Variety (November 1908)

12 VARIETY NEW ACTS NEXT WEEK - Initial Presentation, Pint Appearance or in #t Around Now York City. ( frti&YV AGT5 OP THE WEEK j > <• • Jerome and Schwartz, Hammerstein's. Stanley and Russell, Hammerstein's. Vesta Victoria, Lincoln Square. "The Bathing Girls, 1 * Fifth Avenue. The Pissiutia, Hippodrome. Alf Loyal, Hippodrome. Ten Kudoras, Hippodrome. 3 Athletes, Hippodrome. 4 Deikes, Hippodrome. Schmcrgel's Elephants, Hippodrome. "The Devil's Mate," Fulton, Brooklyn. "At the Switch Board," Orphans*. Joe Watson-Toma Hanlon Co., Keeney't, Harry Blaney and Kitty Wolfe, Proc- tor's, Newark. The Golden Troupe, Proctor's, Newark. The Daleys, Perth Amboy. Bessie Marlow and Co., Perth Amboy. Billy Quirk, Perth Amboy. Petroff's Circus, Bayonne. Harry Clinton Sawyer, Bayonne. Annette Kellerman. • "Diablo," Dancing and Aquatic Two Sections. Fifth Avenue. Who cares whether Annette Kellerman is 'The Perfect Woman," as the program states? Who cares, anyway, for "perfect women" such as have exhibited themselves on the stage oft and anon? The title of "perfect woman" has been employed time and time again to describe many females. It doesn't commence to bring to the im- agination the wholesome beauty of form belonging to Miss Kellerman. She is a rare jewel among women who expose their "figure" to an audience's gaze. There could be no more perfect picture than Miss Kellerman presents as she appears in her diving costume of black silk tights, a one-piece suit enveloping her from tLe neck to the feet. It fits snugly to the skin. After first entering the water, Miss Kellerman from her head down reminds one of a handsome seal in the elegant phy- sique of a woman trained to physical per- fection as far as that is attainable through athletics and acrobatics. That has caused Miss Kellerman to look wholesome in tights. There is nothing suggestive or in the least mite objectionable; just a per- fect figure neither sex would tire seeing. Miss Kellerman suggests strength in her build, gained through out-door exercise. Even in the first section, before the young woman's exhibition of fancy diving, one may notice her suppleness, which no hot- house beauty could develop in an atmosphere of cigarette smoke and press agents. Miss Kellerman is an 'Australian. She has been in this country about six months, making her vaudeville debut, at Keith's, Boston, three weeks ago. Miss Kellerman's act is in two sections, an unnecessary proceeding. The "mirror dance" in the first part of her program, could be easily eliminated, when the diving could be preceded only by her very dextrous manipulation of the "Diablo" spool. She is less dancer than athlete. Her diving is fancy, pretty and expert. Miss Kellerman's "standing, sit- ting dive" (so called by her), is a dandy piece of clean work. In the "neck dive," as the girl lies prostrate on the board pre- paratory to taking the plunge she leaves "The Gibson Girl Review." Pictorial Musical. 17 Mins.; Full Stage (Special Setting: 8); One (Special Drop: 8); Two (Special Drop: 1). 125th Street. A real production has been placed in vaudeville by Biasing & Sloman. It is called "The Gibson Girl Review," and is pictorially pretty while musically pleas- ing, with seven good-looking young women to interpret as many types of "The Gib- son Girl." "The Gibson Man" is Mr. Barrows, with a splendid, heavy voice to sing one of the best bass songs heard in ever so long, "The Bell in the Light- house," for which Mr. Sloman wrote the music, as he did for the two other mu- sical numbers. Paul West wrote the lyrics. The act is in three scenes, the first an elegantly set artist's studio, with the scenery excelling any yet shown, hav- ing an antique scheme in harmony with the surroundings. There is a back drop containing a transparency behind which is a miniature stage. Following posing in a cabinet by the Misses Harrington and Dola Dollard as "The Gibson Girl" and "Bathing Girl," there are a series .of six pictures on the small stage, they having been well arranged by Annabelle Whit- ford, "The Gibson Girl of Broadway." These are mainly posed by Texas Guinan (featured in the billing) and Mr. Bar- rows. The strains of "The Gibson Widow" run throughout the first scene, and the poses are quickly shown, a drop shutting off the little stage while the sub- jects are placing themselves. In the sec- ond scene, a drop in "one" represents the ocean. There is a continuous electrical play, giving several extremely attractive effects. The girls (in sailor dress) lounge about and sing, Miss Guinan leading as 'The Widow," and she is later joined by "The Gibson Man," who renders his solo at this point. The finale is the young women bunched in a yacht speeding through a turbulent ocean, with a can- non salute fired from aboard ship. It is a decidedly new and unique illusion, lasting for a moment, affording a lively finish. "The Gibson Girl Review" is a gem artistically and quite an ornament to a stage. Perhaps if Miss Guinan would relax just a trifle upon her very distinct enunciation for the benefit of her voice, she would more fully justify the special mention on the program. Our choice anyway for the leading job is Miss Dollard. Sime. an image which will require a marvelous form to surpass. For a finale after numerous dives have been illustrated, Miss Kellerman does an "Australian splash." This finish indicates the livli- ness of her disposition. It is just a squatting jump, but as she likes this, so does she evidence the fondness she has for the water by her exhuberant spirits while per- forming off the board. One is situated on either side of the stage, about seven or eight feet from the ground. A tank below is reflected by an inclined mirror at the back. Miss Kellerman is a great big vaudeville card. Her fame will spread, not alone through her exquisite form, but as well because that is backed up by good looks—and a good, clean act. Sime. "The Patriot." Operetta. 23 Mine.; Four (Special Set). Fifth Avenue. Albert Sutherland haa brought to vaude- ville a high grade and "classy" offering, of the calibre which throws sharply into contrast the many "oakum" acts the managers have lately played. A number like "The Patriot" will "advance vaude- ville," not give the entertainment a body blow. "The Patriot" is an operetta with lyrics by Stanislaus Stange and music by Julian Edwards. The music verges the singing playlet toward grand opera, the story being told wholly in lyrics with no comedy. It deals of the days of the Revolu- tion, containing an impersonation of George Washington by Huntington May. Mr. May's main contribution is in a resemblance to the Father of His Country as reproduced in the painting of Washington by Rem- brandt Peale. Mr. May may have taken his study from Stuart's portrait. Other- wise May slightly mars the performance through his harsh bass voice. It is per- haps made more so by the pleasant vocal qualities of the other singers, especially Antoinette Le Bran, James Stevens and whoever the tenor may be. Mr. Stevens, also a bass, is strikingly in relief to Mr. May. The concerted singing is exceeding- ly pleasing. Miss Le Bran is the single woman in the cast, with her pure soprano voice always welcome. The lyrical theme is of Washington entering the home of a Tory in the belief the farmer is a friend of the revolutionists. The Tory's daughter is in sympathy with the Americans, but the father covets the reward offered for Washington's heed. Washington intends to remain over night in the farm house awaiting the arrival of his army. He is conducted to his rest by the girl. She, fearing treachery, places the General In her own room. Returning, the daughter over- hears a plot to murder Washington. The assassin is chosen by the throwing of dice. The lot falls to the father. Hold- ing a dagger, he goes to the bed chamber supposed to hold the sleeping Commander- in-Chief, but fatally stabs his daughter, who has occupied it instead. The sound of the approaching American forces awak- ens Washington. He reappears, thanks his host and prepares to depart. The father and confederates are amazed at his pres- ence, when the daughter staggers forth, a large unsightly patch of red cloth over her heart. Singing "It Was For Washing- ton," she expires in her father's Wrms for the sextet-singing finale, two soldiers of the Revolution standing at attention in the doorway to escort their General to the lines. Not alone is patriotism enthused through the likeness of Washing- ton upon the stage, but there are the na- tional airs interwoven in the music to catch the plaudits. The setting is simple, an interior of the farm house msin room, scantily furnished, but well laid out, though brightly painted. A "ceiling" ef- fect is obtained. "The Patriot" is an un- qualified hit at the Fifth Avenue. It combines good music, interest—and pat- riotism. Several curtain calls were taken on Monday evening. Sime. Fred S. Thomas (Thomas and Noel) and May Hamilton, "The Paper Queen," were married at Williston, N. D., on Nov. 13. Ray Beveridge and Co. (1). "The American Venus Up to Date'* (Comedy). Family (issth Street). An advance press notice of "The Amer- icsn Venus Up to Date," announced it was written by Christine Hill; arranged by the Baroness Von Wrede, and among the properties would be an enlarged cast of Kuhne Beveridge's work "The Amer- ican Venus." It may be all true; there is no reason why it should not be. Miss Kuhne is a sister to Ray Beveridge, who played the principal role of wife and model. The husband waa taken by a tall 'sir who imitated a "souse," Harry Lauder and a pianologist. The imitation* were probably caused through the "souse." Quite a crowd gathered at the Family for—just between us—everyone thought there would be pulled off a disrobing scene, and—just between us—that's what brought the crowd. This is the day of the undraped as the dog days belonged to the "Salomer." But nothing came off at the Family; not even the drapery from Miss Beveridge. That is the finish. Had Miss Beveridge removed the liberty silk or whatever light cloth it was which covered her form, who can tell but that Aaron Kessler would have had the sketch in Hammerstein's next Monday— or Marty Shea might have placed it for "try outs" on the New Jersey Circuit,— and just between us—Charlie Stevenson might have sent it down to Chase's, Washington. Congress will be in session soon and Charlie will have to give the statesmen some undraped stuff pretty quick if the government is to be run by regular people. But Ray wouldn't un- cover, and the "word" had gone forth. It's tough on respectable married men, expecting much and only catching a glimpse of bareness. But for the infor- mation of Miss Beveridge (the model, not the modeler) it may be said that unless she decides to do a Maude Odell, it's no use wasting time with "The American Venus Up to Date." It's not up to date. The idea has been done to death, and faded away long ago. The last to attack the Venus thing legitimately was Alice Davenport a couple of seasons back. Vaudeville has advanced since then. If you want to be a real Venus now, you must be naked, and if you are naked enough—just between us—it doesn't mat- ter whether you are a Venus or no. Sime. Roland Travers and Co. (1). Magic. 13 Mins.; Full Stage. Keeney's, Brooklyn. "Roland Travers and Co., Novelty Il- lusionists." The "Co." and the "Novelty Illusionists" are the magician's two best illusions. The "company" consists of a boy who carts away the various para- phernalia after used. Special set makes a good showing and all of the apparatus is brightly attractive. In fact the only weak thing about Travers' performance is the tricks—or rather the execution of them. His routine consists of the sim- pler of the familar ones in general use. For the finish and as a feature an im- personation of Ching Ling Foo and a couple of cabinet tricks are shown. The small tricks need no comment, but there is a serious side to the "features." If the Society of American Magicians hear of Travers, it will take the illusionist to task for exposing magic, though Travers be innocent in intent. Dash.