Variety (March 1908)

VARIETY Ik ROBIE'S KNICKERBOCKERS. When Jack Reid, principal comedian of Robie'8 'Knickerbockers," has worked up a character role for the first part which fits him au> where near!^ as well as Joes his splendid Irish characterization after- wards, Louis Robie's "Knickerbockers" will have an offering that can invite com- parison with the best of either Wheel. As it is, the show ranks well up among the leaders. As an Irishman in the burlesque Reid was consistently amusing in a clean cut legitimate role. With the possible ex- ception of Bert Baker's Celt, no more easy, natural and ingenuous bit of comedy char- acter drawing comes to mind than that of Reid as Murphy in 'Murphy's Mishaps," which made the burlesque of the show. He has caught the note of quiet effective- ness that made Tojji Callahan's (Callahan and Mack) performance a never ending de- light, and although the introduction of a few bits of burlesque material force him for the minute "out of the picture" he manages to make his type of the prosper- ous "tad" convincing. In the first part he essayed the role of a tramp, an uncongenial part in which his work was distinctly forced and false. It was probably due to the unfitness of the character that the really sparkling dia- logue fell dead and failed to reach over the footlights. Reid was visibly ill at ease in the tramp's rags, and it is a mat- ter of wonderment that he held to the part when he might just as well have played the Irishman throughout. He is surrounded with one of the best companies and productions passing this way in s«)iive time. There is scarcely a useless member in the cast. Ilverybody works together in first rate fashion, and the entertainment is bolstered up with ;i capital corps of choristers, an unusually comely collection, besides a capable half dozen or so of women principals. Clyde Darrow and Flo Elliott are the soubrettes, a decidedly attractive pair and a revelation in tasteful dressinff. For the most part there is little of the burlesque flashiness about their costumes, which run to the most moilern of modes. The one exception was a pair of bespangled red horrors that would be ]>etter in the dis- card. The cross-fire of dialofjue followiiiijr their first entrance is bright, but there is a good deal too much of it. This was the only time tliey outstayed their welcome. Fanny Wood also appears in a soul)rette role. She is a neat little "broiler." but spoils her whole appearance by a barbar- ous form of headdress, Ben Neff had a subordinate part in the opener as a bogus Indian prince, and handled it skillfullv. Instead of forcing his funninients upon the audience, he was content to work quietly in the background and his services were valuable in building up laughs. Ward Caulfield had semi-straight parts in both pieces and handled them satisfac- torily. Several Irish ballads won for him an enthusiastic burst of applause in the burlesque.. Robert Jewell and Ella Gilbert liad the fltrnight parts, necessary to the action of the opener, but offering no large oppor- tunity for display. In the l)urlesque Jewell did extremely well with a "dope fiend" p«irt. He avoided the common pitfall of overplaying, and did just enough. ' Louise Willis contributed a decidedly graceful toe dance as a specialty during the first part. She is a capital dancer and an attractive young person, but her 8i)ecialty is poorly laid out. At the close of her first dance she exits to secure a hat and cane for a cake walk. This breaks into the number and makes it seem slow. A much better arrangement would be to have the hat and cane on one of the chairs where they could be snatched up quickly. Then the dance could be changed without a break and the act would have the ap- pearance of moving much more swiftly. Mr. Robie seems to have gone on the theory that burlesque audiences come in to watch the girls. The women of the cast are played up prominently and a large part of his attention seems to have been directed toward dressing them lavish- ly. Seven costume changes are shown in the first part and five in the burlesque, tights entering pretty generally into the designs. Following out the "girl" idea the num- bers have been extremely well put on. One of the prettiest was "The North Pole" song with a neat costume. Care has been taken in staging the numbers to make pretty pictures. The finale of the first part is a capital idea, away from the conventional. The men principals are banished entirely to the wings and all the women principals and the choristers, garbed in a close ap-. proach to union suits, covered by long capes, occupy the stage for a number pro- grammed as "The Flirting Girls." This makes the finale, and for an encore Misses Darrow and Elliott are disclosed under the spotlight dressed in copies of Lala Sel- bini's "bathing girl" costume. Both girls have striking figures, and the audience took to the tableau enthusiastically. In "Tlie North Pole" song one of the chorus girls displayed for a moment a voice that is well worth exploiting in a solo, and during all the numbers there was agreeably audible a pretty contralto voice, apparently the possession of a tall bru- nette, one of the prettiest girls of the lot. A short olio of three numbers divided the pieces, including Jcrrings and Jewell, "Dutch" conversation comedians; the Great Cliristy, juggler, and P^lliott and Xcff, song and dance team. The book and lyrics are "by E. Tracy Sweet, revised by Jack Reid." Either Swoct or Reid is entitled to credit for evolving a whole lot of well-written dia- logue. Tlie music, bv Louis Doll, is a catchy scoie. liuffh. JUMPED IN AT QUICK NOTICE. On Monday afternoon wIhmi E. (tillospie, Bort L«^sli<''s loadiu}; man, failed to rej)ort at tl'c Colonial, Mr. Loslio was Tterally "\ip in the air." It was the first showing of Mr. Leslie's new piece, "Ilogan in So- ciety." in New York, and the impending prodicamont appeared little short of a catastrophe to the comedian. Mr. Leslie patiently waited, even until the preceding act on the projjram occupied the stajro before jrivinjr np hope. At the last moment Dick J. Flower, wilhoiit re- hearsal, stepjH>d into the part of tlie absent one, and went throu;ih it without the audi- ence becominj; aware of the substitution, althoush the lliih' <ompany on the ^ta^e were in a white heat of trepidation over the result. .\fter the performaiue Mr. Leslie heaved a sigh of relief and said Mr. Flower ])layed as though in the role for years. COLONIAL. No better comedy bill has been shown hereabouts in a very long time than that which holds forth at the Colonial this week. With the exception of "The Lon- don Fire Brigade," which closes the show and makes its bid upon the noisier sort of comedy, the funmaking is quiet and smooth. Elfie Fay was billed but did not appear, her place being taken by Mat- thews and Ashley. In crediting the laughing hit of the show there was nothing to choose between the McNaughtons and Frank Fogerty. The McNaughtons, perhaps, had a shade the advantage through being better known to the Colonial audience. Certainly they registered an enthusiastic reception. The pair have an immensely effective arrange- ment for the delivery of their talk, which remains about the same as upon their first visit. The big, robust "straight" member makes a capita! foil for his eccentric part- ner, and their clear, sharp enunciation helps materially in sending their points across. Alice Lloyd, the feature of the show, has revised her repertoire of songs some- what since her opening. The first num- ber started her off rather slowly, due part- ly to the fact that the singer and orches- tra were at variance, but after that the act was a substantial success. The dainty little Englishwoman sang eight songs and held the stage thirty-five minutes, the audience being unwilling to let her go at the finish. The real hit Monday evening was "I'm Looking for the Lovelight in Your Eyes," due partly to a splendid bit of incidental business. Miss Lloyd stands under a double spotlight during the song, and with a hand mirror reflects a powerful stream of light into the darkened house, picking out different-men in the audience to direct lier song to. The Colonial audience jumped at the neat idea, and the singer was called upon for four repetitions, clinching her already substantial hit. Harry B. Linton and Anita Lawrence were on No. 2 with their pretty light com- edv sketch. It amounts merelv to a danc- ing and singing arrangement, but the pair handle it with such certain neatness and smoothness that the vehicle attains real importance. One of its big virtues is the care taken to "keep in the picture," as it were. Both give a consistent performance, with quantities of catchy dialogue and varied interest. Mr. Linton's voice is heard to advantage in a pretty, quiet fin- ish, and Miss Lawrence contributes a graceful dance. Matthews and Asliley for tlie occasion offer a collection of parodies, having dis- carded their sketch. "A Smash-up in Cliinatown." The straight man sings a verse or two of the popular airs, while the comedian follows with a parodied ver- sion of the sajue song. The scIkmuc paid rich dividends in laughs, and the number was thorouL'hlv enioved. The Kitamura Troupe of Jaf)s opened the intermis«i»m with their varied routine of juggliug and acro})atics, Mr. Fogerty scored roui dly nith his monologue, getting a good start witli his jingling song and ludding in^^rrc.^t with his delightful Irish slorie-*, while the political speech at the fiuisli rounded out the num- ber atlmirablv. "The I>ondon Fire Bri- gade" closed. Bert Leslie and Company are under New Acts. Tinnh. FIFTY-EIGHTH STREET. In the absence of George Evans, Eugenie Fougere is in the next to closing position, and, judging from her reception Monday night, should find little difficulty in hold- ing down the place to the entire satisfaer tion of all concerned. The comedienne m doing any amount of original clowning that is really funny. It was generally thought at the time of her recent re- entrance to the varieties that imitation* would be her forte, but if ever there were any such intention, it has been given up, and wisely. Her several huge hats of all sizes and colors are a big scream alone. What might be called impromptu carica- tures while she is singing a French song were particularly amusing. Altogether the Frenchwoman makes a good laughing number, and she bids fair to become a popular favorite. William Courtleigh and Company in "Peaches" met instant favor. Mr. Court- leigh makes a corking-looking John Henry. He handles the vernacular of the race track like a veteran, making every point tell. The important role of Biff Donovan is intrusted for the first time this week to Edward O'Connor, and al- though the work is not quite in the line with which Mr. O'Connor has been pre- viously identified, he is doing exceedingly well. There are one or two minor details which could be improved and probably win be after Mr. O'Connor has played the role a few times. Frank E. Jamison and Gladys Claire also share in the honors. Mayme Remington sings about every brand of a character song that was ever written. The Italian number is the only one not suitable, either for the singer or for the "Picks," who wear Spanish costumes in the number. When it comes to "picks," Miss Remington has had the pick, and that's no joke. They are a well- trained lot, busy every minute. The lit- tlest one is a fine tumbler. The house could not get enough of his antics. It required some time for Harry Tighe and his "Collegians" to start, but after hitting their gait managed to pull through. The 58th Street crowd is evi- dently not up on things pertaining to "Rah, Rah" life. Consequently much of the business didn't strike as particularly funny. They got the "soaking" of "the grind" with pillows and the like, but the "Old Pal" thing and "Close Harmony" were all but lost. Amelia Milton is wear- ing a pretty new outfit, most becoming. Ziska and King are giving a much bet- ter entertainment than when last seen liereabouts. The "straiglit" man is doing much more legitimate work, and seems to Imve become more skillful in handling it. The comedian has some new bits of busi- ness that are funny. The act did very well. Maddox and Melvin show their familiar offering with one or two new twists. The messenirer l>ov of Mr. Maddox's and the travesty finish are well liked. The Sandwirias bid thr<.ug'i the use of the wonian in all the formations ns under- stander. She is almost perfectly built, and liandlcH her male juirtner with corn- I>arative ease. ; . The W'iltou Brotliers i?i a comedy bar act closed. The comedv is not solely in the name. The comC'liin. unlike many in his line, really inaTtaLjes to work uf) sev- eral L''>'»d lauiihs. The straight bar work i-i neat ariil cateliv. Itaxh.