The Billboard 1916-06-03: Vol 28 Iss 23 (1916-06-03)

ee le JUNE 3, 1916. The Billboard ~ Vaudeville R eviews By Special Wire — Colonial, New York (Reviewed Monday Matinee, May 29) New York, May 20.—There is not the faintest possibility of the Colonial closing this summer, if Manager Al Darling continues to present such high-rlass programs a9 the one he is offering this week. It ts vaudeville of the highest grade. Owing to sickness Nellie V. Nichols was unable to open, but Reinie Davis, on a burry call, stepped into the yacant spot and acquitted herself pobly. Capacity business keeps Treasurer James Peppard and his genial assistant, Arthur , working in relays. No; 1—Pathe Weekly. No, 2—Zoe and Klaire El Rey, two stunning girls, started the show at lightning speed. This clever sister team does every modern dance on skates better than the majority of professional dancers do in the regulation shoes. A valuable act, which can open or close any show. Their fast work on the rollers, their dainty gowns and pleasant personality constitute a perfect act. Fourteen minutes, full stage; three curtains and ap encore. No. 3—-Tom Kerr and Irene Burton live up to their billing as talking fiddlers, for they carry on a conversation which is plainly intelligible to the audience by medi of their violins, and caused both laughter and a big round of applause when they finished. The should dress straight all through, as they are a nice-looking young couple and there really is no necessity for their opening costumes. Both are thorough masters of thir instrument, and the audience enjoyed their work immensely. Fifteen minutes, fn one; three bows and encore. . No. 4—Wilfred Clarke and Company, in a clever comedy sketch, Who Owns the Flat, were another big hit. As usual, Clarke dominates, but is splendidly supported by an adequate cast. Seventeen minutes; special set; four curtains. No. 5—Lew Wilson. This newcomer in big-time vaudeville is well entitled to representation therein. He sings, whistles, plays piano and accordion, and yodels, and does each well. He has a bright personality and puts his stuff over fn great shape. Eighteen minutes, in one; four bows and two encores. No. 6—Cross and Josephine, on their return to yaudeville, show improvement in every department. They now have an act that for class and ability can not be improved. Their singing, dancing, Cross’ monologue and intermittent interjections are the smoothest blend of entertainment one would desire. Though everything they do is to be commended, a clever song, The Moving Picture Hero of My Heart, is worthy of special mention. They stopped the show several times and were as big a hit as anything that bas been at the Colonial this season. Twentyfour minutes, in twe; five bows and several encores. INTERMISSION No. 7—Reine Davis, deputizing for Nellie V. Nichols, opened after intermission (a pretty tough spot), but Reine was equal to the occasion and pulled down a big hit with her exclusive material. Harry Piano (Piano by name, pianist by nature) was of great assistance as accompanist. In her closing number, My Tokio, in which she is assisted by a nifty little Japanese with a corking good voice, Miss Davis Presented a characteristic picture, riding in a Hivrikisha, drawn by the Jap. It was a corking good finish for q clever and classy act, and, in view of the position, her success was phenomenal. Twenty minutes, in two; four bows and encore. No. 8—Hugh Herbert and Company, in Prosperity, a semi-allegorical playlet, following the other hits, strung up one of prodigious proportions to his own credit, Mr. Herbert is in a class by himself as a writer, and it is sufficient tu ®ay that Prosperity is his best effort. It is not only excellently written, but is excellently Played, Ezra Matthews and Ella Malrose giving Herbert splendid support. The audience thoroughly enjoyed it and was liberal with applause. Eighteen minutes, in two; special set; six curtains. No, 9—The Farber Sisters. These clever girls were certainly in a critical spot, next to closing on this great bill, but they went right after the audience and came through with flying colors. They showed some wonderful wardrobe, which they wear well. The work of the little comedienne shows improvement every time one sees her. Their team work is great and shows Patience and persistent rehearsal. They deserve & world of credit for holding up their didicult (Continued on page 10) ,edy and the finish shows the boys as artists supreme. 7 The Topmost Rung. PALACE Here Genius not Birth your Rank — " (Reviewed Monday Matinee, May 29) ~ New York, May 29.—The day, though a harbinger of New York’s summer, reeking with humidity and its attendent discomfort, appeared to have little, if any, deterrent effect on the Palace attendance. The bill was replete with well-known vaudeville acts, and, while the many stage waits became monotonous, on the whole the afternoon’s entertainment was above the average. No. 1—Mutualy Weekly. Twelve minutes. No. 2—Frank Parish and Peru came mighty near stealing the bill. As musical jumping acrobatic dancers they are without peers. Everything attempted is accomplished with grace and ease and pronounced appreciation was the award of their efforts. Ten minutes. No. 3—Marshall Montgomery followed with an exemplification of his wonderful ventriloquial ability. Montgomery goes further than most others in this line inasmuch as his offering is practically a playlet of pretensions. He does all the others do and adds some novel features by way of good measure. Nineteen minutes. No. 4—The credit for being the laugh hit of the bill undoubtedly goes to Flanagan and Neely in Off and On. The vehicle has undergone so many changes that it is hardly recognizable, but every moment is replete with comSeventeen minutes. No. 5—Louise Dresser, with James A. Byrnes at the piano, contributed twenty minutes of what she terms song readings. Miss Dresser is a popular Broadway favorite and can always count on putting her material over. No. 6—Laura Nelson Hall, assisted by Robert Taber and Helen Fulton, as well as by the relatives and friends on the other side of the footlights, presented a one-act play, entitled The Cat and the Kitten, by Frances Nordstrom. Miss Hall’s work stands out prominently. The support might be strengthened and a punch added to the climax. Sixteen minutes. INTERMISSION. No. 7—Elizabeth Brice and Charles King, with Sidney Franklin at the piano, met with an ovation, and those who had promised themselves something good were not disappointed. For twenty-four minutes this clever pair had the house at their feet. There is a something about each of this team that makes one clamor for more. They stopped the show with a vengeance, and it took repeated acknowledgments before the house would permit the performance to proceed. No. 8—Bert Melrose is without a doubt the foremost of An_erica’s pantomimic humorists and can get more laughs out of a few tables, : chairs‘and a barrel than many comedians can get out of more elaborate and expensive material. His droll antics kept them in a continuous upb 4 roar and when atop his pyramid of tables ready to make the much im ; itated Melrose fall he had them doubled up in their seats. Nineteen j minutes. No. 9—Fred V. Bowers and Company present one of the usual Bowers scenic song reviews, pretentious in the extreme and musical. Some “kind applaus” tactics are resorted to at the finish and had the desired effect of calling for repeated bows. The quartet harmonizes well, and each effort met with considerable approval. The dancer was handicapped by virtue of the dancing offered in the opening act. Sixteen minutes. No. 10—Roshanara and Company offer a wordless dramatized and terpsichoreanized Hindu legend by Frederick Herendeen, entitled The Bells of Destiny, which requires a descriptive chant off stage to explain. The offering is in four scenes, and, while undoubtedly a classic, fared illy following Gertrude Hoffman's offering last week. There appeared to be some trouble with the light effects this afternoon, which probably kept the act from going as it might under different conditions. Twenty-three minutes —MACK. Majestic, Chicago (Reviewed Monday Matinee, May 29) and violin, and music lovers were given a treat in listening to the sweet harmony of these instruments. Both individual numbers and duet scored, calling for an encore. Seventeen min Chicago, May 29.—Excellent vaudeville weather, plenty of rain, packed the Majestic for the opening matinee this afternoon. Manager Ebberts continues to give his patrons good vaudeville, and thelr appreciation is shown as the various acts make their appearance, No. 1—Pictures. No, 2—Ray G. Huling offered his clown seal as the opening attraction, and this animal easily lives up to his billing. Many interesting tricks are performed, showing expert training. The seal appears to enjoy his work as much as his audience does, Thirteen minutes, in four; three curtains, No, 3—Fritz and Lucy Bruch easily demonstrated their complete mastery of the cello utes, in one; four bows, No. 4.—Mlle. Natalie and M. Ferrari are a clever pair of dancers, and their offering contains much merit. It is out of the ordinary routine, and gained immediate favor. The ballet work of Natalie is excellent, and the eccentric steps of Ferrari called for an outburst of applause. The satire on the Fox Trot was a winner, and called for an encore. Thirteen minutes; open in two, go to four; eight bows. No. 5—Ethel Kirk and Billy Fogarty are a versatile pair, and their singing, cross-fire chatter and general nonsense won much favor. It has a slight twang of slap stick in spots, but in the main is good vaudeville. Several nifty cos (Continued on page 10) Keith’s Royal, New York | (Reviewed Monday Matinee, May 29) New York, May 29.—Manager ©. ©. Egan has provided for his patrons this week a bill of | well-known features, headed by Viclet Dale and Dolly Connolly. The two undoubtedly proved that their diversified talents are of the finest, and the audience tendered them demonstrative applause, ‘‘Skeets’’ Gallagher and Irene Martin were one of the early hits of the show, displaying good style in the art of comedy. Lemonade was heartily relished during the intermission by those “ho paid a visit to the beautiful summer garden ; No. 1.-M"e, Vera Sabina, assisted by Cleveland Bronue:, presented a beautiful terpsichorean interlude called Fantasies of the Dance. Miss Sabina works on her toes with grace and ease and is capably seconded by Bronmer, who is also an artist in his line. The act was heartily enjoyed. Thirteen minutes, in three; special set; four curtains. No. 2—Mullen and Rogers, men, displayed much grace while presenting their acrobatics, but fall short in their patter, most of which has been done for many seasons. The boys have the goods, and, with a rearranging, will undoubtedly secure the desired results, Twelve minutes, in one; two bows. No. 3—Don’t Do That, billed as a comeay that contains little or no humor, The act in its entirety is too talky, with not enough action. Ashton Newton, Emma Lowry, Helen Valloly and R. J. Rucker do well enough with their assignments. The sketch serves to introduce a few illusions that were not mystifying enough to please the audience. Fourteen minutes in three; two curtains. No. 4—‘‘Skeets’’ Gallagher and Irene Martin, 48 cute a pair of entertainers as has graced the Royal stage in many a day. Their singing, dancing and nut comedy is delivered in a manner that is truly inspiring. Gallagher is an excellent light comedian, and, with his partner, makes up a vaudeville team that would fit well on any first-class bill. They please immenseiy. Sixteen minutes, in one; five bows. No. 5—Dolly Connolly, assisted by Percy Wenrich at the piano. The clever songstress can surely put over a number, and the secret of her sutcess is that every word uttered can be heard plainly in every part of the auditorium. Wenrich played a few of his own compositions that caused much appreciation. The pair bowed off while the audience clamored for more. Twenty minutes, in two; six bows, INTERMISSION No. %—Charles Chaplin,: in the photoplay, Police. Twenty-six minutes. No. T—John E. Henshaw and Grace Avery presented their original miniature musical comedy, A Vaudeville Table D’Hote. Henshaw is one of the old school actors and surely knows how to put over his lines to make each point count, while the pretty Miss Avery is also an artiste. Their polished work caught on immediately. Twenty minutes, in one and three; four bows. No, 8—Violet Dale, programmed as America’s mimic, l'~ed up to this billing. Miss Dale portrays and impersonates stage favorites in a manner most extraordinary. Her Nazimova and Pavlowa impressions were received in a most cordial nanner. She alse impersonates Lillian Shaw, Trixie Friganza and Mrs. Leslie Carter. When Miss Dale finished with Nazimova’s War Brides the spectators applauded loud and long for the clever mimic to display more of her talent, but she bowed eff amidst apjiause, which she truly deserved. Twenty-one minutes. No. 9—Olympia Desval and Company show -as pretty a dog and horse act as vaudevilie can boast of. The animals are set through their paces and respond to every call of their master. Ten minutes, full stage; two curtains. Length of show, three hours. Business fair. —JACK. ADDITIONAL REVIEWS ON PAGE 10 TICKETS —FOR— THEATRE BASE BALL CIRCUS WELDON, WILLIAMS & LICK FORT SMITH, ARK. Pi pe na mes aes a ~ RS a oe — * LO LR MS RE TERE ‘ Sens hoy. onitde, Uibananveneardie ee eee a. res a eee _—