Variety (September 1907)

VARIETY 11 but believe that any automobiUst or any- one else must have been "dippy" to en- gage in this French contest. The course, as shown, is a succession of narrow roads, with "S" turns. Ofttimes in the repro- ductions, the machines skidded completely around, coming to a stop or starting off backwards. A ride should cure or kill a man suffering from nervousness. An au- tomobile which tumbled over while going at full speed is seen, with the two pas- sengers escaping unhurt, and continuing. The picture closed the show, and no one walked out before it finished. It is a for- eign film, well made, full of action, and clear. Sime. Moving Picture. "Building a Railroad in Africa.' 1 Alhambra. The above is not the exact title, but is near enough, considering that as the pic- lure becomes interesting the light goes out. Kaffirs are seen carrying ties for the road- bed of the railroad track building. An announcement is thrown on the sheet that the world's record of laying a mile of track iii 60 minutes has been made on the African road, and presumably the audience is to see the deed done. After the colored workmen have carried about ten rails to be laid, making the beginning of the mile only, the comical looking fellow who at the instigation of the Alhambra biograph says "Good-night" broke up the seance, spoiling what might have been an excellent film. Sime. OUT OP TOWN. Jane Court nope and Company (4). "Lucky Jim" (dramatic). 24 Mins.; Full Stage; Close in One. Columbia, Cincinnati An act that is quite to the liking of those who want something new is offered for the first time by Jane Courthope, assisted by Charles Forrester, Charles Leonard and A n an Damon. The opening scene shows Jim Hamilton and his dog, on Christmas Eve, seated in his cabin in the Sierra Nevadas. Hamilton is about to put an end to his own and the dog's existence, when a young boy comes in. The child, Teddy, is almost starved and frozen. Hamilton feeds the boy, and in attempting to put him to bed a neat line of comedy occurs, the youngster finally telling of brutal treatment in the former camp. They enter into a partnership pact, and during the next year prospect for gold. The second scene shows a path leading to Jim's camp, and here Alice Stafford (Jane Courthope) appears, telling a tale of her former marriage, of her husband stealing their child, and leaving for parts unknown. She asks to be directed to Jim Hamilton's camp. Arriving, she discovers the boy is her boy, and during the talk between mother and son, Jim appears, and they go over the story of the mother hav- ing jilted Jim for the boy's father. Old love is rekindled and a pretty comedy finish is made. Fifty pieces of special scenery are used in the act, presenting one of the pret- tiest stage pictures seen here in years. The acting is faultless, the story cleverly written, and the electrical effects perfect. The act is a novelty, an unqualified hit, and a headline feature. Harry Ursa. Peter F. Dailey and Co. "Nearly a War Correspondent" (Musical). 30 Mins.; Full Stage (Special Set). Keith's, Phila. A musical playlet which is a condensed version of "The Press Agent" in which Dailey formerly starred. The new sketch had its first principal showing here after a week's "tryout" at Atlantic City, and the want of rehearsal was plainly evident. The skit is a satire on the South American rebellions, which are as frequent as house- hold warfare, with just enough plot to carry a story of light texture. This plot also leads to the comedy finish. Dailey imper- sonates a war correspondent who falls in love with a senorita, and is ordered killed by one of the officers of the rebellious army. The soldiers listen to a scheme to organize a union, which halts everything on the eight-hour system. As they are ordered to shoot, the four o'clock bell rings; Dailey reminds them of their union and they spare his life. Dailey was probably too much engrossed in watching details to put much energy into the piece himself, but proved mildly amusing. Lillian Hoerlein, as a Spanish girl, filled the role in an accept- able manner and made a strong impression \ itli her singing. A good comedy bit was well handled by Bert Snow. There is a chorus of six girls, and here is where big improvement is needed. The girls neither look, act nor sing well. Dailey has one good topical song which won three encores. The act is prettily staged. When oper- ating smoothly and Dailey is enabled to work with more ease, it should prove an entertaining number. George M. Young. Christine La Barraque. Songs. 15 Mins.; Box set, Piano. Keith's, Boston. Miss Barraque is a blind girl who has studied law. been admitted to the bar, tc.ught school, studied in Paris, speaks French, Italian, Spanish and English, and sings unusually well. She has conducted recitals in Boston, and has a clientele among society people. She comes from San Francisco. Her voice is clear, isweet, rich and full, and she pleases the audience by that alone. She will be a success in vaudeville, particularly when her at- tendants learn how to make up her face better, and she becomes more familiar with her surroundings. If the singer would stand easily at the piano instead of in the ci ntre of the stage, the act would be im- proved. Ernest L. Waitt. Lola Yberri will return to vaudeville in October under the direction of Wesley & Pincua. Gladys Sears. Songs. 15 Mins.; One. "Parisian Belles." Km pi re, Chicago. Gladys Sears is a newcomer in this par- ticular line, having until this season played soubrette roles. She sings three character songs and makes the appropriate changes in costume. Her first song, "Jealous," is rendered with marked emphasis in expres- sion. For her second number she gives an entirely new conception of a "Yiddish" girl, the type usually found in the Ghetto, but refined and neat in treatment. "Mari- utch at Coney Island" is effectively sung in an unassuming, pleasing and intelligent manner. Miss Sears should be in demand on the large vau devil le circuits. Her offer- ing is decidedly entertaining. Frank Wiesberg. UNION SQUARE. Fred Walton in "Cissie's Dream" is the feature. The cast of the delightful little pantomime has been reduced by one, the "Foxy Grandpa" doll having been elimi- nated. Several bits of business are also missing in the sketch as now presented, and the dance of the French doll is no longer given. The Elinore Sisters return after a short absence with an almost entirely revised offering. The talk is newly written, and for sparkling wit is unequalled by any two women in vaudeville. The dialogue sounds as though it had been pieced to- gether from time to time as the material was collected. This makes it a bit chaotic, but that defect is lost sight of in the swiftly recurring succession of bright points. The sisters were a solid laughing hit. Dixon and Anger have been touching up their novel talking sketch in "one" since it was last seen hereabouts, and it is now much improved in its minor details. The body of the material is retained in its original form, and with the enriching of the dialogue by the additional new matter makes it a first rate number. Paulton and Dooley close the show in a comedy bicycle act. One dresses as a cowboy, a rather incongruous and bizarre idea, with no excuse except the question- able one of not having been done before. He does some passably interesting trick riding, and the comedian, in character, makes the familiar line of clowning suffi- ciently funny. The Kobinson-Parquette Trio (colored) contribute a passable number. There is little in the offering to raise them to dis- tinction, although they handle the simple material in use well enough. The come- dian is funny only by reason of his grotesque dressing, and the dialogue is a bit flat. Also the "straight" man falls into the common error of singing a straight bal- lad. He has an excellent voice, and it could be used to better effect in "coon" songs or plantation melodies. The woman figures only casually in the proceedings. Lewis and Green are giving their comedy talking and singing act unchanged even to the wording of the parodies and the "ex tern." versifying at the finish. Someone should disillusionize Marie Laurens as to the value of her voice for colorature w r ork. It is not true at times, and the simpler the songs she selects the better her chances for her getting past without discovery. The "kid" impersona- tion was better, although dragged out to an unconscionable length, and made up of rather familiar jokes. Sylvan and O'Neil should tone their work down in the slapstick department and brighten it up in dressing. The man works hard enough, but is hampered by a quan- tity of badly shopworn material. He is a good eccentric acrobat, and should never be content with his present vehicle. Milton's Dogs open the show. By way of variety Milton docs a "straight" bar act, composed of simple routine, neatly exe- cuted. His dressing is all wrong. The (logs have been educated to a fair assort- ment of tricks, but ire not under com- piete control, and coaxing delayed the act. Bergere Sisters, Kartell!, and Clara Bai- led ni are under New Acts. Rush. AL REEVES' "BEAUTY SHOW." Either "The Behman Show" caused the capacity attendance at the Murray Hill Monday afternoon, or "Al Reeves" on the billboards is a big draw. Probably the latter. "The Behman Show" played the house last week, and left an excellent im- pression. This would work to the advan- tage of the next company, but Mr. Reeves has a name among burlesque patrons, and he is entitled to it. Reeves does not slight his show; he goes out for good looking women, bright and dressy costumes, good comedy and cast. This season he has them all, and is giving the best show "Al Reeves'" ever had. A very few, if any, will please more en the circuits. The chorus alone could "make" the pro- duction. The girta are small, good look- ing, with two or three very pretty, and dressed in many changes, tastefully select- ed, and expensive. The production must have been a costly one as burlesque shows go. In one number the chorus is arrayed in natty soldier coats and hats, with pink tights. The uniformity in size makes a pretty effect. All the musical numbers have been well staged, and the willingness of the girls, also their good nature while working, is a decided help to the liveli- ness. Two leading numbers, without be- ing programmed. "A Lamppost in New York Town" in the burlesque called "Con- ology," with the book, music and lyrics written by Andy Lewis, who also staged it, lias an unique and pleasing arrange- ment, and there is much melody to several songs. In the opening "The Art of Self De- fense" brings on the girls with sweaters and boxing gloves. This is nicely worked up, the young women pummeling one an- other to the great glee of the house; "Practical Man" in the second division again receives many encores, and this is through Mr. Lewis' efforts alone. "*"" Two or three bits of new comedy have been worked out by Messrs. Reeves and Lewis in the burlesque. Neither works in the first part. They continually "kid" each other, having an intimate knowledge of one another's affairs. Mr. Reeves is opening the olio, singing par- odies, and omitting the talk. The audi- ence would not allow him to leave the stage. Mr. Lewis is also making a strong hit with "Won at the Wire," his well written slang piece, and playing well, as is his custom, a Hebrew at the close. Maude Elliott is his able assistant in this, and Miss Elliott carries a soubrette's role in the pieces. Blanche Martin, good natured and good looking, is the leading woman, well dressed and popular. Almeda Fowler is another principal, but Miss Fowler docs little ex- cepting to wear stunning costumes. Ed Morris plays an Irish character in both pieces* being entitled to exceptional mention for work in the first part, and the members of the Savoy Quartet have characters likewise. They ling and talk in the olio ; but one insists upon singing alone and dancing under the spot-light. "The Eight Sunravs" are under New Acts. If Mr Reeves holds his show as it is now, you can see it a second time in the same week without being bored. A let- ter recommendation a show could not have. Sime.