The Billboard 1922-12-16: Vol 34 Iss 50 (1922-12-16)

7" =e DECEMBER 16, 1922 The Billboard 205 e_ engaged to Jack Morrell, prom. jbman,. ae i from Los Angeles that Mary Miles he film star, is to marry Louis aot itie eritie, author and scenario iter of New ‘York City. DIVORCES Mage, ou . in the pane Glad er last week filed application for Fy iondon. Her busband did not dewal G.I . owner of the circus bearing his Blea nown jn private life as Alphean 1 Stonehouse, filed suit for divorce Las \ s, Nev., November 28, from Sara e St «-, his second wife and former Mr. Barnes charges cruelty. «. Blue recently sued for divorce from Gerald M,. Blue, known Monte Blue. Mrs. Blue ertion only. The Blues were mar \ t, 19, and separated May 27, ONeill, English in private Li tance Maltieson, was granted a ree of divorce in Lyndon from Mills Malle actress, sul » an aviator during the World War, filed suit for diverce in Cincinnati last week June Gladys Sutherland, actress, } ’ rtion Mr The 1 Orr Meyer, former Ziegfeld “Follies beauty and now under contract with David W. Gritith to appear in films, was swarded a divorcee in Chicago December 2 from Max W. Meyer, whom she charged with cruelty. lever was known on the stage as Thelma Edward LeRoy, the high-wire walker. BIRTHS To Members déte Profession To Mr. and Mrs. Walter Bacon, of 1733 N. Westerr venur Los Angeles, Calif., a son, in I ‘ Secotiand, at the home of Mrs, Ra ts. the mother is professionally kr s Bacon and is expected back in Los sa t New Year's T Mrs, Fred A, Cate, in Jackson, Mich., Deve sf pound daughter. Mr Cate the Three Cates, musicians, who ar t the Capitol Theater, Jackson To ! M Allen Leber, in Chicago, N a rhe mother is profession al tt Armstrong Herman Phillips, at Flower Hospit . York, December 2, a son. Mr. } ger of Keith's Alhambra Theater. ° “ Mrs. Jack Ray, at théir home in Denve Getober 13, a son. Mr. Ray, v tle “Montana” Jack Ray, is we 1 » and contest circles as a 4 ‘ r 1 tric rider irs. Leo Star, December 2 & six ehter. Mr. Star is leader of the or t ng his name, which is touring Centr s, Ne ot season he will lead the band of the C. J. Sedimayr Shows e To } i Mrs. Perey Walters, November pe t who has been christened Margaret r Walters is a tattoo artist ” M 1 Mrs. Williams, of the team of nd Williams, whose skit, ‘‘From +f Grand Opera’, is known in vaude= t beys, December 5 in New York MOVE TO FIGHT EQUITY SEEN IN NATIONAL THEATER PLAN (Continued from page 19) rticles, is not quite all that it appears to be,” an r to those who read between the lines Oo t s t statement, "It is in fact the opening gun of the managers in their war on the Actors’ Equity Assow \ugustus Thomas, noted playwright, le rer 1 journalist, published under his sienatnr n for a National Theater it Was t t that newspapers all over the c g the pulse of the public, should r ¢ mportance of a truly American in stitut f this kind and give to the subject es fs ‘ There are very few who deny hat ther n this country a crying need for a Not | Theater, And who is better fitted fo Sponsor such a movement than Augustus . ' th his great personal following and Sj rful Position? That there could be a “eat it’ never entered the minds of anyone f it dd no opinions were reported afiinst the scheme. Plan Well Received ——— 's. playwrights, would-be prodneers, play=< s were ready to hop en the Thomas an : _ Lee Shubert with a little = t chased the cat out of the bag and ~. frightened mice scurrying. This is what s t suid in effect: — Pr oducing sheengeet Association is —_ * chain of theaters thruout the coun + ed oe rage the amateur actor, actress and y rig : The plan has been discussed tenes out nothing definite has been decided iden, .¢ BS are being formulated after the Weas « Augustus Thomas. _ neously Angustus Thomas made public — act tt it by Jannary 1 the National Theathe p ea 2 fact. The executive chairman of eo yt A. stated that by the first of the of the universities that bave been in Participate in the new nrovement will prod : a ind that during the year many aie as will be made under the ‘joint litdternte matic and educational auspices of the Answers His Critics h Rey ne to o¢ rtain critics on the same dar n er date the National Theater T) 1 operations legall Chairman Wo bh heen comment to the effect that failed to give representation to the younger or modernist element of the American theater, Now, as a matter of fact, none of us has the slightest notion of omitting these factors from our consideration “The laws of the State of New York permit only forty members on the bourd of directors. As the National Theater is yet in a formative stage, our first need js competent organizers. our board has been chosen not only with regard to the literary, theatrical or educational value of its members, but also with an eye to their abilities as organizers, as practical men of affairs, able to offer advice and counsel as well as material aid during the initial period of the project. “As far as being opposed to the work of the modernists is concerned, why, I think that Arthur Hopkins is about as modern and as advanced a8 any one you could find in America. “The fact is that most of the persons who come under this classification are young, filled with the dreams and the native enthusiasms of youth, These are essential qualities for artists but youth and enthusiasms do not nece make their possessors experienced organizers. If at this stage we did make some of these persons part of the working forces of the organization, it might act as a deterrent to their creative efforts by diverting their attention from purely imaginative channels into the more practical ones, “But this does not mean that the National Theater will not welcome the work of the modernist. Modernism is after all an expression of the age in which we live, and we certainly will not disregard the manifestations of our times. Then, too, as I pointed out, any national theater must rest on the youth of America.”’ “The Catch in It” Now that persons who consider themselves somewhat familiar with the workings of the theatrical inner circle have had a chance to digest the Thomas statements and the short Shubert interview they are frank to admit that in a chain of theaters available for exploitation of amateur players and playwrights and the natural publicity that results from such movements, there is a fine opportunity for combating the Actors’ Equity Association's desire to increase the scope of the players’ organization. “This may be looked upon as a narrow-minded viewpoint,"” said one prominent actor, ‘‘and quite naturally may bring a denial of any such motive from Mr. Thomas. tut all of us know why the producing managers are pas ing a rather high salary to an executive chairman and all of us know just where he stands on the subject of organized labor. Of course the plan of a chain of gheaters for amateurs may be a Shubert scheme to reopen the houses abandoned by the vaudeville units, but most of us believe the idea is a Thomas brainchild, It’s a great idea to foster amateur talent. but why on the scale announced by Lee iubert as being under consideration? That ee must be answered before all of us will be in fall accord with the National Theater scheme,”* DRAMA LEAGUE TO EXTEND INFLUENCE (Continued from page 19) to all plays produced here and recomm end those which it approves to members. Each pl is estimated as to its artistic value in a letin which is mailed out every week to members and if some particular play which they consider of artistic worth shows signs of being neglected by the theatergoing public the league has sometimes sent out special postcarcs to memnbers urging them to give that play their I atronage. iis season this plan was adopte vr with “Bix Chara ‘ters in Search of an Author” and “The Werld We Live In’, Now the league zine to have all its members who wish to see a particular play attend in a body. In the announcement of the plan the league says it believes it can make the weight of its membership felt in the theater. Speaking of this they say: “For the first time in the history of the League it looks as if we might actually get concerted action and so make our force felt in the theater, This is what we chiefly exist for.”’ Action and practical working out of its plan is awaited with keen anticipation. ERLANGER MAY GO INTO VAUDE. FIELD (Continued from page 19) chain of high-class variety houses was not even hinted, and, in fact, such an idea is being laughed at by certain of his associates in New York, However, the story persists that Erlanger has at least an understanding with E. F. Albee, head of the B. F. Keith interests, and Marcos loew, who has been doing a bit of juggling with his Coast holdings thrvout this season, and that, at the latest, the beginning of next Season will see Erlanger back in the vaudeville field with Albee and Loew rot unfriendly. “or some time it has been asserted that Albee has been jockeying for a position that would make impossible any raid upon B. F. Keith vaudeville from any point. The building of vaudeville palaces in the Middle West and the strengthening of the position of Keith vaudeville in Chicago, the home of the Orpheum Circuit, has ai wider significance than the strengthening of the Keith Eastern Circuit. That Albee does not intend to permit even the Orpheum, with which the Keith Circuit is affiliated, to be in a position of independence, should Martin Reck by any chance feel that the Western chain was not getting any of the best of the vaudeville bargain, has been the feeling of insiders here for a long time, and that the admitted Erlanger-Shubert pooling arrangement ean never be a permanent contract also is the belief of amusement men here. The pool is a business deal and it is believed that it will not last if the Shubert vandeville banner is shot down. It is believed that Albee can forget Erlanger'’s former fling at vaudeville if Krlanger now is willing te become a wall of defense against Western secession from Keith by Orpheom That Erlanger vandeville will be the adverie line instead of Keith vandeville is believed ta be camonflage It is understood that is see Albee has an arrangement with Martin Reck not to vo west of Chicago as long as Reck does not ome east of the Windy Citr That Erlanger eould easily do fust what ts being done and that he could be helped by Albee to put this deal thru is admitted. Quite naturally, all this will be denied, but it cannot be denied that this move is a possibility that is not remote. Some rearrangement in theater bookings must be made next season nnless the Shuberts become a incre important vandeville factor thar they seem to be at present. Eroadway knows that Albee bas plenty of ecards up his sleeves and that he knows how to play them. COLUMBIA !S NOT INTERESTED (Continued from page 19) houses, and it is inconceivable that he would tie up with opposition shows and houses."’ When Mr, Jermon was seen later in the day he branded the report as a canard and without foundation in fact, and further stated that he denied each and every part of the published report. When Dave Krauss, president of the Motual Burlesque Association, was seen he said: ‘‘We have been in communication with Mr. Jermon and he has advised this office that he has already authorized a denial to be published in The Billboard.’ This will set at rest all nneasiness of producers of shows and managers of theaters on the two circuits who have been upset by the published reports that John G. Jermon, of Jacobs & Jermon, producing managers on the Columbia Circuit, had entered into a partnership arrangement with Billy Vail of the Manheim-Vail Theatrical Enterprises, controlling several theaters in the West, two on the Mutual Circuit and four shows on the Mutual Circuit, whereby Jermon & Vail holdings would give them control of the Mutual Circuit, tnereby removing it as a competitor of the Columbia Cireu nd leaving them in control of the burlesque "fiel 1 of theatricals. The published report is looked upon by those who know the inner working of the two burlesque circuits as propaganda in the interest of a prospective third circuit contemplated by several well-known burlesquers for next season. Proctor’s Fifth Ave., N.Y. (Continued from page 31) bag-punching. Their gymnasium, which takes up the whole stage, is literally decorated with the inflated pigskins, and they all receive some dexterous massaging. Harry starts out with some rapid work on a single bag and ends by handling seven at one time. Harriet, too, handles several of them in yarious positions, and she also knocks e stiffness out of a dummy for a lot of good laughs. The only criticism of this act is that Harriet’s pulchritude distracts attention from Harry’s clever work— but that’s not a knock. Margaret Ford very unassumingly took the house by storm with her singing The way she alternated her voice from soprano to bass made the audience scream, and her singing pleased either way. She declined more than one encore. Miss Ford could hold a better Place on any bill. John Jess and Company—the company con sting of a man, a woman and a girl—presented a Grogan and Duffy version of the tragedy of the houses of Montague and Capulet. The only difference was that the Grogan and Duffy version didn't end in a trazedy—the tragedy existed thruont. Rricks and romance don't seem to mix somehow. Bot the whole thing was farcical enough to provoke a quantity of langhter. The act could he improved some if the head of the house of Duffy toned down his makeup and stopped jumping around like a scarecrow, Henry and Moore, with a drop that repre6ents something like a Cupid Agency, dealt out a variety of highly entertaining comedy stuff. Fair dancing and singing, good jokes, and a flat violin specialty that was a riot. Then a screamingly funny Toreador travesty and a nice bit of violin playing for the finish. Also a violin selection for an encore. Enjoyable all the way, but a snap is needed at the finish. Many good things come from the Golden West, and one of the best of these is “The California Remblers’’, a band composed of ten men whose names are modestly left ont of the billing. Every single member is an artist; and they possess a certain refinement that lifts them out of the jazz-band class. The selections rendered were well chosen. A dancing cornetist and a restless saxophone player deserve special mention with the leader. Pour encores were responded to, with the audience hollering for more. The offering was arranged by W. T. Kirby. Butler and Parker offered a comedy skit, entitled ‘Don't Make Me Laugh’, But they did. They made everyone lauch. The girl is trying to land a Jewish character part in an act. She calls at the theater in the gnise of an honest-to-goodness Yiddisher maiden, makes an impression on the manager with her dialect, and ends by being both hired and engaged by and to him respectively. They also sing some parodies that are pretty good. Fd Janis and Company pat on an extensive dance offering. Four girls assist. One works at the piano and does a pleasant turn on a junior saxophone. The others dance. One of the girls does a snaky Oriental dance, in which she wipes up a quartity of dirt from the stage onto varions exposed parts of her body. It’s nbont time the boards were swept again. A nice routine of single and team dancing, with 1 speedy ensemble finish. “Lonesome Manor" is another amnsing sketch by Paul Gerard Smith, well delivered by Frank Dixon, Marguerite Murphy and an wunnamec newsboy, who conducts an attractive out-oftown newspaper stand at Times Square. A surprising amount of comedy has been injected, and Mr. Dixon works it effectively. Went over big. The title ought to be changed to something more suitable tho. ‘‘Kokes From Kokomo”’, frinstance. A charmingly arranged trapeze act is presented by Ruth Harvard, Wynfred and Bruce, two delightful girls and a man. ‘The setting is given a fresh touch by the presence of some palms, settees, lamps and other furnitur nd the trio performs in a most graceful manner. It would be ungracious to omit that the orchestra was right abreast of the occasion, with every instrument resounding with pep and enthusiasm.—DON CARLE GILLETTE. Loew’s N. Y. American (Qontinued from page 21) struments. It is their tricks on the triple horizontal bars, however, that count the most. Golet and Hall started with q spelling number, the different letters of the alphabet being utilized to stand for various effects, persons and other things used, seen or heard around a theater. This was rather a quiet opening. Following the banjo solo by the man proved mildly interesting and was too long thru the playing of several numbers. A good, snappy one would have been much better. The girl, in a tough number, with a dance, registered, and more strongly with subsequent dancing, which she sells well. Act went over big. decided and prolonged applause being the result of their efforts. Bobby Van Horn, in blackface, did essentially a singing act. There was a little monolog, it is true, and at that it was net exactly refined or new, but the preponderance of singing, blues, ballads and a couple of comedy numbers could just as well have been done without the burnt cork. Van Horn should he made to eliminate the story about the hear getting in the sleeper, to which a_ traveling man, half asleep, says: ‘‘You can stay here, honey, but you'll have to take off that fur coat."* This with the significant wait and look that followed was plainly indicative of the intent. The story about the ripped pants and the fellow being pushed into the ballroom was printed in Madison’s Budget many years ago and used extensively in vaudeville and burlesque, The story about your hand itching and you are going to get something and your head itching—you've got it—is also old, and, from its lack of taste, should be buried permanently. The Cosmopolitan Dancers, stepping mostly to the Russian style, altho a Spanish dance and others were introduced by way of variety, have improved considerably since the reviewer last caught them. Mention should be made of the unprogrammed young Miss, who, altho lacking in the maturity of experience, nevertheless shows a certain amount of grace and training. There is no doubt that she will improve in time, Wilson and Jerome wrecked the next spot in so far as applause was concerned. This was principally due to Frank Jerome’s gymnastic feats of jumping thru a hoop and other acrobatic stunts incorporated in a dance. George Wilson held up his end of the act well, altho inclined to force the comedy at times. The hatthrowing business, as a gesture was made in the recitation, was funny, and Wilson wisely did not overdo this. The turn was a riot and certainly ‘‘wowed ‘em’’, Josselyn and Turner could stand a lot of improvement even with the material they have at hand, considerable of which is not fashioned along original lines. As an instance of the lack of attention to detail, at the cigar stand near the race track of the Jockey Club there was on display a number of magazines that a man will NOT buy as he is either going to or from a horse race. The man’s cello solo was too long, tho he displayed good tones. Went over hardly fair, but came back for bows after singing ‘‘Stealing’’, which may or may not have been prognostic. Worsley and Hillyer have a cellection of bygone hokum of the antiquated, gaggy order, such as ‘‘You were cranking the machine—yes it was a cranky machine,” ete. A couple are rather suggestive and lack class. The one about taking a walk with twelve kids, the policeman saying, ‘*‘What have you done ?"’ to which the man replies, ‘‘Nothing,’’ and to which the policeman says, “You must have done eomething to have that erowd follow you,’ is hardly elevating. The act drew a lot of laughs, with the old Weber and Fields-Sam Bernard restaurant bit, one only having 2 quarter and rehearsing the other to say, “I don’t care for anything,” when asked what he is going to have. They missed a point, however. The original was: ‘‘What are yeu going to have?" Answer: “I don’t care,’’ Answer in restaurant: ‘‘I don’t care if I do!’ The Irish number at the finish let them down to a so-s0 exit, The abominable annoyance of the news reels and other sereened activities interjected every few acts or so as a “‘chaser’’ or to save a coupl+ of salaries broke wap and spoiled what otherwise might have been a much better bill.— MARK HENRY. 9 sins tee