Variety (March 1909)

14 VARIETY NEW ACTS NEXT WEEK Initial Presentation, Pint Appearance or Reappearance in or Around New York City. ( NEW AGTS Or THE WEEK ) Smith and Alexander, Fifth Avenue. Heatings and Wilson, Hammerstein's. George Armstrong, Hammeratein's. Saunders and Lawson, American. Sntcliffe Troupe, Colonial. Memora, Lincoln Square. Jack Johnson, Hammeratein's. Keeney, McGahan and Piatt, Orpheum. "Hotel Laughland," Orpheum. Telegraph Four, Columbia. Kodnr Japanese Troupe, Columbia. Soto Sonetaro, Fulton. Tony Hart, Fulton. "¥aggie Riley," Oreenpoint. Veronica and Horlfalla, Greenpoint. Sastus Brown, Greenpoint. la Psyche, Bijou, Hampton's Dolls, Keeney's. Mr. and Mrs. Evans, Perth Amboy. The Campbells, Perth Amboy. Gray and Minor, Perth Amboy. Andrew Mack and Co. (3). "Blarney." 16 Mine.; Full Stage. 1 Hammerstein's. Andrew Mack has gone the way of the many other so-called "big names" who have invaded vaudeville. He has given the varieties Andrew Mack, nothing else. The sketch "Blarney" has a plot after a fashion. It ia neither interesting nor amusing. There is no comedy to speak of, and it is utterly devoid of action. The story can hardly be made out. During the running of the piece Mr. Mack intro- duces several Irish songs. Even the songs did not bring the expected returns. Mr. Mack's singing voice seems to have lost much of its youth and buoyancy and has not the same charm as of yore. Duane Wagar, who had a minor role in the piece, that of an old man, Irish to the core, did the best work in the playlet. Albert Perry was not convincing as the "villain." Miss M Stevenson had little to do but look good. She filled the bill. The act closed the first half at Hammerstein's. To say that it did fairly would be giving Mr. Mack all the best of it. Dash. Henry Helme. Songs. 9 Mins.; One. Lincoln Square. Henry Helme, a tenor, who looks ex- actly like ninety-eight per cent, of all other foreign tenors, ia billed as "The Singer from the French Alps." This week is Heline's first in America. It must be a long way from the French Alps to the Battery, no matter which route is taken. Helme has a tenor voice of the first grade, but that didn't prevent about thirty men "walking out" on him during his turn *\i*o. 8," which would have otherwise been the intermission in the newly arranged 4 '15-act" show at the Lincoln Square. Mr. Helme made a hit as a singer, but he is not by any means a weighty act as a single number. Sime. Edouard Bosanquet. Musical. 14 Mins.; One. Lincoln Square. This is the first week's engagement in New York for Edouard Bosanquet, a foreigner reappearing over here. Last sea- son he showed for a few Sunday nights around, having played some engagements oiitside the city. Bosanquet is a violinist, featuring in his act a freak instrument he is pleased to call "the Bosanquephone," a sort of hybrid violin and horn, the horn attachment to the atring instrument giving a phonograph effect. The musician calls it "the violin with the human voice." Two of the kind are played upon, one an elaboration of the other in size. The music brought forth is rather odd in tone, and the arrangement resembles a phonograph horn to a certain extent also. Bosanquet scored in each of these numbers, but secured the most applause with a straight solo on a regular violin, closing his act. It was from "II Trovatore," and rendered with great skill. Bosanquet, who is not a young man, has complete control of his bow, causing the audience to sit up erect with a couple of cadenzas. He was obliged to acknowledge the applause several times, and, outside of the comedy list, was the hit of the program. Mr. Bosanquet cus- tomarily plays in a full stage, with light effects. This position would enhance his value, both scenically and musically. Sime, "Frontier Life." so Mins.; Full Stage (Special Drop). Third Avenue. "Frontier Life" is a title to introduce a lariat thrower and a female "whip- crack." The latter is announced as Nellie Brandon. Mounted upon a horse (which the man also ridea while performing) the woman with her whip undresses another girl by snapping off the buttons of a cloak and gown with a long snake whip. It is the sharpshooting "undressing" trick with a whip instead. This is the novelty of the turn, other than that of a woman handling a whip as well as Miss Brandon does, always while seated on the animal. The opening introduces a girl singing "The Glow-worm." A man does announcing. A special drop ia employed for the "frontier" effect. The act as at pres- ent made up is useless. Were the man. woman and horse only utilized for a quick-moving number, something might result. The singer and the announcer are excess. Any girl would answer for the undressing model. Sime. Reed Albee and M. E. Robinson are jointly engaged in the booking of Syra- cuse, Columbia and various parks and fairs handled at the United Booking Of- fices. Musical Harry Dare. Instrumental. 14 Mins.; One. Bijou. Dare works in blackface, a wise ar- rangement since he offers several novel- ties that have a comedy twist as well as a few amusing "prop" effects. He should work out a whole routine along these lines, introducing as many as possible of the musical novelty schemes. He went very nicely at the Bijou in the "No. 3" place. Rush. Oscar Loraine. Violinist. 17 Mins.; Two. Hammerstein's. Oscar Loraine with an entirely new of- fering framed up around his violin play- ing is working against rather heavy odds at Hammerstein's this week. The violinist appears second after the intermission, fol- lowing a long show. In bringing out his violin playing he is following others in impersonating various famous musicians and composers, but in an entirely new way. A special drop is used with the portraits of the famous violinists he im- personates painted upon it. As he plays the spotlight is thrown on the portrait of the one impersonated. It is a good idea, for it allows the audience to compare the make-up with the originals. The effect would be greatly improved if Loraine were able to use his light effects at Hammerstein's. The characters are all very well done, and as a violinist Mr. Loraine stands far ahead of most of those in this line in the vaudeville field. A novice can readily see that he is an ac- complished musician. The act was a big hit Wednesday night despite the handi- caps that Loraine was forced to overcome. Doe*. Vinton, Villiers and Co. (x). "The Liars" (Farce). ai Mins.; Full Stage (Interior). Bijou. 'The Liars" is manufactured out of world-old material. Husband has a flirta- tion with a bewitching young stranger. Wife finds note in his pockets. Resolves to show him a lesson by behaving wild herself. Bewitching stranger appears on the scene. Husband secretes her behind scene until he can smuggle her out of the house. Wife becomes curious about what is behind the screen. The trio (Frances Himrick is the third member) give evi- dence of ability to play a farcical or light comedy sketch acceptably, but "The Liars" serves them rather shabbily. It isn't rough enough for most popular- priced audiences, and not clever enough for a better class house. Rush. Abbott and Minthorne Worthley. "On the Beach." 17 Mins.; Three (Special Drops). Bijou. Both of the principals are attractive young people, apparently brother and sister. The girl is particularly fetching in a summer girl frock and later in a bathing suit. She is a first rate dancer, as is her partner, and both sing acceptably. But they will indulge themselves in occasional passages of funny story telling. The talk is never worth while for its quality and they do not handle it over well. But their songs and dances were extremely enter- taining. The girl is one of the most grace- ful dancers that has appeared for some time in a small musical act of this sort. Mr. Worthley has adapted Clifton Craw- ford's trick of interrupting a story with a sneeze. The pair need only a few touches and minor revisions in the sketch to make it a most valuable one of the medium grade of salary. Rush. OUT OP TOWN Valerie Bergere and Co. "The Morning After." aa Mins.; Full Stage (Special Interior Set). Chate's, Washington, D. C. "The Morning After" brings Miss Ber- gere forward again in the role of an actress. The whole action takes place in the drawing room of the letter's home. Here she comes into conflict with a society woman and there is a highly dramatio pas- sage of arms between the two. The actress emerges triumphant and her re- ward is the heart of the man she loves. The audience at Chase's gave the effort their heartiest approval. E. S. Adams and Alden. Singers and Comedians. 16 Mins.; One. Young's Pier, Atlantic City. The "Two Bobs" were well received upon the first presentation of their offer- ing. They are real entertainers and did nicely with songs of their own. Alden sat at the piano, and both had solos. They closed the act with an impersonation of Italian street singers, Adams as Caruso and Alden with a guitar. /. B. Pulaski. Hopkins Sisters. "Luna-Land" (Musical Novelty), ia Mins.; Full Stage (Special Set). Young's Pier, Atlantic City. With new and pretty scenery and an original "piece" the Hopkins Sisters pre- sented an attractive singing act. Back stage a full moon is shown at the opening. It slowly moves down, disclosing first a face and then the entire figure of the "boy" in the moon, who is concerned in the singing and dancing routine which fol- lows. At the finish the "boy" steps back into the moon, and it ascends to the original position. Th* sisters lately came from South Africa. /. B. Pulaski. Gus Edwards' "Thirty Minutes at Sheeps- head" (xo). Racing Playlet. 30 Mins.; Full Stage (Special Set). Orpheum, Easton, Pa. The sketch "Thirty Minutes at Sheeps- head" is headed by Georgie Mack and Clark Ross. It depicts race track scenes. Gus Edwards' tuneful strains jingle through it. Of plot there is very little. The story deals with the staking of a five- dollar note by the tout on a hundrcd-to- one shot. If he wins he intends to return to his mother in California. Of course, his horse wins. Clark Ross played the "tout" well. Georgie Mack played tho "jockey" with vim and dash. A scene dealing with the story of the death of the "tout's" brother was splendidly acted by the two principals. Among the numbers are "Wander Off Nowhere," "School- mates" and "Betty, You're the One Best Bet." The act runs smoothly and the interest never lags. The piece is elabo- rately staged. Gus Edwards has appar- ently landed another success. Gilbert Qrcup. Charles Bnrnold will probably remain four more weeks at the Americun Music Hall, Chicago. He has been there two weeks already.