Variety (December 1907)

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VARIETY 17 BURLESQUE DRESSING By FRANCES CLARE (of the "Bon Tons"). THE MONOLOGUE MAN By CLIFF GORDON. "Fine feathers make fine birds." And so they do. The sooner women study every little detail of their costume and learn to dress, not too expensively but becom- ingly* the quicker their worth will be realized and appreciated. Burlesque dressing, within a very short time, has undergone a change. The be- spangled gown is a thing of the past. The pretty soft, materials, so dear to a woman's heart, and such a delight to the eye, have come to stay. Good and tasteful costuming in burlesque is just as essential as in any other branch of theatricals; in fact, more so, to make amends for the overdressing in the past. The most careful attention should be given to the selection of the corset, as a badly fitting one will spoil the lines of the prettiest gown. Many an artiste has found herself handicapped by a poor fit- ting or unbecoming frock. I have always paid particular attention to the color schemes, of the settings, and the ^tum- mg of the chorus, dressing myself ac- cordingly. 1 have my favorite colors, like all other women, certain styles that I affect, and I and my modiste plan and work together. The key-note of good dressing is origi- nality and simplicity. In the course of a performance I wear everything from the •'fluffy-ruffle* dress to one of "Grecian*' drapery, but true to the soubrette spirit I like the hcruffled skirt, with all its freedom, best. shoes and .stockings should harmonise with the costume, and no end of attention given to the hat or head-dress. The lat- ter may spoil the smartest costume. A fan or parasol adds greatly "to. the gen- eral result. As to shoes, cheap ones are a bad in* vestment. Nothing but silk stocking* should he worn, for either long or short dresses. If properly eared for, they cost no more in the end than the ugly "lisle,"' which spoils the looks of the most prettily shape'l limb. s In the selection of the hat, the face and the hair must receive the first considera- tion. Never buy a hat because it is the prevailing style and looks good on the *>oubrette" with another show. Perhaps it does, but it may not look good on you. Unless vou care to buv the best of feathers, avoid them altogether. Flowers and ribbon are just as pretty and less expensive. A "hat" trunk is a good scheme, for should one hat be ruined on a "jump" it will cost more to replace than the trunk cost. "Making-up" is an art that would be well for us all to stud v. A clear, light make-up Is best. Follow out the rules of nature and you cannot go wrong. I have heard people in the audience remark that they could scarcely recognize their own friends, owing to the careless manner in which they made up, and the utter disre- gard of how to bring out their own charms. Use powder and paint to im- prove, and not to disguise. Neck, arms and hands should be given special atten- tion. Kvery woman looks her best when neck and sholders are shown to advan- tage. The same rule for the hair as the hats. Don't make yourself unattractive by wearing the hair parted if the pompa- dour is more becoming to your style of beauty. Lucky is the woman who can wear her hair plain. Now, girh?, for a little scandal. I know you will agree with me in the following, for we all no doubt have the same ex- periences. I started out to be a real live soubrette, and after being refused accommodations in a dozen hotels, I sent the "dog" home! All you married soubrettes listen! Our worst enemy is the "usher," and I can prove it. When Chauncey comes in, load- ed with American Beauties and says "Pass these to Miss ," the first I have been asked so often what I thought was the hardest task in vaude- ville to make good with—whether the sketch, acrobatic act, wire-walker, "sister" team or monologist. I have thought often over the subject. I really think the monologist has a harder time than the others. For instance you take the sketch team. In the first place (as a rule) they appear about 3 o'clock and about 9 at night. Most carry lavish scenery, in which, when the curtain rises, the audience at once sees something pleasing to the eye. Five or ten minutes of dialogue tells the plot and a situation is cooked up for the cora- ROSR SYDELL. Wherever then- Is a stag*, there is known the name of "Roue Sydcll." Mis* Sydcll Is tIn* leader of the organisation which bean her name, "Hose Sydeiis 'London Blondes,' " now touring the Baetera Burlesque Wheel Circuit. of striking personality and carriage. Miss Sydcll is recognised as one of burlesque's leaders and favorites. Her value to this Held alone has been of Immense advantage, for sin- Inaugurated the vogue of burlesque women dressing for the eye. and as an attraction to feminine patrons. Miss Sydell's costumes are a feature of the show she Is with. thing this voting Sherlock Holmes ex- claims is: "See that fellow made up like a 'monk,' that's her husband," and "American Beauties" exit. The bright smile and "baby stare" is all for naught after that. Consider the "spot light," songs that are epidemic in burlesque are usually sung by the soubrette. Upon your arrival at the theatre opening day you are greeted by the manager or stage manager with a smile as cold as the stage and dressing rooms. He says, "No spot light or singing to the audience, but you may ,sing to the orchestra." Then your troubles com- mence. First one and then the other with pleading voice tells you his wife is out "in front" on this particular day. Those tak- ing this precaution are usually the ones who work the number up best, on all (Continued on page 65.) about our mothers-in-law and how we call our husband 'Dearie' when we want him to buy us a hat." I think the monologue man of to-day should not be condemned too easily. He strives hard to get away from the bat- tered lines, such as "mothers-in-law," "marriage" and "bargain sales." You have to do it in our days in order to be success- ful the way vaudeville has advanced. When the monologists cannot write laughs themselves, they get some one to do it for them. There is really no price too high for good material. I cannot mention any mercantile business at the present writing paying the profits vaude- ville returns on the amount invested for material. Yet with all the good material it is a hard game to go out and stand before an audience at 4:30 in the after- noon and try and make them laugh, espe- cially when there is a horse act following you. You work hard for three or four min- utes to bring a laugh; then the stage hands commence to lead in the horses, and instead of the audience hearing the point of your joke, they hear the hoofs pounding on the stage. I never remember an audience laughing at the sound of horses' hoofs. I think if the manager would instruct the stage manager to be as careful be- hind the stage when a monologist is doing his act as he is of Miss or Mr. from the "legitimate" the mono- edian's entrance. When he enters he has at once something to work on. Now, take the monologist. Generally he must follow everything on the bill. The audience in a continuous house has sat from about 1 o'clock and listened to all the jokes, heard all the songs, are nbout worn out. He comes on with only a "drop" in "one" perhaps, with a lot of advertisements behind him reading "Big cut in underwear," "The Shoe is the best Shoe," etc. You have to take the public's mind off that, and make them listen to you. You have no beautiful scenery behind you; you have no one to "feed" you; you have got to make them laugh right away, or otherwise most of the women will leave. Or if they do n^t go home, they will remark: "Oh, what's the use of listening to him. He will start to talk and tell us FREDERICK ESTERBROOK of the BsterbrookS, instrumentalists, Is this sea- son with the IdK musical comedy success "Miss New York, Jr.," under the management of I. II. Herk, playing the Kmpire Circuit theatres. He will produce a new big original musical novelty act In "one" next season. The Esterbrooks were very successful in vaudeville last year, and will probahly return to the field next season. logue man would be far more valuable than sometimes happens now he is at times. Grigoletti'i "Flying Ballet' 1 is playing the Hippodrome, having surrendered its United time for the engagement. The Marinelli office has re-booked the act over the United for all of next season, com- mencing Aug. 3 at Ramona Park, Grand Rapids, Mich.