. Time—13 Min- Seen—Hamlin, Chicago, Dec. 1, Place on Bill— Fourth in Six-Act Show. Scenery Required—Stre ' • - Remarks—George W. Day was seen at the American Music Hall Tuesday night of last week and the rr ”- rather surprised to see him at the Ham¬ lin Thursday night. It is said that Day took Lee Kohlmar’s place at the Ameri¬ can for a couple Of days he had open. Day opens with a dandy parody on ,,T ~ the Shade of the Old Apple Tree,” lows it J — —**’ lows it witn talk and .finishes with a burlesque sentimental ballad. Day is one of the very best of black face enter¬ tainers and the fact that he followed Anna Eva Fay’s cabinet act did not keep him from making very good. Class— “C.” No. 537. Time— 26 Min- Seen—-Hamlin, Chicago, Dec. 1, 1910. Place on Bill —Next to Closing. Scenery Required—Interior in Four. Remarks—Consistency and legitimate laugh getting are seldom found in the successful comedy skits seen in houses playing two a night. The estimate of the value of such offerings is made on the laughs secured. By such a standard Emmett Devoy & Co. (a man and a woman) made very good at the Hamlin. Devoy uses the name of the Deity, does a burlesque Salome dance, and makes a vulgar crack on a speaking tuhf get laughs but he gets them. 4 HOUSTON 8c KIRBY. _ — .. steps. Miss Kirby does f dancing following this and is an _ tractive young woman and dances nicely. Mr. Houston then sings “Ida” and dances, getting a few laughs by imitations of different walks. Both dance together for a finish. BILLY M’ROBIE. Billing—Parodies and Talk. Class—“E.” No. 547. Time—12 Min- Seen —Lyceum, Chicago, Dec. 5, 1910. Place on Bill— Next to closing Five- Act Show. Scenery Required —Street in One. —_r«i_- toll, —There is very little talk in McRobie’s offering. The most of the . with parodies, which are very old, but which found such fi¬ at the Lyceum that there is no disputing that he made the hit of the first show Monday night. McRobie r * makeup for face and head.