San Francisco dramatic review (1899)

February 22, 1908. THE SAN FRANCISCO DRAMATIC REVIEW LOS Angeles Appreciates the Good Qualities of The Gingerbread Man, and Oliver Morosco and Joe Montrose Break Out Again Into SOIlg Verse Los Angeles, Feb. 20. — Common rumor has it that rather than allow its present house to pass into the hands of the Philistines, it is rumored that the Orpheum people will operate two houses in Los Angeles, after the erection and opening of the Los Angeles Orpheum Theatre. What the present house will be called is not announced, but it is admitted that it will probably continue as a "Home of Vaudeville," under the Orpheum Circuit Company's management, even after the new house is opened. Martin Beck and Clarence Drown are trying to figure out the location best suited for the new house, but have as yet not succeeded in reaching a definite conclusion, although it may be a good guess to locate it at Sixth and Broadway. They have wired Mr. Morris Meyerfield to join them that a definite decision may be reached at once, the contracts let, and the house ready for occupancy by next fall. Manager Drown has but just returned from El Paso, where he has been attending the opening of the new stock company which has superseded vaudeville at the Orpheum there. Robert Waynne is stage manager, director and leading man all in one, while Brenda Fowler and Mazie Oliver are the leading women and Carrol Marshall plays the characters. The company is said to be a very capable one throughout, and has opened to good business. Henry W. Savage and his edicts to the contrary notwithstanding, Herr E. A. Fischer has "been an' gone an' done it," — he has put on The Merry Widow Waltz. Bessie Tannehill is singing the song in this week's production of The Chicago Girl. True, the chorus ensemble work is omitted — Miss Tannehill does the song as a solo — but its title has proven alluring enough to draw many, many shekels into the Fischer tills, which is what was wanted. Up to yet the staging of the song hasn't caused any "riot," although "trouble" for Herr Fischer may "drop" before the week's out. The really stragetic part of the Teutonic impresario's coup is the fact that the newly organized Unique Musical Comedy Company proposed putting on the number, but was warned to desist by attorneys representing Mr. Savage, and did so, their piece, The Merry Widower (reviewed elsewhere in this article) suffering somewhat in consequence. Next week closes the Ferris engagement for this season, the chestnut-haired actor-manager and his talented wife, Florence Stone, taking a vacation for the month or six weeks elapsing 'twixt now and the date of their opening for the summer season at the Metropolitan Opera House, Minneapolis. The company will be disbanded and almost if not quite a new organization will be formed for the summer's work. The season has not been as profitable as last year's, but Dick is "undismayed," and says he will come back again next year if he can get open time at the Auditorium, or some other suitable house. GRAND OPERA HOUSE.— The white haired bald headed brigade, whose members turned out in force for The Black Crook at the Grand tills week, in memory of "Auld Lang Syne," was somewhat disappointed, for in place of the old familiar toe dancing ballet, musical numbers were interpolated and economies generally practiced to the end of reducing the necessary size of the road company. The result is pleasing in a way, but "it don't seem like the same old smile." The handiwork of scenic spectacular producers is also evident in the trick scenery introduced. However, the play is well mounted, well costumed, and, abridgments considered, well staged. E. J. Willard, J. E. Pierce, Wm. Welp, Bessie Browning and Marie Rosyln are the best of the principals. The chorus is well trained and sings with considerable attention to the score. As for looks, they are only fairly fair. LOS ANGELES.— There's a real show at the Cort-Heilig house this week, but just what it might be called is not so easy. Extravaganza is the way it's dubbed in the programme, and I guess that's nearer the mark than anything else. It's just a jumble of nursery traditions ' strung together, affording opportunity for the introduction of a trio of clever comedians, several handsome women principals, and the prettiest, best drilled and best singing chorus that has struck the town this many a day. The comedians are Fred Nice, Ross Snow and James McElhern. Evelyn Frances Kellogg as Jack Horner is a visual and aural treat. Winsome and winning as to features and figure, her voice is very sweet and her acting capital. Mable Day as Mazie Bon Bon and Nellie Nice as Margery Daw are very acceptable. All in all, the show is the best of its kind we've had here in a long time. MASON OPERA HOUSE.— Pixley's fantasy of birdland, Woodland, with a thoroughly adequate company and scenic equipment, is pleasing patrons of Mr. Wyatt's house this week mightily. The revival is hardly changed from the original production, and for treatment as a story requires no mention. Mary Quive sings Miss Nightingale for the most part satisfactorily. She is a pretty woman, and while somewhat inexperienced for music as catchy in spots as her role demands of her, makes a very favorable impression. George Leslie as the Bluejay, Dwight Allen as the Rooster and Henry A. Barrows as the Owl were a satisfactory trio of comedians. Lelia Smith as Jenny Wren and Mable Jones as a cold bottle did some fair singing and unsurpassed dancing. Elizabeth Spencer was a pretty Lady Peacock and Constance Farmer a demure Miss Turtle Dove. The chorus, particularly the male part of it, did some very excellent singing. AUDITORIUM.— Florence Stone as Thehna in the dramatization of this great Corelli story, is a real treat at the Theatre Beautiful this week. The role gives her an opportunity for good emotional work as well as allowing her to show what she can do in lighter vein. As Sir Phillip Bruce Errington, Kilgour has a part to his liking and does exceedingly well with it. Harry von Meter plays the dwarf, Siguard, and does good work in it, while Frank Beamish as Olof and David Edwin as Sir Frances Lennox are quite up to the mark. Miss Fanchon Everhart, the Belasco favorite, is loaned for the week to Ferris, and plays the Swedish housemaid capitally. Florence Barker is a good 'Britta. The play has been given an elaborate scenic investiture, and while it is frank melodrama, the houses have liked it most heartily. BELASCO.— It's All Your Fault, Edgar Selwyn's farce comedy, produced in Los Angeles for the first time by Blackwood's aggregation this week, is a cleverish affair. It isn't startlingly new — few farces are — but it lias many a laugh concealed in its four brisk acts and shows the Belasco organization, headed by Joseph Galbraith for the nonce, at its best. Stone is resting this week, and, by the way, we are all rejoicing over the news that he has signed for another year at the head of the popular Belasco Company. But of the farce. Its chief incidents revolve around the mystery as to the parentage of a nine-year-old prodigy ( Peter Clancey), a foundling. The lad himself (most cleverly acted by Master Clancey), has probably as long a part as has ever been entrusted to a youngster, and he creates much of the fun. although the characters carried by Mr. Galbraith, George Barnum, Elanor Carey and William Yerrance, all contribute. Dickie Vivian, Adel Farrington, Florence Smythe and Katherine Emmet all present characters essential to the play, and do them well. The fun is fast and furious, and unquestionably this new play (the fourth consecutive "original" production to be staged at the Belasco) will go, once it is pruned and trimmed up a bit, always provided as good an organization as that at the Belasco has the playing of it. BURBANK.— It's hard to believe you're in a "stock" house when witnessing Morosco's Burbankers in The Milk White Flag this week. In the first place, there is a "real" chorus of pretty girls who sing well and look better, and the company displays an ability for "musical comedy" not to be sneered at nor made lightly of. Seriously, Hoyt's clever satire has seldom been better done than is right here this week. Blanche Hall, Margo Duffet, Henry Stockbridge, Maude Gilbert, John Burton, A. Byron Beasley, and, in fact, the whole Morosco aggregation, is right at home, and the play is a hit in consequence. Joe Montrose and Ollie Morosco have a couple of new songs in the bill, Yankee Sailor Boy, and Cherokee, and they're both 0. K. at that. The plav should run a fortnight. ORPHEUM.— This week's show at the Orpheum is very good. Al Shean, who came to Los Angeles some time ago as a monologue artist, is the chief attraction. He, with his side-partner, Warren, put on a laughable skit called Quo Vadis Upside Down. It is a scream from start to finish. Shean takes the part of a Dutchman with an Irish name and a German laugh. Mis partner is a "hamfat" actor out of a job and a long way from home. Adolph Zink, the little impersonator, furnishes an entertaining number. Some remarkable work in facial expressions is done by Harry Allister, a character impersonator. Excellent music, both instrumental and vocal, is rendered by the Milan Trio. Rice and Cohen in their skit, The Kleptomaniacs, are also pleasing. Other holdovers arc Gus Edward's School Boys and Girls; Carletta, the human dragon, and the Four Parros. EMPIRE.— One of the headline attractions at the Empire this week is Geo. Morrell, singing and talking comedian. The other numbers include Grace Oaks, singing and dancing soubrette ; Laura Banks, with a new song; The Aehrens, novelty acrobats, and Sampson and Douglas, singing and talking comedians. The Empire stock company is seen to advantage in The Clockmaker, the cast including Al Franks, Frank Morton, Richard McDowell, Snowie Maybelle and Laura Banks. FISCHER'S.— J. Edwin Owen's show at Fischer's this week, The Chicago Girl, is a clever little skit, which provides Herb Bell as a German butler and Billy Onslow as an Irish senator ample opportunities for funmaking. Also it gives Bessie Tannehill a chance forv better work than she has done since joining the Fischer forces. Invitation, a concert waltz of wide range, is her first song, followed by The Merry Widow Waltz. Later in the show the new Rogers Brothers's hit, In Panama, reveals her in a popular number. Richard Kipling sings Molly Malone pleasingly and Miss Montgomery is well received in My Irish Rosie. Preceding the comedy Turtle and May present a clever sketch entitled An Unwelcome Visitor. UNIQUE. — The change of programme at the Unique this week seems to please the patrons of the house. The burlesque company appears under disadvantages this week, as Ben Lodge, the comedian, could not get here in time and Len Dunbar was summoned north Sunday by the illness of his father. The burlesque is entitled The Merry Widower, and the cast includes Maud Beatty, Kate Carlson, Eddy Murray, Geo. Rehn and Leon Le Chartiers. Mr. Wippcrn's company will doubtless be all right when they are more thoroughly organized. Among the catchy songs presented are I Love You, by Miss Beaty ; Frocks and Frills, by Katie Carlson, and In the Moon, by the tenor-leading man, Leon Le Chartiers. Lillian Gardner sings an illustrated song and Belle Williams has a monologue between the acts, the Unique Comedy Company following with Richard Cumming's one-act farce, Bill and Gus. Chas. M. Emery. THOMSON ft PARKER Present the Company of Quality Majestic Theatre Co. Presenting complete productions of FARCE, MELODRAMA and POLITE DRAMATIC SUCCESSES. Advanced Vaudeville between acts. ANDREW E. THOMSON, Bus. Mgr. Francis-Valentine Co.