Variety (May 1907)

10 VARIETY NGW ACT* NEXT WEEK. Initial Presentation or First Appearance in New York City. i IN BW AGTS O v r the week") Nat M. Wills, (Reappearance) Alham bra. Carter, Taylor and Co., Twenty-third Street. Stutzman and Crawford, Pastor's. Mabel Barrison and Joe Howard, Keeney'a. Lamberti, Keeney's. Ernest Hogan, (Reappearance) Or- pheum. Grace Filkins and James Home. "A Proper Impropriety." (Comedy.) 20 Mins.; Four (Interior). Union Square. There is room in vaudeville for such as Grace Filkins. The wonder of it is that she has not been heard from long before this. There come to mind very few ac- tresses that could handle the role of Mrs. Milton in the Augustus Thomas sketch, "A Proper Impropriety," with the grace and charm of this new arrival in the varieties. She was the whole sketch, and it was she alone that made the offering worth while. It takes a good deal of an actress to sit in a drawing room chair and hold her audience interested for twenty minutes with the variest of chit- chat, but Miss Filkins did it to perfec- tion. The author has given her some bright lines, but it is the womanly charm of her own agreeable personality that puts life and interest into the dialogue. Mr. Home is swamped by his partner's ex- cellence although he makes a first rate light comedian—not quite so light as could be desired, but still adequate. We have had so many false alarm comedy talking sketches lately that one which is faultless in taste and style of present- ment comes as a great relief. Such a novelty is "A Proper Impropriety." Rush. Toby Claude and Company (7). "Under Two Flags" (Dramatic). 2i Mins.; Four (Special Set). Keeney'a. The condensation of the play of the same title to a vaudeville playlet has been done, and done well, by Margaret Mayo, although the "dramatic privilege" has been fully taken advantage of. The story is clearly brought out, and the sand- storm incident is glossed over for a few seconds by the picture machine without realism attempted. The stage setting answers in a nondescript fashion, and the company is capable, but the exigencies of the reduction have given the regimental colonel his sergeant's duties, which comes under the head of "privileges." The dra- matic finale gives a good vaudeville fin- ish, but Miss Claude's voice and emo- tional powers do not rise to the opportun- ities of the piece. These are the draw- backs, and possibly may prove serious. The Keeney audience pave three curtain calls ai\d liked both the playlet and the actress from the commencement. Miss Claude heretofore has been looked upon as a singing comedienne. This may or may not be her first attempt at legitimate work. Fitted by nature for a sonbrettc role, she will have to put forth an extra effort to carry the part of "Cigarette" successfully. Sime. Joe Kane and Joaie Rooney. "Stage Door Troubles'' (Comedy). 14 Mins.; Two (Special Drop). Keeney'a Joe Kane and Josie Rooney (formerly of the Rooney Sisters—Julia and Josie) are offering a semi-sketch in "two" as their joint vaudeville venture. The drop shows the exterior of a theatre's back wall, and the plot develops apparently upon the sidewalk. But the "plot" doesn't receive a fair start before Josie is singing and dancing. There is no mistaking the audience's pleasure at this part of the en- tertainment, and again when both dance at the close. Miss Rooney is just as pretty, is dancing better, if anything, than when with her sister, but she has no voice for singing or conversation. There is con- siderable dialogue, Kane taking care of his share with a German dialect and sing- ing a verse of "I'm Married Now." The former "sister act" was so enticing upon the stage that if Miss Rooney should at some future date decide upon another partner her selection should be a girl for the same style of act she did with Julia, who, though gone from the stage, is far from being forgotten. Sime. Charles Mack and Company (5). "Come Back to Erin/' Comedy. 20 mins., Four (special set). Hyde & Behman's. The dissolution of the partnership of Calahan and Mack some time ago cost Vaudeville one of its most delightful Irish character sketches. Charles Mack, of the old combination, now comes back into his own with an offering which rivals the old sketch. W. P. Kitts as Kerrigan, "one of the old sort," has a role resemb- ling somewhat that of Calahan in "Old Neighbors." It is an exquisite bit of character work without show or osten- tation but skillful to the last detail. Mack has a straight part as before and the Irish pipes are brought into play with telling effect. Two dancing girls are in- volved, Anna Frazer and Ella Bastedo. Both young women look well and dance more than a little, contributing a pretty touch to the sketch. The whole offering is taged with extraordinary attention to detail and smooth running. The finish kl to a slow curtain as the girls sing "Come Back to Erin" to the young Irish- man (Mack) departing for America. It puts an artistic period to the playlet. Rush. Burke and Urline. Songs and Talk. 14 Mins.; Two (11); Close in One (3). Pastor's. Coming from the West evidently Edna Burke and Grace Urline must have dropped their program title in that terri- tory ("The Automobile Girls") on the way. Miss Burke is the comedy end of the conversation act, having a supply of humor on tnp. mostly in use for the ex- position of ohl-time jokes. Pressed in auto coats at the opening, which give both women a heavy appearance, the wraps sre dropped off for the cross talk, pretty white dresses being worn under- neath. Miss Urline sings "My Gal Sal" in rather good voice, but does not make a character number of it. "This Old Town" is the close in "one," and that stage position might be held throughout. With some bright new material and songs these two girls would be in demand. They have an excellent delivery and could step into a vacant vaudeville spot in the better houses at present if they were equipped with matter capable of holding them there. Sime. The Three Coates. Comedy Sketch. 20 Mins.; Four (Interior 14); Close in One (6). Pastor's. Father, mother and a precocious child make up the trio, who have a sketch enabling the little girl to secure '.he ap preciation of the audience whilo i«: boy's dress as a flippant "kid." The Pastor audience liked the child greatly, applaud- ing her long and earnestly. The father plays a Frenchman, introducing a milk- bottle into the part, and the mother is the mistress of the house where the Frenchman is employed as a butler, and where the child applies for the position of husband. All three make up poorly, the woman particularly so. The idea of a mere child attempting to make love to a full grown woman is too ridiculous to be funny and a suitable sketch should be provided for the little girl, who, with proper coaching, will likely develop. Sime. Muriel Hall Magic. 12 Mins.; Three (Interior). Pastor's. Mr. Pastor's billing master described Miss Hall's offering as "Refined Conjur- ing." So it is, very re-fined, so much so that it is guessed her previous exhibi- tions were given in a parlor or a very small hall. A pretty girl with an assist- ant, Miss Hall has probably realized by to-day that as a professional magician and illusionist she is not suitable for the theatre with her present stock-in-trade. Sime. Ernest J. Mack and Company (1). "A Page From Life" (Comedy). 16 Mins.; Four (Interior). Pastor's. "A Page From Life" was written by some one in an idle moment. The author may have seen "Recognition," which is on the Pastor bill this week and has the same pathetic ending, or the author of the latter sketch may have seen "A Page From Life." Both have good memories anyway. A burglar (Charles Swickard) in a midnight robbery eventually discov- ers the butler (Ernest J. Mack), who is alone at the time, to be his father, and I lie burglar says "father." nnd the father smvs "Danny." Preceding this sobbing finish, Mr. Mack gives a first-class com- edy characterisation of an Irishman. Mr. Swickard is a burglar because he wears a mask, but when the butler tells the bur- glar he is 63 years old, no one believes the butler except the burglar, because the butler doesn't look his age. Mr. Mack is too good an Irishman to waste his time with the piece, and Mr. Swickard is too poor a burglar to ever be in danger. Sime. out or TOWN. "The Song Birds." Musical Travesty. 30 Mins.; Full Stage. Chestnut Street Opera House, Philadel- phia. A satire on the grand opera war in New York, written by Victor Herbert and George V. Hobart, originally for a Lambs' Gambol and produced in the "Land of Nod." Decidedly of more than usual pre- tension as a vaudeville offering, the act introduces some excellent singing by com- petent artists and some musical gems by Herbert, who conducted Monday after- noon and evening, receiving ovations from a delighted audience. The score is built on themes from "II Trovatore" and "The Nieblungen," and the effects achieved are brilliant. William Burress was a most successful "Hammershine," Helen Bertram displayed her fine soprano voice as "Yel- ba" and Adele Oswold filled the role of "Emma Screams" pleasingly. The only change in the original cast was the substi- tution of James B. Carson for Gus Wein- berg and those who saw both gave the preference to the former. It is doubtful if the act will be appreciated except in cities where the audiences have at least some knowledge of the "battle of impre- sarios" but it was a strong attraction here and the closing number won several encores at every performance. George M. Young. Gus Edwards' "Typewriter Girls" (7). "Girl Act." 24 Mins.; Full Stage (Interior, 20); Close in One (4). Majestic, Chicago. Gus Edwards' newest product entitled "When the Boss is Away" is described as a musical comedy, lyrics by Robert Smith, music by Mr. Edwards. TV opening reveals an office and six slender and good looking blondes in neat lijjht gray dresses, actively pounding away on typewriting machines. Harry B. Watson, who is featured, is an office boy and an- nounces that the "boss" will be absent for the day. He tells them to be merry. The girls form a background for a con- versational song delivered by Watson en- titled "Yours Truly" with intermediary joke* that have a familiar flavor. "Does Anyone Want a Blonde," delivered by the girls, who almost penetrated the foot- lights with outstretched arms, was at- tractive and appealed to the men in the audience. "School Days," sung by two maidens, with fairly good voice, was flic best liked number, and made a hit. The dancing of Watscn was liked and the girls worked in splendid unison. The Idea, especially the opening, is similar to the first act of "The Office Boy," a music il comedy seen in CMcago a few seasons