The Billboard 1924-01-05: Vol 36 Iss 1 (1924-01-05)

16 The Billboard JANUARY 6, 1924 This Week’s Reviews of Vaudeville Theaters Palace, New York (Reviewed Monday Matinee, December 31) hey wound up the old year with a good show the Palace, the only serious defect being a noticenble wait between the Kate Elinore and \natol Friedland acts, due to the necessity of For several weeks the first half of the show has been strong, with the iast half appreciably weaker. The current show, however, has not this defect, the last half being, if anything, stronger. changing sets. Toto, the clown with several new features at this house, was the first to land a wallop, and in the second half Lou Holtz stopped the show cold. The spontaneity of applause testified to his popularity and suecess. Following right on his heels, with their heels were The Mosconis, and a faster dancing quartet does not exist in “mopped? and left them in fine shape for Nan Halperin, who also stopped the show. There was present quite a “Little Jessie James” show, in which Miss Halperin formerly starred, and Nan was the recipient of many floral trfb utes. vaudeville. They from the delegation By request she sang for an encore ‘ Mr Home Town", which she had previousiy used in the show. Van and Schenck held most of them in, closing the show, which should be recorded, for the team has played this house pretty frequently. “The Bricklayers’, presented by Leonard Gautier, drew a large measure of approbation opening the show. The doge seemed to work better then ever and the act more smooth than upon the occasion of its previous showing here. Niarry and Denis Du For danced in snappy fashion and registered, and Kate Elinore and wared in “House Hunting’, which as bheon claborated somewhat since it was a a bit in the *“‘Musi¢c Box Revue’’. Company ap Snotel Friedland and Company again preAffairs of 1924"’, and again Marie Gavonne was a sensational hit with her dancing. Friedland said that the audience should decide which of the girls was the most sented ‘‘Anatol’s graceful, as he had not been able to determine. Ile need worry no further. ty far it was Aubrey Van Liew, who danced to the music of “1 > . l'ersian Rose ms As a whole the show stood up well, but it {fs a shame that such a clever artiste as Miss Halperin should have resorted to the nose-thumbing business for which Mr. Albee censured Doo. ley and Sales some time ago, and also should have included bine lines in the number “He’s the Only Man I Fver Loved"’. MARK HENRY, B. S. Moss’ Broadway, New York (Reviewed Monday Matinee, December 31) Jack and Jessie Gibson, opening act of the bill. proved amusing, eyclists, were the Their work on unicycle Spencer and Williams, comedy team, made the most of the dreaded dence spot and succeeded rather well in tuning up the audience to a lively pitch. The gag material and patter which the team use is of a laugh-provocative sort. Spencer seemed to talk a little bit too fast at times, becoming inarticulate. Pilcer and Douglas presented a musical offering in which they were assisted by Joseph Wallace. The act needs pep; it dragged along rather boringly until the songs were done by one of the boys. He seemed to please. The dances by the girl and man approached mediocrity. The ball room tango to Victrola music was much too long and the Spanish tango fell flat. The girl's voice is weak and on the opening could not be heard plainly. Talking a bit slower and more distinctly would help. Willie Solar, singing comedian, collected an hand on his titillating entertainment. numbers, all of them carefully sprinkled with a rare fragrance of semi-bucolic envious Il did four medy, Solar is particularly clear in his ennneclation, aud his whistling cachinnation nd ny facial grimaces strike fine favor. ows were taken. wke and King, doing characters of the “old iy tintrpe’? kind, were next to closing. ed in registering solidly with their discourse and witty which contained a number of pew twists to the age ' platitude concerning nuptial agonies. ‘Tn Shade of the Old Apple Tree’? was sung and a dance travesty done for the finish, petting a good hand. Al Moore and his eleven! CU. S. Naval Jazz Band took high honors. One of the two pianists is a clever comic. Iis facial control and expression and the appreciation of comedy values The hand itself is well directed and pleasant te listen to, ‘Mama Loves Papa’’, ‘*! several other pop. melodies «are Moore sang “Dear Old Lady" ey succeed repa rtce, der the } ce greatest asset is his Love You’ and played. to good results and the clarinet player did a dance, getting a big band. Moore and his band took an BOY CHARTIER. encore, : & COLUMBIA ‘BURLESQUE Ee eNEw THEATRE ~ 1 je NEW YORK ED. E. DALEY’S “RUNNIN’ WILD” (Reviewed Monday Matinee, December 31) ry a A “Columbia Burlesque” attraction. Book by Herman Timberg and Billy K. Wells. Lyrics and music by Herman Timberg and Al. W. Brown. Dances staged by Jack Mason. Entire production stazed under the 1 super person vision of Ed. E. Daley. Presented by Fa. FE. Daley week of December 31 THE CAST—John O. Grant. Irene Stephens, Jack Spellman, Babe Healy, Jimmie Hazzard, Al. Hillier, Rose Hemley, Frank Harcourt, Jessie Reece, Cora Stephens, Hightower and Jones CHORUS—Mattie Sullivan, Irene Gold. Mav Finch, Dot Tiger, Phoebe Jewel, Flo Winters, Lillian Gordon, Florence Trotman, Nina Stevens, Froinkie Dale, Ida Spellman, Pearl Woodside, J: Wood, Olga King, Marie Swan, Theresa Huber, Helen Lavelle, Frances Dobson Review Part One—Scene one was a silk drape fer prolog on the show by prin cipals and choristers and a classy ensemble it proved to be. Scene twe was in elaborate cottage garden set for Jessie Reece, a prettyfaced, slender-formed, bobbed brunet ingenue-prima of the intellectual, refined type, to sing in a sweetly modulated voice, accompanied by an ensemble of ingenue-gowned girls. Al. Hillier, a light, crepe-faced, clean-attired Hebrew conic, in a bench bit with Prima Reece with booze prunes, brought on Fronk Harcourt, an eccentric comic, in grotesque attire, who folls for the candy, and on spitting it out it explodes to a louder explosion of laughter from the au lience. This is followed by Comics Harcourt and Hillier ragging Uniformed Cop John Grant in song, and this in turn by Babe Healy. a pretty-face, slenderformed, bobbed brunet ingenue-soubret, leading a number in which it is noticeable that B:ibe has discarded her former pallid facial makeup for one with red, rosy cheeks, which make her far more admirable. It is also noticeable that Babe has taken on weight and her form is far more rounded than in seasons of late. Scene three was a drape for Hazzard and Spellman in a toy soldier dance that was admirable in makeup, mannerism and unison in dancing Scene four was a pictorial hespital drop for Grant as a typical straicht to stage a waiting-for-new-born baby to Comic Harcourt and a flirting session with Nurse Healy, and in this bit Grant proved his ability as a light comedian. The baby bit led up to the next scene. Scene five was a fancy inter‘or for a mixed group bit. in which a baby and dog, with the assistance of Ingenue Healy and Prima Reece, with Grant, Harcourt and Hillier, made much clean and clever comedy. Jn this scene Rose Hemley, an eversmiling, vivacious, bobbed brunet soubret, came on for a song and high-kicking-dancing number that was full of pep and personality. Scene six was a s'lk drape for the Stephens Sisters, pretty-faced, sparkingeeyed, well-formed, bobbed brunet singers and dancers, who were the personification of sweetly modulated vocalism and girlish gracefulness in dancing. Scene seven was a tenement house and street scene for Soubret Hemley as an East Side girl in song and dance, accompanied by an ensemble of Faust Side boys and girls. In this scene Straicht Grant, in a dual role, and “IT Want Someone To Choke”, was sufficiently dramatic to receive a big hand on his exit, which was burlesqued by Comic Hillier and Soubret Hemley in a comedy song recital for applause. Scene eight was a drape for Straight Grant and(@emic Hillier in dialog, aided by Comic Harcourt in convict-stripe attire, followed by Prima Reece as the murderer of the Chicago shimmie for laughter and applause. Scene nine was a full-stage siik drane set for the Stephens Sisters to put over another graceful dance a la Spanish, in which they were personally entrancing, and the choristers likewise in their picturesque ensemble. Straight Grant, as the gambling magician, with the apple-and-bottle-under-pipe bit, worked it on Prima Reece and Comics Harcourt and Hillier for more laughter and applause than has ever been given the bit. Hightower and Jones, two colored boys, in green satin minstrel-men attire, came on for a song and dance number, followed by Ingenue Healy and an ensemble attired likewise, followed by the other principals in similar attire, for a dancing finale. Part Two—-Scene one was a woodland set of scenic splendor for Prima Reece in a springtime song to register her vocalism in a far more voluminous voice than we have ever heard from her before, and it went over for encores. This was another picturesque ensemble, enhanced by the Stephens Sisters in dance burlesqued by ine masculine principals in grotesque feminine attire and Ingenue Healy leading a number. Scene two was a drape for Hightower and Jones, in classy attire, in a singing and dancing specialty, in which they registered encores, single and double, Scene three was a pictorial artist palette for Jimmie Hazzard in artist makeup and mannerism to introduce a parade of modelesque girls in various characters, and it was novel and unique. Scene four was a pictorial pawnshop drop for Prima Reece, donating first her money, then her street attire, to the constant ragging of Comic Harcourt and Pawnbroker Hillier, and this proved to be a burlesque bit clean and clever that evoked much laughter and applouse Then was shown a ailk drape for Ingenue Healy, with her head protruding thru drape to prolog her pajama song and dance. This was followed by Jimmie Jones in a gimilar manner. ‘ Scene five was a picturesque pictorial tropical] set for Soubret a Honolulu song and dance number, backed by an en dancing apropos Scene six was a drape for Hazzard and Spelly i natty att ing and dancing specialty, in which they ‘ HIemley in emble in costumes and re in a sing registered aa many, if not more, encores as Hightower and Jones. Scene seven was a silk drape for Straight Grant to stage a wedding of the comics to a $60.900 widow, with pets, and this led up to the next scene Scene eight was an animal den for Mile, Vallecita, a prett trunet, and her tratned leopards, w! she put thru thelr stunt a remarkable w ner The four leopards took turns on a bicycle and on a teeter board n which the middle 1 rd ent a figure eight in balancing the board, bot the most remarkable part of the performar “a then four of the leopards played 1 1 belis im harmor wit the no-playing « mpaniment of Mile Vallecita. who disearded her whip and cue etick while t orchestra rer ed silent rm" was the first time we have seen leopards cued in this manner, w h distinguishes the act from many others of its kind The leopards also worked the jving wheel with one inside while the other three revolved the wheel from the outside making it a picturesque nd thrilling clom COMMENT—Srenery, gowning ud ¥ mes vmetliy wud attr lve I he ompany individually and collectively talented and able performer The omedy oean and clever, and what double entendre there was in the lines and action was cleverly handled The chorietere were carefully coached for their dances and ensembics and never lagged a minute thruout the show There Was one, a petite, red-headed pony, who stepped out of the line to take part In the baby bit as maid, and «he did it well. Taking it all io all, it is a pleasing, lnugh-evoking show and credit to ‘Columbia Burlesque’. . ALFRED NELSON (NELSE), ~—— = Palace, Chicago (Reviewed Sunday Matinee, December 30) Rusiness capacity, bill eapital, audience en thusiastic. Before the first act film announce. ment of next week's program kept the house dark while itecomers took seats, Ted and Kathryn Andrews, dancers, in an act listed as “Clippings’’ Steve Kretzmer ta pianist. Team work spectacular, Mounted prettily. Deserves later place in show. Four teen minutes, full stage; four curtains. Denny O'Neil and Cy Plunkett, ‘‘The Young Another meaningless billing. <A _ blackwhich a crap game and female rlesque are ! spots, Old and new gags, with action funnier than lines, Nineteen min i. face act in ! ites » one: four bows. Miss I 1, the circus girl A cherubic her arm from ts socket with her amazing body throws. At mot who threatens to tear m rings and rosin? rope, and of the e that’s ute at even three score years ds ten Eleven minutes, full stage; three bows Harry Tlolmes and Florrie La Vere, ‘‘Them selves’, Hobby with a jag and wife with a peeve attend the vaudeville show. They go to sk dream themselves into the act, put across 4 hit, and wake up again, fn one. Holme, is expecially ver at manufacturing laughs with sleepy manner lwenty-four minutes, in ont nd three; four bows, I re = =Lavels movie star, with Wilton v . aod an electrician and camera man A bit eof movie Ife, dry cleaned and tabloid. » te some canned stortes to the audience, then sheot« a villain before the camera, and gots some kiddies from the audience to emulate the rt Two make love while the rest act surprised Then the audience is filmed. Grownups do the acting at night. Awakened interest if not enthusiasm, Twenty-six minutes, full stage: three bows, Frink Cromit, recommended pecause he wrote Lady’’. giant ukelele and sings “My Darlin’ ’’ and other ditties, with @ few stories Interspersed. Modest in manner and witty in discourse. Nine minutes, in one; four bows. Thos. F. Swift and Company, consisting of Jacqueline Mason, Mary Cox, Virginia Dale aod W. Francis Clark. Billed as “The God’, “Sweet Strums a Swift, as sallor, dates up three dolls for next week and then his chief tells him he sails at daybreak All done in typical Swift style. A new act, and the four helpers almost offeet the absence of Mary Kelley. Eighteen minutes, half stage; Julia Sanderson in a Opens with a parodied three curtains. repertoire of songs. version of songs she helped make famous, then {nto a group of topical songs written by her pianist, Herman Ilupield. Frank Crumit came on and strummed and song his “Lady™ song, and helped finish the ‘Jazzy Little Tune’. Miss Sanderson charming and winsome, disclosing a perfect right for dainty steps, also a perfect left. Twenty minutes, Ip one: four bows, Alexander Bros. and Evelyn. Bouncing tennis ils In every conceivable way, with pleaty of fon mixed tn, The trick shots of the more robust gentleman brought the applause, Nive winntes, two curtains. Next week Frances White and Bruce Bairne father. LOVIS 0, RUNNER. 5 THEIR FAMILY DOCTOR KEPT BUSY West Point, Ia., Dec, 27.—A holiday is not a holiday for the family doctor of Mr. and Mrs. Ben J. Brinck of this city. Adrian, the eldest child of the couple, was born on Halloween, 1913; Ruth arrived on Christmas Day, 1915; Virginia followed on Memorial Day in 1917, and Vernon, the fourth child, arrived on Lincoln's birthday in 1922 This year, on Christmas day, the stork arrived abreast of Santa Claus, and left a fifth ehild, Mr. Itrinck I manager of the Opera House and has « billposting eervice in eighteen towns. WHALEN’S “KICKO” MAKES HIT Roston, Dec, 20 eoffrey L. Whalen’s latest comedy, ‘Kicko"’, a satire on prohibition, was presented thie week by the Mutual I'iavers in Jordan Hall and was given a fine reception, The aetion ia bullt around ‘‘Kicko", a patented medicine, that Is being sold in a hick town, and there are many sparkling lines and peppy numbers in the plece, WILL DEMWNG GOES TO LONDON Roston, Dee, 20. WHI Deming, who has been appearing with George M, Cohan in “The Song and Dance Man" at the Selwyn Theater, sailed today for London to Ol an engagement there Hli« role has been filled by John Meehan, who is well remembered here thru hia appearance at the old Castle Square Theater, Mr, Meehan lately has been @ stage director for Mr, Cohan. a >