Variety (Dec 1905)

8 Variety. Shows the Week HOW IT HAPPENED. The atmosphere had a moody op- pression as I slowly walked up the street. There were doubts as to my re- ception. The Head of the House opened the door, and in a questioning voice said: "Do we eat?" "Sure," says I, "I'm working now." "Really," says she, "when did the fit come on?" "Don't get smart," I says, sore as the devil, for I had tried hard enough. "I'm too hungry," says she. "What are you working at. the Subway?" "Nope," says I, trying to smile, know- ing I would start something: "Vaude- ville." "Vaudeville!" she shrieked; "vaude- ville! have I got to go up against that again?" "Not necessarily," says I, "you look good at home." "When do you commence this agony?" ■fa • bays, with the edge a little taken off. "Bight away," says I, "so get your bonnet." "Me put a hat on," says she, "to see eight acts and some animals?" "Why the animals?" says I. Aren't the acts enough?" "Well, anyway," says she, "the ani- mals don't know any better." "True enough, wishing we were all dumb," says I. "Want to hear a secret?" says she suddenly. "Any news?" says I, never falling. "It will be to you," she says. "All right," says I, "hand it over." "You are going to quit that Job," she says. "Who passed that out?" says I. "Just made tip my mind to it," says she. "Then you don't eat," says I. "Rather that than vaudeville," she says. "Very well," says I, "come on down to the office and I'll get discharged. Did you get that?" I says. "I did," says she. "Who's the fire- man, and how'll you manage it?" says I. "Money?" says she. "Have you money?" "Have I money?" I says. "Why, we can cat our heads off." "riow about a dress now and then?" says she. "Right," says I, "you can go the limit if I hold down this job." "It's about time," sa«ys she. "There's been long waits between square meals since I met you." "That's the talk," says I. "You should be in charge of a suicide factory." "Come on," she says, "you will quit that job now." "Perfectly willing and hope you starfe to death," I says, getting my hat and starting downtown. Just before reaching Times Square HYDE A BEHMAN'S. "Old Timers" were the feature of the bill. While this is a figure of speech only in so far as it relates to Maggie Cline, still Maggie was there. As she remarked to the drummer, pointing to a diamond breastpin she wore, "Do you know why I'm working this week? To save that." "The Evergreen" will never grow old in the hearts of the "regulars" or in the singing pf Irish songs. No woman can approach her in that line, And she- retains that personality which "gets" the house from her entrance. Lew Bloom and Jane Cooper in "A PictureNProm Life" are going very well indeed. Bloom has brightened up his talk and sketch, and it is now a laugh producer throughout. Lew Hawkins as a monologlst de- pends upon your state of mind. His parodies and songs are much preferred to anything else. Richard (Dick) Golden presents "Old Jed Prouty in Boston." "Jed" anywhere would get lost without Golden. His character work as the "Down Easter" is the maintenance of the playlet, which has no action. Ninnett Barret, of the company, made the most favorable im- pression as the French maid, speaking the foreign language familiarly. Rath- er ine Kittleman enacted the role of a wife to Whiteman Mott's husband. Miss Kittleman did not look the part at all, her husband being very young, and it militated against their scenes together, hurting the effect. Adamini and Taylor were changed from next to last to number two on the bilK The act is a singing one, called "The Wandering Minstrels," carrying a special drop, which requires the cal- cium The setting should be changed, as Miss Taylor is unable to show to ad- vantage under soft colored lights. The Majestic Trio is composed of the regulation colored people, two men and a woman, singing not any too new songs nor overworking in the dancing department. The funny one of the bunch has helped himself to other persons' "stuff" in plenty. The three De Koes show good head balancing, but use pads. It is custom- ary nowadays to wear these head pads for this style of acrobatics, but the same work, if not better, was done over forty years ago without their assistance. Coin's dogs in a pantomime made a favorable impression. The animals do not bark during the performance and the reason ascribed therefor is that the "kiyoodles" are told before each per- formance that they are going to give a pantomime. Fred Hallen and Molly Fuller in a new sketch are reviewed In New Acts. she says: "If I let you work will you promise?" "What?" says I. "No more waking me up to tell me about a funny finish for a sketch." "Easy," says I, "it Isn't funny any more." "Well, then," says she, "let's go to Hammerstein's." THE HIPPODROME. Thompson & Dundy excelled them- selves on Wednesday night, when an entire new production was given with- out a single feature imported from their own Luna Park at "the Island." "The Society Circus" sounds much better than the circus itself, but the spectacular ending overbalances every- thing else. The wonderful stage man- agement of these immense productions here cannot but excite intense admira- tion, and is really more to be accounted lor ill the success of the Hippodrome than the performance itself. No place of amusement has a more expensive operation on its hands in con- templating something new than the Hippodrome. It was closed for sev- eral performances prior to the first night, which meant a large financial loss, in itself, to the management, but the means were justified in the result. Sidney Rosenfeld wrote the book of "A Society Circus," which is intelligible. Manuel Klein wrote the music, having one particularly pretty number, and the scenery was painted by Arthur Voegt- lin, but Edward P. Temple managed the stage—this was the real factor of suc- cess. The variety part of the entertainment is found in a stranded circus being helped on to prosperity by the "tainted" money of a doubtful Duchess, who en- gages the performers to amuse her friends at a house party. There are nine acts and although the programme makes bold to state that they "may be seen nowhere else," five of the numbers have played about town before—the Augoust Family, Marguerite and Hanley, Caicedo, Albert Crandall and the O'M^ers Sisters. Miss Marquis . and her ponies have been showing here some time. The Powell sisters in posings on horses while slowly moving is not sensational In any degree, and a poor act of its kind. The Heras Family, ground acrobats, is no more new than their acrobatic work, while the four Marnos, another ground acrobatic quartet, depend upon a see- saw board to make the throws. This was first done over here by the Joscarrys incidentally, but the Marnos depend al- together upon it. Claire Heliot and her lions have the stage to themselves. The act resembles Agie's, with a few more animals. Whereas Agie must punch the brutes to have them growl, Miss Heliot must punch very hard to induce the opening of their eyes so the meat dang- ling in front will be seen. A very funny burlesque of this is given in the Jungle scene, together with a good-looking lot of monkeys, led by the four Rianos, who are lost among the crowd. Marceline and Frank Slivers Oakley, thp clowns, have little opportunity and do not take advantage of that little. Slivers makes an entrance in a boat, and the idea is so obviously taken from "Fantana" that it declines to be hu- morous. Those having the "Hipritis" fever will go many times, no doubt, but to th9 others who consider once sufficient, that will do. HURTIQ 6 8EAM0N'8. Bessie Clayton headed the bill which had strong opposition at the Alhambra, and in Geo. M. Cohan ("Little Johnny Jones") at the Harlem Opera House. Miss Clayton consumed six minutes, dancing actually about three and one- half. Barring no one, she is the most marvellous American toe dancer. She opens with a song, which is excused through maximum time required. Miss Clayton gives indication of pain while on her toes, relaxing into a smile only with an effort. The audience could not get enough. ..... Mark Sullivan should be called an im- itator rather than a monologist. He does Lew Dockstader, Willis P. Sweat- nam, James Thorton, James T. Powers and James Mclntyre. Mr. Sullivan has a flexibility and control of voice which allows of a faithful reproduction of the tones of all, excepting Thornton. The others are all equally good. Upon his diverging into stories and recitations, he drops somewhat. "Anthony's Speech" should be cut. It is too evidently bur- lesque, and the imitations should be used to finish with. John and Bertha Gleason, with Fred Houlihan at the piano, have an act that would go better if the Gleasons could discover how to go through it without singing. Neither has a voice. Each must know it. Houlihan is not a star per- former en the piano. He happily fills in, however, and if the applause of the audience is appreciated each time given, l*r. Houlihan should acknowledge by ris ' ing, not retaining his seat on the stool as though it were his due. Ray Cox is a young lady of consider- able height, with an erroneous ides that the time wasted in giving imita- tions of soubrettes singing coon songs is well spent. It is a mistake. Miss Cox is far too clever in ner delineations of the darkey to allow this to prevail, and should devote all her time to the main subject. Although badly placed on the bill, she scored largely. The three Rio Brothers appeared in ring acrobatics, but whether the "orig- inals" or no is undecided. There have been so many "original Rios." Charles and Edna Harris were the first to appear. Harris is of the old team and it is judged that Edna, his present partner, must be the daughter. She is a very young girl who sings one song. Even that one is to be regretted. Miss Harris is absolutely without a sus- picion of a voice. Her father, if he is that, should try some other make-up and change, just for novelty if nothing else, and also be prevented from parading the fact that the girl is not his wife. His remark that "I am no robber of cradles" is entirely uncalled for. The orchestra at this house, led by Joe All, is repeatedly drowning out the music or singing of acts on the stage lately. Known as one of the best vaude- ville orchestras in the city, more care should be exercised before that reputa- tion is lost. Wilfred Clarke in "No More Trouble" and Metcalf, Paddock and Al. Edwards in a musical act will be found reviewed in the Department of New* Acts.