Variety (September 1918)

NEW ACTS W £ E K 17 "Pretty Baby" (19). Musical Tabloid. 43 Mint.; Full Stage and One. "Pretty Baby" is what is known as a musical tabloid. It appears to have been produced for the smaller vaude- ville houses and will-be successful there if judged by the manner the Fifth Avenue audience took to it last Thursday matinee (its opening show at that house). There are four princi- pals, two women and two men, and a chorus of 14 girls. Several of the choristers look real young *and a few of those are pretty. There is a straight man who does well enough as such, but the dependence of the turn is in a juvenile, a comedian, who has no material of his own to work with, nor has he acquired an individuality or in- dividual style. At the opening as a butler and always wearing his hat, even in a parlor, his style for the most part, in dressing and action recalls Victor Moore, barfing a Frank Tinney bit of speech. Later he is the-leader of a bit in "one" during a change in the sets when the old burlesque piece of business. of the "pocketbook" and "$300" was given, to the huge amuse- ment of the audience. No especial blame should attach to the "Pretty Baby" company for digging up this old sorig, since "The Follies" two sea- sons ago found it convenient for use in that $2 show. There's no "book" other than the frayed thread of the flirtatious husband who tells his wife there_is another fellow of the same name, and so on. Neither is there any special music. Popular songs are used, sung fairly well for a tab and with an accompanying chorus movement, of the usual sort. The chorus at the opening remains on for the first three num- bers in the same costumes. Later they are behind a ballad singer and move about as the leader sings the first verse. That's not the accepted form in burlesque. Besides there's an im- mense flag as a drop and a big red fire finish, with the second part run- ning through limply. The house brought the principals out for a cou- ple of bows. It's not a big time tab, although there's no telling whether the big time won't take it, for it mns 45 minutes, about. That's quite a while, if the salary is right, and the big time may consider time and salary before it does class, quality or merit. "Pretty Baby" is the kind of a tab that you might expect to see, knowing it came in from out of town and was hot pro- duced for a New York showing. The only expense of production is for the costumes and scenery. The costuming runs like the rest, fair, but the en- semble of 19 people in all (perhaps one the carpenter) makes a good solid crowd upon the stage. fflme. Mile. Marguerite and Gill. Songs and Dances. 14 Miiis.; One and Full Stage (Special Drops).. Fifth Ave. This couple have been appearing in the west for some months, although the appearance of their costumes denotes newness.. Marguerite appears alona-for the first half of the turn, she coming from the curtained centre of the front drop for a single, a number something about her "Dangerous Eyes," and us- ing-* French accent which she main- tains throughout. She goes through the curtain, which discloses a dressing table for a costume change, although the actual changing is not visible. The second number is a Spanish dance. A third change has her starting a num- ber, then chattering with Gill, who is in the orchestra leader's place. Gill takes to the stage and they go into full stage for a waltz, neat but usual. A sort of military fox-trot follows and then for a finish in "one" they walk across the stage, Marguerite in wed- ding dress. The reason for the last bit isn't clear, unless to show the girl's costume. The dressing, which is the "long" feature of the act, is very neat, Marguerite flashing several tasteful rigs. They can stand something in the way of material, however, and until then cannot make the bigger houses. Ibee. • Mason and Gwynne. Talk and Songs. 13 Min«.; One (Special Drop). Fifth Avenue. Mason and Gwynne arc in blackface. They talk, sing and whistle. The talk is mostly at the opening, about noth- ing in particular excepting the man's dirty linen suit. He says he has worn it for years and so it looks. But there is so much of the dialog hinged upon the linen outfit that the act could not well change either, for they secure laughs from the talk. When the woman retires -to give the stage to her partner alone, he sings and dances about and around "Tillie Lee," followed by the young woman, who returns in the same tailor made, singing a ballad. At the conclusion of the ballad she imitates a cornet and for the finish when the man is singing a "blues," site whistles the accompaniment. Her bal- lad could be replaced by a better one or a different type of song, but she is a very pleasant appearing girl, even under her brown make up, and sets off the act nicely, as well by her straight work as in appearance. The man is gingery in dancing and the aqt does fairly just now. It could be bettered Both will handle better material satis- factorily and the girl especially might be fitted. «Sf»"e. Canfield and Cohen. Songs and Patter. IS Mins.; One. American Roof. Two men. One handles Jewish comedy, with sputtering, confusion of the King's English and continual show- ing of resentment of "straight's" re- marks. The "straight" is some talker and changes his chatter constantly, with everything running to slang and some new rings given to the joshes he slaps at his partner. Everything they say is distinctly heard, with the Amer- ican crowd enjoying the turn. Men also sing well, but rely mostly on their verbal exchange. Act can't miss in the pop houses. Mark. Lillian Teece. Songs. 15 Mins.; One. 23rd Street. Looking neat in an evening gown, Lillian Teece used four songs Tuesday night, all baltads, and received good returns. She has a pleasing singing voice, looks well in her gowns, and that's about all needed, as her work is that of an ordinary early spot wom- an single. The ballads are of the best, put over nicely and should keep her gqing in the three-a-day houses. Sherlock Sisters and Jimmie Foley. Songs and Dances. 16 Mins.; Two. Fifth Avenue. The Sherlock Sisters are likely doing in thus turn what they very recently did when with Jimmie Casson. Now they have Jimmie Foley, formerly of Foley and O'Neil. The sisters need someone else beside themselves. They appear to realize that, so it remains up to Mr. Foley, who does extremely well. He sings and dances, as do the girls, but he does it much the better, of course. They have one trio number about lumps of sugar, finishing with a "Carolina", song and dance, also open- ing as a trio, after which there is a single, then a double and all take turns in singing "Daddy," the second Sher- lock sister to do the verse doing it the best. Mr. Foley has the requisites for a singing and dancing juvenile in musical comedy, if the draft doesn't intervene. He has come forward rap- idly since of the rqale team, has ap- pearance, a certain ease that would be improved under skilful stage direction and looks very good for a future. He holds up this turn, which at its best as at present framed, cannot go so very high in big time circles. The Shcr- locks are good lookers and dressers. That is what holds them in. Sime. Harry Tenney and Co. (1). Songs and Piano. 20 Mins.; One. American. Harry Tenney may have been born in the show business. He may have been an entertainer long ago, but his appearance at the American Monday night indicated he was more of a "song plugger." His partner, a male, played the piano, and also did a song alone. Every number the boys used was intro- duced as a new one. The boys went along quietly until the singer pulled an announcement that he was going to give away $2 worth of music to the person giving the best account of him- self with the chorus of a "brand new song" entitled "I Am Glad That I Can Make You Cry." Upstairs and down several men and women tackled the chorus, for the most parts all plants save one. The American audience ap- plauded vigorously for more. The song tacks and tails so closely to the "I'm Sorry I Made You Cry" ballad that the similarity of style and rhythm is strik- ing. The' "plugging" was the best rea- son Tenney was down where he was on the bill. Mark - Ezra Matthews and Co. (2). "Quick Sales" (Comedy). 15 Mins.; Full Stage (Special Drop). Fifth Ave. Last time out Ezra Matthews ap- peared in a Hugh Herbert playlet call- ed "Prosperity." The new sketch is by Will Cressy, produced by Jos. Hart. It opens in "one" Matthews and Miss Blakeney singing "Give Me the Moon- light." They are lovers, but her rich dad (Dean Raymond) has frowned on the boy, saying that when he can show that he has made $100,000 he can have his daughter. The young pair plan to get the hundred "thou" from father. Int. j full stage dad is seen at his desk and the boy also in the office, he being an assistant. An oil land deal is to be swung by the financier, but it is first necessary to get a parcel held in the name of one Brown. The latter's office is shown in part, curtained off on the side and supposed to be some distance away. When the financier calls Brown's office, the girl answers the phone, say- ing that Brown is away, but that she has been instructed as to the price of the land. The phone conversation, which the young man manages to get in on with assuring advices to his sweetheart to keep up the price, fur- nishes the most of the comedy. Of course the young pair win, the act get- ting farcical at the finish, which is a trifle hurried in dialog and develop- ment. More laugh s would help "Quick Sales" a lot Not hefty enough for the bigger houses, but should do in pop. Ibee. The Belldays. Knockabout Skit. 12 Mins.; Interior. The Belldays, man and woman, knockabout comedians, although Amer- icans, have been playing abroad for the past 15 years and are presenting their act for the first time in New York. It is a little of many things, in the form of a sketch. At rise the woman enters attired as eccentric maid and develops that her mistress is out. Song and' eccentric dance. New dress for the mistress is delivered. "I'll put it on." Exits. Enter man, intoxicated, attired in evening clothes. He is the servant of the bachelor upstairs, had put on his master's suit and gone on a spree. Finds himself in wrong flat and about to depart when maid re-enters, pretending she is the mistress, he as- suming the manners of his master. Maid becomes very much entangle! in train of the gown, etc. She: "Oh you're Mr. Seymour, the vaudeville star. Let me see you act." He does some juggling and hoop rolling for about two minutes. They confess they are deceiving one another and reveal their identities. He sings, more knock- about, finish with a dance at the con- clusion of which he tosses her through a lifesize "painting" on. an easel. Not a dull moment from the rise to the fall of the drop. Story developed in a minimum amount of words and all the most rapid kind of knockabout slap- stick, low comedy action. At Proc- tor's 58th Street the second part of last week the audience enjoyed it im- mensely judging by the applause and the number of "bows" the turn re- ceived. / ol0 * Al Tucker. Novelty Violinist. 9 Mins.; One. Fifth Ave. About half a dozen seasons ago Tucker did a single turn with a fiddle. Afterwards he teamed with Reed, but is now single again, with a different routine, however, than when out alone before. He uses a white violin, playing it in all manner of fashions. The first position of holding the bow between the knees and drawing the fiddle back and forth is Trovato's style. But that is only a bit. He holds the bow in his teeth and even contrives to fasten it for a moment under or in one of his ears. He also has a number of posi- tions where he has the violin stationary and plies the bow and once with the fiddle held between the knees, a very good imitation of the cello was done. Tucker goes to show that violin play- ing is easy, not the difficult task it is made out to be by the virtuoso. He is safe for the early section of better pop bills. I^ee. "Rocky Fais" («). Wild West. 20 Mins.; Full-Stage (Special; Ek» terior). American Roof. The "Rocky Pass" outfit featuref Helen and Mill Dill, youthful ropers, with both a billing and stage an. nouncement that they are formerly ol the 101 Ranch. Their work bespeaks ranch life at or least long familiarity with the rope, young Milt's work being a feature. This smooth-faced, boyish lassoist is really the props of the turn, although there is a hard try for comedy by the oldest member and a number of songs offered in quartet style and by the older of the two women. While the singing got returns, the act held attention through the -lariat work of young Dill. The girl, Helen, also works some stunts with a short-length- ed rope. One man, the tenor, affects an effeminate style for funmaking pur- poses, but it does not succeed as pro- portionately as anticipated. Pop houses will no doubt' enjoy the turn thoroughly. The woman's solo .follow- ing the boy's work with the lasso stopped the speed of the turn. It should come earlier. Mark. Eugene Emriett. Irish Songr 11 Mins,' ^ne. ' Eugene Emmctt sings only Irish songs, has a well laid out list of that character, including two announced numbers of 20 years,ago, Chauncey 01- cott's "Mother" song and J. K. Em- mett's "Silver Moon" yodel. The en- core number sung by Mr. Emmett to close was not strong enough. He's a good looking young fellow with a very pleasant voice, but appears-to be taking considerable upon himself attempting a "single" if he wants to make the big time. When Mr. Emmett was around some seasons ago he left the impres- sion that as a part of a two-act with a girl, he would do very well and that impression remains, or else in a sing- ing sketch. Mr. Emmett should get over quite easily if properly fitted. He may go along as a single in (he manner framed, but will hardly reach the' vaudeville importance he could other- wise, filme.