The Billboard 1922-10-07: Vol 34 Iss 40 (1922-10-07)

OCTOBER 7, 1922 The Billboard ‘NEW TURNS and RETURNS MAURICE GOLDEN AND COMPANY “The Movie Masque” THEATER—B. 8S. Moss’ Hamilton, New York. , STYLE—Novelty dance revue. TIME—12 minutes. SETTING—Full stage, special. SPOT—Feature. SCENERY—— Dark cyclorama, open at back, disclosing lighted city and aerials. ROUTINE—— Thru radio horn at side of stage dancers, introducing movie stars at a ball, are called off as they appear up stage in spot and offer their dance specialties. The first number is a representation of Rodolph Valent/ao and Agnes Ayres dancing to the music. of ‘The Sheik’’ in the costumes seen in the photoplay of the same name. An impression of Betty Blythe in the pearl gown she wore as ‘‘the Queen of Sheba’’ is the second feature, and this is followed by an imitation of the dance done by Mae Murray in the film play, ‘‘Fascination’’. Douglas Fairbanks, as he was seen in ‘“‘Mark of Zoro’’, is next seen, after which another dancer impersonates Pola Negri in “‘One Arabian Night”. Mary Pickford as ‘Little Lord Fauntleroy’, Constance Talmadge in ‘‘Polly of the Follies’, and Harold Lioyd in “A Sailor-Made Man” were the closing imitations. REMARKS——This is a high-class novelty sketch, presented apparently with only three dancers, two girls and a man. The dancing is excellent, the impersonations striking, and, all in all, “The Movie, Masque" is a first-class vaudeville attraction, especially strong in a combination house where the patronseare also movie fans. Fyoumneys WILSON AND McAVoy THEATER—B. 8. Moss’ Hamilton, New York. STYLE—Skit (two men), : TIME—12 minutes. SETTING—Special. drop, in one, SPOT—Three. SCENEKY—— Painted drop shows “newspaper roW"’ lined with newspaper offices, On one corner “at rise’ is shown editor at desk, back of window, and across the corner at another window an advertising agent ® his; desk. There are practical shades on the windows. The scenery is evidentl; "€W\ and well done, The skit opeus with two men ‘kidding’ Yr the phone, which results in a meet ing ‘‘on the street’’ in front of the building for more patter and songs. REMARKS——The lines are clever and get over for laughs, They also carry out a little story. The boys know their business, which is that of getting laughs legitimately, and when it comes time for the song they do well enough to earn an encore. The act is a novelty and can be programmed to advantage. It is neat and welldressed. More important, the audience seemed to like it. THE CARBREYS “HEATRE—Loew’'s State, New York. STYLE—Dancing. TIME—14 Minutes, SETTING— One. SPOT—Opening. WARDROBE—Gir! in pearl gray cloak, white cap, white silk stockings and silver satin slippers. Man in black, with hat, both to indicate the Puritan period. Man changes to Tuxedo. with straw hat, and girl (underdressed) to gown of iridescent silver cloth, shading principally to blue, the skirt of which was brocaded, ROUTINE ——<A novel opening, with the girl, a blonde, and the man jn head and foot stocks, the headpiece holding both heads and the four hands in one piece and the feet being held in separate strips to permit dancing. This is the first time this idea has been seen by the writer. The opening song was about Gloomy Gus and Killjoy Priscilla and is a special number. An encumbered dance followed that was well done, considering the impedimentae. With the exception of “Blue Law Blues"’, the balance of the act was devoted to dancing, including waltz clog and other steps, to the melody of ‘‘Stumbling”’’, a rather appropriate tune for dancing acts. REMARKS——-Starts off well with a big-time idea, but does not make the most of the advantage obtained by their subsequent routine. No solos are essayed and nothing out of the ordinary steps shown by many dancing teams. The girl has a tendency to overexaggerate a perpetual grin and makes up her eyelids much too heavily with blue. She should read the sevics of articles appearing in this paper under the heading, ‘‘Make Up Your Mind About Makeup’’—the one in the issue of September 23 ly, The team takes no chances in the matter of bows, taking three before they leave the stage. Perhaps it is just as well! NORTH AND KELLER THEATRE—Loew’s State, New York. STYLE—Singing. F TIME—10 minutes. SETTING—One. SPOT—Two. WARDROBE—Dorothy Keller in gown of deep salmon shade and Betty North in similar gown of same shade, tho much lighter. Both gowns extending at the hips with straight lampshade effect and ornamented with flowers of deeper shade. There were girdlebands of metallic cloth of the silver variety. Miss North carried a black ostrich plume fan. ROUTINE——Miss Keller, formerly of the team, Rosamund and Dorothy, was seated at the piano and played the accompaniment for the soprano solo of Miss North—‘*‘Just a Little Kiss'’, A piano solo followed, Miss Keller doing a display of technique that lacked force, but was considerably better with the jazz number which she swung into, the latter with the assistance of the orchestra, going over for a good hand. In a spot the two girlx next did harmony singing and put over “‘Just a Little Love Song’ to good effect, Miss Keller’s mezzo, with contralto quality, blending nicely with the higher seprane of Miss North. This drew a good hand and gave impetus toe the recognition accorded at the finish as the two girls did “High Brown Blues”, th seated on the piano bench, REMARKS——Miss Keller's personality is good and Miss North pleasing—both girls might get together and arrange 4 better routine. At present there is too much similarity to the numbers used prioy to the “Blues’’. A couple of popular songs would help and the elimination of the display of technique on the piano, using the jazz number alone, The finish is not bad, but fails to send the act over for more because of the weaker impression created first, which is more concert than vaudeville. : DATE—September 21, Night DATE—September 21, Night. ROUTINE DAPE—September 29, Matinee. DATE—September 29, Matinee. OLIVE BAYES THEATRE—Proctor’s Fifth Avenue. STYLE—Singing and Talking. TIME—16 minutes. SETTING—Special, in one. SPOT—Two. SCENERY A plum-colored drop in ope, with birds painted upon it. WARDROBE—Woman wore gown of blue, with beaded front and back panel, trimmed at right waistline with ostrich plume of light orange, blue silk stockings and blue satin slippers, with rhinestone buckles. Man wore suit of black, turn-down collar, black jasbo tie, a white handkerchief jn the outside upper left breast pocket, black tent leather shoes, and carried a fawn-colored Fedora, lined with orange satin. oman opens with a vocal solo of the popular variety, which is interrupted by man with near comedy—very much of it old gnd of the unfunny, gaggy order. This was attempted with a marked Semitic accent supposed to appeal to a certain race of people, and te be funny to them and others. Man sings a number to piano accompaniment by the woman, and other instrument accompaniment (sometimes) by the orchestra, Despite orchestral opposition the number, “‘Some Time You Will Tell Me You Are Mine Alone’’, went over well, the man selling it in strong tenor to a good land, Some talk followed in which the use of the word “Shickser”’ should be eliminated and the ‘‘Hooche-Kooche—Galli-Curci’s sister’? gag might be replaced to advantage. A short recitation followed, going from the semisublime to the absolute ridiculous, in which the word ‘Hell was utilized “Yiddisha Mammy" by the man followed, the woman joining in the chorus for the finish and helping to punch it up. The song is, for the most part, not suited to the man’s style of singing and is pitched too high to suit the quality of his voice; it detracts from the character of the number employed. The very best point of the whole act was taken for the encore, when ‘Roses of Picardy” was very well rendered in good tempo, with admirable phrasing and adequate expression, This put the act over strong, the team taking several acknowledgments to definite acclaim—they did not commit the faux pas of stealing bows, REMARKS—The comedy is very weak—the repetition of the gag line, “Keep on Singing”’, which is also the billing for the act, is unfunny, as is also ‘‘I have a perfect right—the left AIN’T so bad either’? There seems to be no reason in the world for billing the name of the turn Olive Bayes, as the Olive branch of the team does very little other than bend over the piano a part of the time. The man has DATE—September 28, Matinee. ROUTINE— a good voice, and on this alone would make a hit anywhere if his efforts as a near-Jewish comic did not detract from the class of his vocal acquisition. Having some material written that would give the woman more to do, with dialog of & more modern variety than that employed at Niblo’s Gardens, or written in the first edition of Madison's Budget or Jensen's Encyclodepia of Comedy the turn immeasurably. » would help ? a MITTY AND TILLI THEATER—Palace, New York. LLIO DATE—September 18, Matinee. STYLE—Dancing. 4 TIME—24 minutes. SETTING—Specials in three. SPOT—Next te closing. Wants Artistic interior for first num erior, not so artistic scenically, for second, E—Man in orange-colored bloomer-jike trousers with jacket of brocaded blue and woman in not much of anything. There was a short pair of trunks—quite short— and the balance of the coveri was largely composed of various sized beads arranged to cover the more intimate parts of the anatomy at various points. In the case of the pectoral shie]ds, some parts were not altogether covered. For the second number the men—there were two—wore a sort of greyish blue bloomer trousers not unlike the first, the top part of the costume being a shirt-like effect in the same color monetene. The woman was attired after the manner of a butterfly with variegated skull‘ eap to which were affixed projecting antennae Also a pair of short trunks and close-fitting bodice spotted in iridescent shades— the arms and legs being bare. .To the bodice one wing was attached, the other. at the performance reviewed, but semi-attached, for it dropped te the floor upon the initial entrance of the supposed butterfly. ROUTINE—— At the opening, woman is discovered reclining on a covered mattress on the floor —the husband enters and a dance is indulged in that from the woman’s facial and physical expression did not give the impression of pleasure, but the commonplaces that exist between husband and wife after a long period of ccnnubial opposition. The music was not lilting and ram a more or less even tenor and tempo. A trumpet sounded a war-like note of warning, which, upon repetition, was evidently the signal for the husband to depart for battle. The leave-taking was prosaically portrayed, after Which the greatest joy was denoted by the woman and in the musie upon the arrival of her lover. The terpsichorean depiction of her illicit amours was next in eviderce. An altogether too brief a period seemed to have ensued, for the husband's unannounced and unexpected return threw both the lover and the untrue wife ‘into a state of wild fear and consternation. A battle between the husband and lover resulted in the overthrow of the husband, . the lover fleecing. The husband, reviving, attacks the wife, throws her around, casts her forcibly aside one moment and embraces her the next, much after the manner of the apache dances done in France by Mistinguette and this country by many others. The concluding embrace denotes that all is forgiven and peaceful serenity once more reigns supreme. Of course what happened to the war in the meantime is problematical or what punishment was meted ont to the deserter by his colonel or second lieuten . ant—a deficiency with which the A. W. 0. L. doughboy was seemingly unconcerned, but nevertheless sooner or later would have to be taken into consideration or pane A of one week's stay in tpe Palace there would be one week's stay in the gua use. Following the house plush was lowered for a ehange of scene and a wait of fully three minutes or more—a'fatal error, for the major part of the audience, thinking the act was oyer or not caring for what was to follow, left the auditorium and the soldier to his fite. If the set is to be changeé—and from the routine at present it needs be— there should be something else utilized in ‘‘one’’ to offset the restlessness of those who have been trained 1 action and are unaccustomed to delay, particusas 4 with this kind of act. vividly unreal, unurbanesdie depiction of an exterior was next used for the ehase of a butterfly by two mea. She eluding their attempts to catch her, was at last enmeshed jn the toils of the two-armed net of humanity-—her wing rudely torn off, cast aside, and after a vain flutter for safety was finally engulfed with despair and fell a prey te the heartless huntzr whose unpotassium cyanide methods seemed to have no effect physically upon the lithe suppleness or further locomotion ef the mangled fo sag The A-Flat Major Waltz, Opns No, 1, of Chopin (Minute Waltz), was used for the first part of this danca and seemed orn te. REMARKS——The idea of the offering, while depjeting no new ip le tertainment, has been evidently thought out’ with the point 2, ee és somethting out of the ordinary run for dancing acts, and, w it looks somewhat different, upon analysis there seems to be little te j advance billing or the sponsoring of the head of the Keith Circuit. : While there were a number of bends, running jumps, aerebatie catches and feats—not dancing—indulged in, omprediy’ these two are not ‘France's Greatest Dancers’. Making every reasonable allowance for the nervousness that was palpably evident, there is nevertheless a lack of G@nish and teehnic not t ag — | of our _ American dancing acts as well as many abroad. ; ace na tter spot—earlier—the eouple, with error th eliminated, would have a better chance, especially so a they. we overbilied. KAMPLAIN AND BELL THEATER—Proctor’s Twenty-third Street, New York, STYLE—Mixed double, song and patter. SETTING—In twe. SCENERY——Spanish exterior, house and wall, in one, backed by landscape drop, Execution good, lighting effective, WARDROBE—Woman (high yellow) opening in nish costume, cha to white evening exican attire, c g tux. Good and gown. Man (blackface) opening jn obviously new, ROUTINE——-Man’s voice heard off stage, woman enters and awaits , Whe enters at conclusion of number, the blackface drawing a hearty laugh. Patter follows, interspersed with song by woman (voice weak), allowing mag epportunity te ehange. Latter returns and yodels ballad while woman makes change, More patter, with a double number for a getaway. REMARKS——Lhe situation is rather novel, the patter fairly humorous and the vocal numbers passable. What this act appears to need is some fast stepping to pep it up. THEATER—Proctor’s Fifth A STYLE—Singing and talking. SETTING—Special in one, SPOT—Two. SCENERY —— Special drop representing a boat with practical door and partial view of stream with a few s 8. WARDROBE—Man wears flannels, white sweater, sport hat with red band and white shoes. There was an affixed letter © of blue flannel on the left breast. Changes to very tight-fitting costume of blue upon the breast of which were crossed oars of white. A nautical hat was worn, Womar in lavender dress overlaid with many strings of beads, a black hat ornamented with birds of paradise, brocaded lavender slippers, wearing a string of pearls around her neck and carryjng a camera and beaded hand bag. ROUTINE—— Man discovered practicing scale on saxophone—wrong note and fly on the music business—interrupted by woman, after which both indulge in conversation written. after the get-back style of banter, drawing mild laughs, The dialog was , snappy in spots, The woman is interviewing the man and he answers various more or less pertinent questions. At his exit a number is vocalized in a throaty manner. It is arranged as 1 medley and includes excerpts from various songs used by Jolson, Lauder, Nora Bayes and Fritzi Scheff, whose names are mentioned but of whom no impressions age given. Man returns in costume before mentioned and carrying an oar—considerable comedy is derived from comparisons between the man’s figure, which is quite sparse, and the oar and the efforts of the woman to photograph him while standing behind the boat-propelling instrument. The ‘‘gaggy’’ brand of humor at this point wad net up to the standard of the former talk, several hokum bits failing to register. A quiet conclusion with effects, the man's face being in relief thru a foot spot and a sort of half rube, half serious twist being given to the attempts of the fellow to get the girl’s phone number—which he did, At her exit he plays ‘“‘Home, Sweet Home’’ on the saxophone as the drop slewly descends. REMARKS——The act went over to a good hand and a couple of bows at this house, which is of the class where this sort of act belongs. While it is different from many others, nevertheless it needs a lot of new material in the way of lines, especially in the latter part, before it will be in line for the better houses. PAUL SPECHT’S LADY SERENADERS THEATER—The Broadway, New York. DATE—-September 25, Matinee. STYLE—Musicai . TIME—15 minutes. SETTING—In three and three and a half. SPOT—Three. — SCENERY—— Blue drapes in three, parted at center, and backed by drop, in three and half, which is three times changed in keeping with the numbers played. WARDROBE—There are eight girls in this act. Seven appear thruout in a novelty orchestra and make no costume change. The eighth girl, a singer, makes several changes— one for each number. All costumes are in good taste and appear te he new, ROUTINE——A cut-and-drie@ progranmi of orchestra, song, orchestra, song, violin slo, of chestra, song, ete., ete. ° REMARKS——Rather prettily staged, but lacking diversity, and at no one time giving rise to anything more than an oe —! on the part of » —s — A er in the pit ose every move y ¥ wh tertainment CARLISLE AND LAMAL venue. hI id ¥ ;