Variety (December 1909)

1* VARIETY Makarenka Troupe. Songs and Dances. ii Mins.; Full Stage. Colonial. The Makarcnka Troupe go the general ran of Russian organizations a point or two better, combining the snappy Russian dances with several excellent singing voices. Four men and four women make up the outfit. The leader is an attractive woman of the Russian type who haa a pleasing voice which she handles with care. The woman appears at the finish in pantalets and does a dance or two for which she will never receive a blue ribbon. The troupe has a fine looking man who, in his bespangled raiment, surely makes the portraits of the Oriental princes pale in comparison. He handles a good singing voice nicely, doing particularly well with an English ballad. The finish brings out the dancing, and the women, including the leader, help out one of the men who reels off the fastest kind of bent-knee dancing and does a few excellent spins. The other men simply stand around and get into the picture now and again. The Makarenkas with their highly colored and glittering costumes will make some of these Jap troupes raise the price on their back drops a few thousand dollars. Clos- ing the show the act did very well Mon- day night. Dath. Joggling Consuls. 15 Mine,; Full Stage. Third Avenue. Clubs and hoops, all prettily colored, are used in the routine of feats, all well done except for a slight awkwardness on the part of a young girl, who, however, is pretty. A brighter style of dressing might serve her better than the ankle-length in- genue frock of Quaker gray. The man handles both his clubs and hoops smooth- ly. The pair has adapted Harry Kraton's "schoolhouse" trick, using a cloth screen six feet high in place of the miniature schoolhouse. The familiar series of "loop- the-loop" throws form the finish. The act is well equipped in apparatus. Rush. Barto and McCue. •The Modern Hercules" (Strong Act). 9 Mins.; Three (Draped In). "The Empire Show." Barto and McCue dress much like LAveen and Cross and the Belleclaire Brothers, working also similarly to each team. They have two or three of their own tricks, a couple, corkers in their wav, and throughout give a first-class exhibi- tion of strength, agility and some acro- batics. The lighter man becomes the understnnder in twp or three hard feats. The heavier one is built like a compact mountain of flesh in a small compass. Not the least feature of the act is the inci- dental music, catchy and helping along the work very much. In the olio, where they nre, Harto and McCue becomes a fea- ture. What they are short of is one sen- sational trick to finish with. Rime. "A Night in the Police Station," played in vaudeville by Joe Maxwell and Co., will be rewritten into a throe act play, called "The Polire Lieutenant." in which he will star, snvs Mr. Maxwell. Ed. Jordan and Co. (a). "Kati's Night Out" (Farce). 27 Mins.; Full Stage (Parlor). Lincoln Square. For the purposes of easily entertained audiences "Katz's Night Out" may do, but the offering will never climb very high. It is one of those rough, frenzied farces, founded upon probably the oldest comedy idea known to the art of play- writing. Katz (Mr. Morton) comes home "soused." and Mrs. Katz upbraids r nim for his loose habits, the comedy arising from Katz's comic replies to his wife's curtain lecture. A familiar type of French maid (wearing skirts above her knees, always done in well-regulated farces) is an added complication. She sympathizes with Katz and communicates to him her desire to go upon the stage. After picking the souse's pockets she dis- appears, returning a few minutes later in a different costume to give Katz a sample of her skill in dancing. Mrs. K. enters at this interesting moment and the close of the proceedings is a general hair-pulling match and general "rough-house" all over the stage, a fit climax to the comedy that has gone before. The people worked ex- tremely hard and such as their points were, sent them over adequately. The less discriminating the audience the better the sketch will do. Rush. Thomas and Ryan. Song and Dance. 1.5 Mina.; One. Grand Street. These two young men have formulated a good routine of hard-shoe dancing. They open in red suits and change to gray street clothes later. The contrast is striking and shows a commendable effort to pay some attention to dress. One of the boys gives dancing imitations of sev- eral different walks, meanwhile changing hats to impersonate the different types. It is well worked out. A long drill at hard-shoe dancing closes the act with a rush. Walt. OUT OF TOWN Vera Barrett and Co. (1). "Who's Who?" (Comedy). 16 Mins.; One (Special Drop). Bush Temple, Chicago. This is the first big city showing of an act, the merit of which lies in Miss Barrett's excellent work as a doll. The offering can hardly be dignified by the title of sketch for the "plot" is forgotten. An actress in hard luck receives a letter from her mother stating a $50 bill is pinned in the clothes of a doll. Finding this money and having the doll in her hands she imitates a little girl very nicely. She exits and a member of the same com- pany who haa trucked a piece of baggage on the stage at the opening of the act does some whistling; too much for the plot to be remembered. At length he opens the box and finds it contains a life- sized doll. Comedy follows which, if done with a "straight" man in evening clothes, would add strength to the act. When it is disclosed the doll is Miss Barrett, the net is over, though the story started has not been completed. She sings and the company whistles for a finish, marring the entertaining quality of the offering. On the smaller time the act will be ac- ceptable now; it was well liked at the Bush Temple. Miss Barrett's work is clever enough for any house if aptly in- troduced. Merry. Hopkins and Aztell. Singing, Talk and Dancing. "Trolley Troubles." 16 Mins.; One. Haymarket, Chicago. Mr. Hopkins comes out in evening dress and sings a "Broadway" song. Upon reaching the chorus Miss Axtell joins him dressed as a "kid." Both have appearance, which at once awakens interest in the better class of houses. For a second num- ber she enters, reading a letter from "Heinie," an excuse for him in "Dutch" makeup, widely different from the general run. She again joins him in the chorus and he follows with a "spooch." Hop- kins' "Dutchman" is not along conven- tional lines, and judged from the general, is ordinary. The third song is one of the "street car" kind, and when it comes to the chorus a street car travesty is pre- sented which leads to the conclusion that this team will be heard from in the future. Their "street car" matter is clear away from all others and might be styled an improvement on the usual run of trolley fun. The work of this team at present k inakes a most satisfactory offering and the indications are that they will be doing still better work, as they are compara- tively new to vaudeville. Merry. May De Sousa. Songs. 11 Mins.; Full Stage. Majestic, Chicago. The American re-appearance of May De Sousa occurs after five years abroad. It was fitting that she should appear at the Ma- jestic, as her first appearance on the stage was at the Chicago Opera House, another Kohl & Castle theatre, about a decade ; ago, when she sang "The Midnight of Love." Her accompanist was seated at .A—piano on the Majestic stage in a draw- ing room set with a "centre door" where Miss De Sousa entered. Several steps led to the floor. Her first song was "Michael- mas" from "Carmen," which displayed her beautiful voice. The second, "Always Do as People Say You Should," was ren- dered without leaving the stage. A velvet (urtain was lowered after the second num- l>er and she sang her third song in "one" with orchestra accompaniment. It was "The Sweetest Story Ever Told." Local pride contributed to her great success (she is a Chicago girl), but Miss De Sousa is quite clever enough to make good on her own account any place. Merry. Errac. Violinist. 12 Mins.; One. Majestic, Chicago (Week Nov. 22). Errac. "the wandering fiddler," has an offering, interesting not only on account of the ability of the artist, but owing to his peculiar mannerisms. He wanders on the stage as though walking along the street and although he plays several num- bers, never gives sign that he realizes there is an audience "out front." He is a better musician than the majority of violinists, and his offering is artistic and entertaining. Merry. Josephine Joy. Singing. 15 Mins.; One (Special Drop). Colonial, Norfolk, Va. One of the hits of the bill at the Col- onial this week was Josephine Joy. She- enters through a drop in "one," repre- senting a wine cellar, singing a "stein" song and changes to represent Fritzi Scheff, whom she understudied for two seasons. She changes next for "Coming Through the Rye," making her entrance through a huge rye bottle in the drop. A medley of operatic and semi -classical songs makes the finish. Miss Joy dresses' with the utmost taste and seems to have acquired the art of letting personality ex- tend over the footlights. She should make good in important theatres. 8. R. Hiller. Nevins and Arnold. "Little Miss Manicure" (Talk and Songs). 15 Mins.; One. Young's Pier, Atlantic City. With a manicure table and two chairs for a setting, Miss Arnold enters singing a "manicure" song. At the table she be- gins work on a customer's hands (Mr. Nevins). During the operation there is bright patter. After a flirtation Nevins sings "Carrie." The last five minutes is taken up with a "scarecrow," Miss Arnold cleverly doing the "dummy." The act is a very neat, one and was greatly appreciated here. /. B. PuUtiki. BILLS NEXT WEEK. NEW YORK. COLONIAL: Val-ska Surult. Dazie. "Planophlends." (toldberg. Farrel-Taylor Trio. Andy Rice. Billy Van. Three llanlono. •••our Bolses. ALHAMBRA: Billy B. Van ami Beaumont Slaters. "Operatic Festival." Edna I.uby. ••High Life Id Jail." Stuart. Frank Morrell. Artols Brothers. Hairy Breen. Ben Beyer and Bro. BRONX: •'Star Bout." Ward and Curran. Mike S. Whallen. Marlon Murray A Co. Stepp, Mchllngcr and King. Selma Braati. Mr. and Mrs. Gene HllgllCH. Marecna, Nevaro and Marecua. ORPHEUM: Annette Kellermann. Kdninnd Stanley and Co. Iloey and I.ee. Harry Tlglie and Co. I.lnton and Laurence. A. O. Duncan. Makarcnko Troupe. The Kcmpc. FULTON: 1'fllllllH' <!rnre Hazard Junle McCree IIiiwrIIhii Trio Carroll and Cooke <n ion himI Herbert 'Sllenf Talt Murphy and I'ranel* HAMXER8TEINB: Chevalier Flo Irwin and Co. The Quartet Cook and Lorena Davis and Macauley GUIIhan and Murray Great Rtngllng AMERICAN: Cecilia Loftua Sydney Drew and Co. Montgomery and Moor* Brengk'a ModelH Kate Ellnore and Sam Williams Dorsch and Rusnell "(ieorgla Campers" Loretta and Dog John Zlmnier duo to All) FIFTH AVENUE: Camlllo Ober Mufdcal Cutty8 Imro Fox Orth and Fern James and Sadie Leon ard and Richard An derson Bonhalr Troupe lioey and Lev Helen Grantley and Co Caul Le Croix PLAZA: Geo. Lashwood Four Mortons Nellie Wallace Ralph Johnstone N'leholson and Nort Harry Jolson AuMtln Bros. Tyler and Burton Blanche Sloane D> OREENPOINT: Frank Fogerty. Wlllard 81mm* Co. W. C. Fields. Throe Keatonn. Dankmar-Schlllrr Troupe. Arthur Rlgby. It lMimondH. Vcro-ilea and Falls. and Hurl CHICAGO. MAJESTIC: "<;<i«»iiii <;iris. " Harry Bulger. 1 II.V I.O'IH. (HIM 1 Slvfery. M liMli-tn'i S|m Mmt'Yrr Co. I'lins. F. Semon. Harm's inil Crawford. Timlin (.'mulct. AMERICAN: It. A. Roberts Kellv and Cairo Me.Mahon and Cliip pelle Hanloi'ii "Hianfnstle PUnn Intns" "Dlvlno Mynnn" I'1 link Itu«h Walti-r .lumen