Variety (June 1907)

14 HAMMERSTEIN'S. The annual open-air show on the Ham- merstein Roof commenced last Monday with a bill of eleven numbers, all well suited for a "roof." But one act on the bill contained any talking. Although the majority are familiar to New York, the program worked out finely. Excepting "Cremation" (New Acts) in which the audience, manifested merely indifferent in- terest, no one "fell down." A "feature" was posing, the program having instead an even balance of excellence. The 'added attraction" on the roof this season is "The atute lie view," a living travesty by William Haiumerstein upon Broadway plays of the past season. For "The Spring Chicken," Mr. Bammerstein has borrowed Tim McMahon's "Pete Dailey-LillMn Russell" joke, having placed a number of young chicks in a frame, par- titioned off by wires. Labels underneath each denote the actor or actress represent- ed. They will be changed weekly, and the audience invited to follow their favorites —if possible. "The Mute Review" is an intermission enlivener, giving amusement to the period. A great large new sign of "HAMMER- STEIN'S" adorns the Seventh avenue front of the theatre, the name featured in order that no one shall chance upon another aerial resort by mistake. The big laughing hit of the first pro- gram is Barnold's Dog and Monkey Cir- cus. This easily retains its claim to the best comedy animal act, and the "acting" by the "drunken" dog brought forth roars. In point of approval by the audience for light entertainment, Gus Edwards'"School Boys and Girls" followed, with Mr. Ed- ward* in the cast. The act has been in- creased to fifteen people, making an ex- cellent harmonizing chorus, silk stockings adorned the girls. It is an entertain- ing number, placed too early on this week's bill to secure full value. The talk- ing is contained in this, but will probably be dropped. The Willie Pantzer Trio is new up- stairs. The acrobatics were wildly ap- plauded. Panteer does some remarkable tricks, with the boy, also dresses the act and stage in at showmanlike manner. Col- lias .and Bart appeared at 9:40, an early time for this/act, generally placed to doss the Hammerstein show. They suffered somewhat from following Rice and Pre-. vost by one' number, but received their share of plaudits. "Bumpty Bumps" in its sixth engagement still draws the genuine laughs. Jimmy Rice is always funny. A graven image will laugh at his falls and pantomime. Prevost is the same graceful tumbler. "That" Quartet, down next to last, made a neat appearance in light colored, suits and straw hats. Returning from a West- ern trip they are in' good voice, and passed through nicely. "The Sunny. South" gave singing, .with dancing for a rattling finish, and Vaaco, "The Mad Musician," was obliged to forego his special setting. The Camille Trio closed the bill in their comedy bar act. Charles Serra, the equil- ibrist, opened it. Sime. VARIETY Joe Dillon and Marty Moore, late with "The Phantom Detective," will appear in vaudeville together with a satire on the "five cent" moving picture shows called "The Single Tomato Craft." HENDERSON'S. "All aboard for Vaudeville; New acts please don't shove," might be a fitting signboard for the stage door at Hender- son's, Coney Island, vaudeville theatre this wee];. The Military Octet is about the only act on the bill that has a fa- miliar name, although J. Francis Dooley and his girls are likewise counted among the regulars. The recruit squad includes The Four Musical Cates, musical quartet; the Eleven Drum Majors, colored singing and dancing act; Green Brothe.s, club jugglers; Tommy Hayes, "novelty bone soloist;" Alexander and Scott, blackface comedians, and Edwards and Heslin, sing- ers of popular songs, all of whom are under New Acts. The Coney Island resort imposes a heavy handicap upon the abilities of art- ists under the best conditions, but this week, what with the slim attendance and the unseasonable cold, it must have been a plucky professional whose work was not affected to his own detriment. Mr. Dooley and his two girls did rather better than the average. Dooley makes a first- rate, smooth comedian, although he was perforce compelled to cut out all his talk and confine himself pretty closely to the musical numbers. The "Military Octet" remains about as we have seen it these twelve months or more, with the notable exception that they have conclusively gotten rid of their ridiculous prop elephant. The Devoe Trio just fall short of scor- ing. The three men have an oddly untidy dressing scheme and lack something of the style and smoothness that is expected of stage athletes, but they have half a dozen first-rate feats, involving the Roman rings, Tempest and Sunshine make up a neat pair,of brunettes with a sprightly danc- ing and singing sketch. They played a week, a| Keeney's recently, but since have revised their selection of songs to the im- mense improvement of the act. The girls, both of the "squab" order, have sweet, true voices,, suggestive of "boy sopranos," and. some of the harmony effects are really delightful. 'They are graceful and make a pretty stage picture. There is no good reason why they should not find time, although their disappearance since the Keeney "tryout" would seem to indicate that they have not been particularly for- tunate in this respect. There is little to distinguish Lester and Quinn from the numerous two-man danc- ing acts that play the circuits. They dress neatly and work with a good appre- ciation of what is demanded of this sort of offering. The singing at the opening passed and the "stepping" was reasonably entertaining Burt and Bertha Grant made an en- tertaining item on the bill. The man is a capital negro comedian. This was the only act on t^ bill that attempted any talk. The lines were all lost, of course, but some o£ the man's business that went with them was funny. Dora Taylor got away nicely with a singing and dancing act quite alone. She has a good stage presence, and dances and sings as though she were experienced in this line of work. The costuming is neat and pretty. The act is rather too light to deserve serious attention, but with a partner or supporting company and a proper vehicle Miss Taylor might easily earn distinction. Ru*h. COLONIAL. The season at the Colonial is closing this week in a blaze of glory. The pro- gram this week looked "great" on paper, and it worked out as well, with one ex- ception, Vera Michelena (New Acts). Room was provided for William Court- leigh and company in Geo. V. Hobart's well written slangy sketch "Peaches." The Colonial endorsed the opinion of the Fifth Avenue, where the piece was first presented. Following a comedy and singing show, George Primrose and his "Minstrel Boys," one number before the closing, held up their end admirably in a genuine con- densed minstrel show. Mr. Primrose has wisely concluded to give a touch oif the old school, and this he has done through a "silver" clog dance by the "boys." The mention of "George Primrose" con- jures up a figure, gracefully gliding over the stage, with feet, body and hands mov- ing in unison. The absence of glaring colors and husky voices without melody is a welcome relief in an act decidedly ap- preciated. Mr. Primrose carries his own conductor, who leads the orchestra while playing the violin. As a "new act" this week, Nat Wills might stand forth. He has an entirely new line of talk, and It is not composed of "g»g"i w out legitimate humorous comments anent a "fat lady." Some of the lines brought screams, and the material is gener- ally first class, away from all the standard monologue themes. With two new parodies, also one on "Who Are You Getting At, Eh?" Mr. Wills was a terrific hit, receiving a larger reception on Tuesday evening than accorded him the opening week at the Alhambra. A genuine novelty on the bill, and one of the leaders among the applause getters, is Lasky & Rolfe's "Pianophiends." Ye producers who deem your own act well put on, take a peep at this. Five pianos on the stage, with five young men playing them as one. Four girls, modishly dressed and good looking for the foreground. Duets, quartets and octets in singing and dancing are given, with a lively finish, the company singing "I'd Rather Two-step than Waltz, Bill." Gus Kleinecke at the "baby grand," which he does not leave, is responsible for the stage management. Mr. Kleinecke "runs" the group per- fectly from his position at the piano. DeWitt, Burns and Torrance in 'The Awakening of the Toys" are holding the house in while closing the show. Billy Gaston and Ethel Greene have thrown away the act shown at Keeney's earlier in the season, and are now playing in "one" altogether. They dress in modern style without character make-up, Miss Greene making one change. She has great- ly improved. Mr. Gaston sings two solos; one he announces as his own composition, which should be stopped. Madden-Fitzpatrick and company in "The Turn of the Tide" were liked, and that is sufficient answer for their sketch. It is a sermonizing playlet, and does not please everyone, but the majority evinces a degree of pleasure, both in the piano playing, singing and sketch itself. The women particularly seem to favor the piece and players. The Musical Craigs opened the show, and this position dis- heartened them apparently, although they worked hard, but the Colonial is a "late" house. sime. TWENTY-THIRD STREET. At this late season, with the warm weather coming on apace—we hope—the Twenty-third Street theatre offers a bill « that for uniform and individual merit has not been surpassed in that house—and very few others—the whole season. It is vaudeville, and really entertaining vaude- ville from knockabout start to finish. Griffen and DuBois, comedy acrobats, opened the show with a capital knock- about act. Of the two men, one is a good straight ground tumbler, although he has costumed mmself after a fashion that suggests his desire to be a comedian. He makes a good tumbler and had much bet- ter work straight, leaving the comedy de- partment to his partner. The latter is stout, even "fat," and a good deal* more comedy capital is to be made out o* his physical peculiarities thanTrom the slap- stick in which the other insists upon in- dulging himself. Notwithstanding his avoirdupois, the comedy member is no mean tumbler. With good direction and thought on their own part the pair could make a much better comedy acrobatic number of their act, although this is not said in disparagement of their present vehicle. Mayme Remington and her picks have an entirely new dressing. There are four of the picks now. Their work is a bit coarse at times, but when they get to- gether in their final whirlwind comedy fin- ish, the result is calculated to wake up the most frozen audience. Anna Laughlin illustrates a basic prin- ciple that her brother and sister vaude- villians might study to their own profit, to wit, that when you catch your audience at the opening, you may do as you please with it thereafter and still have it with you at the finish. Miss Laughlin wins her auditors at the outset with a novel en- trance and a song that is fitted to her capabilities of voice and method. The boy nhe employs helps to clinch the generally pleasing effect of this first number. The youngster is mute, but by no means use- less. His pantomime is delightfully enter- taining. Several of Miss Laughlin's later numbers are utterly out of the "kid" character she essays to portray, and their purport and wording are entirely at vari- ance with her costuming and personality. Almont and Dumont furnish a refresh- ing variation from the everlasting comedy musical act. Their offering with the ex- cellent brass duets is quite straight. There is no need for the comedy relief that goes so far to save many offerings of this sort in which the musical program is poorly laid out and rendered. Their effects are novel and the entire act has the stamp of careful dressing and attention to detail. The Elinore Sisters were on late with their burlesque talk and happy clowning. There is a good deal of rough comedy in the contribution of the sisters, but they have gotten down to a fine point the elusive knack of working to their audi- ences. They have a quantity of new talk to offer and carry it all off with their con- tagious good humor and bubbling spirits. The others on the bill, four in number, are new arrivals. Caroline Hull and com pany, Rube Welch and Kittie Francis, M» and Mrs. Sidney Drew and company and the Schenck-Marvelli Troupe of acrobats are under New Acts. Rush.