Variety (Feb 1906)

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I VARIETY Mr. and Mrs. Robert Fitzsimmpns. "A Fight for Love." \ / Proctor's Fifty-eighth Street. Some cog slippy! and in place of the "thrilling melodrama" «ul\«*itis«*«l on tin* bill, Mr. Kitzsiinmoiis (looking like a boy prodigy in his makeup) saved the day with his \>H<r punching, in which he showed lack of practice, lie alto made a speech on his entrance, which some in the audi- ence heard, and he made a brave attempt at acting, in which he was not much worse than his wife, who sang three songs to help out. Mr. Kitzsimmons kind ap- plause appeal alsuit mothers is one of the finest bits of comedy that has Wen done in a long time. It is a pity that he docs not intend it that wav. There is some dialogue, but the punching bag furnished a better climax than the actors could have done when it broke from its rope and went sailing out over the audience. The act proved to l>e a strong attraction from a monetary point of view, and tlmt is all that need be said. Chicot. Gus Edwards' "Schoolboys and Schoolgirls." "Primary No. 23." Twenty-third Street. After onlv a week out of town, this act appeared for the first time in the city at 1'roetor's Twcntv-third Street on Mondav afternoon. No Indication of unprepared- ness was discernible, ami the songs, dances and dialogue ran off in lively fashion to the generous applause of the large audi- ence present, which took to the novel Idea with avidity. A schoolroom scene is shown, with eight pupils, four ls>ys and an equal number of girls, together with a "monitor," who questions the scholars to receive timely and laughable answers. The songs sung are brought out legiti- mately. Four musical selections were given. "If a Girl Like Von Loved a Boy Like Me," "Pocahontas," -Two Dirty Lit- tle Hands" and The Hurdv (Jurdv Man/' The stage management for the incidental business attending the singing of the songs is excellent and serves to bring the full effect of the numbers. All have pretty and catchy melodies. "Two Dirty Little Hands" and 'The Hurdv Gtardy Mian" were repeatedly encored. The lat- ter song is snng for the finale, given with a hand-organ or • Hurdv -Curdy" on the stage, with an Italian organ grinder. The girls are very youthful, and the boys are not. nor do not look, too old to spoil the atmosphere of a country schoolroom, which is the effect striven for and ob- tained. Herman Timberg, the youngest youngster, is the comedian, in a Hebrew impersonation, and gives promise of shin- ing alone in the limelight some day. Daisy Leon is the -monitor" ami leader of the "class." She appears to good ad- vantage, with a passable singing voice. Gertrude Moulton would display a more than fair voice were she not in fear of the footlights. Minnie Sifrley needs to have someone "make up" her face, she being too young to know how herself, and whoever did it for her doing a very inartistic job. Harry Junop and Dan Poris have a dance together which earns a couple of encores, while Allan Ralph, basso, should sing more ami talk less. Don Leno staged the pine, which was a hit from the raisins of the curtain, and will increase its possi- bilities with each performance. gtmm NEW AGTS OPTHB WEEK J Henri De Vries. Character Actor. Colonial. The much-heralded Dutch actor, Henri De Vries. api>eared liefore an American vaudeville audience for the first time Mon- day at the Colonial. So much space has Immmi devoted to this eminent artist by the press that a detailed description of "A Case of Arson," the one-act play presented, Is not required. It is given in a condensed form, all the characters haying been re- tained, but the time has been reduced from forty-seven minutes consumed when played in its entirety at the Madison Square The- atre, to thirty-two minutes in the present guise. Monday night it ran twenty-nine minutes. There are .seven characters for De Vries to depict, and the quickest change is done in twenty seconds, the longest in twenty-seven. "Lightning changes" are not attempted, the faithful portrayal of each character in si>eech, demeanor and size be- ing all satisfying. Mr. De Vries is a suc- cess in vaudeville without doubt, drawing packed and fashionable audiences to the Colonial daily. Sime. \ \ :\ Omar Singh. Illusion. Proctor's Twenty-third Street. Omar has a Hindoo name, and calls him >elf "The Hindoo Yogi." but speaks Kng- lish with such perfect accent that it appears difficult for him to give it an Oriental twist. The act has played out of town. It is more properly called "The Human Butterfly" and is on the order of "Aga." Mine. Hermann's "Rising I^ady" and others of similar sort, in this in* staince. however, the woman, who is thrown into a hypnotic state through the incantations of the "professor." moves up and down and sideways. The usual hoop to dispel any idea of collusion is passed Hround the audience snd afterwards com- pletely over the woman. It »hs»s not pre- vent, though, the very noticeable lifting of the woman's skirts before she herself -tarts to rise when first leaving the stage. Also in suddenly moving upwards a sharp "click" is heard at the stop, which may have been produced by block ami pulley. The act is well worked, but has been dis- counted through many predecessors. Siim. Elita Proctor Otis & Co. \ 44 Kid-Gloved Nan." ^ Hurtig and Seamon's. Kdward Eisner is the author of this melodramatic sketch, and he also plays a part in it. It is far better fitted to Miss Otis than her previous offering. Built around 9 woman who has been forced Into a career of crime and unable to resist tin* temptation to rob. finally trying to secure the jewels of her dece as e d benefactor at midnight to be discovered by a secret ser- vice detective (Mr. Klsner) who turns out to be her son by the presumed husband «vho started her Sing-Singwnrd. the e\ planations arrive thick in the finale, al lowing Miss Otis an opportunity for a finer bit of restrained acting. It isn't unite made clear who Mrs. Foley (Eva Randolph) i* or what Nan is prowling around the house at 12 o'clock at night in hall costume, but the playlet is very dramatic and telling. Miss Otis has a part that suits her, and which will please vaudeville. Mr. Klsner plays the de- tective in good style, and Miss Randolph as Mrs. Foley had little to do. The re- cital of Nan's past life takes too long, and it would be foolhardy for any officer of the law to threaten a criminal to "shoot from my |MK'ket unless you drop that gun before 1 count three," when tlte other gun is pointed straight at him. The playlet wili 1m« well liked wherever given. Sime. Rhoda Royal. Statue Horse. Proctor's Fifth-eighth. A circus act, the horse is just becoming used to the stag**. It is worked on the lines of ( hester's dog, though the animal has not been trained to absolute rigidity of pose. The poses are shown in the arch of a black cloth. The jwdestal is set so far back of this opening that those in the boxes and at the sides of the house see but half of the horse. With a letter set- ting the act should prove a serviceable attraction. What it now needs is stage showmanship. Chicot. Mattie Keene and Co. "Bamboozle." Pastor's. •'Bumlxsj/le*' was written by Klla Wheeler Wilcox, which is easily understood after a passion poem is recited by Miss Keene. The action of the piece takes place in the editorial office of the •'Arizona Blade.* 1 The editor of that sheet has "roasted" Tom Welcher t I'ercival T. Moore), who calls at the office to "clean up." Miss Keene. as the writer of the scath- ing article, deems it best not to divulge her identity as the editor until she has Mr. Welcher within her feminine toils, which is easily accomplished. Mr. Welcher hears the truth, hf^ is beyond recall, and the object of the editor's attack has been gained, she having gone West for "a man." and selected Welcher as the victim. Two other characters Appear, Helen, a type- writer (.Miss M. Lawson), and Mike, a porter (I. II. Phillips). Neither'have a great deal to do. Mr. Moore played a typical Westerner, without exaggeration, and Miss Keene gave a breeziness to a part written for her. The audience enjoyed the play very greatly. Could more details of a country editor's tribulations l>e substituted for some of the unnecessary by-play it would be more humorous. The program says 'Time—Present." A calendar on the wall showed "April 7." Sime, Louise Powell and Robert Cottrell. Bareback Performers. Proctor's Twenty-third Street. Direct from the Hippodrome come this pair of bareback riders to vaudeville, giv- ing one of the prettiest "rilg" acts seen in the varieties for many a moon. The act at the big place of amusement aroused much comment, and it will as much, if not more, in its present Held. "Perform- ers" on a horse descril>cs mo e accurately than "riders," Mr. Cottrell doing turns and twists over and around Miss Powell while she stands astride two horses trot- ting around the improvised ring; that holds the attention. The program states, "Only vaudeville appearance in New York," but that all depends. Sime. »» I Hayman & Franklin. A Suit for Divorce." Pastor's. A comedy sketch without the author's name given, based upon a Hebrew calling at a lawyer's office. While there waiting for the attorney a woman calls to institute an action for divorce against her husband. Mistaking Cohen t Mr. Hayman), who hails from Baxter street, for Co-han, the lawyer, the complications in dialogue are cleverly put forth, and drew considerable laughs. There is a legitimate finale to the sketch, after which Hayman appears alone in one with some pa r o di es which are well written on current successes, and catches the house. The oj>cra.tie finale is the finish. Hayman appears to much liettcr advantage in this offering than in the former one, "A Matri- monial Agency." He is the simon-pure "kike" of the class met with every day. The make-up as a Hebrew is excellent, ami did he give more strict attention to the dialect, preventing the lap***, nothing would be desired. Mr. Hayman as a He- brew Impersonator would be an Instan- taneous success as a single entertainer. Siim. Parker & Burke. Illustrated Songs. Pastor's. M This is an act evidently controlled by one music publisher, no other songs being sung excepting those published by hiin. The slides are poor, and look like "ringers.*' particularly in the first selection. The singer's voice is a baritone of fair quality, but in the last number becomes a tenor through the high pitch. No act of this kind can succeed by holding to one cats* logue, whether on the music publisher's payroll or not. As the act was number two on the bill, presumably the perquisite re- ceived for "plugging" became necessary. A better opening will not be had until more progression is shown. Sime. Theo. & Camille Le Jess. Contortionists. v \ Pastor's. \| A contortion turn of more than medium quality. Two or three new tricks were shown, the first in a l>ox about one foot and a half square, where the man lay concealed, a la the Hindoo basket trick, and two others on the rings. A curtain before the apparatus is unnecessary. Quicker action is required This act could be built up to something Important by some one of ex]>eri- enec taking it in hand. Sime. Lovello. Ventriloquist. Pastor's. M Appearing for the first time in the East. Lovello has assumed a name quite similar to a well-known artist (Trovollo), whose specialty is also ventriloquism. A state ment of this case appears in the new* columns in this issue. Lovello would have shown judgment had he been content to re