Variety (February 1910)

VARIETY 19 AMERICAN. The stage signs matched the printed programs Monday night, something which does not often happen at this house. These changes always work to the uplift of the entertainment, but in this week's schedule the acts are of such a nature that in order to place the specialties in "one" to set the full stage numbers (of which there are six) the real strength of the assemblage cannot be brought out. Acts which deserve a late place on the bill were given an early showing, and one number which did not prove strong enough ' for the position was slated well down on the program. Cordua and Maude (New Acts) with a 'delightful "sight" act coupled with real merit were conspicuous victims of circum- stances. The Five Mischiefs, down to open the second half, did not prove equal to the emergency. They made this position on a short cut from the minor time. The audience, being accustomed to better dis- plays of dancing, more melody and more pretense in costuming, gave mild signs of appreciation. Occupants of the front rows had some fun passing back to the girls the "snowballs" which were showered in the opening song. Then interest waned. Ditto all the commendation that has been bestowed upon "Ma Gosse" during the past three weeks, and conditions which prevailed upon starting the fag end of its month are duplicated. Week by week the act has been three times retained, the strength of its interpretation making it well worth repeated views. Paul's Six Juggling Girls were third on the bill, being preceded by Honey John- son (New Acts). The merit of their offer- ing warranted a place farther down, for they provide a "sight" interval of extreme effectiveness and skilfully manipulate clubs in singles, doubles and formations which bring applause. They seem to have added a new routine of difficult casts just preceding their final essay and the last moments of the act are noticeably strengthened. They work as precisely as the tick of a watch. Rinaldo, with flippant manner and ec- centric method, elicited frequent outbursts of applause during some sections of his violin interlude and, winding up with the "Rinaldo Rag," scored an individual hit of massive size. His individuality is as pronounced as the skill in which he manipulates his instrument and of itself carries him a long way toward a hit. EStelle Wordette and Co. presented "A Honeymoon in tbe Catskills," a sketch with plenty of robust humor. The curtain falls upon a situation no more appropriate as a finish than others which have gone before and not half so funny as the "scalp- ing" incident. This might better be switched to climax the laughter which runs all through the ridiculous inning. The strenuous incidents of "The Star Bout" brought the first half to a rousing finish. Preceding the feature act "Those Three Fellers" (Burkhardt, Shar- key and Geisler) pulled down one of the solid hits of the night with their indi- vidual and team work. They have a neat way of "passing the buck" which keeps all three equal in prominence and the growing appreciation works into a rousing hit for the trio. They still retain the close imitation of a billing trade mark which belongs to others. Just preceding Spellman's Bears, the closing number, Fred Niblo talked him- self into the biggest individual hits of the show. His line of humor carries sense enough to make the nonsense the more ridiculous, and with no effort at all he walked away with the honors of the night. The bear act, worked by a most pleasing mannered young woman, held at- tention as the last number and proved a fitting close for an excellent entertain- ment. Walt. HAMMEKSTEIN'S. At the Victoria this week again occurs a phenomenon becoming all too frequent in vaudeville—that of a high-priced "name" attraction taking down most of the gate and practically ruining a good straight vaudeville show. Mr. Hammer- stein's ''name" feature this week is Lionel Barry more, Phyllis Rankin and McKee Rankin (New Acts) in a dramatic sketch called "The Jail Bird." The dismal affair came on "No. 4," and handed the enter- tainment a jolt from which it only re- covered at intervals until the end of the evening. Martin and Francis (New Acts) open- ing the show were a likable pair of "kids" in a "sister" act. Sig. ElCota was warmly received in "No. 2," but his single routine on the xylophones lacked comedy values and was in a poor position to help the show along, although there was every evidence on the part of the audience that he was ap- preciated. His rag numbers went exceed- ingly well and the patriotic finale was a veritable "riot." Griff, who usually works in "one" was given full stage, probably because both of the preceding acts had worked in the restricted space. He is set off to much better effect in the "one" space and his talk seems to be more distinct when delivered from in front of a downstage drop. However, he captured the Ham- merstein crowd (this was Monday even- ing when the audience is at its coldest), and got away with a good laughing in- cident. A capital bit of "local" burlesque did not go as well as it deserved, but it was a keen, clever conception. Then came the blight of the Barrymore fizzle. Happy Lillian Shaw came across with the hit of the evening just following and the 42d Street regulars were mo- mentarily lifted from a state of despond- ency into which 21 minutes of dramatics had plunged them. Miss Shaw opened with a neat number containing just the faintest flavor of "spice." That made her a first rate start. It is a question whether her Italian song, which now oc- curs in the middle of the act would not make a better finish, replacing "Sadie Salome." The Italian was the big ap- plause getter, but "Sadie' Salome" brought her half a dozen bows and then a speech. A trial of the rearrangement suggested would do no harm, however. Eugenie Fougere returns with the same act she showed hereabouts last season, except that she has "toned down.". The big hats were good for almost a laugh and Fougere's silly grotesqueries did not aid her. She was in a late position and failed to hold it up. She was forced to jollow Lillian Shaw, who showed some sure-enough dressing on her own account. Both are single singers, and better effect would have been secured by reversing the order. McKay and Oantwell had the following place and supported it in splendid shape. Capital comedy dialog, good singing, novelty of offering and finally a fast dance gave them four-of-a-kind that took the pot. Stuart Barnes strolled on in his easy, attractive way, told his stories, sang his odd, amusing songs and strolled ov again to enthusiastic applause. Cliffe Berzac's Comedy Circus, the much copied, had the difficult task of closing a curiously made up bill. Everybody after Barrymore had to fight for his reward and to Berzac's task was added the handi- cap of the final spot. The remarkable falls of the clown and the snap and speed of the general layout came to his rescue and landed him a solid success against long odds. Rush. ALHAMBRA. It is rather hard on the other acts at the Alhambra this week and it will be equally so for any playing on the same bill with Gertrude Hoffmann (New Acts) hereafter for it will be difficult to remem- ber anything except the work and produc- tion of Miss Hoffmann. The act runs a full hour and there is more to it than the ordinary musical comedy show; so it is not extraordinary that this should be the case. The house was filled Monday night and for Harlem it was a very cold aggrega- tion. The acts ran through as scheduled and while they entertained there was very little demonstration at any time. All shared about even in the matter of ap- plause and laughter. Rex Comedy Circus started the ball rolling and the Berzac "copy" act did not get very far with the house. The buck- ing mule caused some laughter principally through his funny appearance. The buck- ing is well worked. The revolving table also gains some laughs but very little ap- plause for the ponies running it. Rex does not treat his animals in a way that brings him close to his audience. Harvey DeVora Trio were "No. 2" and although they did very nicely did not get all that was coming to them. It is a well dressed, neat singing and dancing spe- cialty away from the ordinary and under usual conditions would have put over something worth talking about. Bert Levy held the attention of the house throughout his excellent sketching period. The boys responded quickly to his invitation to whistle and it took on the aspect of a whistling tournament before he had finished. The Indian profile done as an encore remains by far the best thing shown in the rapid sketch line. Jim Thornton was "No. 4," and even Jim did not go as well as is his wont. Thornton has shifted his material about a bit and has a new story or two that go with the running. The bar-room reci- tation was omitted although there was quite enough applause to warrant it being given. Simon, Gardner and Company did not go big. Although the house laughed a great deal at Simon's handling of the lad- der the spontaneous outbursts were not there. It may be just possible that the act is playing itself out even though it hasn't been seen over here for some time. There is a new young husband in the piece who would do very well were he ta get a first class hair cut. At present he has as much as he can do to keep it straightened out so that his work suifem. The woman who replaces Grace Gardner has .improved with playing and her draw- ing is most commendable. Mr. and Mrs. Jimmy Barry scored un- questionably in the opening-intermisaJaei spot. The panning Jimmy gives the New Yorkers seems to please the New Yorkers much more than it does anyone else* just why is not apparent except that like many other cases each one credits the "pan" to his neighbor. The finish is "one" remains the strongest part of the specialty and this with Mr. Barry's songs does the real winning. Hassan Ben Ali's Arabs closed the show following Gertrude Hoffmann's one-hour entertainment. The Arabs didn't seem to mind the general exodus after Miss Hoff- mann's specialty, but just went after their work as usual and put over their first rate ground tumbling in good style. DotK. BILLS NEXT WEEK. NEW YORK. Gertrude Hoffmann. Hoey and Lea. Tbe Bandit. Dnncan'a Scotch Colllee. Arlington Four. Great Howard. Weber Family. McGregors. AMERICA*. R. A. Roberts. McManon and Chap- pelle. Myrma. Rice and Cohen. Mysterious Balloon Girl. Will Dillon. Polo Teams. Mamie Fenton. OOLOHIAL. Bmmett, Corrlfan and Co. Paris By Night. Maggie Cllne. Laddie Cliff. Harry De Coe. Bedlnl and Arthnr. Musical Johnstons. Flying Ban Tarda. Tbe Kemps. PLAZA. Star Bout. Consul. 6 Juggling Girls. Mayvllles. Sam Stern. Honey Johnson. (Two to A ll.) FIFTH AVEVTTE. Denman Thompson. Rooney and Bent. Howard Trnesdell and Co. Neapolitans. Jones and Deeley Phil Staats. Zeno. Jordon and Jor- don. Six Samols. ALHAMBRA. Dr. Hermann. Flo Irwin and Co. La Petit Adelaide. Williams and Van AL- styne. Kel linos. Trombettas. Hawthorne and Bart. Apdale'a An I mala. BRONX. Billy B. Van Beaumont Slats Charlotte Parry Co. Blone, Blnns and Blnns. Herbert Clifton. Conroy, La Malra Co. Ernie and Mildred Potts. Qulgley Bros. McKay and CaatwetL Alclde Capltalne. O&PHXUaf. Dlnkelsplel'a Christ- mas. Nat M. Wills. Gna Edwards' School- boys and Girls. Selma Brats. Lyons and Yosco. Traloor and Barrett. Hollowaya. Ila Grannon. Lee Bros, and AUea. FULTON. Hsrry Lauder. Alex. Csrr snd Co. Wilfred Clarke and Co. Alf. K. Hall. Sharp snd Montgom- ery. Cordua and Maud. Clara Mae Hammer. Held Sis ters. OREENPOINT. The Futurity Winner. Stuart Barnes. Spink snd Lynn, Marlon Murray A* Oa. Four RlanoN. T. Nelson Downs. BOSTON. AMERICAN. Brsnsby Williams. STengalls. Juliet? Those Three Fellows Lamb's Manikins. Gertie Le Clair. Tanibo and Tarn bo. KEITH'S. Fanny Ward and Oa. Hymana and Mela- tyre. Big City Four Plln. Ed F. Reynard. Charles Montrell. Cook and Lorense. Henry Loe is filling in this week, which was open between the bookings of com- binations, at Weber's Theatre, New York, presenting his travelog, "Life of the World." His stay ends Sunday night. Tom Kelly, who used to preside at the piano during the closing months at Tony Pastor's, but who has since been playing the ivories for "Shapiro," will officiate at the piano for Annabelle Whit ford during her forthcoming plunge into vaudeville.