The Billboard 1911-11-25: Vol 23 Iss 47 (1911-11-25)

The Billboard NOVEMBER 25, 191), LOUISE DRESSER A STAR. (Continued from page 12.) 4ll are willing workers. Whenever the plot @akes way there comes a procession of spectalties—the sing: rs seg, the dancers dance, the comics have their say. Now and again a group | of comely young women troop into view, but | that traditional iniquity, the male chorus, never shows itself. The show has been skillfully Staged by Frank Smithson.”’ The Tribune—‘*There seemed to be somethi of importance missing from A Lovely Liar la Bight at the Olympic. It had music and a chorus, a number of actresses and actors, at least one joke, programs, an orchestra, scenery and several other items regarded as essential to an entertainment with tunes. The plot came down from Pinero via George Broadhurst and | Junie McCree and bas been considered a very | estimable affair by those who know about such things. The score by Mr. Linne was harmonious if mildly forgettable, as Mr. Stevens might say, and the star, the opalescent beauty, Miss Louise Dresser, was charming, somewhat @istinguisbed and comparatively melodious. After the second act the first-night diagnosists said that A Lovely Liar lacked the wallop. Perhaps that wae it. There was no ‘wallop.’ The punch was absent. Nothing much happened except some sextets, et cetera, and a lot of @ances and misunderstanding. So, if one is predisposed toward the every-day musical comedy without the wallop, one’s inclinations may be satisfied by A Lovely Liar.”’ The News—‘“ ’Nobuddy kin talk as interestin’ as th’ feller that’s not bampered by facts er infermation.’—Abe Martin. “No observable fact and not the least information is conveyed by A Lovely Liar, which gay, smart trifle was ably advanced in behaif of that most fascinating and talented comedienne, Loulse Dresser, in her debut as a star at the Olympic last evening. “One of those just-for-fun farces set with the prettiest sort of music has been bullt with Pinero’s The Magistrate far away in the back und and Mrs. Black Is Back much to the re. Not that it makes the slightest bit of difference about that perilous thing, ‘the plot,’ which is snuffed for, hunted scented and run to earth every time a snappy outburst of misehlef comes along without a worry in the world but to make words fit music. But it bappens to be where it can be discerned with the naked ear in A Lovely Liar. As a matter of fact, musical comedy might do just as well without even any clear excuse for the string of songs, jokes, dances and tableaux, of which they are fabricated. A Lovely Liar is a considerable grade above the average musical comedy, both in music and wit, story and cleanlibess, Without garish attempts to be scenic the producers have given the plece a charming frame and dainty accessories amid as good a company as a young star could hope to be ailowed.”’ The Inter Ocean—“A Lovely Liar is a placid musical comedy. It is a victim of its own Qret act. Toward the middle of the second the fon is a bit heartier, and the spectalties— introduced into a kitchem scene—are rather livelier. But the piece, by and large, is feeble and spineless. “The musical score is a great credit to Mr. "ye equipped to play Miss Dresser’s present “Junie McCree, the William Jennings Bryan of musical ; W. H. Philbrick, who car make faces like a gargoyle; Mise Anna Laughlin, Richie Ling amd a pretty chorus contributed their all im the way of stunts te liven up the farce, but they could not save the situation. There was much festive and delicate music, written by Hane S. Linne.’’ ACTS NEW TO CHICAGO. (Continued from page 13.) ence that she was really appreciated. The Drinking Song, by Alexander Bevan, basso, won enthusiastic applause and demanded a couple of encores. Following this number an ensemble rendition was put over very well, Miss Quinn then sings the Dol] Song and again scores. The act is closed with Funicull-Funicula, by the entire company. Four curtain calls were responded to, WALTER HAMPDEN AND CO., Dramatic et; Majestic, Chicago; seventh in act show; time, 25 minutes in one; ber of people, four. A critic on one of the big Chicago dailies referred to Blackmail as ‘‘junk.’"’ Another referred to it as a “‘dramatic triumph.’’ We are inclined to agree with the latter, Richard Harding Davis has been the source of a lot of really good entertainment for the public. In Biackmail he gives us a story that possesses all of the essentials of popular interest and ingenuity of treatment, but it lacks heart. However, Mr. Beck doubtless knew what he was about when he ordered this story from this clever author with the idea of producing It for vaudeville, as there ls no doubt of its gripping interest. Walter Hampden plays it well. He is supported by a really clever cast and is successful—that’s the answer. The story involves a young Western mining king, played by Mr. Hampden; Lou Mohun, a crook, played by Mr. Ned Finley; a Pinkerton detective, Bernard B. Mullen and Mrs. Howard, tim of the blackmailer, by Miss Mabel Moore, The scene is a room in a hotel. The young miner is called upon by Mrs. Howard, who ifs an old sweetheart, She tells him that the reason she refused his offer of marriage was because she had lived with a man whom she believed to be her husband, but later had found that the marriage ceremony had been a frameup. She had left this supposed husband, a baby had been born and had died. After her refusal of the young miner, she had married another, but had never told him the secret of her past. The man who she thought was her husband in her early life had disappeared completely, but the one who had performed the ceremony was in the same town and was obtaining money from her on the threat of telling her husband of her past. Now she had come to her former lover for advice. Mobun, the crook and blackmailer, had learned of the former friendship of the young miner for this helpless victim and had Msisted that she tell him the story and compel him through sympathy to pay the money which she was powerless to obtain In any other way. The young miner promises to “take care’’ of the blackmailer and sends the young woman away with the promise that she will never be troubled again. He telephones Playninenum the vic Linne, however. The composer has attempted to write something above the level of consecrated musical comedy forms, He has a turn of graceful melody and a knack of clever har@onization. He produces many striking orchestral effects, and his handling of the voices ts also worthy of note. The general tmpression fe that of piquancy and novelty. Were this musical score, wedded to a book with some excuse for being, fe snecess."’ The Post—‘‘Its present Infancy, we feel certein, will be attended by those dafly and nightly vigils, those careful instructions, deprivation this and substitution of that, which ever aecompany the early days of musical comedies. For at present A Lovely Liar does not exhibit smoothness of feature, the beauty of figure and the sturdiness in action. These things come more naturally with the maturity exhibited by plays in their second or third month, when they May be expected to have reached the age of discretion. “Miss Dresser it would contribute largely is most charmi in her Ught-hned frocks, and she finds little that is @ificuit for her in the title role, as it has been arranged for her by Mr. McCree, but there is not the substance to the character that there | should be, and Miss Dresser needs better songs. She is one of the best ballad singers we have on our stage. “Anna Laughlin is pretty, petitie and quite as attractive a minor picture as she was in The Wizard of Oz days. Sallie Stembler. cook, provides the alcoholic humor, without which musical comedy is ineomplete these Gays. It doesn’t appeal to us anyway, so why blame poor Miss Stembler? Mr. McCree is @ modest author and keeps himself in the backund as a flannel-monthed valet with a brogue. fll Philbrick, the gross Mr. Philbrick, is a trainer. His takeoff of the stage strong man seemed to please the audience immensely. His architecture is excessively Gothic, tn the Teutonic branch of that North European style. He looks like an inflated drawing from Simplissimus fm his leopard skin and fleshings. “The chorus is pretty and well drilled by the unsieeping Frank Smithson. The play has much promise, but it needs the finishing touches. These Mr. Lederer has long been skilled in ad ministering.’’ Record-Herald—‘‘Not even for the sake of seeing Miss Blanche Ring would this member of The Record-Herald’s staff of theatrical reporters bave missed being present at Miss Louise PDresser’s debut as a star at the Olympic Theatre last evening in a medley of farcical incident and song called A Lovely Liar. “And not even for the sake of Miss Dresser would he sit through A Lovely Liar again. “This artist, in whom the reporter has long and fondly believed, has absolutely no chance to prove ber droll and pleasant gifts in the pew skit. Her part is that of a wife who has @eceived her husband as to the age gon by her first marriage. All has to do is to wring her hands and look distressed over the prospect of detection between whiles of second-rate singing and second-rate clowning by members of a aupporting company who are willing and not without talent, but who have been treated as badly as Miss Dresser bas been treated in the matter of material, “Pverrbody wishes Miss Dresser well, and she deserves good will. Her acting has humor, a soft. ingratiating quality, and distinction She is besutifnl and she has charm. Her | comic faculty ts not her only asset, for she has also a gift for the depiction of tender sentiment. But any one of the five bundred young women on the American stage is well of her | Miss Dresser | to the botel clerk and tells him to send up } a thousand dollars in marked bills; he also asks that the house detective be sent to his | room. The money is brought up by the detective, who is toid some of the circumstances jin the case, He hides in an inner bedroom and the young miner phones again to the clerk and asks that the crook who is waiting for his answer be sent up to the room. After / hanging up the receiver he proceeds to examine a palr of real Western ‘‘cannons’’ and places them carefully in his pockets. The crook enters and after a stalling talk is given the | marked bills. He then tells the young miner | that it will take fifty thousand dollars to quiet him. The miner argues until a fight Is started. He rushes to the bedroom door and shouts to the detective that the crook has locked the door and bas drawn a gun. In reality the | crook is unarmed and the door has been locked | by the miner. As quick as a flash he draws one gun and shoots through a window and with the other shoots the crook just as the detective bursts the door open. Under the circum stances it is easily proven that the murder was committed in self-defense. All the parts are well played and each member of the company is to be congratulated and credited for the splendid suecess of the act. Four eurtain calls were responded to. COLE DE LOSSE TRIO, Novelty Bicycle and Wire Act; Majestic, Chicago; opening nine-act show; time, ten minutes in full stage. As previously mentioned in this report, it is not quite clear why this act should be billed as a lo. Two men and a bicycle seem to be the only excuse for the billing. One of the gentlemen works straight and the other as a comedian. The straight man does some wonrderful stunts on the wire, both in walking and bicycle riding. The comedian gives an opportunity for a number of good laughs and Is really funny. The action thronghout Is fast and bright and brought hearty support for the act, considering the position on the bill. The feature of the act is the hand balancing on the wire by the straight man. It is a feat seldom seen and one which deserves every ripple of applause accorded it. The act is finished by bicycle riding on a slack wire, which sent the act away very big. THE FARBER SISTERS, Singing and Dancing: Majestic, Chicago; second im nine-act show; time, thirteen minutes in one. It is very seldom we find a riot so early in | one of the big bills, but such proved the case this week when the Farber Sisters appeared in spot No. 2 on the Majestic bill. The girls took the place of Alma Youlin, who closed because she did not like the position offered her in the bill. These two girls have appeared in the East on some good time, but are prac tically strangers in Chicago. However, this fact did not prove detrimental to their success. They came at us In a ‘“*Now-I've-got-you”’ spirit }and made good. They go through their act in | @ snappy, refreshing manner, which could never mean anything else but success, They open, singing Mammy’s Shutfiin’ Dance and had to repeat the chorus, Their voices blend very well in their harmony renditions and prove an aural delight Thelr second number is Leo Feist's new one, I Just Met the Fellow that Married the Girl that I Was Going to Get. Of course, the girls changed the version of the lyrics, but they made the song one of the big hits of their act. Their third number is Let's Make Love While the Moon Shines. The closing number is Harry Von Tilzer’s I Don’t Belleve You. This number {s worked up in a conver by Mr. | sation version and scored big. the girls is graceful and pretty and greatly assisted in making their act the hit it proved to be. They stopped the show at the afternoon performance on Monday, an occurrence which is really very unusual for an act im such an early position. MRS. GENE HUGHES AND COMPANY, ComChicago; third in edy Playlet; Majestic, nine-act show; time, twenty-three minutes in full stage; number of people, five. Youth, the delightful little comedy playlet offered by Mrs. Gene Hughes and Co., is a ville offerings. Tbere is an abundance of laughs and screams in the story alone, but abetted by by the splendid acting of Mrs, Hughes and her company, it is a positive sensation. The story is of a very modern grandmother and a very passe daughter and granddaughter. Grandmother believes this life is worth living and proves it, much to the dismay of her shocked daughter and granddaughter, who revolt at the brazen actions and dress of “‘grandma."’ She tries to prove to them that age can be warded off at will, Finally, after much argument and persuasion, she converts the granddaughter, then the daughter. Grandma brightens up the bome, reunites ber daughter with her long-lost busband and practically makes optimists out of seemingly confirmed pessimists. The act is | worked with a snap and go which is essential to its success and each member of the cast performs her part with credit. A BRILLIANT CAST. (Continued from page 8.) “As there were three Romeos in the plot, there naturally had to be three Juilets also. There were others, some married, some on the point of being married, and some divorced, It was quite impossible to keep track of them. Sufficient it is to say that they were pursued through a young women’s boarding school and a florist shop and were finally overtaken at a Newport villa. But who were the pursuers and who the pursued, deponent sayeth not.’ The Sun, in a very Impartial review, said: “The actors were selected with equal credit to his ability. On the distaff side there was abnndant pulehritude. Georgia Caine never looked lovelier and won in her song, Am Looking for a Girl Like You, the greatest expression of Individual approval. Ethel Cadman had no such opportunities as The Arcadians offered, but she Was a melodious apparition during the evening. Peggy Wood and Shirley Kellogg were school girls of alluring prettiness, and the regular fea tures of Vivian Rushmore put her in a niche of classical loveliness all ber own. They stood out against ficures scarcely less attractive than they. Elita Proctor Otis brought as much bhnmor as possible out of a mere sketch of a motherinlaw, but it seemed a pity to see her with so few opportunities. Frederick Walton, as a philandering schoolmaster, William Danforth as his companion, Fritz Williams and Alfred Kappeler with thetr polite humor, and Frederick Lennox as a flirtatious florist, imparted by their combined efforts sufficient vivacity to the performance to deserve the title of its comedians. So there was no discernible fanlt In Mr. RBurnside’s selection of his actors. They were alded by the melodies that Mr. Hubbell supplied to them and the sue cess of the performance was In a large degree dne to the tuneful and vivacious score that he had composed, *“*And the text of The Three Romeos? It fs a wholly negligible qnantity With the charac istic contempt of the producer for this detatl Mr. Burnside had wasted little time on ft. He proved his case. Nobody can dispute bis theory. He succeeded in winning with his pictures, his songs, his groupings and his trickea ench a ene cess thet nobody tn the andience took the time to ponder over the Intricacies and stupidities of his so-called book Verily this Is the dav of the producer. He te mighty In the theatre." Alan Dale, in the American, praised the cast In a lengthy review, which he term!nated with: “Rut, on the whole. The Three Romeos fs not metropolitan in anything but Its staging. And that is letting !t down very lightly.’ THE CAST. Se casoscesenececenan Peggy Wood DT ci oh ote deasbebhennell Shirley Kellogg Co gO —Ee ere Fred Walton Minerva Hoppleton .............. Minnie Olton ET SUED ccbevensecoccconem Ethel Cadman PE EEE cosccebesecneseass Mabelle Parker Gemshe GIRBOR cccccccccccccecces jeorgie Calne Ps Se? scussecseceses William Danforth i MED wcccececcvencten Alfred Kappeler Jock Withomgehy ...cccccscccess Fritz Williams iD, SE acocesecsenenes Vivian Rushmore , sssecetseseans Elita Proctor Otls oO Ee a Fred Lennox Bertie Moptague .............. Edward Alfino Wile MCTCRMEP 000. ccccccscces H. D. Woodley MAJESTIC—CHICAGO. (Continued from page 13.) clever artists In this line and is a sensation wherever he appears, The Romany Opera Company appears next tn their elaborate production. The stage settine is a visual delight, vivid and pleasing. The of fering is reviewed under New Acts. Keller Mack and Frank Orth, the popular song writers, jumped into the Majestic from Winnipeg, and owing to a delay in transporta tion were unable to put on their regular act at the matinee, However, they did produce a pleasing planolocne and singing offering which ran very smoothly and proved one of the hits of the bill.. The character singing is clever and won mary good laughs. The execution of the planist is good and aleo scored. The act went over so nicely that when one of the gentlemen made the announcement that, owing to delay in transportation they were nnable to produce their regular act but wonld put it on at the evening performance, the andlence took his announcement asa joke and plainly evinced the fact that they thonght he was toking. Walter Hampden and Company appear next, In Richard Harding Davis’ one-act playet, Block mall, The nature of the plet is away from the average now being presented In vandev He. but received hearty sunpert from the audicace It te reviewed in detall under New Acts Billy Gould and Belle Ashivn appear next to closing and go very big. This Is the first ap nenarance here of the team though each has been seen before elther alone or with a partner, Mr Gould formerly worked with Valeska Suratt and is fairly well-known to the vandeville patrons in Chicago, T act Is opened with a song The dancing of | which is bright and sent them off at « | pace. Mr. Gould holds the stage for about ve minutes in a monologue which |s de cidedly ancient but funny. All the song cum welcome variation from the usual run of vaude| — rapid bers, both words and music, are compor!tions of Mr. Gould, some are good and some — well some of them might be replaced. The act re sponded to several encores, A very pretty novelty act is offered in th closing number, VPouchot’s Flying Ballet, five | — # young women, a half dozen traineg | doves, and some invisible wires, by means of |which the ladies float around through space, | makes the act a big spectacle and created quits a sensation, AS A MAN THINKS. (Continued from page 12.) ‘Such an unusual plan as As a Man Thinks I can describe only as a treat in the theatre |It is diffuse; Mr. Augustus Thomas has po | shot with a smal] bore; the play is a8 rag-edged as life iteelf. But about it there is a con vincing sense of spontaneity. You felt the | personality of the playwriter and you sense at east the abstraction of bis dual idea. | “You bave on one hand a delinguent husband }in doubt of his own paternity, because, for. | sooth, his wife in an hour of dilemma las gone | to the bachelor rooms of a Jew. | On the other hand you have the priest of the proceedings, a Jewish doctor of great dis tinction and wealth, fulfilling the unhappy obit gation of our eternal friend Shylock; his | daughter has wed with a Christian rather thas — him that has compromised the wife afore said, “John Mason has the part of this rhetorical | Hebrew, and is equa] to it. To the doctor of medicine and mind he brings dignity and per suasion and a presence that is benign. Mr. Ma|} gon, his volce high and clear, his manner almost | pontifical, does a star's work in a role that ie not star.”’ Further referring to the critics, we find this |}comment in The Record-Herald: ‘The acting, especially in the case of John Mason, the im personator of Dr. Seelig, is smooth and authori | tative. And in the case of Mr. Mason, more especially, it is marked by a certain floridity }of utterance and bearing that the writer is not yet sure is an actorial floridity, or the actor's effort to suggest the orlental floridity of the man. In either case the result is imposing. We get the sense of a man who, as be frankly says, loves to preach, loves to deduce and bal ance and then with a surge of voice and 8 poising of himself, release precept and cogita tion.”” Percy Hammond. in The Tribune, pays this tribute to Mr. Thomas’ play: ‘‘As a Mas Thinks is evidently that happy combination— a play that Mr, Augustus Thomas as an artist wanted to write and a play that Mr. Augustur Thomas as a shrewd man of the theatre be lieved the public wanted to see. Its discussion of several things—the double standard of mor. ality, thought transference. and the anomalous position of the Jew, Is intelligent, liberal and attractive in Itself; its dramatic framework includes an appealing story told by interesting characters involved in interesting situations always ingenious if not always Inevitable Ao admirable example of dancing in chains Is Ar a Man Thinks, for the fetters that Incumber Mr. Thomas’ art are pleasantly evaded, and it is a play that may be enjoyed by the thonght ful as well as the inert, unwieldly and unselee tive under whose tyranny plays must be writ ten.”’ The Inter Ocean likewise finds the play a fine bit of educational entertainment: “A tremen dous theme, hand'ed with superb maétery and sniendidly acted, is the summing up of Augustos Thomas’ latest play, presented at the Lyrie Theatre last evening. To set down in a phrare the varions facets of this subject is difficult for it teaches tolerance, forgiveness, purity of thought; It treats of nobility of character, 1 whatever human guise it may be presented; it sets out boldly the creed of the high thinking man in strong characters. And al! this f ac complishes withont gab and pose and blatant preachment, through the medium of a story | beautiful, simple and shorn of theatric tricks | The craftsmanship which has made this possible | is marvelously refined, certain, direct. acting is as notable. We may forgive Mr. |'Thomas all the impertinence of The Member | From Ozark in the presence of As a Map Thinks,.”’ Fine, excellent and other superlatives are | used by O. F, Hall, In The Journal: ‘‘A fine audience met a fine company in a fine play last night at the Lyric Theatre. There was acted | As a Man Thinks, the magnum opns of AD | gustus Thomas, leader of American dramatists | This play is the third in Its author's series of works offering a higher criticism of life, & series which began with The Witching Hoar and proceeded throngh The Harvest Moon to the play now under consideration. The newest of these dramas ts a noble and imposing work. solid of structure, rich in thought and feeling lighting many phases of human nature, fF vealing character in many moods, and opposing passion and reason in stirring conflict. A bitter story of infidelity and human error I other forms is the akeleton of this play: it \ the author's philosophic outlook upon life that . makes it a drama of majestic Importance. Ris ing out of the muck of common experience it ! carried to a high elevation on the wings of !m agination. It has the glow of true poetry, an often the lyric quality of true poetry.”’ Tom Edwards, the well-known English vee triloquist, recently pulled off a smart advertls ing stunt, which, if not so exciting as his New York arrest for kidnapping, was equally ef fective, Edwards was playing Keith's besutifol Hippodrome, Cleveland, 0., three weeks ag and during the week some one telephoned Mr. Fradiey Hull, the local Humane Soclety repre sentative, that a ‘child’ was being fll-used dur Ing each’ performance at the Hippodrome. The informant was most indignant about the matter, and told Mr. Hull how “the poor Iittle mite was struck on the head with a spoon, ete. Mt} Hull presented himself at Keith's just. before the next performance, with visions of W holesale arrests before him, only to discover that he war “stung.” The local papers made much of the matter, and Fdwarde got a lot of notoriety al | the expense of the much-annoyed Humane repre sentative, for the “ebild’ was, of course. non |other than the famous “baby” which Edward | uses to fool the public when on the stage, 8 |sometimes alao the police on the strec's: a carries the baby figure In a hand bag and tm tates a child's smothered eries until! an indit nant crowd collects and his arrest follows—f sult obvious.