Variety (January 1919)

|^p'il^iS^i^^K^"«5^:^^!J5??.T»S??5^^ SHOW R ,..^_....„l *-' • Loan uul La Ho«n. Songa and Talk. 16 Mine.} Two (Spacial Sal). Harlam Opera Houaa. The setting is two leg drops in "two" showing an adobe hut and a prairie waste. A cowboy soliloquizes about a dance the boys are going to have that evening, and that he was waiting for the girl who is to sing the songs before the entertainment The girl dressed in Brojadway style arrives, and some cross fire chatter which is pointless leads into a double topical song.- The man announces he is go- ing to do a recitation while she changes her dress, and recites something about a horse and the Rio Grande, which is lost on-account of the slurring of the words. The woman then sings a musi- cal comedy number dressed in evening clothes, and the man dresses himself in a tuxedo and, joins her in a little more talk. He ne;ct sings a popular number in which he gives his own manner of pronouiiciation, and the woman returns dressed in another evening gown, in striking contrast to the setting. A dance to jazz music lets the act off slowly, lets the act off slowly. The turn is presented in an amateurish manner as far as the entrances and exits are ar- ranged, and the delivery of material by the maa could be greatly improved. Lea Copeland and McCloud. Songs and Muiic. 11 Mm*.; One. 23d Street Not newcomers to vaudeville, but new in the combination. Les Cope- land makes a slight announcement of one number that he wrote for Bert Williams. It's the "I Ain't Married No More," with Copeland putting it over effectively and playing his own piano ' accompaniment.. While Copeland looks after the piano end and also handles the singing department, McCloud, best known as a banjoist on former per- fdrmances, not only picks, but also ' uses the saxophone for ooe number. McQoud gets busy vocally on a.num- ber that sounds unmistakably like a Copeland, the one with the reference to the old oaken bucket, but referred to in a comedy lyrical sense. Another of Copeland's "Not Good Resolutions; Just Broke," has a funny construction, and was registered in Copeland's characteristic style. The audience like - the piano-banjo arrangement, a' medley of topical songs being splendid- ly played, and the act distinctly scored. McCloud knows how to strum a banjo, and on the jazzedy, raggedy, shimmy- %g stuff is there. The men will short- ly hit a dual stride that will bring out their talent all the more impression- ably. ^«»"*' Soatlikm Sarenaders (6). Miuical and Stags. 13 Mina.; Full Stage. A pretty musical offering, by one man and five women. The interior scene shows the living room of an old fashioned mansion in the south. The women are all clad in hoop skirts and the man in a fashion also in keeping with the period. The program includes piano, flute, violin and cello specialties and several vocal selections. The act bespeaks class and is a musical offer- ing that wilt fit on any big time bill. Fred. Sidney Smith. Cartoonist. IS Mins.; One. Sidney Smith is the creator of the popular Andy Gump, and the "Oh, Min 1" pictures in the Chicago Tribune -and its syndicate. For that reason Mr. Smith got over in Chicago. Elsewhere he "will not get over, -His scops is limited to newspapers, where he has been a proven and decided success. This is not because Mr. Smith is not a good artist or a good humorist, but because he is not a good vaudevillian. Swing.' Burt and Rosedale. Talk and Music 15 Mios.j Three <ParIor Set). Man with semi-hut make-up and girl form this two act. Everything in the turn is done" in small time fashion. The turn opens with the girl at the piano for a number, the man entering during the selection. A little talk fol- lows. The duo use flute and guitar for a couple of numbers and close with an eccentric dance by the man with the girl again at the piano. The talk gets little or no returns with the instru- mental part little better. There is harly anything besides the dance to keep them going. PAUCL Ten acts and over before 11 Monday eve- ning—and a good Bbow. ,_.»-, The flrat part held six turns, the latter, section four. With an »i»termlBBlon,-and a weekly film opening, the speed of the program ■W&3 maintained throughout, though one act (Hyams and Molntyre—New Acta) ^/i^^ sUge for 27 minutes, with Lydell and Macy, Qood names^were quite abundant on the program. Lucille Cavanagh, Leon Brrol and Laurie and Bronson were among them- It needed some manipulation with so much Ugni entertainment to hold up the progritm all the way. This was satisfactorily done; although Laurie and Bronson, next to closing, and fol- lowing Leon Errol'a, rough and messy though laughable act, could not be said to have aecurea the best of the placement The Wd turn though should be happy In the knowledge they were selected for the hard spot The Palace held a mob Monday night For the past month every day has been a holiday at the Palace. Matinees run with the night shows. The 8. R. O. sign there may have been worn out "to Jim McBrlde's (the ticket taker) coat The crowd rushes the Ucket taker, and after each performance McBrlde starts searchers around the lobby to recover the lost buttons on of his coat Monday afternoon and evening \the Palace had a sell-out for each performance before the curtain arose. The advance sale there of late has been unusually extensive for a vaude- ville theatre. The early week In New Tork was big for the theatres, with New Tear's breaking In, and a holiday crowd sUll looking for enjoyment after Christmas. This may bo the record week for many a New York theatre, and particularly those that gave an extra show New Year's Eve. ^ ^.. .. « . The Errol act called "The Quest and first shown at the Majestic, Chlcdgo, about a month ago, may have created the most pre-lntsrest In the current Palace program. Jed Prouty Is doing the straight for Errol's "drunk." It has been many years vslnce Mr. Prouty played vaudeville, appearing ne/ore as a part of a male two-act, then doing the straight likewise, and since appearing In musical comedy. The Errol act is a bedroom scene, with Errol flopping and falling all over the room, smashing crockery and knocking statutes oft pedestals. It's the "Brrol drunk" business, done with something different In "falls," Brrol now doing his falls more In the way the trained dogs like Jarnold's "Dan' 'and Yokes' "Con" were taught or forced to do them, stag- gering sideways for several steps, then slowly toppling down in a heap, still sideways. For a "fall" by a human it (s much more effective than the flat Hop formerly done by Errol and others. Mr. Erro>' made them laugh with this business, also soone of his remarks and the plate-'bmashlng, sure-fire since the days when first discovered to be the cheapest laughing prop. Errol also got some laughs at first when blowing his "drunken" breath Into Prouty's face, and Prouty'e show of being overcome by the avalanche, both mentlonmg Bomething about the gas pipes being out of order to make this more difficult and repulsive. The Palace audience, and to a far greater extent than the $2 houses, Errol has done It before In productions, did not bowl over the bit. For everyone who laughed three were silent, and some looked disgusted. It was repeated so often the final couple of' breath blows passed away with nothing. Brrol has a comedy act though, and It appears his Indi- vidual work and personality more than his material are getting it over. At the opening he is ushered Into a bedroom with the butler explaining things to him. The bedroom Is fitted like a shop for statuary. For the finish Errol does his Indian wrapping In the blanket and pillow, to remain under the comforter In bed. The Laurie and Bronson team right after- ward held them In with sidewalk foolishness, going along nicely all the way under the han- dicap. Qeorge N. Brown, the walker, closed the show. It's unlike the regular Palace clos- ing or opening turn. The orchestra and stage- hands did not appear to be very enthuslaatio in working up the racing finish, and this por- tion, the main part of the turn, running six minutes (during which the walkers went nine- tenths of a mile on the treadmill walkers, brought only mild attention. The turn In all runs about eight or nine minutes, Mr. Brown might aid hl9 act by securing a medley of live JuBtrumentftl avmlwrs for tl»i; i.ocldfljJtaJ lawJfe Closing the first part was Lucille Cavanagh, returning to the Palace after playing a hold- over engagement there not so long ago. The lay-out appears the same as before, when It was now, and the principals are the same, Wheeler, Wadsworth, Mel Craig and William B, Taylor. The act Is moving faster though, and gains considerable through that Miss Cavanagh composes herself Into a very pretty stage picture in the several numbers as the centre of an attractively staged turn. Just preceding, Al Lydell and Carleton Macy did tho former Lydell and Hlgglns turn with a change of routii^. Mr, Macy (who often appeared In vaudeville In years gone wlw his wife. Maud Hall Macy ("The Magpie and the Jay," etc.), la doing the straight as an old naval officer to Lydell's old vet in which none. excels him. To hear the old A, K. ejaoulate "Attaboy, attaboy" while Mr. Maoy Is reading a letter la as good a laugh as vaudeville holds. Mr. Macy has a verse written by Katherlne Dana, and he makes It tell. As verse It Is much beyond what vaudeville has grown to bear. The combination of Lydell and Mas? Is excellent: In contract, perfect and In enter- tainment 100 per cent The Olldlng O'Mearas opened the show with tneir. ballroom dancing. The O'Mearas have been able to bold themselves in thrmigb touches of originality In their work. The 1«1U they are now doing, a skating walU It might be called through the dipping Indulged In, is pretty to watch, and Is their own. The Le, Qrohs, No, 2, although contortionists, work In a way to remove that, and the house accepts them as something new, mostly because of the comedy twists given his twists by the younger man of the trio. The young woman looks neat and nice and is no mean contortionist also acrobat, herself, but the supple bender of the three smothers the two when It comes to twisting. Smith and Austin, No. 8, went through their regular routine, now set with them, with the girl singing one number. They worked fast and got laughs, their only ob- Hyams and Mclntyre (New Acts) were No. 4. Blme. ^ ■ RIVERSIDE. * A well-pIaylng bill that pleased the excel- lent bqjise'Monday night, when everything but the slqe -seats were occupied. Business has been holding up strongly at the Riverside, with the hoUday draw fully up to expeotatlona JacvNorworth and Lew Dockstader in next- to-closing and No. 4 respectively (similar spots ' In the.two sections of the show), both delivered, but something new In a musical comedy way cauKlft.the house's fancy, too. It was "Not YetTMarle" (New Acts), whose running length ledfto the bill being overtime. /Mr. Norworth Is supposed to be dallying but temporarily In vaudeville, having another pro- duction of bis own In mind. He debuted for Ihe present trip in Chicago some weeks ago, and probably has changed his' routine some- what There Is no doubt but that audiences like to hear him sing, even with what might . be termed ordinary ditties. He satisfied, with- 'eut arousing any real returns—that Is not in "the measure that has been his heretofore. Ho nearly started something with the final song, a topical group of verses called "In These Hard Times," which, however. Isn't quite up" to his former offerings of like kind. He re- tains "Mother's Angel Child," used for an opener, but with some new chatter in between, saying he was going to call the infant "weather-strip" because it "kept me out of the draft" "Can You Tame Wild Women?" "The Slnglig Walter (bringing in popular airs) and "A Good Man Is Hard to Find" completed his routine. The last-named song is of the "blue tune" kind, Mr. Dockstader made any number of exits and entrances, giving about all the material pertaining to his latest monolog (done ^y Aaron Hoffman). Portions of the talk are brought up to the minute, and there was some kidding of the President whom Lew said signed the prohibition measure Thursday and announced he was going to Buropc-Friday. He touched on the possible presidential candi- dates for 1920 as "Wilson and McAdoo for the Democratic ticket; Roosevelt and General Pershing for the Republican ticket and Hoover for the meol ticket" He opened by addressing the bouse as "members of the 17th Assembly District, friends, voters and their husbands," which drew the first laugh. He then went Into his argument to prove that' the Germans are "meal-hounds." ' William L. Gibson and Reglna Connelll, in another Aaron Hoffman product, appeared in "The Honeymoon," on seventh. This playlet was out over the Orpheum time last season, but was recast for eastern bookings. Any man who could get away with the "stuff" the groom "pulls" on the supposed first day of a honey- moon deserves a medal, but the chances are that any youth who felt similarly towards a girl would never fall for the parson's knot The playlet sure tickled the house. During his "bawling of the bride" a cat escaped from the orchestra pit, leaped to the foots and "exited." Gibson stopped long enough to say It was good luck, Kramer and Morton opened intermission, doing well. They are offering one current tune, "How're You Going to Keep Thom on the Farm After They've Seen Paree." Ethel Hop- kins filled No. 2, with songs, one being an operatic' effort. Best tor her was a medley of the old-time patriotic numbers that takes In pretty yearly everything. "Sweetlor' was strong for No, 3, its novelty finding an appeal. The act is rather well cast, the Frenchman and the Yiddish aviator being especially good. The Pickfords opened the show with old stunts, and the closing spot was taken care of by Olympla Desvoll and C!o., whose horse and dog turn was probably fresh from a circus. /Bee. Avl-Ate-Her" were the laughing hit of toe show, while Eddie Leonard ran awny wltn applause. The Garclnettl Brothers in a novelty acro- batic and hat JuggHog offering opened In a . lively manner. They are dressing tho oot dir- ferontly ond have cut tho bit with the nog , down to faster results. Diana Bonner (New Acts) scored with singing and then Morris aaa Campbell, Miss Campbell has added much with some new wardrobe, and Morris has extended bis stay In tho upper box to gather several more laughs, Mr. and Mrs, Jlmmle Barry are here two weeks for the first week are doing their old stage door act "The Rube," a smoother work- ing affair than "The Burglar" which they have been showing around New York the greater part of this season. The Barrya nave two laughs in this act to one In "The Burglar." They went decidedly well considering all tne laughing ahead of them. Mr, Leonard with his company of ten col- ored singers and donoera closed the first haU In his usual showmanlike manner. In one or his speeches, Mr, Leonard told the audience he would applaud them and that be has Henry Lewis doing it now, Leonard song leveral encore numbers before allowed to depart. The second half was opened by Frank Crumlt doubling from the Alhambra though the jBudden Illness of Mary Clark (Mary and Anna Clark). Crumlt with his songs, stories and playing of the mandolin and ukulele won an early hit. George White, assisted by TofQualters. Ethel Delmar, Lois Leigh and Dorothy St OJalr of- fered his dances and several Impersonations oi dancers. The act is kept freeh-looklng by the evident attention the wardrobe receives and the dancing of White was never done at a faster clip. The turn won early distinction as It was a decided flash on the program. MlloT now opens his act witli new talk lo which some war gags are Interpolated ana then he gets down to his Imitations. A ballaa near tho close has been done to death and only that Mllo gives an excellent rendition fiftVQB it Rdbert Dohn, assisted by ft.inW«5«t,'^doe8 a cannon ball juggling act in which much forced comedy is used. Dohn's act needs speed If it wants to hold the crowd In when closing the . show. . ■ '^^ AMERICAN ROOF. As a getaway bill for the old y«a' ^e j American Roof had one that In •a»»gh-gettta« was above the average, with to«-,"X?]«?S2 Monday night Hot only comfortably fllllng the place, but obtaining a whole lot of AT Ism out of the show. Barring one little wait tM bin displayed a little more speed than «««*>• in agent who has been in service and only recently mustered out, was surprised to Md the Roof running a comedy picture at the opening of the show upstairs, but from the laughter resultant opined it must be a goott bet The picture does away with the long wait if the folks get in oround 8 bells. As a rule the Roof show gets under vaudeville pressure about 8:80. . . ^ . „, Crutchfield, lariat monologlst opened. His talk seemed to get to the rope's end ond that s »bout all. It was hard to hear the talk beyond the first few rows up there. However, h«s a corking good manipulator of the lariat and has several rope tricks that were applauded. Downstairs the talk also likely helped. Watklns 'and Williams (New Acts) were fol- lowed by Belts* Animals, which has a routine by seals as Its main feature. Interesting as of yore, with a number of antics surefire for comedy purposes. Berry and Niokerson have a musical act of the old TaudevIUe type, but brought out along more up-tc-date lines. One man Is In burnt cork and the other kad on an exaggerated attire that was suppoaed to Wda . his former Dutch makeup. "The men play divers Instruments, with an occasional play for comedy by the blackfaced man, which waa largely succeastul atop thp Roof. "Days of Long Ago," with one man, four women, violin and piano, found favor with the combined singing of the outfit. Not much to the act, and the songs of a straight construction for the most part, but of sufficient merit to entertain those caring for a singing turn of this char- &ctor * After intormlaslon appeared Homer and Du-' bard, who were quite successful with their offering, the closing in particular bringing them vigorous applause, Emily Smiley and Co. (New Acts) were followed by Bam Heam, with bis Rube monolog and violin routine. There was a time when any attempt at a rube stunt on the Roof by a "single" was suicidal, but Hearn sure had them laughing good and hard. - He has a combination of Ezra Kendall and Rube Dickinson patter that was certain (or both laughter and applause. Harry and Anna Bcranton (Now Acts) closed. Mark, COLONIAL A peculiarly constructed show, fast moving and with plenty of novelty found favor with a capacity audience Monday night, notwith- standing the lack of full stage acts. The first half was mostly In "one" and Morris and Campbell with t heir skit "TheT MacGREGOR'S OWN PRODUCTIONS. Edgar MacGregor, who has been the chief stage director for Klaw & Erlan« ger, has formed his own producing company, though the attractions put on will route through the K. & E. ofiice. The MacGregor producing company is backed by a group of men, some of whom are known in theatricals, but several are business men. The new company will have six de- ..partments, heads for. which JiavcAl-. ready been chosen—for publicity^ cast- ing, play-reading, etc. Mr MacGregor has in view three plays. For a starter they are to feature Marie Carroll, Marion Coakley and Kate Pullman, re- spectively. '■g ■1