Variety (Jan 1907)

" '•" ' ■-• VARIETY I INfcYV ACTS NEXT WEEK. Initial Presentation or First Appearance in Haw York City. Adele Ritchie (Reappearance), Fifth Avenue. Odell and Kinley, Pastor's. Maryin and Buckley Company, Pas- tor's. William Norris, Orpheum. Julia Sanderson, Keeney's. Adele Luehman and Co., Gotham. George Mozart. Comedian. 19 Mins.; One (a); Two (13); Close in One (4). Colonial For his first American vaudeville ap- pearance, which occured at the Colonial Theatre this week, George Mozart, an English comedian, gives a "one-man" melo- drama, assuming all the characters with- out change of costume, depending for com- edy in the main upon hats. Mr. Mozart first did this style of work some twelve years ago. About four years back John Birch, an American artist, first employed hats in a similar offering. Mr. Birch's act is almost identical with Mozart's. The dialogue may be somewhat different, and there may be a slight variation in char- acters, but the idea of both unquestion- ably had its origin in one source, and the prima-facie evidence gives Mr. Mozart the credit. To those who have not seen Birch Mr. Mozart will appeal as a clever and unique comedian. He gives a pure burlesque witli a very light comedy touch, so light indeed that the effect is ofttimes lost through his own lack of seriousness. The Englishman has an unpleasant habit of winking at his audience, as though to emphasize the travesty of his creations. Mr. Mozart is an undoubted hit at the Colonial. The audience at the New Tear's matinee insisted upon a double en- core, prolonging his appearance to nine-, teen minutes. Rime. Jos. Hart's Pantomime Co. "Polly Pickle's Pets in Petland" (Musical). 26 Mins.; Full Stage (Special Setting). Harlem Opera House. Mr. Hart's latest act is a revised version of Ned Wayburn's ''Kitty Town," which was purchased by Hart. The "Polly Pickle" piece retains all the former char- acters, and has in additiort a "Teddy Bear," four chorus girls and new musical numbers. All the former animals are now more in evidence, the parrot particularly, which is so well played by William Fables, having had both its time and dialogue lengthened. David Abrahams is still the "cat" and Alfred Latel the "dog." The music is catchy and the closing "The Jack (VLantern Man" is a prettily staged num- ber, the girls wearing "Lantern" heads, while rows 'Of others are lowered upon a darkened stage. Eulalie Young has re- ■ placed Gertie Carlisle. Miss Young looks well and sings fairly. The act will now please both old and young. For the chil- dren no better vaudeville entertainment could be given. Sime. NEW ACTS OP THE WEB <t Edwin Stevens and Company (1). "An Evening With Dickens" (Character Impersonations). 24 Mins.; Full Stage. Union Square. Another of those Keith Siamese twins, the original being Bransby Williams, whose excellent Dickens character sketches were shown about the Percy G. Williams houses very recently. Now comes Mr. Stevens with an. offering which, if not identical, at least shows enough of repro- duced detail to stamp it as a plagiarism. Mr. Williams gave his offering as straight character studies; Mr. Stevens has sur- rounded his with a slight sketch structure. The text has been changed somewhat and one character not employed by Mr. Will- iams is used. It is Swiveller from "Bleak House" and in this Miss Marshall, who was with Mr. Stevens' former sketch, is employed as the Marchioness. It is in the character of Smallwced, the miser, that Mr. Stevens has most carefully copied the English artist. His every intonation mim- ics Williams' portrayal, even to the curi- ous half-whistle that the latter used. Mr. Stevens wears "shorts" and changes facial makeup, wigs and coats in sight of the audience, leaving the stage only at the end of each impersonation. Mr. Stevens an- nounces on the program that his characters are copied from the Cruikshank, Seymour and Browne prints, but credit is nowhere, given Bransby Williams. Rush. Volta. Illusionist. aa Mins.; 20 Mins.; Full Stage (Palace); Close in One (2). Harlem Opera House. Yolta may object to be designated as an "illusionist." The program says he Is metrical marvel." He has an elec- trical outfit upon the stage, allowing a current to run through and over his per- son; lights cigarettes with electricity while the paper of tobacco is held in his mouth; burns handkerchiefs from the soles of his shoes; welds two pieces of iron together in a jar of water, holding the other ends in his hands, and in reality seemingly "eats" the fluid. A "commit- tee" from the audience is on the stage while this is going on and some comedy is derived from attempts to follow Volta's bidding. The announcer continually re- fers to "a practical electrician," and per- haps one could give a reasonable solution of Volta's performance. At times he has one hand continually in his trousers pocket, which may have some bearing on the result as shown. But trick or no, the all essential point is that Volta has a first-class act for vaudeville; it is mys- tifying and it is interesting, and at no time docs the audience slacken up in its attention. Rime. The Whitney Opera House in Detroit has no telephone on the premises. De- troit is a city in Michigan and the Whit- ney Opera House is a theatre. Grace Gardner reverses the fashion! When Qrace Gardner appears at the Pavilion next summer with Louil Simon Miss Gardner will have several trunkfuls of American frocks "built" on this side. This idea of Miss Gardner's is a distinct departure from the average woman who hankers after the Parisian or London trade- mark on their wardrobe. Harry Vokes and Margaret Daly Vokes. 'The Halfback Tavern." a 1 Min.; Four (Exterior). Keeney's. \ It is about fourteen minutes after the new sketch of Harry Vokes and Margaret Daly Vokes opens that Mr. Vokes makes his entrance via a dog house set upon the stage. His appearance is delayed some ten minutes too long. Up to that mo- ment, Miss Vokes occupies most of the time. This young woman has peculiar ideas of humor to which the audience must be adjusted. When a joke is told by herself she remarks "Think it over," which is an insinuation that there is a funny point somewhere. Again after Vokes is on, when both principals are at the opposite ends of a seesaw, Miss Vokes' pet saying is "That will help some." As a matter of fact, there are one or two "gags" between the two which do help, but it is Mr. Vokes individually who pulls the sketc 1 ; out of the fire, se- curing for it on Wednesday evening four curtain calls. A dance by the four people concerned is the finish, assisting in this reward. There is a young girl in the act named Maud Dunn. She has two changes of costumes, besides the same number of songs, and does a neat little dance. Miss Dunn causes an eclipse over whatever brightness might radiate from Miss Vokes. The Dunn young woman is a sprightly young miss and ought to be heard from. W T ill Daly is the fourth member of the company and has an ab- solutely useless part. If Mr. Vokes will go over the act, come on earlier him- self, revise the talk somewhat and elimi- nate that objectionable and nasty piece of business of discovering a '"nickel" on the floor, which several burlesque companies this- season have found to be beneath their, standard of cleanliness. "The Half- back Tavern" will develop into a good laughing act. of value to himself and vaudeville. But Harry Vokes is necessary to the action all the time. Sime. Bel long Brothers (2). Trick Bicyclists and Acrobats. 12 Mins.; Full Stage. Union Square. Offering an unusual variety of- routine work the pair make one of the most inter- esting and striking closing acts of this sort shown thus long while. Feature tricks follow each other in rapid succes- sion. One of the best is the backward somersault on the wheel shown a few weeks ago at the Twenty-third Street Theatre by John and Elouise Boiler. The Bellongs make this their finish. Another startler is the balancing of an inverted bicycle on a full height perch with the climber doing a straight handstand on the pedals. One of the earlier feats that made 'em gasp was a double handstand on a pedestal, the understander seated upon a motionless ordinary. In the acrobat(cs the pair have a quantity of excellent hand-to- hand work and could open their perfor- mance in "one" with more of this. It compares favorably with the work of this sort done by, the best of the acrobatic teams. The Bellongs have a thrill to the minute and should be in constant demand. Rush. Marie Dresser. 0! Mister Uelasco" (Impersonations). s 19 Miqs.| Two (17); Close in One (2). Colonial. There is comedy even in the program announcement at the Colonial Theatre of Marie Dressler's return to vaudeville. The bill says "talk and noise by John L. Gol- den,*' and calls Miss Dressler's impersona- tions "a plaintive plea." For her imita- tions of Leslie Carter and Blanche Bates the large comedienne may take all credit, but for the 'business" and bright lines the wreath must be handed to Mr. Golden. He is responsible for one of the best real, genuine bits of travesty that vaudeville has ever seen. Even Broadway, with its "burlesques" and "passing shows," never p r es e nted a keener satirical piece. '()! Mis- ter Belasco" will not be enjoyed by its namesake. It "hits" off the vanities of the "independent" manager and his griev- ances; also his former and present stars. As Mr«. Carter in "Du Barry" Miss Dress- . ler is one scream, and while she opened with this impersonation it would be placed much better as the closing effort. So many curtain calls were demanded that they were lost track of even after Miss Dressier sang "A Great Big Girl Like Me" to stop the clamor, which was at last done through a speech, strongly char- acteristic of Mister Belasco. Simc. McKay and Cant well. Comedy, Songs and Dances. 18 Mins.; One. Novelty. After a few weeks out of town, George McKay and John Cant well, a recent part- nership, are at the Novelty in Brooklyn with material fitted into what should be- < ome a corking good comedy act. Both wear grotesque makeups, but secure laughs legitimately. The opening is a bit slow and would probably be bettered by the men coming on together, as Cantwell, who now appears first, seems nervous until his part- ner reaches the stage. There is a good song following the opening conversation, during which each does a rattling eccentric dance, suggesting Montgomery and Stone. A funny burlesque on the Fays closes, and this will secure big laughs wherever a "thought-transmission" act has previously played. The audience liked the couple im- mensely and said so through applause. Joe Deming. Songs. , 9 Mins.; One. Keeney's. Joe Demblg Is said to be a product of the West. Perhaps Mr. Deming will explain how it is that he is using that portion of Clifton Crawford's monologue in which Mr. Crawford imitates different |>ersons reciting "The Charge of the Light Brigade." After hearing Deming it is perfectly obvious unit cither he copies Crawford or Crawford has copied him. Mr. Deming sings "Must You,'' a selection of ancient vintage. The open- . ing song of Deming's is something nbout V "Staling you in the face." It is about the i only new thing to this part of the country, in his net. The singer has a good stage} presence and with proi>er melodies migVt do a great deal better than is his lot 10 Brooklyn this week. Sime.