Variety (November 1908)

«. .. »' VARIETY 13 "TT i :v :" Ned Nye and Ida Crispi. Songs and Dances, so Mine.; Full Stage. Keeney's, Brooklyn. The new act offered by Ned Nye and Ida Criapi is one of those vaudeville pussies that you bump up against now and then. The act isn't just right nor is it up to what would be expected from a team of the Nye and Crispi standard. If you were asked, however, just where the trouble lies it would be difficult to answer. In the dancing is the strength of the turn. Ned Nye's clever legmania is always liked, and Ida Orispi contributes some eccentric work in the dancing line that is in the same class. There is action without the usual sag; there is variety (each does two single spe- cialties besides the two duet numbers) and a fair grade of comedy is maintained. It may be that there is too much action; too much variety or there is too much attempted without the proper rare given to any one thing. The latter seems the most plaus- ible. The "Make-an-art-dance" craze which has blossomed out so strongly since the summer season life saver, "Salome" ap- peared, has not missed this pair. They have for a finish "The Mesmeristic Dance." It is just as good as the others of its kind, but not strong enough to right that in- definable something that is wrong. Mr. Nye and Miss Crispi should be able to frame a dancing act only for vaudeville that would be unknown on the "Layoff Circuit." DomH. < - D* Arc's Marionettes. "A Night With the Stars." 14 Mini.; Pull Stage, Lincoln Square. A partly new idea is contained in this new puppet show. The novelty is that while the little figures go through their mimic impersonations of well known ar- tists, one of the two manipulators sings a characteristic song. The dolls are worked by a man and woman, both of whom show themselves before the open- ing of the number. They are of good ap- pearance, the woman wearing a neat soubrette frock of purple and the man evening waistcoat and house jacket. Per- haps the best of the "impersonations" was the Harry Lauder. The figure was put through a series of motions closely fol- lowing the original and the man of the act sang "My Daisy" with a closer ap- proach to fidelity than any of the regular mimics that have attempted it. Among the other "impersonations" were R. O. Knowles, Alice Lloyd, Vesta Tilley and George Lash wood. One detail that could be improved in the act is the use of lighter colored hangings. With the dark red background at present, the strings by which the dolls are worked are easily visible and when the spot illuminates the figures the wires are so apparent they dis- tract attention. The act is a novelty, through the impersonations occupying the stage the time alone, and at the Lincoln Square Monday night, its first America:, appearance, scored a generous hit. Rush. The Blessings, a foreign act never be- fore on this side, have been booked for the Orpheum Circuit. A woman under- stander of unusual strength and muscular development is featured. This is said to be an entirely different organization from the turn of the same name which has toured in this country. The Vindobonos. Comedy Musical. 15 Mine.; Full Stage. Colonial The Vindobonos are two men. Billed as a "Novelty European Offering" they have a decided foreign flavor, particularly in their rough comedy at the opening. One of the pair makes up in grotesque fashion, the other playing straight and wearing evening clothes. The latter is -a capital violin soloist, but has made poor selection of music His first number waa composed of what might be called "man- ual gymnastics," a performance chosen to display his dexterity in fingering without regard to melody. A second number waa very pretty, and, worked up by means of a novel trick, gave the act an im- mensely effective finale. The trick con- sisted in the introduction of a caged can- ary bird. The violinist gave a curious bird imitation on his instrument «k&d oc- casionally the real bird was seemingly made to trill a series of notes, the effect being worked probably from the wings. The comedian's best bit was that involv- ing a score or more of broken violins. The comedy throughout is very mechanical and forced and the more real music the team give the better their turn will be. In a late place at the Colonial this week the Vindobonos did only fairly. Rusk. Herr Schmidt and Company (1). "The Human Pillar." 14 Mina.; Full Stage. "The Rollickers," Empire, Brooklyn. This is a combination of "cycle whirl" and strength test. It contains a good one-minute thrill, but so much time is taken up with the setting of apparatus, donning of harness and "stalling" around that one becomes rather tired. Strength tests of this sort, beside, have rather gone out of fashion. A saucer track is supported on four wooden posts about the height of a tall man's shoulders, with guy ropes holding it rigid. A rider climbs into the track and does several straight revolutions on a foot power wheel. Herr Schmidt then appears. He is a very German-looking person of tremendous size, running more to fleshiness than to muscular development. A set of brackets is harnessed to his shoulders. Schmidt steps under the track and by straighten- ing up lifts it and rider several inches from its supports. The posts are knocked out and Schmidt holds the ap- paratus steady with the aid of the now tightened guy ropes, while the rider does a quarter of a mile around the "saucer." At the finish the posts are returned and Schmidt steps out. The audience at the Empire where the act was shown last week as an added attraction, accepted it rather mildly. Rush. OUT OF TOWN Joe Goodwin. Character Monolog. One; 16 Mins. Young's Pier, Atlantic City. Here's a boy telling dialect stories in a really enjoyable way. He opened with a comic song. For an encore Goodwin talked a sentimental one, which, while very well received, is not in harmony with the act. Joe Goodwin should surely be heard from later. J. B. Pulaski. Doiesch and Zillbaner. Musical. ix Mina.; One. Orpheum, New Orleans. Doiesch and Zillbauer, foreign musical act, made their first American appear- ance at the Orpheum Monday. Both are men. Concertinas are the only instru- ments employed, to play classical selec- tions upon. The number received but a mild reception. It is doubtful if it will prove strong enough aa an imported act should be to warrant being brought over here. O. M. Samuel Fred Singer. Musical Fantasy. 19 Mina.; One; Full Stage; Close in One. Majestic, Chicago. The setting shows the interior of a violin maker's shop, and a synopsis gives the history of a violin he holds. During the di&cowse, overcome wivL enwliuu, he falls into slumber. A woman attired aa a spirit of "Music" appears and tells him his violin will be played by the great masters. The scene changes to full stage. A cabinet is placed in the center in which he makes quick changes, representing mu- sical geniuses, such as Paganini, Sarasate, Joachim, Kubelik and Ramenyi, the lat- ter his best impersonation. Following these the scene is shifted to its first locale and he appears as if aroused from a fantastic dream, proceeding to play the violin, and after a few strains drops to the floor, supposedly dead. The woman who appears as the "genius" wears pretty knickerbockers and assists in the changes. Her foreign accent somewhat interferes. Mr. Singer is an exceptionally good vio- linist. The final change is rather slow and could be hastened. The act is novel and evidently arranged to exploit the talents of Mr. Singer. The middle section is strikingly similar to the act now be- ing presented by Lamberti. Frank Wieiberg. Mile. Ines and Mons. TakL Musical Eccentrics. 13 Mins.; One. Majestic, Chicago. New to America, according to an- nouncement, the act shows singing and imi- tations of musical instruments, with some comedy by the male member that is de- cidedly European. The woman has a cul- tivated soprano voice and sings several foreign selections excellently, while her partner assists with a deep bass. His imitation of bells was clever. A duet in Italian with harp accompaniment proved the best of the act, which was well re- ceived. Frank Wieaberg. Connelly and Webb. Sketch. 19 Mins. Full stage. Majestic, Chicago. First appearance here. The features are the piano manipulations of Connelly and the singing of Miss Webb. There is fairly amusing dialog concerning the episodes of a college chap's sweetheart. There is not much story to the arrange- ment, but whatever was served impressed. Connelly's playing the piano is a good sized factor in the success the act met with. Frank Wieaberg. Binns and Binns, the musical act, have returned from England. HAMMERSTEHTS. There are one or two weak spots in the Hammerstein bill this week, but other- wise it is a rather good all around show.. The usual capacity attendance waa on hand Monday night. Hammerstein's is the place where the audiences form their own opinions as to merit, and they are not backward either way. They must be credited with being the first audience ., to . pass up "Dixie" without a hanaV ^ Their "wise" reputation was hurt later, however, when they fell for one or two extremely poor imitations, just like an ordinary audience. Too much mustn't be expected at once though. Now that the Cincinnati Southerners have been sub- - dued, almost anything can be looked for. • The hit of the evening came in the na- ture of a surprise. Each of the knowing ones who passed the Victoria doorman with a vacant stare, upon • looking- otea^ss thz piu^iani would never have selected the winner. It was the Arlington Four. The boys are doing exactly the same act as when seen at the house earlier in the season. They are working much more easily and with more confidence than then, but this alone would not have made the vast difference in their showing. It is more a matter of position. The act waa on "Number 2" previously; now it is open- ing after the intermission; not an easy spot at Hammerstein's either. The come- dian of the Four was just aa big a hit aa Harry Cooper of the Empire City.. Quartet is at this house. The comedian*" of Avery and Hart should see this boy do an imitation of Bert Williams; there's something to it. The Arlington Four are stepping in the right direction and if they continue to come aa fast as they have up to now, just watch 'em. Clarice Mayne was moved from "No. 4" to "No. 7," the sofest spot on the pro- gram, and the change helped her a whole lot. Miss Mayne is rather a peculiar proposition. As a single turn, the act goes very well, but after it is all over, strange to say, the girl is about the only item in the offering which leaves no im- pression. You remember a. catchy song; a clever comedy accompanist, and Geo. May's orchestra, but the singer not at all. There are of course, the imitations, but imitations never really "fall down," re- gardless of who the mimic may be. Miss Mayne holdn one record, however. Her Harry I.under in the poorest yet. What's all this talk about Maude OdellT Valeska Suratt has it all over her, com- ing and going. Besides Valeska doesn't confine herself to the "take off"; she "puts on" as well and such gowns and hats! The setting at the opening is about the handsomest thing yet shown in the stage dressing. Billy Gould is in all along with his light and airy patter, together with songs which tickle the Forty-Second Streeters. Arnold Daly closed the first half. You have to sit back and think, but it all isn't worth two thoughts. James Har- rigan is next to closing and making good, not bad for James. The juggler goes over the line in his talk a couple of times, but the Hammersteiners like that sort of thing, and it helped his hit. The Gleesons and Fred Houlihan have placed their dancing specialty away np on the top. Paul Florus opened with a light xylophone number. O'Brien Havel did quit*' well, and Amelie Rose closed. Dash.