Variety (November 1908)

12 VARIETY NEW ACTS NEXT WEEK Initial Presentation, First Appearance or Reappearance in or Around How York City. [ NEW fiGTS OP THE WEEK j i Maude Odell, Lincoln Square. 4 Stagpooles, Lincoln Square. Leslie Do Luasan, Fifth Avenue. Marimba Band, Fifth Avenue. Walter C. Kelly, Colonial. Francini OUom and Co., Colonial. McDermott and Raymond, American. "Wireless," 126th Street. MUton Noblet and Co. (New Act), Keeney's, Brooklyn. Ifye and Crispi, Yonkera. Willie Hoppe, Fulton, Brooklyn. McDonald-Beading Sisters, New Bruns- wick. Boeat and Stevens, New Brunswick. Helen Shipman, New Brunswick. Franklyn Gale and Co., Perth Amboy. AL Haynea and Co. (New Act), Union HilL Henry Woodruff and Co. (i). M A Bit of Instruction* (Comedy), ao Mine.; Four (Parlor). Lincoln Square. Some comedy, a little of dramatics, "reading of lines" and a sermon on the virtues of the "gentleman-actor" are the Ingredients of "A Bit of Instruction," Evelyn Oreenleaf Sutherland's piece, in which Henry Woodruff reappears in vaude- ville this week at the Lincoln Square. It depends upon the point of view aa to the satisfying qualities of Mr. Woodruff's sketch offering. If an audience were un- aware that Mr. Woodruff was "Brown of Harvard" and generally supposed to be "some pumpkins" in the 'legitimate/' the piece would paaa nicely in aa unim- portant position—but if the audience knew Mr. Woodruff, and expected what his "name" ought to bring, "A Bit of Instruc- tion" for vaudeville would be a sore dis- appointment. There have been too many "bare stage" acts, especially "Her Laet Re- hearsal." for the amateurish reading of the opening linea from the third act of Shakespeare's 'The Tempest" to be con- sidered novel or humorous, nor did the sermony dialog of the actor (Mr. Wood- ruff) in illustrating his disdain for "mat- inee girls" and "mash notes" apparently impress the audience. Individually Mr. Woodruff's work was excellent. He was also well supported by Jack Devereaux, who, as a clubman, calls upon the actor at midnight, ostensibly for instruction, but in reality to plead with him not to entice his near-cousin and sweetheart away. The story of the piece is hardly Interesting. Mr. Woodruff may be said to have scored a failure, for New York does know him as "Brown of Harvard"; also otherwise, and the man who made Melville Ellis' "When Love Is Young" fam us can never do as much for "A Bit of Instruc- tion" nor himself in vaudeville with this piece. Neither did he evidence the "draw- ing power" hts name might be supposed to possess. At his appearance Monday even- ing, he received much less applause than a couple of young unknown "single girl acts" as they stepped forth on the stage during the same program. Simc. The Russell Brothers play the Majestic, Chicago, week Nov. 23, and will likely con- tinue on in the West, placed by Ossey. Thos. W. Ryley*s "The Submarine." aa Mine.; Full Stage (Special Set). Colonial The Colonial program says "Thos. W. Ryley purchased the American rights to this play for production in the interest of International Peace." "The Submarine" was a success in Paris. If the newspapers which have lambasted this sketch (the worst horror an American audience of re- finement has ever had mistakenly placed before them) expressed what they prob- ably think of any set of barbarians who could enjoy it, there would be a war with France within twenty-four hours, and Mr. Ryley's measures to aid the Hague Conference fail. What is gruesome to us seems to be a comedy to the French, or aa we accept comedy over here. The mo- tion pictures by a French manufacturer are often loathesome in their themes, disgustingly revolting in the principal scenes, and "The Submarine" would have been a star moving picture for the Frenchmen. How they missed it is a won- der, and why Ryley ever accepted it is an- other wonder. Publicity is good for the stage, but not the kind of pub- licity this sketch received evidently, for on Wednesday evening the Colonial by no means had a full house. "The Submarine" doesn't draw, and it wouldn't draw. How can it in vaudeville which women and children frequent? It is a box-office de- stroyer. There are two things to be said for the piece. It is splendidly set and aa splendidly acted. It would have even been more splendid judgment on someone's part had it never been set nor acted in New York. The story is of a naval subma- rine. An opium-eating officer in com- mand orders the navigator to sink. Two of the crew complain on the descent that some of the men are being over- come. The Commander reveals to a junior officer he is a "dope" fiend, and when under the influence of the drug, moat courageous. The ship is brought to the surface, however, but again sub- merged, and this time, when three fa- thoms down, the alarm is given that some- thing has gone wrong. Two of the crew rush to a cabin where the officers arc. The door is bolted, leaving four men penned in without a chance of escape. In vaudeville, where "comedy" is sup- posed to hold sway, the spectacle is pre- sented of four men awaiting, even pray- ing for death, as the foul gases slowly suffocate them. There is one small aper- ature through which all attempt to escape. In the struggle, one of the men shoots the Commander; the water is sup- posed to rush in, and all are drowned. A second scene follows in which a gov- ernment, official offers solace to the mourn- ing families. Who can offer solace or apology to the parents who may in the belief they are affording their children amusement permit youngsters to view a horror like this with the children shrieking iu their dreams for weeks afterward. It is something men will turn from. Death by drowning upon the stage! a drug fiend! murder! mourning! And in vaudeville ("Polite, Refined Vaudeville"). Give us back the prize fighters and "Salomers." Dath. Juliet? Impersonations, aa Mine.; One. Lincoln Square. Juliet? with the question mark on the program may perhapa answer another in- terrogation point. Why does she imper- sonate Grace Hazard throughout her act without announcing it? Juliet? mentions by name nine stage celebrities imitated, but from her opening "straight" song to the finale, during which she almost faith- fully impersonates Miss Hazard in the letter's vocal inflection, in the little rhymes used to introduce her impersona- tions (and changes of costume) and also the real novelty of her act, a living ("pick") hat-rack or dressing table, (evolved from Miss Hazard's brass tree) she never mentions by name the artiste from whom these best bits of business in her turn have been "lifted." Miss Hazard originated "Five Feet of Comic Opera." Her claim has never been disputed nor questioned. There can be no mistake in the copying of Juliet? Though a co- incident of two exact voices, almost, and exact style of delivery (as far as an imi- tation may be exact) is possible, the rhyming is surely the Hazard idea. The little "pick" used to bring on and hold; also hide and remove costume changes, could be overlooked were not the re- mainder included. Juliet? is not held re- sponsible. The act haa been produced by Ad. Newberger. The "copying" reflects no credit upon Mr. Newburger aa a pro- ducer, and even less, if that is possible, upon the Morris Circuit, which permits a "copy" to follow or precede one of its own stars upon its own circuit. Especially under the rule of protecting originality, surely a moral obligation in theatricals. Mr. Newburger should relieve his clever young imitator of thia charge of piracy, , and the Morris Circuit should relieve itself from being an accessory. Juliet? is rather , above the average impersonator, even in these days when "impersonations" are nearly a joke in vaudeville, and sings sweetly. She selects for subjects Frances Starr, Connie Ediss, Anna Held (a "sug- gestion"), E. H. Sothern, Georgia Caine (in "Miss Hook of Holland"), Vesta Vic- toria (singing "Queen of the Ju-Ju Isles"), Louise Gunning (in "Marcelle"), Ethel Barry more and Harry Lauder. Juliet ?'s impersonations with one or two excep- tions are very well done, her Sothern, Lauder, Ediss and Victoria (especially the Iatter's voice) being excellent. In Lauder singing "Stop Your Tickling, Jock," the girl does more with it than any male im- personator who has attempted the same subject and song over here. She is almost eighteen years of age, a nice appearing girl, and made a great big hit Monday evening, partly caused by her legion of friends in the audience, it apparently being a "Juliet? night." They applauded and applauded, probably because they liked her and her impersonations, but more probably because there is a certain amount of novelty to her act as an impersonator, and this noveTty is due to Grace Hazard. Sime. "Tuscany tttoutadosxi/' Grand Opera Sextet. 19 Mine.; One. Fifth Avenue. Charles Lovenberg is sponsor for this new singing turn (in New York for the first time), perhapa the beat of the grand opera numbers yet shown in point of musical quality. Each of the half-dozen singers is a soloist, and their big effects are really inspiring. The Fifth Avenue audience displayed unbounded enthusiasm. There is just a bit of talk at the opening which would be considered unnecessary except that it gives the singers a fairly eaay entrance and takes away the ap- pearance of a concert number. There are three men and three women. All have good stage presence, and there is never a sus- picion of uncertainty in either their bear- ing or singing. A duet, quartet, sextet, solo and final sextet make up the routine, involving a costume change from street singer's picturesque rags to troubadour dress. One of the girls makes a buxom figure in tights, while all look well, par- ticularly Albert Wallerstedt, the baritone. "The Tuscany Troubadours" are a musical treat. ***•*• Rita Redmond. Songs. 10 Mins.; One. Lincoln Square. Rita Redmond is a good-looking bru- nette, with a pleasing well-trained mezzo- soprano voice which goes "flat" now and then. Especially did it do this last Mon- day evening at the Lincoln Square while Mies Redmond sang "tf 00-00; Hoo-00, Ain't You Coming Out To-Nigfct?" in a "song- plugging" style, bringing a whirlwind of disagreeable noises, including cat-calls,, etc., from the audience*. The song, used for the finale of the act, also received through this means a storm of illegiti- mate applause—which never counts. Miss Redmond's two other selections were "Rose Marie" and "Bonnie Magee" (or something similar). She is too light as a single-woman act for first-grader houses. Musical comedy or opera would fit her more agreeably than vaudeville. Through the tardiness of the usher* on Monday evening, Miss Redmond lost the pleasure of having a bouquet passed over the foot- lights to her. This incident must have also disappointed some "friends in front" who were so rapturously enthusiastic for the young woman they applauded at every possible wrong moment. fiftme. Milt Wood has been booked solid for the season of TO-10 over the Western time by Pat Casey, through Martin Beck. Trick and Trixie. Comedy Musical. "Rentz-Santley," Olympic, Brooklyn. There is an American act called "Trix and Trixie." The Abe Leavitt number is billed as a first American appearance. The man and woman (Beattie and Fred Evans from the burlesque's program) are English. It is a musical number with comedy, Miss Trixie singing well enough to please, and closing with a "silver clog." Mr. Trick has a couple of freak instruments, one a perfect simulation of instrumental music on a phonograph, the "brassy" effect seemingly secured through a tin horn placed upon the end of the freak instrument. It is rather a good offering of the sort, containing some grotesque comedy which is billed. 8ime.