Variety (December 1909)

VARIETY 19 > ) OUT or TOWN , (Continued from Page 17) R. A. Roberts. "Cruel Coppinger" (Protean). 38 Mine.; Full SUge (Two Scenes). American, Chicago. The opening scene is a furnished apart- ment with bedroom partly in view on the right. The story is of the Jekyll-Hyde type. Gruel Coppinger is a murderous pirate, who has been living a double life. He falls in love with the daughter of Sir Clifford Ross, who some time previous had wrecked the pirate's ship killing half the crew. On this occasion he recognized the pirate as his daughter's sweetheart, and the first scene shows him in the pirate's apartment accusing him. The pirate makes a plea for the hand of his daughter, prom- ising to lead an honest life. Ross be- comes angry and drawing a revolver shoots at Coppinger who mysteriously disappears. Ross leaves the house with the declaration that he will inform the authorities. The scene takes place at a table, the stage and house absolutely dark, a strong spot light thrown on Roberts from the left of the stage. One character is shown seated at the table, the other standing. It seems that Coppinger had disclosed the secret of his dual life and love affair to Red George, his lieutenant, whose brother was killed in the wreck of the pirate brig. Kate Ross returns Coppinger's love, ignorant of his life. The pirate's brief taste of love is bothering his conscience. He has about de- cided to reform when notified heavily laden vessel was due to pass a given point that night His lieutenant threatens him with death at the hands of his band if he fails to join them in the looting. Cop- pinger summons his will power to assist him in resisting the temptation, but angered by Ross' action and fearing his associates, he finally becomes the outlaw again. Mean- while the police surround and search the house, but he eludes them, leaving for the rendezvous. The second scene is a rock- bound shore, the water in view at a dis- tance. The effects and properties are per- fect. The pirates wait for the vessel to wreck itself against the rock. They learn that Ross and his daughter are aboard, having been picked up from their capsized yacht. Looking through a glass Coppinger sees his sweetheart kneeling on deck and praying with the sailors. He determines to save instead of wrecking them and calls to his crew for aid. They demand revenge on Ross, refusing to join. Standing on a huge rock Coppinger shoots the mutinious lingleaders and with guns directs the others in work of avoiding the wreck. Roberts has given vaudeville something new and has assuredly proven artistic versality. Seven characters are played with the changes made wonderfully quick. Mr. Roberts was a riot Monday night. "Dick Turpin's" successor has come to stay. O'Connor. "The Widow Brown." (Farce). 24 Mine.; Full Stage. Orpheum, Reading, Pa. This is an enjoyable condensation from the three-act farce of same title. A com- pany of six under the management of B. A. Rolfe present a first-class performance. When the smoothness necessary shall have been obtained in the running of the piece, and some self-consciousness on the part of several of the cast disappear, the act should prove a big laugh getter in any house. Geo. R. Howell Dooin and McCooL "After the Game" (Singing and Talking). 14 mins.;. One. Broadway, Camden, N. J. Charlie Dooin, the crack catcher of the Philadelphia National League baseball team and one of the most popular ball players in the game, has formed a com- bination with James McCool, for many seasons one of the stars of Dumont's Minstrels. The date in Camden was the second attempt. Their act is still in the rough. McCool in the character of an old Irishman is waiting for his son (Dooin) after a ball game. The son enters and explains his long coming in describing a fourteen-inning game which was lost by the home team because he struck out with two men on bags, two out and a hit needed to win. There is just enough talk to introduce the principals when both sing solos. Dooin, a popular song and McCool an Irish number. McCool then sings "Kilkenny" with Dooin joining in the chorus after which the two have a rollicking "walking" song for a finish. It is on the singing that the two depend, for while McCool is a clever actor, this is Dooin's first attempt at reading lines on the stage. The singing will take them through. Dooin has a voice of good qual- ity and only needs confidence and school- ing in the knowledge of how to secure the best results. There is nothing to be said about McCool as a vocalist. He has been classed with the best singers of Irish ballads the stage has ever known, and it is not giving him too much credit. Mc- Cool has a smooth, sweet voice of rich quality and knows how to use it. To hear him sing "Kilkenny" is a treat in itself. All the act needs is "atmosphere." At the Broadway they appeared in front of a palace drop. A special setting in about "three" with a finish in "one" would help the act a lot and increase its value for vaudeville. In addition to this the act has considerable value as a box- office attraction, for Dooin or his ability as a ball-player is known wherever base- ball is known, and it will not need much coaching to make him as good an actor as Mike Donlin can ever be. Knowing Dooin and his habits it might be sug- gested that he drop the cane. If he needs something to keep his hands busy, a bat will do just as well and look better. It is a good act now, will draw and ought to keep Dooin busy when he is not behind the plate, for Dooin is not inflated with the idea that he is an actor. George M. Young. Russell and Daverne. Contortions. 9 Mins.; Full Stage. Majestic, Chicago. A male and female contortionist ap- pearing as frogs have special scenery which adds to the effectiveness of open- ing. The stage was too dark at first per- formance of the week at the Majestic for the figures to be distinct, but after lights went up the act gained the attention. A trapeze swings in centre of stage upon which they perform the feats along the usual line. For a finish they stand erect and remove headgear. Careful working of the lights might make the act more acceptable, as the work of the artists is clever. Merry. Jos. Hart's "Snap Shots" (6). ao Mins.; Full Stage. Young's Pier, Atlantic City. As the case with his other vaudeville productions Mr. Hart's newest offering, "Snap Shots," has for its b|g idea a series of pictures or scenes with the accom- panying costume changes. A song is given with each. There are five numbers. Her- bert Cyril and Kathleen Franklin are "with" the act, four girls completing the cast. The first scene depicts the exterior of a Broadway shop. Two large windows are shown with drawn curtains. During the choruses the curtains are raised show- ing the girls first as bust models and then as full length figures. The hitter step from the window and exit with the song. The second scene is that of a military camping ground. The sun is seen at dawn—just rising. In a half circle around the rays are shown the faces of the girls, probably by means of a mirrorgraph. Cyril dressed in "regimentals" gives here a short monolog with an English accent. It went fairly well and was the only talking in the act. The last scene showed all in canoes paddling in a stream. This was necessarily dark, the river glinting on a back drop. The costumes are pretty but the music can be improved upon. /. B. PuUuki Surazall and Razall. Musical Sketch. 15 Mint.; Full Stage. Haymarket, Chicago. A composer for a music publishing house is seated at the piano when a sou- bret enters. His preliminary talk has shown his hopes for a partnership in the firm. After she has talked a few moments he receives a telephone message that his services are no longer needed, and makes a proposition to the young woman to "double up" in vaudeville. While he shows what he can do, she has entertain- ing lines. He assumes a Paderewski makeup, and while she plays a French horn, provides some good comedy. Sura- zall's piano playing is very good. Some of his "tricks" were loudly applauded. The offering is well liked at the Haymar- ket. The act is carried by Surazall's work, and will be improved when Miss Razall works in a little better. The en- core at present lessens the act's value instead of increasing it. Merry. Murray and Linn. Talk and Songs. 13 Mins.; One. Young's Pier, Atlantic City. From their entrance Murray and Linn were liked and they received many laughs. This was mainly because of the directly opposite types these two young men pre- sent. Linn is shaped like a human tooth- pick; dresses to accentuate his thinness and makes capital out of it. Murray, on the other hand, is a real fat boy. He has an excellent voice and his songs were a big feature in the act. He first gave "Wild Cherry Rag," and scored heavily. The talk was mostly handled by Linn. While the patter was silly it amused. The act closed with Murray singing "You'll Come Back," Linn joining, in the chorus. It went big and the audience in- sisted on more. /. B. Pulaski. The Hrdlickas. Sons. 14 Mins.; One. Wilson Avenue, Chicago. This act has the style, essential for suc- cess on the big time—or will have it when the male Hrdlicka becomes more confident. He appears first in a natty street suit and then in evening dress, immaculate. Hav- ing a good voice, the only fault is he ap- pears ill at ease. The young woman is nice looking, wears four beautiful gowns and has a sweet lyric soprano voice. Merry. Glenn Burt. Songs and Talk. 15 Mins.; One. Central, San Francisco. In the customary Hebrew characteriza- tion, Glenn Burt, on his first trip to the Coast, sings all parodies, opening with one on "Rainbow," at the Central this week (Dec. 13). "Rainbow" gave Burt a flying start, which he held up with good patter well put over, and it landed him solid, the reception increasing to a regular riot when he closed with a "Sylvest" parody. Fountain. Checkers Von Hampton and "Sunbeam Girls" (4). ao Mini.; Full Stage. Erie, Chicago. This act will find favor on the medium "small time." The four girls are fairly good dancers and Checkers Von Hampton haa appearance in his favor. He has not yet mastered the art of leaving the stage gracefully or the stager haa been at fault. One of the girls does an imitation of Delia Fox, and Checkers sings several songs with the little chorus in his sup- port. Merry. PAT ON BOTH SIDES. Pat Reilly and wife are playing Dock- stader's Garrick, Wilmington, this week, one of the stands on the "United time." They were last week in Williamsport. Pa., an "Independent" house, and go next week to Lancaster, Pa., to another house not booked by the United. Their pilot, James J. Armstrong, also steered them into Kernan's Baltimore. Md., a few weeks ago and brought them right back to the Independent time the week after. There is a prospect of Reilly securing a whole string of United time very soon through Armstrong. WOULDN'T STAND FOR CRITICISM. Jacksonville, Fla., Dee. 15. The owner of one of the smaller houses here where four shows daily are required (and a "change" for each desired) is also the proprietor of a dry goods store ad- joining his "Hall of Mirth." I>ast week an artist asked the manager why there were no reviews on the program in his "theatre" in the local papers. "I'd like to see them put any criticism of my show in their papers," he replied. "I'd take our 'ad' out mighty quick." (The advertisement referred to is about two inches irt size.)