The Billboard 1923-01-13: Vol 35 Iss 2 (1923-01-13)

JANUARY 18, 1923 no The Billboard 15 From Coast to Coast by Special Wire Palace, Chicago (Reviewed Sunday Matineo, January 7) A bill with good novelty and a good eprinkling of merit, especially appealing to the average fan. Two inches of elushy snow delayed the acts and started the show ap hour late, but the crowd was goodnatured, Browne Sisters, no longer with Bothwell, began the activities with an accordion act, playing a potpourri of good and bad music, They are better on soft melody than on jazz, Ten minutes, in one; one bow and encore, Jessie Reed, “Saying It With Songs”, Sho is more eager and willing than talented and doesn't get going till her popular song story, which is clever, and puts her over for a good finish. Encored with ‘Carolina’, Fourteen minutes, in one; three bows, Al K. Hall, assisted by Walter Pearson, Carrie Cooper and Emme Adams. Hall is an ececentric comic, smacking strongly of burlesque, as does the material of the act. Peargon waves the flag with a bonus song, and one of the girls and Hall put over a nut dance that is a hit, Twenty-three minutes, in one; three bows. Marion Morgan Dancers, sixteen of them programmed, depicting the kidnaping and rescue of Helen of Troy. The settings are gorgeous, the costuming striking both for style and brevity and the execution orderly. An obvious effort is made to help the layman understand the aesthetic qualities and the -action fs fast. Four programmed scenes. Twenty-four minutes, fm half and full stage; four curtains. William Sully and Genevieve Houghton. The girl has a voice of some power and with good range, and the boy does some nimble, quick stepping which is real. The title is “Calf Love”, and suggeste a running line of love chatter which ties it all together. Twenty minutes, in one; four bows. Houdini! himself, presenting via motion pictures and actual demonstration an escape from a Chinese torture frame, escape from an aero plane collision, and his water cabinet escape, which is spectacular and baffling. Twentythree minutes, full stage; three bows. Charlies (Chic) Sale, rural character studies. Sale is in a class by himself in this type of entertainment. He held the crowd for twentyfour minutes, starting at ten minutes after fve. He has cut his range of impressions down to four, the school teacher, awkward boy, awkward girl and old man. A bit of serious sympathetic realism on the old man part enabled him to stop the show and extend a de eerved courtesy to the closing act. In one; five bows. Novelty Clinton, a man and girl. The man Goes some nifty jumping and tumbling and the girl assists with the props. The comedy is Rot so bad and not so good. Ten minutes, in four; two bows.—LOUIS 0, RUNNER, Orpheum, San Francisco (Reviewed Sunday Matinee, January 7) The Orpheum bill, which opened this aftertoon, is a merry affair from beginning to end, with Eddie Leonard remaining over for hie second week and sharing honors with Roscoe Alls and his excellent company. Jack Hanley starts the show off with a bang end laugh with his pantomime and funny jngeling. Plenty of applause greeted him during his act, Next came Edward Miller, with his smooth, rich baritone voice. He made himself popular right from the jump by his singing of ‘‘ManGalay" and “Ruddies’. He was assisted at the piano by Carl Halbert. Wilfred Clark and Company put over a farce that had the audience howling every minute Clark was on the stage. He proved himself & farceur supreme. Several bows, brought by the deafening applause, closed the act. Hallen and Russel, in their second week here, Proved again thelr ability as comedians, They wandered into Eddie Leonard's act, which followed, and were a riot. Eddie Leonard and Company went over as big as they did last week. Eddie sang several of his famous songs and had to make several bows before the applause subsided. Roscoe Alls and Company went over with a bong. Alls is a comedian of rare ability, inremarkable control of facial expresHe danced like a wizard, In fact he “most stopped the ebow. Kate Pullman, who Sssists Alls, is an attractive miss, who does remarkable acrobatic dancing. Charley also estopped things today with his dancing. Fitzgibbon, always a favorite bere with cluding fions fome Calvert eecentri Rert his “Daffy-Dills’, is nuttier than ever. He Was assisted by his brother, Lew, who is a musician of ability, The usual applause that — Bert on all his visits bere was again in idence, The El Rey Sisters closed the show with a clever skating turn that received its share of “pplause.—STUART B, DUNBAR, Keith’s, Cincinnati (Reviewed Monday Matinee, January 8) Jazz bands, piano and musical acts have been Overused on many bills, but lack of them and omission of a dramatic sketch in the current arrangement results in the weakest vaudeville program offered at this theater in a very long time. There are seven acts and the running time is short. Patronage and applause were light this afternoon. Pathe News. Aesop's Fables, Cross and Santora merited recognition with a series of uncommon lifting and strengthtaxing feats. These young men are neat appearing and show knowledge of showmanship, with the single exception of their stalling business on the feature stunt, in which the understander, while lying backwards on a small table, raises his partner from the floor to an arms-length position for a walkoff. Six minutes, in two; one bow. Green and Parker, straight working man and woman, talked and sang for ten minutes in the apron, and exited without returning for a nod. For this their routine is to blame. Sarcastic reference by the man of a house drop and other unwise remarks by him rather encourage the **flop’’, Beaumont Sjsters. That too much of the dialog is of the sympathy-arousing order was evidenced when their songs and dances, particularly the ‘Strolling in the Moonlight” number, earned hands, while the chatter about their headlining days of yore and their present standing in vaudeville went for naught. Their lines on “‘vamping’’ a theater manager to get work do not cast good reflection on theatricals. Fcurteen minutes, interior in two, closing in one; two bows, Jessie Maker and William Redford are rich in stage conduct, and, by the aid of pretty drapings, get over pleasantly in their skit, “College Chums’. Miss Maker is a charming dancer and her partner wisely refrains from trying to take part in her numbers.His specialty is registering an oddity in the way of a song thru the use of playing cards to bear out its various points. Eleven minutes, in three; two bows. Fern Redmond and H. Wells in ‘‘The Gyp’’. The title applies to the start of the turn wherein Wells, a long and lean chap in pale face and with a small and funny hat, is getting “gypped” by feeding silver to a captivating *‘mittreader’’. This drew many hearty laughs. Then Wells executed an eccentric dance that clinched him with the fans. Miss Redmond also won favor with her stepping. Eleven minutes, special in one; three bows. De Lyle Alda, in a satirical revue, ‘Sadie —Ore of Those Girls’. Beautiful of face, figure and voice is Miss Alda, who does not wear socks or stockings with dresses or gowns in this offering. In addition to her flashes of beanty and vocalism, and the nifty doublehoofing of Edward Tierney and James Donnelly, dances of neat order are offered by Dorothy Buckley and George Dobbs, with L. J. Rertels doing well as straight man. Toma Holman, in a mother role, rounds out the company. Miss Alda takes away from her impression by dancing alone, tho only for a moment. Thirty-one minutes, specials in one and full stage; three curtains and one bow. Collins and Hart in “Red and Blue’. Fast and exceedingly favorable is the work of this team. Comedy singing and juggling is followed by introduction of a parrot that comes in at the right time with words and singing. Finish is made with a screaming burlesque on a strong and balancing act, a wire from the files being used to suspend the ‘‘topmounter’’, Nine minutes, in one and full stage.—JOE KOLLING, B. S. Moss’ Broadway, New York ( Reviewed Monday Matinee, January 8) There’s a bill of uniform excellence at the Broadway this week as rich in entertainment values as bean soup is in calories. To get the full foree of this simile consult a Child's menu. Everything would have been ‘‘Jake’’, as they say in the opposition camp, save for one mishap quite as mysterious as the reason for the prolonged engagement at this house of the act itself, and that was the hurried getaway of Harry Stoddard after his orchestra “‘in its sixth week at the Broadway by popular demand’? had played two numbers. He just took one look into the wings and flew, leaving his men quite as surprised by this action as the audience. As bide Dudley says: ‘There was much excitement, but we could learn nothing.”’ In opening the show Palermo's Canines gave an interesting exhibition, several stunts of which drew hearty applause. The act {s neatly dressed and the execution snappy. It runs a trifle long, however, and several of the less sensational feats might well be dispensed with. Moore and Freed jazzed their way thru the deuce position to the accompaniment of hand Shubert, Cincinnati (Reviewed Sunday Night, January 7) “The Blushing Bride” is aptly named in that it contains several snappy, even risque varratives and jokes guaranteed to “burn” the ears of qven the most blase. Then, too, “‘hells"’ and ‘‘damns’’ are continually injected into the discourse by the various principals for no apparent reason other than to add ‘‘punch”’ to their lines. It has been said that in the character of a show, be it dramatic or musical, are reflected the personalities of the people participating. It does appear that way, too, especially to the unthinking public. But those who understand and know the ethics of professional people are one in the opinion that actors, the majority of them, are as above reproach as the average law-abiding American citizen. Then why do they allow themselves to be used to perpetrate such filth? Cecil Lean and Cleo Mayfield are decidedly clever entertainers. Mr. Lean has an engaging personality and a contagious brand of humor and throws himself whole-heartediy into the business at hand. Miss Mayfield, in the character of a demure, semi-Quaker maiden, was delightfully amusing. Her soft, throaty voice is ideally suited to such a character. Her vocal solos and duets with Mr, Mayfield were enthusiastically received, Harry Corson Clarke is prominently cast in a comedy role and played it with the right amount of spirit. Richard Temple, as Paul Kominski, cafe proprietor, conducted himself, both in action and speech, like a vivacious Frenchman—rather paradoxical when considering that his name is supposed to be Kominski. Harry and Grace Ellsworth, Harold Gwynn, Estaire Kaye and Gertrude Mudge handled various roles of varying importance well. “The Blushing Bride’’ is divided into three scenes. The musical numbers are pleasing, especially “A Regular Girl’’. and scenery are good. The first half of the program is composed of five typical vaudeville acts that were pleasing. Jack and Kitty Demaco presented a neat, deliberately executed acrobatic turn. Both do stunts on Spanish rings that require skill and strength. Speed is lacking. Herman and Brisco registered a hit with special and popular songs, some clever dancing and mimicry. “On the Platform’’, a comedy in one act, was realistically presented by Harry Corson Clarke as a traveling man, Gertrude Mudge an adventuress, and Harold Gwynn, a conductor. The scene is the observation platform of a Chicagobound passenger train. Harry and Grace Ellsworth were seen in practically the same song and dance routine that they offered here during the week of December 8. They made a very favorable impression, El Brendel, bashful Swedish comedian, assisted by Flo Burt, landed the applause hit of the show. His “‘trick’® dress suit was the object of uproarious laughter. Brendel displayed a brand of comic dancing that was a treat. Miss Burt pleased with several popular songs. —KARL D. SCHMITZ. clapping. This is as nifty a musical specialty as we have ever seen. While the boys may fall a bit short of the mark as comedians they nevertheless prove themselves mighty capable when it comes to tickling tunes out of novel instruments such as an ordinary toy balloon or a couple of tablespoons. Of Harry Stoddard and his orchestra we have said our say. Al Wohlman is a salesman par excellence. His monolog is just one laugh after another and his character studies In song corking examples of musicalized wit. He has a fair voice and a sure-fire delivery. His was a good hand. Zech and Randolph have a neat little comedy turn, prettily staged and dressed. The lines abound with humor of a wholesome order and are as productive of mirth as can be. This act is two-a-day caliber in every respect. Will and Gladys Ahearn scored from the very start with a clever exhibition of lariat stunts offset by some nifty stepping and witty topical remarks. It looks as if the West had given us another Will Rogers in Ahearn, and together with a partner as charming as Miss Gladys theirs should be a success unbroken. Pilcer and Douglas, with George Raft, have a diverting dancing skit deserving of only the best of time. Pilcer is a dead ringer for that king of heart busters, Valentino, and makes capital of this remarkable likeness in an admirably executed tango with Miss Douglas—the dance that brought the erstwhile movie star to fame. The other numbers are danced by both with a deal of grace and charm. George Raft fills in between numbers with cleverly delivered comedy songs.—ED HAFFEL Palace, Cincinnati (Reviewed Monday Matinee, January 8) “he usual near-capacity audience viewed the opening of the new bill, all seven acts of which provided entertainment in abundance. Pictorial program: ‘‘Anna Ascends"’, Alice Brady. The Hanako Trio, Japanese, executed baffling sleight-of-hand and illusion feats in a manner that stamped them as masters of the occult. Octavio, a woman, surprised by singing in an excellent baritone, changing occasionally to soprano. A rather sensational performance. Her repertoire consisted of semi-classic and folk songs that provided opportunity to display her vocal accomplishments to advantage. Three Voices, male singers, pleased with comic and popular selections. They are good harmony vocalists, and with a stronger program could eliminate their comedy and devote more time to straight singing, which, in the Treviewer’s opinion, would improve their «ct. Tom Kerr and Edith Ensign have a pleasing skit which they put over neatly and to heavy applause results. They carry on a ‘“‘conversation” with violins and then proceed to play the instruments in masterly fashion. The most pleasing act of the afternoon was “From Broadway to the Bowery"’, a prettily staged musical and dance revue. The dancers, man and woman, glided thru a fancy waltz and several eccentric dances with graceful abandon. Their final offering, a burlesque Apache dance, was executed with little regard for life or limb, or so it appeared from the hard falls they took. A pianist and a woman vocalist complete the personnel and contributed no little to the charm of it in a musical way. Despite the fact that much singing had been heard before Frazer and Bunce appeared, these clever comedians had little trouble in impressing favorably with their special songs. Happy Harrison and Company provided amusement aplenty with their dogs, ponies, monkeys and kicking and biting mule. The difficult feat of riding this mute is finally accompl'shed after many ludicrous and neardisastrous attempts. Hearty applause.—KARL D. SCHMITZ, Proctor’s 23d St., N. Y. (Reviewed Monday Matinee, January 8) with A fair bill of ten acts was presented to a large and appreciative audience. Randall and Gregory opened with ‘‘Carolina in the Morning’’, and two specials rendered in a@ manner that brought little applause. The man brought a hand when he sang an opera number. However, they queered themselves by concluding with ‘3ay It While Dancing”, in that they treated it like the preceding number. “Dance Varieties’, an act with two women and @ man, was all that the name implied, presenting the evolution of dance from the minuet to the eccentric dance of today. Neatly staged; scored a fair hand. Copeland and Barbour, two colored men, one at piano, delivered in real red-hot fashion @ couple of specials, followed by “‘Who Did You Fool After All’ and concluding with a number that expoced, in comic style, the source of popular jazz songs. Two encores. Winnie Madcaps, single, danced her way to three encores in a routine of clog dancing. Billed as Adonis and Co., a man appeared in a living room set and performed handstands all over the place, including on the piano. A canine dressed in miniature evening clothes helped him to close his act with several feats of its own. The man took his stunts in too casual a manner, we think. Driscoll and Perry, man and woman, in evening dress, opened with “Carolina in the Morning’’ sung in the wings. Man played at piano while his partner, a rather stout personality, sang a special number. While she changed he rattled off the time-worn piece, “Gee, I Certainly Must Be in Love'’’, and received encouraging response. They scored at the finish with a medley of “‘old-time songs”. Inez Regan and Co. presented a skit showing how a couple in the throes of divorce are brought together by a foundling baby. This is a clever act and contains laughs galore, but could be acted better. The Four Popularity Girls gave a oumber of songs in a poor manner. A hand was won by one girl, who in the rendering of the songs could be heard sweetly above the harsh voices of the other members. Elaine and Marshall, man and woman, with Marshall, the writer of “The 5:15"" and numerous other song successes, playing while the girl danced in biackface. They stopped the show. As an encore he sang a special by bimself. Landanu's Entertainers, an orchestra of merit, that made you wonder why they were on small time, played marvelously, giving each member a chance to do his bit. They finally developed into a jazz band that entertained the most fickle and fastidious—WARREN WHITE.