The Billboard 1922-04-01: Vol 34 Iss 13 (1922-04-01)

tiltey’ ‘eaten APRIL 1, 1922 The Billboard 13 From Coast to Coast by Special Wire Keith’s, Cincinnati (Reviewed Monday Matinee, March 27) While brisk, the new program suffers from an overdose of gong, dance, chatter and music. Harry Langdon’s act, allotted beadliner, shares Stellar valuation with Valerie Bergere and Company and Bryan and Broderick. The lastnamed turn, due to the wonderful charm and terps chorean ability of Miss Broderick, jooms high In its field and should never be spotted at the end of @ bill. Attendance bout two-thirds. Pathe News. Aesop's Fables, Miss Follette’s Monkeys, tho few in number, are so trained as to provide surprises and comedy sufficient to entertain an audience for five minutes. Special in two; one curtain. Patrice and Sullivan, boy and girl, landed a recall on a jazz finish of a blend of singing and piano and violin playing. Better results may be expected from these youngsters after a while. Nine minutes, in one. Valerie Bergere’s playlet, “O Joy San”, is rightfully programmed: “A dainty Japanese comedy -drama."" The special set carries the proper amount of Oriental color and each part is capably handled, particularly the leading roles by Miss Bergere and Herbert Warren. The other artists are Jason 8S. Kinslow, Violet Barney, Effie Bodine and Harry W. Smith. Eighteen minutes, in three; beld close attention thruout and received five curtains. Harry and Dennis Du Four received frequent applause on their neatly executed double and solo soft-shoe dances and landed quite a few laughs with an English d'alog. As singers they are fair. Fifteen minutes, in one; four bows, applause. Arnaut Brothers. Regardless of the fact that their routine of instrumentalism, acrobatics and whistling is familiar to the regular patrons, these two clever workers never fail to meet with high favor here. Surefire is their burlesque on a bird romance. Sixteen minutes, special in three and one; recall, two bows. Marry Langdon, assisted by Rose and Cecil, presents a golf satire in two scenes that is (Reviewed Monday Matinee, March 27) —_—, “The Whirl of New York" is ag apt a title as could have been selected for the Shubert so-called vaudeville bill at the Winter Garden this week, The audience, which indicated a very considerable increase in business at the Monday matinee, seemed to like the offering, , which, after all, is supposed to be the main thing, but if ‘The Whirl of New York" is vaudevanced or otherwire, the Ringling Madison Square Garden is musical comedy and ‘Carmen’ is a revue, However, “The Whirl of New York” provides work for eo lot of actors and acts and they don’t seem to wind working overtime. The frst half of the program its divided up vaudeville fashion, but only two acts are excused for the day after the inttlal appearance, all of the others appearing more or levs prominently in the revue which takes up the full thre after intermission. And speaking of the revue, the professionals at liberty im the audience were offered this: “Layot! Layoff!" shouts Jee Keno to Florence Schubert, who plays the Queen of the Bootleggers. “Leyot?’’ replies Florence. “Do you think you are talking to a Keith act?" Lood cheers from three or four sad ones parked on the sofas. Which is proof enough that vandeville is the intent ot letst at the Winter Garden. Of the two acts not programmed and not in the revee, The Flemings, a strong acrobatic posing act, won and earned honest appreciation from the audience, and Conchita Piquer did a little better them she has previously. This is the third week for this Spanish soubdret, who ville, a show at aw orks sett! fenpy only in spots. The same might be said yy mers pain ke heron r4 —wengilte of the th'rd episode, an automobile farce, oniineee: os ngie. She has charm, good **"!*! “Toff Roding’. Langdon is a drot] comic 8} exe 4t tasieg im costuming and *29 should have a vehicle in which bis wares voice ex ber Wine of work, but until micht be displayed to better sdvantage. she gets the right sort of an ect, whatever T¥rnty-one minutes, special in one, three and : »*t ie omattn” sett okie two: four curtains. = brgedipaente 4 ter ta thing Billy Glason got the best possible out of an leter in the 2 eee with some ®trsy of songs and sayings. Some of his gags _ excelievt durcicg ty t ret bald, clowing their &* Pew. Twenty-one minutes, in one; return, ect ze 6 1 together for qg ‘*e bows. nun t a strong hom? Tom Bryan and Lillian Broderick have a novel .. ete Ths Sat prelede to an artistic dance presentation, the Pt ey 0 geome “a ae beauty of which is enhanced by rich backs . nant eet ; "eae tair ecrounds. Miss Broderick is long on appearance, As dsncers, howe: they deen yea the bla personality and style of dress, and what she seception they got ia taalr ect and later in “alls to do in the way of classical and fast time foot work {is done by few otbers. Bryan is an able partner. Lucille Jarrott, besides giving a worthy account of herself at the piano, bas an appearance that radiates pleasantness. Sixteen minutes, im one, two and three; three curtains. -—JOE KOLLING. ACTORS’ EQUITY WINS IN CLASH WITH DE COURVILLE New York, March 25.—Another chapter in what might well be termed “The Troubles of the rcervuc Then came Kyra, Oriental dancer, supported *y a company billed as the Ralyph Symington Girls Tee eneke dance Is the outstanding act and went as well as it A slower tempo is suggested, s only a matter of opinion, Ten Pard and Jack Pearl, as was to be erPected, took the comedy honera of the Dill, both Im the first half and itp the revue, They know their business and tend to it, which can feature of the usnally but that sag ay eel Cummings. who spelled bis Arpert De Courville” was written last week bentier lesen dan tae ~~ god oe in Philadelphia, where “Pins and Needles” enced a che stent , A better = made its bow as a vaudeville attraction, when yi rca te 3 ime eats can .. the frst open clash between the English pro tlm. In tt : a wes — — ioe ducer and the Actors’ Equity Association oc8 Ue reve S's broad comedy beled cored, with the latter scoring the only touch put over the lest balf, even tho his work is mere Ducle que than vaude\iINe. Ard, while down. a the hammer is out, why drag in the spectacle This particular “‘troub deals with De Corr of Cummings and bis helpmates dragging vilie’a attempt to let Dorah Cowan, dancer end a member of Chorus Equity, ovt of the cast without two weeks’ notice salary. Mise Cowan joined the show in Philadelphia as 8 specialty dancer, but later its wes decided to place her among the show giris. It was found that she was hardly tall enough for this and she was discharged, She was offered two days’ salary and her carfare to New York. Altho without @ contract, she demanded two weeks" notice, salary nerlves geross stage on their stomachs to tier perspective of Kyra, bare except for a few Diackhbeads, who “lures” them off thry the frst entrance? Nancy Ofbbs and Pierre De Reeda, the !atter of whom is also the music director for the revee, relieving Andy Byrne for the last half, have a music act just before Cummings, asfisted by Billie Shaw, and got the before-in termission closing. and return fare. Ths De Courville refused. In the revue J, Harold Murray and Dolly yrice Cowan then telephoned the executive beadHackett handle the love lyries nicely, with quarters of the Chorus Equity and was adv'sed Murray forcing a strong encore with “Manda(9 get a lawyer and attach the show if necesley.” 7 sary. This she did and under threat of atSyra ts worked overtime and to advantige tachment, De Courville granted her demands. in the last half, which is not much of any-\ rt js also rumored along Broadway that De ‘ne except a vehicle to give work to about Conyille experienced further trouble with his “OS people WED FISKE, just before leaving the city for the deville tour of “Pins and Needles.” GREEN ROOM CLUB REVEL goes, it was the habit of De —_— Courville to pay the company off between the ‘ew York, March 25.—The Annual Revel of Raturday matinee and evening shows. This he neglected to do, it is sald, on the closing ‘he Green Room Club will be held this year at the Geo, M. Cohan Theater Sunday evening, day. As a result the etory that the show had stranded and no salaries pald was started April 16. The usual big bill of one-act plays nd acts will be presented, Prices this year by one of the choristers. A meeting was held at which the majority wi be in Keeping with the times, and range from $3 down, of the girls decided they would not go on that night unless they received their pay before . Palace, Cincinnati Reviewed Monday Matinee, March 27) The current bill should please those who like dancing. Terpsichorean exhibitions of almost every variety are the order of the week, The pictorial program of Pathe News, comedy and feature film pleased. Babe and Tommy Payne are a pair of versatile entertainers who can sing and dance acceptably. Miss Payne sang a risque song and following a stock encore they executed a bit of acrobatic dancing that earned them a big hand. Their act needs pruning. Eleven minutes, in two. The Monarch Comedy Four scored heavily with their slapstick comedy and harmony singing. The comedians are good, after a fashion; one of them can claim the distinction of pulling one of the oldest jokes on record. The straight man has a pleasing tenor voice and acts as a sort of damper to the noisy comedy of his partners, Thirteen minutes, in one; four bows. The most pleasing act on the bill is that of Embs and Alton, a man and lady, whose artistic singing was greatly appreciated. Their numbers, with a few exceptions, were confined to songs popular for many years. A medley of almost forgotten airs, sung by the lady, with the man playing a violin obligato, was a revelation. Fourteen minutes, in one, two and one; four bows. The efforts of Warren and O’Brien include acrobatie dancing and comic falls, with a little funny dialog thrown in for good measure, They represent themselves as being vaudeville stars in the making, long on self-esteem but short on ability. However, their stunts belied this, for they executed a number of intricate steps and daring acrobatic feats, and concluded each bit with a tumble that was difficult because of its awkwardness. Nine minutes, in one; four bows. “On the Aisle,” presented by James Ten Brooke and Company, is an amusing sketch, in which troubles of the theatergoer are aptly por-. trayed by two men and a girl. A bit exaggerated. nevertheless pleasing. Fourteen minutes; two curtains. Ruben and Hall are a pair of comedians and nimble steppers whose antics were thoroly enjoyed. The comedian has a fine Jewish dialect which, combined with his droll manner and clean, crisp material, favorably impressed the audience. The straight man has stage presence and can dance with the best of them. They were liberally rewarded with applause, Ten minutes, in one; five bows. The Melo Danse, presented by Maurice Greenwald, and styled “A Whiff of the ‘Follies.’ ” pleased to a certain point and then became Yiresome. Too much is too much. The trio of male dancers and one female have ability, but a little better routine and arrangement is sorely needed. Seventeen minutes, in three; two curtains, —KARL MOVING TO CHICAGO Orph Circuit’s Business Departom To Move > Matter of Convenience, Chicago, March 27.—The business department of the Orpheum Circuit, including the auditing, legal and insurance departments, is to be removed to Chicago from New York, according to a statement of Ben Kahane, secretarytreasurer of the circuit, to The Billboard today. The principal officials will not move their offices to Chicago, nor will any of the other departments of the eircuit be moved from New York. Mr. Kahane said the bringing of the three departments named alove to Chicago is without significance, and is being done purely as a matter of busipess convenience. He nye se rather persistent report that the general offices of the Orpheum Circuit are to be removed to Chicago is entirely without foundation. hand. The Equity members of the cast refused to join the group, being confident that their organization would take care of them in the event that the rumored trouble became 8 reality. However, it is said, that the evening show found but little more than half in their accustomed places. It is further reported that the striking choristers got out an attachment, but were unable to exercise it because, instead of securing it against De Courville, the Shuberts were pamed as defendants. By their refusal to go on the girls automatically broke their contracts, and, it is eaid, received no pay from De Courville for the week. VAUDEVILLE THEATER FOR SCHENECTADY, N. Y. Schenectady, N. Y., March 25.—Plans for a new vaudeville theater costing $600,000 and seating 2,745, were filed here this week by Architect Thomas W. Lamb, representing F. F. Proctor. It will be situated on State street opposite Jay, with the entrance about midway between State and Smith streets. A smoking room for women, the first in a local theater, will be installed. “THE SHOW OF 10,000 WONDERS” By GORDON WHYTE (Continued from page 5) arms. For a finish Hillary Long swings widely, while balanced on his skull, to a big hand. While the aerialists clamber down from their perches the joeys come on the hippodrome track and create the usual laughter w.th a mixture of medley, variety and diversification of nonsense. Old and young chortle with giee at their antics and one does not know who does it the harder. While this is going on everything has been made ready for three equestrian displays. The Tarneffs occupy one ring and the three girls, prettily dressed as jockeys, do some thrilling Stunts on the gray rosin backs. The Serillos, gfarbed as Andaiusians and consisting of five men and one woman, leap blithely upon their horses and are away for a few minutes of skillfuj riding. In the center ring Ella Bradna rides gracefully and makes her ex.t on the track in a huge liberty chariot, surrounded by horses, dogs and pigeons, amid the ‘‘débs’’ and ‘‘abs’’ of the admiring audience. Now the clown band enters and renders “How Dry I Am", with lachrymose sobs by the trombone soloist. While in the throes of coaxing the “new National anthem"’ out of his instrument a bucket of water is spilled on him from aloft, to the manifest glee of the onlookers, who one and all yell with joy at this neat bit of jocosity. Meanwh:le six velvet hoods and revolying tables have been placed in position for the half-dozen posing acts which now make their appearance. The immense auditorium is darkened and batteries of lights are directed on the six groups. Besides the statuesque beauties who portray groups of statuary there are the posing dogs and horses to please the eye and awaken the wonderment of all snd sundry. Then come several minutes of fast and futious Wild West riding, participated in by Oy Compton, Hank Durneli, Art Boden, Madeline Dupree, Bud Hurlin, Jack Neilson, Joe Flint and Lottie Shaw. The lassos are thrown, the pony post rider leaps op bis equine relays and the bucking bronchos buck. The house enthuses } ig at this display and gives all a generous nd, They are followed by the gymnasts and tumblers. In the center ring ig the Sie Thar Troupe of ten, with a wonderfi girl tumbier, who does a whirlwind finish after a special announcement by Lew Grabam. Then there are the Joe Dekoes Troupe, the Boston Brothers and The Lorettas. The last named do a splendid act on the horizontal bars whicb is both unusual and unique. The Boston Brothers have a thrilling finish wherein one of the men leaps over a row of nine standing men from a teeter board to his partner's hands, and The Dekoes Troupe toss each other about as tho they were made of feathers instead of bone and sinew. Next a fine display of high-schoo] horsemanship is given. Adolph Hess, Manuel Herog, Frank Miller, John Foley, William Elliston and the Misses Minnie Taylor and Lillian Compton direct the wonderful animals thru dances, prances, capers and poses. The horses are tra‘ned to the minute and the skill of the riders makes the most of all that the clever an-‘mals know. The house rises to the beauty of the exhibition and speeds them on their way with a furious burst of appjause. Again the clowns enter and with gelastic gesticulations these funny rascals occupy the attention of the crowd while the stages and r.ngs are prepared for an array of acrobatic acts. These consist of the June Brothers, the Rice Trio, H. Rittley, Joe Bagoughi, Arena Brothers, the Four Comrades and the Hart Brothers, Rittely makes the audience gasp when he falis from a swaying pyramid of five tables and # chair, and a glance. first at this turn and then the other shows the various acts working away for dear l fe, capturing a round of applause and a laugh here and a laugh there with their tricks. ‘Top mounters are tossed airily aloft on the shoulders of comrades and comic fellows are knocked down to rise again triumphant. In the center ring Bagoughi, the dwarf equestrian, bas the house shaking with laughter at his comic caperings. Suspended on his mechanic, he rides and falls, poses and trips, rides first on the ears of his horse and then tries the tail for a change. This is horsemansh p with a vengeance, and the ridiculousness of it quite captures the fancy of the crowd. They give Bagoughi a rousing hand when he doffs his wig at the finish to convince them that he is not the pretty miss at all, but a full-fledged, if diminut:ve, masculine. The joeys are on the track again, this time with trick automobiles. Henry Ford doesn’t know the half of it, as the flappers ray. In his worst nightmare he never imagined the product of his genius cutting up as these vehicles do. After the crowd has had its laugh at this the amphitheater is plunged into darkness and bathed in the glow of spotlghts. Lillian Leitze) enters, attené<a by her maid, and walks to the ring where, after being properly introduced in a very special announcement by Lew Greham, she clambers hand over hand up the webbing to a pair of mngs in the air. A splendid picture she makes, clothed in spotless white, as to the seductive strains of a melodious walts she again demonstrates her matchless superiority as an aerialist. But wait a moment—something is wrong. The rigging is twisted and a refractory ring supporting ber apperatus wil) met function properly. Sbe tries to shake it into order, but it still proves refractory. Then she climbs up the rope the other ring, supports herself by clinging on with her knees and beats the stubborn steel into submission as one would curb the doings of some unruly animal. The audience, which hag been all alert to see bow she would get cut of her predicament, applauds wildly as she re turns to her rings and continues her act. Fora finish Miss Leiizell is hoisted aloft, hanging by one arm in a loop, and does a one-arm pullup 62 times. Work like this cannot fai} to awaken multitudinous response in the hearts of the auditors, and as the artiste (Continued on page 95) WMO CD RLS AES Ce Cai. en See dt NS 4 hese ir; *