The Billboard 1916-03-11: Vol 28 Iss 11 (1916-03-11)

MARCH 11, 1916. The Billboard ll was received heartily. Twelve minutes, in full e, tal, -* par Warren and Roy Dietrick, one blackface and the other straight, opened with « song and then proceeded to rake in the laughs and applause via a clever line of comedy talk. The song number featured by the straight member, in tenor volce, was awarded more applause than a singer has received at the Empress in many weeks. This is an act that demonstrates it is not so much what you do, but the way you do it. Twenty-one minutes, in one, including five bows and an encore, No. 6—Sebastian Merrill and His Yip Yaps, said Yip Yaps being a man, a woman and some bikes," put over one of the neatest comedy wheel acts ever seen at the Empress. Merrill is a comedian who gets laughs out of every action, and bis support on the comedy end ts excellent. In addition some surpassing stunts were uncovered, showing both skill and daring. The act closed with the famous Merrill trick of turning a somersault in midair, tandem style, winning much applause. Thirteen minutes, in full stage. Pictures before and after.—LEE. Orpheum, San Francisco (Reviewed Sundzy Matinee, March 5) San Francisco, March 5.—A capacity house greeted a superb collection of musical and comedy offerings. Dorothy Janion, headliner, shared donors with Elsa Ruegger, Mary Servoss and Company, James H. Oullen, holdover, and McCormick and Wallace. Each threatened in turn to temporarily stop the show. No. 1—Pictures, George Kleine comedy, Cruel and Unnsual. Ten minutes. No. 2—Moore, O’Brien and McCormack were reviewed last week, No. 3—Hugh McCormick and Grace Wallace, in The Theatrical Agent. Clever ventriloquistic work is interspersed by pretty dancing numbers. The act wags well put over. Nineteen minutes, in three; special settings; three bows. No. 4—Elsa Roegger billed as the world's greatest woman cellist, assisted by Edmund Lychenstein, conductor. A demonstration of true artistry and technique. The audience was tosistent for more, and held up the following act for a second encore. Seventeen minutes, tn one; four bows, two encores; many flowers. No. 5—Mary Servoas, assisted by Frederick Hand, Gertrude Maitland, Joseph Exgenton, Richard Collins, James Jarvis and Robert Burns, in the tragic comedy. Passion Play of Washington Square. It was well put over and the snappy situations were well acted. Sixteen minates, full stage; seven calls, INTERMISSION No. 6—James H. Cullen. a holdover, held the audence twenty-five minutes, receiving encore after encore. No. 7—Dorothy Jardon, in character songs, wore exquisite gowns. Twenty-four minutes of melody. Miss Jardon had George Harris for an accompanist. Full stage; ten bows, two encores. No. &—George Whiting and Sadie Burt, in song sayings, went over big, the winsome lady capturing the house, Fifteen minutes, in one; encore. No. 9—Herbert Germain Trio. comedy cymoasts, in seven minutes of thrilling and laughinspiring work on the bar and in the net. In three; two bows, No. 10—Uncle Sam at Work, tenth film; ten minates.—BOZ. Pantages, San Francisco (Reviewed Sunday Night, March 5) San Francisco, March 5.—A turnaway was in evidence at Pantages this evening. The show was fast from start to Anish. Gus Elmore and Cannibal Maids easily captured headline honors. No. 1—Twelfth picture of Pathe-Balboa Red Circle. Twenty minutes. No, 2—Steiner Trio, in comedy and straight frolics on the bar. Five minutes, full stage. No. 3—Rice and Newton, in snappy patter and dancing. The gowns worn by the female member of the team were modish. Ten minutes; one bow. No. 4—Jay Hanna Hateh, supported by Frank Earl and Bthel Marte, in a tense, sentimental drama, interspersed with rural comedy. The parts were well taken and the characterizations were excellent. Sixteen minutes, full stage; special settings; two bows, No. S—Qrace McCormack, concert violinist virtuoso, was appreciated. She was recalled several times. Fourteen minutes, in one; three bows, encore, No. 6—Gus Elmore and Cannibal Maids, with Ethel Hamlin, Hazel Wood, Ren Harrison and six in the chorus, In a South Sea romance, a roaring mosical comedy with catchy songs, pointed dialogue and pretty girls. Twenty-one minutes in four; spectal drops: ane call. No. 7—Frank Bush atory teller, was a scream. Twenty mineotes of humorous, pithy reminiacences, In one. No, &—The Impertal Tronpe of cyclists, in trick comedy riding, with a dashing finish of playing a game of basket ball on the wheels. A fast and entertaining act. Ten minutes, full stage; special drop; one bow.—BOZ, MRS. LANGDON’S MOTHER DIES San Francisco, March 3.—On account of the death of Mrs. Langdon’s mother at Milwaukee, The Langdons closed their engagement at the Orpheum Theater on Tuesday, and left for the Wisconsin city. They will reopen in Los Angeles in three weeks and continue the time. GERSTENBERG SKETCH A HIT Chicago, March 4.—Overtones, Alice Gerstenberg’s playlet, presented at the Palace this week by Helene Lackaye and a good supporting cast, has made such a strong impression that it was held over for the coming week. The little sketch was to have gone to St. Louis, but that city will have to wait another week at least. This ig rather an unusual proceeding on the part of Martin Beck, and speaks very highly of the caliber of the play and the per nations. Manager Fish acted as toastmaster, and while the candles on the birthday cake were burning each guest gave a toast and extinguished a candle. After the surprise was well in hand Mr. Tschudi was presented with a goldheaded umbreila, after which speeches were in order. Music and other entertainment filled out a most enjoyable evening. BACK TO TABS. Lynchburg, Va., March 4.—The Academy of Music, which gave tabloid musical comedies a trial during the summer months, will resume this policy, commencing Monday, in competition with the Trenton Theater, the opening attraction being Johnson & Leicht’s Teddy Bear Girls. O. A. Savin, manager of the Academy, ts secretary of the Virginia-North Carolina Theatrical Managers’ Association, which was recently organized for the purpose of making it possible for the managers in the circuit to obtain only the best shows of this character in order to maintain a policy of “‘purity."’ The managers will book for q specified number of o~e Editor The Billboard, Cincinnati, O. subject of a wage scale for actors. their names give class to the program. Your are wrong there, Mr. Van! because of their drawing power. lights? No, Bui + +. 4 4.4, ttn tn ty ty tb OOOOO> A A i i i i i i act that has drawn tbe full house. works. NEW PRINCIPLE NEEDED ‘ 4 4 4 ‘ 4 In Harry Van's reply to Miss Cora Youngblood Corson’s letter Mr. Van brings up the 7 He states that one of the great benefits derived from . unionism is the wage scale and asks if the White Rats ever had a wage scale. 4 On the grounds that an actor gets paid more for his drawing power than his ability it F is impossible to fix up a wage scale for actors. 4 Harry claims that it is a few privileged ones that pull down the big salaries because 4 The managers pay big salaries to the headliners We have a number of acts playing the small time that can make the stars sit up and take notice as far as their act is concerned, but could those fame small-time acts fill the houses if their names were put outside of the house in electric You can often go to one of our larger vaudeville houses and see an act that is getting $150 a week take more curtains than the star act, but at the same time it is the star Then again you can’t grade a performer's salary according to how hard he or she If you could, an act doing a monologue would get $100 while a strong man act would be entitled to $1,000, so that a wage scale for actors is an impossibility. atbtibttttoo te eeeeeeeeoeeoeoeoororrrrrCrrFrvVVYYYYY”””*” hhh shi ihphb bb 444440404046 46464646404646¢0¢¢¢070¢ sc Cc Cc CCC CC CC CCC rrrYrVrvvvYY”” vv hss 4 +s 4 4 4 4 4&4 44 4444 I was in England during the V. A. F. strike several years ago. That strike was for the benefit of the stars, but they got several hundred of the small acts to join, and after it was all over the stars and the scabs got the work while the smaller acts that joined to help the stars win got nothing, although it was their own fault, because a man with half an eye could see that no one but the stars would benefit by that strike, although they tried to make believe that the big acts went out on strike for the brotherly love of the smaller acts. If the White Rats want to show us what they can do, why don’t they let all those that want to, join them for $1.00. I am not putting the price at $1.00 because I am a cheap-skate and am afraid to part with a ten-spot, but I am putting the price at $1.00 for two reasons: First, because at $1.00 for entrance fee the Rats could get twelve to every one at $10.00, and second, they could enroll thousands at $1.00 where they can not at $10.00. With that small fee they could enroll every member of the profession and they could then do some good The actors could then close up every house in the country if they wished. But by going abead with only a few thousand members in the union and getting some of the managers to use nothing but White Rat acts, and some agents to book nothing but White Rat acts, they are not gaining anything; because tbere are thousands of acts that can not afford $5.00, let alone $10.00 to join a union, although they are willing to do so. When you stop the agent from booking them you are worse off than before, because with no work they have no money with which to join the union. But when you have the entrance fee so low that every member of the profession can join, you don't have to ask the agent or the manager to book or play White Rat acts, because they have to play them, there's nothing else left for them to do. If the stars are too proud to join the union they don’t have to, but when every act leaves the bill because one of the smaller acts was not treated right, then what chance does the star stand. The public is not going to pay 75 cents for one act, and the managers can't each get an all-star bill, because there are not enough stars. What could the White Rats do but win? Going back to Mr. Van's letter he states that when he joined the White Rats he had to have twelve members of the profession, who bad personally viewed the act, to sign his application, but later when the bars were down they were herded in like sheep, and you got your betton for $10.00, regardless of artistic merit. To bell with artistic merit. It's members a union wants. That’s where one of the troubles with the White Rats was. They tried to run a union like no other in the world was ron and you see the beautiful finish. Take any union that is a success. What makes it a success? What helps it to win its strikes? Not because some of the members are better at their line of work than others. No, because of its large membership, because when that union shuts down there is no one else to do the job; of course, they do drum up a few scabs in some of the trade union atrikes, but in the theatrical profession, can you pick a man up off the street and give him a few songs and a stick of paint, and tell him to go to the Palace and do an act? 1 would like to have Harry Mountford’s job right now, and if I couldn't build up a union as strong as any of the trade unions | would eat my own hat, and then every member’s in the union (if they would let me). But, first kick out the old bunch that put the White Rats on the bum, start out with a new broom instead of commercialism, and let's bave brotherly love for the motto and live up to it. Don't get mad because an act is bum and he or she belongs to your union. Just think how rotten you were when you started in the game. Start out with a new principle, new laws. Harry Mountford, you are all right, and the boys and girls would be pleased to have you at the head of their union, but pull away from the old bunch. Let's hear what you have to say through a white paper, The Billboarf, as Billyboy is for the actor in every shape and form; its pages are open for your side of the story, so ‘“‘why don't you say something?’ BILLY E. WAITE, Author and Tramp Comedian. formers. This is essentially a Ohicago production as Miss Gerstenberg is a Chicago authoress, Miss Lackaye is a Chicago bride, and the Palace ig one of Obicago’s favorite vaudeville houses. Even the austere and scholarly critics of several dailies have given it much attention, and their comments have been most favorable. The sketch hag charm and novelty and originality, ano is a masterpiece of dramatic construction. ORCHESTRA LEADER'S BIRTHDAY Rudolph Tschudi, conductor of the Empress Theater orchestra, at Cincinnati, was 33 years old last week. In honor of the occasion his musicians, Manager George F. Fish, Treasurer Joseph Hill and several others surprised him with a party at his home. 2410 Highland avenne, where Mrs, Techudl furnished the dinner. The house was beautifully decorated with pink car weeks such shows that contain merit warranting & tryout in the theaters represented in the organization. Reports will be made on each show, and those which fail to measure up to expectations will be advised to look elsewhere. ANNUAL BALL MARCH 10 Philadelphia, Pa., March 5.—The members of the Interstate Theatrical Association will hold their annual ball next Friday evening at Eagles’ Temple, Broad and Spring Garden streets. The affair is being conducted under the personal direction of Joseph Lerner, the local theatrical man, asisted by Alfred Keller. MME. SANS GENE POSTPONED New York, March 6.—Geraldine Farrar {s stil! too hoarse to sing so that her announced appearance at the Metropolitan Opera House tonight, in Mme, Sane Gene, has been postponed. JOE FANTON AND CO., MISS €. CREWELL, SOLE OWNER. * Chicago to ge into motion pictures. N. Y. VAUDEVILLE WHISPERS By JACK Wr. (Billy) Sisto, the ‘‘Italian Statesman,”’ who bas just returned from a successful tour of the W. V. M. A. Time, jumped right in as soon as he got back, and is the headline attraction at Moss’ Prospect and 86th St. Theaters this week. Billy bas a dandy act, clean, clever, screamingly funny, and (which is better) absolutely original. The character he assumes is new to the stage, and his work as an Italian politician is fine. Sisto opens on the Poli Time Monday, March 6, and is booked up until May 29. Bert Hanlon, who is playing at the Prospect this week, tells a story about a pair of acrobats who worked at the Lafayette Theater recently. After doing three shows on Sunday the management informed them that their contract called for four shows. They refused to do the other show and informed the stage manager to that effect. The stage manager reported to the house manager that the acrobats would not do the other show and were washing up to go home. The Lafayette caters to colored patrons and the entire outfit, beth front and back, are colored. The house manager told the man back stage to notify the acrobats that their point was four and unless they threw that number they would not get paid. They threw their point. Irving Newhoff and Dode Phelps returned Bast after a highly successful tour of the Orpheum Circuit. They will in the very near future present a new act, called Going on the Stage, by Otto T. Johnstone. The clever pair have ample opportunity in their new vehicle to display talent that they possess. At the Flatbush, Brooklyn, some time in March, the new act will be seen. Gene Hughes, their agent, has booked them solid until the latter part of May. Sam Williams, of Ellinore and Williams, was compelled to remain in bed last week, suffering from a severe attack of grip. It will be probably ten days before his doctor will permit him to appear in public. The act has several weeks’ work to play, but will have to postpone the engagements for the present at least. Jack Wilson will shortly be seen in a new act. Two people will assist him. Lillian Board. man, a clever soubrette, and a straight man will aid Jack in putting the act over. The Man Without a Home, with a cast of twenty people, will be presented by the production department of the U. B. 0. Billy Curtis and Peggy Elinore are rehearsing a new act which promises to be one of the novelties of vaudeville. The entire act in is rhyme, with songs and comedy predominating. Walter Brower, who scored such a wonderfui success at the Palace and Flatbush the same week recently, received contracts from his representatives, Rose & Curtis, for sixty-two consecutive weeks. The U. B. O. Time will be played until the summer when the Orpheum Circuit will get his services. Brower came to New York unheralded and put over one of the hits of the season. Bob Higgins, formerly of Melville and Higgins, has arranged with Tommy Gray for the act that Gray presented for one week at the Alhambra Theater last season. Tom surrounded himself with some excellent material, most of it bordering on the ‘‘nut’® variety, but could not put it over. Higgins is an artist, and with Gay's former act should find easy sailing in bigtime vaudeville. Frank Bohm, the vaudeville agent, is seriously ill at his home in Harlem. Joe Wallin, of the Helen Leach-Wallin Trio, ig a lucky boy. The Western Vaudeville Association Time will play an all-girl bill for five weeks. Joe makes up as a girl. but in reality is a manly man. Can you imagine Joe roaming around the stage with all those female beauties surrounding him? The act played a few weeks of the Proctor Time and scored a wonderful hit, Quinn Reich, who worked in vaudeville as the male member of Quinn and Quinn, has opened a vaudeville agency in the Gaiety Theater Building and is doing well. Albert Whealen, the English entertainer, will play fourteen weeks of Keith Time, after which he will return to London to fll contracts. T. S. Preston, who formerly managed the Orpheum Theater, Montreal, is now acting tn the same capacity at the Yorkville, N. Y¥. The cold climate of the Far North did not agree with Preston, thereby causing the change. James Van Leer, father of Joe McDevitt, of McDevitt, Kelly and Lucy, died in Philadelphia last week. Van Leer worked with Chas. Barton and a Mr. Duke. He was 62 years old af the time of death. The trio was compelled to cancei their time to permit McDevitt to attend the funeral. TREASURE ISLAND CLOSES Baltimore, Md., March 5.—Treasure Island was brought to a close at the New Academy of Music last night. It is sald the play was taken off because no suitable theaters could be secured. George Fawcett, who has been ap pearing in the production, leaves today for Biss acs ie Bin Mn ars a> em ARIE a ODS he ae Hee eters = Sas TaN