Variety (January 1919)

SSf^-^^i."--:. SHOW REVIEWS e/fi PALACE. :, Perfect thcntro weather anil a gQOd program 5f flrew a capacity house nt the Palace Monday •'f~ "Dlght and the raanagcmcnt had tlie running It,' ;ordcr arranged to keep them seated to the flnlBb. Frisco was dolceuted to close the bill, a rather difficult font for a dancing turn, but '•';■ the "JazzlBt" from Chicago, In his hasty ram- -^^ ble from obllvloo to fame, has created such '^'■^ iDtoreat that not a olngle auditor left the ?' cuabJons until his flnal bow. With Lorctta -^i'' McDenaott, his Initial partner In this lino of ''■■■ work, he hna comedy dancing well arranged and cleverly done. And while many may not be aware of It, he has surrounded his efforts ': with one of the first and best Jazz orchestras ^V In the country In Bert Kelly's crew, fornjerly V of the College Inn, Chicago. But allowing ■' for the comedy derived, hU final bow should not Include the fall of MIbb McDermott. It's ■ uDDCcessary, gets nothing, and Is merely a repeater of a former "bit." FrUco deserves much credit for' bis progresslveness, orlgln- . allty and talent. At the Palace he walked off with one of the biggest hits of the show. Belle Baker Is the topllner, more charming ■ than ever, and with a vocal repertoire that ^ outBhlnes all Its predocesaors. 'With Miss - Baker It'n Culefly a matter of song, and In this specialty she has the goods. Beginning with an Introductory number "I'm a Baker," ■ she ran through comedy numbers and a med- ' ley, but the ballad In the act stood out con- spicuously as one of the best she has ever ^ Introduced. "Good Bye Frenchy" Is probably the title. It's made of a sure-flro lyric, backed - by B melody that cannot miss. There was '; never any fluestlon of her right to the billing ^Ji* honors and at the concluBlon of her time she '■ hBd a mortgage on the evening's honors. Following the weekly news pictorial, Branda and Derrick opened with their bareback rld- teR turn V.'hll9 clrcua specialty, this pair have arranged a splendid opening or closing act for the vaudeville houses. The woman makes a nice appearance and rides In expert fashion, doing exceptionally well as under- stander on the trotting animals. A back "flip" by the man Is the main feature stunt. Felix Barnard and Jack Duffy (New Acta) were second, with Harry Langdon and Co. In the comedy outo skit, coming third. LanRdon • Is now supported by two women, having elimi- nated the male waiter In the turn. It's a ■ guaranted laugh producer, the mechanical ef- fecta insuring a continual string of giggles. Frances Kennedy followed the Langdons. Extremely pretty, with a -^erBonallty and a Bmile that will pierce the grouchlest ot grouches, Miss Kennedy earned an easy hit. Wm. Friedlander has supplied her with some good, original material, but almost anything would connect In this girl's hands. While practically a new comer to Eastern vaudeville ■ Frnncea Kennedy has earned a first class rat- ing and can be safely classed with the beat of ■ the many women "singles" In vaudeville. The first part was closed by the Greater Morgan Dancers (New Acts), while Trlxle ■ Friganza (New Acts) opened the second por- tion with her new singing specialty. Nance O'Neill (New Acts) had the sketch spot, after which came Miss Baker, and finally Frisco. Wf/nn. RIVERSIDL f''" With five acts struggling for applause ?■>/honors, the show at the Rlvorsldo thla week ': was practically a free-for-all battle from the '.start. The result was that two of the turns, iS Eddio Leonard and Adele Rowland, walked S: away with the.groatoat applause. Mr. Leonard j. and bis Dandy Dan Minstrels, closing the first jjr'-part, held the stage for tblrty-flve minutes, ;'£and then the public was loath to let him go. k- After completing the act proper he was forced f'.to two old songs, a short recitation and an- *l' Other speech of thanks. It was a veritable ?ji'triumph for the blackface artist. Miss Row- V land in the second part, while opening rather t'Blowly, developed Into n genuine hit. '. Monday niRlit the house was Jammed and It ^iraa an audience that stuck until the flnal :;"turn. This was the Avon Comedy Four, play- ft.'Jng the Alhambra also, therefore the Rlver- ;.^'a(de audience had to take the old school act. i-When jcompared with their "A Hungarian ',:'< Rhapsody" one can readily see the tremendous ■;■• difference that the act makes. Their early ' slapstck comedy got laughs, to be sure, but one song was all that the audience watted for at the conclusion and one waa nil that the hoya sang. It was "Down on the Farm." The opening act was Bert and Lottie Walton, with Bill Bailey and Lynn Cowan In the second spot. Bailey, who has just returned from .France, Imd the audience on edge with his hanjo. There Is also a girl In the act nt present. She makes her nppenrnnce In the 'opening and closing uuiDbei-s, playing a saxo- phone. The two numbers that stand out are "When I'm Dry" and "Kisses." The former Is a corking rap at prohibition, telling of an American who is going to England to live, although his heart Is over here, but as "he Is a man that must have his liquor when he's ■<lry*' he la going over there. It is sure-flre at this time. Leona Stephens and Lon D. Holllstcr are oreaentlng their "Locked Out" sketch under greeted the advent ot the act and every num- ber brought a full share ot applause, Ruth St. Dennis (New Acta) opened the second half in a new series of dances, none particularly startling, and the opening section of the turn was rather tireaome to the audi-' once. Later the act developed and earned approbation. Frei. ROYAL Looks like the Keith Bronx house was keep- ing step with the other uptown big houses In the way of big business. Tuesday night the Royal was capacity—at 50 cents top. A higher scale has been tried there a number ot times but the "four hits" scale Is the only popular one it seems. And they want a show for that They are getting It this week, with plenty of comedy and a good variety of vaude- ville Ingredients. The bill waa somewhat oddly framed with two acts In the body of It that uKually grace the closing spot. They are the Asahl Troupe (still billing themselves as making a first American appearance after two years In the Eastern Hemisphere) and James Dutton and Co. The Japs were on fourth although first programed for closing IntermisBlon. Through Marie and Ann Clark helog out of the show several acts were changed about. Cook and Savo going Into the bill to fill the gap. The Asahis are a clever hunch, and they iiave worked the thumb trick to a myatlfylng nicety, yet the turn failed to fit the allotted spot as it should have, slowing up the show. The presence of the Japs on fourth is probably explained by the fact that the bill held mahy nets on "one." The opening intermission spot occupied by the Buttons, however, worked out to very good advantage, for It allowed (}corge Wblte and his quartet of dancing girls to close the show. The Duttons showed up better than ever, It In the neatest equestrian offering in vaudeville. Interesting and a corking flash. White and his Broadway steppers rounded out a strong second scctfon, and not one per- son left the house until the finale. White's request Imitations w;>nt over with a bang, and all the favorites were called for. Withal, It's a classy turn and the Bronxltes like that quality Just as much as other audiences. The turn was headlined and booked in for two weeks, of which this Is the first. Mehltnger and Meyer, holding over, went Into next-to-closlng for the hit of the bill. As a song and piano turn this pair easily stands with the best of the day. There was a some- what different routine from last week. Artie sang a new Meyer ballad, called "When I Hear Your Rosary," his second number on that melody, and It Is a aort of glorification ot the "Rosary's" composer, a Mr. Ncvin, mentioned several times in the lyric. "Johnn's In Town," n returned-Eoldler ditty, was ot comic nature. The medley of Meyer's successes—and be has turned out a fine measure of' them—Is a brightly weaved affair with the special lyrics well done. They earned nnd gave an encore. Ida May Chadwlck with "Dad" turned an easy bit on closing Intermission. Appropri- ately Wiled as "The Dancing Ace," she deliv- ered as usual and tickled the house with her rube-Uke antics. And "Dad" sure helps Ida May send it over. Frank J. Coaroy with Harry Murphy was seventh in "The New Physician," one of acts done by Conroy and Lemalre as a team. For anyone who hasn't seen Lemolfe work. Murphy la quite satisfactory. A comparison between the two would be unfair, since Lemalre Is In a class by himself as a straight man. The act la about the same save for the Introduction of several new lines. One waa when Murphy swings Conroy's arm and the latter remarks, "It won't go all the way round." Murphy then aays, "Tou need glasses." "Yes," Is the reply, . "with liquor In them." Francis Yates- and Gus Reed fared nicely third. The idea of female impersonation at the start by Yates at least gives the turn a good start and it furnishes a laugh for the finish. That comes when a rather large blonde girl walks across the stage. She "throws out the hooka" tor Reed, and his part- ner eggs him on, saying he has a flirtation. Reed answers, "Not on your lite; she may be your brother." Reed scored strongly with a bass number earlier In the routine. Cook and Savo got their chance to fill in for the Clark girls, and they more than filled the No. 2 spot Save, having cut out any juggling stunts, has more time, and attention is permitted for his comic antics and funny dances accentuated by the loose clothes. That he secures many laughs i^hows the good re- Bulta ot the change. The Three Romanos, a trio of girls who probably are sisters and who are similar enough In build to be triplets, opened the show with a graceful routine of good dancing, get- ting well-earned applause. "Tho song-slnglng stunt ending the Intermis- sion period Is a popular stunt at the Royal. Choruses of popular ditties are floshod on the screen, and the audience sings them without lead and accompanied by the orchestra. This tnktfs tho place ot tho intermission "overture." It was first tried at tho Royal some weeks ago and Is Inserted now and then. /bee. writing ot John B. Hymer is in bis best vein. He has succeeded In getting laughs Into what would otherwise be a pathetic drama. Hymer has taken the "Cinderella" Idea and adapted It to an old woman who^e son bad gone away from home IB years before and, not having succeeded, was ashamed to write to his mother. But the dear old lady has never lost faith In her son, and when he comes back wealthy, explaining his reason for not having written, it "lumps" you up to have her say: "No boy is ever a failure to bis mother." The tag line, "Drive to the palace, James, I dine with my king to-night," Is a work ot art, cleverly led up to. Tbe Mlllettes are the first act, following the Pathe news pictorial. They are a pair ot male head-balancers who work simultane- ously on a double trapeze. They are neat, easy and graceful, and offer a novel act Harry Masters and Jack Kraft present a satire on song and dance men, past and pres- - ent, and tbelr conception of what that aort of a turn will be in the future. The men are a pair of eccentric ateppers with acro- batic trimmlnga, and scored nicely. They were followed by Miss Adair In the sketch, who waa in turn succeeded by Homer Dickinson and Oracle Deagon. Dickinson makes a classy straight to Miss Dengon's lisping maid. They have an original method of working w^hlch appealed strongly. Leon Errol, in hia ludicrous knockabout skit, "Tht Queat," taken from the "HItchy Koo" show, was greeted uproariously. It Is much fun- nier in vaudeville, probably- due to the fact ho takes sufficient time to humor his bits of "business." His unprogramed assistant Is worthy of special mention for very high-grade feeding. (Took and Savo opened the second half— a. straight and a nut clown—with crosstalk constantly Interrupted by Savo's eccentric knockabout stuff. The tatter's methods strongly suggest those of Billy Merson, one of London's favorite comedians. At the finish he tools the audience by unwinding a good singing voice. Phyllis Nellson-Terry offers a program ot songs, but hasn't yet learned how to make a vaudeville entrance. She Is full of man- nerisms. But one can forgive her almost anything for the glorious voice. She sang "Somewhere a Voice Is Calling," "Dear Old Pal," "Couplet du Mysoll." with flute obllgato, and a neat little speech of thanks In verse set to music, which concluded with the state- ment that she knew nothing more. Imme- diately afterward she recited. Stan Stanley and Co., in "A Dollar a Kiss," have a number of new quips. Collins and Hart closed the show. Jolo. COLONIAL. 125TH STREET. Idsal, the diver, gave the most comedy to the first half bill at the 12.')th Street this week, through the amateur diving contest staged by her "Tuesday night," a feature occurring once during an Ideal engagement The girl herself closed the vaudeville show with her diving turn, extremely well lead up to through a moving picture scene In which she stars. It shows Niagara Falls and ostensibly Ideal swimming the rapids to rescue a little girl. The film has been skillfully cut and joined to leave a tense effect, upon top ot which Ideal suddenly appears In her red dlvlng-unlon-sult. Somethbig else she does to make It different as a diving act—using a apotilght throughout her dives, the light gloaming against the raised mirror in the back. It aids the stage sight and the diving. The 125th Street had over capacity, and the contest must have drawn since many of the eight amateur contestants were notably supported by friends. "Swimming backwards" by the youngsters made the most fun. It seemed to be a trick of pushing awny from the Bide of the tank. Those who did not grasp the Idea remained stationary or moved tor- ward while trying to paddle backwards. Ideal's own dives are well done, and she appears to have made a vaudeville draw ot her turn, also helped out ^or comedy by the announcer (who handles himself and the turn nicely through- out) falling into the tank, in his tuxedo, at tbe conclusion, to a screaming laugh. Tbe show otherwise ran short on comedy. The 125th Street seems to want at least one rough fun turn. It was singing and dancing without the rough stuff. Plerlot and Schofleld opened, doing something In the position, fol- lowed by the Sherlock Sisters and Jimmy Foley. The act secured the most on Mr. Foley's personality, perhaps bis work, but Foley does not show up as well now as he did when first breaking In with the girls. Either self-assurance, secured through appearing be- fore small-time audiences, or a carelessness possibly developed from tbe same reason, seems to have removed that Indication of coming class he held at the outset Also Mr. Foley should either secure a regular tuxedo or throw away his present alpaca one. The Sherlock Sisters look neat, In about the same routine ot number as tho three-act had before. After Nelson and Ely, Mayo and Nevlns, and Roatlna and Barrettl (all under New Acts), Joe Towle reappeared In New York vaude- ville, after over six months' service In Franco and a record ot having been gassed at the Mr. Towie Is jusl feeling his way out to retrame his nut piano turn, not doing so much nut stuff In talk, but getting as much reauU, and his comment on the Army boye hoida humor. Tho turn starts the same way with Towle aiding in moving the piano upon tbe stage, and his piano playing at tbe finish sent bim across fiylng. He will need another week or so'to again get his stride. Next to closing was Oeorgle Price with a piano player, doing his imitations and hav- ing one new recitative numtwr, ot a hand- kerchief, written by Blanche Merrill. Mr. Price baa a piano player, and the comedy opening of the turn with him does not seem to help the act any, especially In a house like the 12oth Street Mr.- Price did not do a great deal. There Is not a great deal ot strength to the act He should revamp or rewrite.lt The usual pictures were In the bill. It's rather nice to watch a show at the 125tb Street, knowing the audience and nelgh> borbood, and see tbe control that has been taken of the theatre, particularly the gal- lery, by Bob O'Donnell, and tbe assIsUnt manager, Joe O'Neill. Even during the div- ing conest, when the opiMrtunlty To be tur- bulent could have been taken full advantage ot, the boys way up, while expressing their opinions In no uncertain manner, did so with a restraint that bespoke respect tor the the- atre, sime. AMERICAN ROOF. The usual heavy attendance, Monday, vir- tually capacity. The show proved up to stand- ard but minus requisite comedy. Shelton Brooks, the colored song writer, was next to closing and took down the evening's honors. Brooks has Improved considerably since first showing as a single this season. At that time It didn't look as it he had a chance for the better houses, but If he will coutiuuu to build up his material he might have a chance to go forward. He has inserted a poker story in bis routine, told with gestures!, but DO ImlUtlon ot Bert Williams. Brooks' comedy material went over well, but that should have been, tor there were too few laughs in tbe second section ot the show pre- ceding him. His "Marching Through Georgia" landed best ot the song numbers. Herbert Brooks, third, afforded amusement with his tricks and quips, which never tali on the small time in spite of repetition. Her- bert is a jester ot the first water on and off the stage. Instead of going among the audi- ence himself with a pack of cards, be has an assistant pass up the alale for carda to be selected and marked. Brooks the while kid- ding. He said that anyone discovering how he did the stunt would receive a check for $223,000 or $2 In cash. Herble loves to talk big amounts. Through the assistant taking to the aisle the trick is all the more myatlfylng. There Is also a girl assiaUnt who displays a luxurious head of hair, which she wears in double braids falling to her knees. "What Women Can Do," the headlined turn, occupied the usual closing Intermission spot. It Is true that there is a similarity In titles to Rosalie Stewart's "What Girls Can Do," but there all semblance ends, with of cource the latter act being the classier turn. There Is little to the "Women" act outside of Anna Vivian's shooting section, rightly finishing the routine. Miss Vivian's shooting through the neck of a bottle Is a feat she has all to her- self. She is neat enough in khaki, but the breeches fail to become her. McCormIck and Irving did nicely on fourth, the man's nut stuff getting across! When he said he would sing, but that it was no imita- tion of "the other McCormack." Al Fields, who came upstairs to take a smoke, applauded.. McCormack may or may not have known that when he called himself a "Twelfth Avenue Bevo bound" tbat he was kidding the audi- ence, tor the American is the "Palace" to the west slderg. The Throe Herbert Sisters, three neat girls with a very well arranged routine, opened the show nicely with songs and dances. Second came Charles GIbbs with Imitations ot musical Inatruments. Mary Dorr (New Acts) opened Intermission. "Room 800" (New Acts) was' seventh. SelbinI and Orovlnl closed strongly, the nan's comedy scoring.. liee. STH AVENUE. A show that ran evenly and held much new material was at the 5tb Avenue the first half, with Josle Heather and Co. and Raymond Hitchcock's "Toy Romance" (New Acta) head- lining. Miss Heather has a new act, very tastefully and expensively dressed, with Wil- liam B. Friedlander material that Is some- what different In Its entirety from t'jo song matter Mies Heather previously employed. The clothes and the songs cause her to look like a new act altogether. Her opening cos- tume, the uniform ot the girls of the Motor Corps, ,ia about the smartest thing la stage dress of that kind shown hereabouts. In Miss Heather's act, as formerly, are her sister, Bobble Heather, and Mr. Casey at the piano, the latter playing but strains while the ' principal quickly changes costumes, and Bob- bie appearing with her slater in the single Srotch number. Tnere Is a recitatlvs storv