Variety (April 1910)

VARIETY 21 MOLLY MAY. Coming into New York City at the head of a company that looks like a nice little stock organization from somewhere in the wilds, Grace LaRue is called upon to hold up the musical comedy, termed "Molly May," now at the Hackett. The job is too much for Miss LaRue. Given everything a musical production should have—and which "Molly May" has not—the job would still be too much for Miss LaRue. She has jumped into New York stardom too quickly for continuous brilliancy in the firmament where stars are popped and dropped overnight. if the success of "Molly May" were de- pendent upon the gowns worn by Grace LaRue, the show would be blazing a trail of box office receipts that would fit into the Madison Square Garden arena. When it arrives at the query mark of clothes— and .hats—place Miss LaRue as the ace. She' sings all kinds of songB. Some the composer, Julian Edwards, may have written. The fellow who wrote the book, Walter Browne, placed a death-dealing speech for Miss LaRue in the second act. It is about love and a fan, particularly the fan. Mr. Browne wrote the piece about a fan. That is a mere incident, however, a9 the management supplied the fan the author wrote about, poorer in quality than the story. It's the speech that's worth talking of. Miss LaRue tells Sain Scumble, an artist who paints (John H. Gold- worthy), that his love for her is sus- picious, and that just because she re- mained out all one night, losing her fan, he shouldn't allow his love to grow sus- picious before giving her a chance to stand off the questionable aspect her conduct might convey to the man who wanted to marry her. For Miss LaRue is the main squeeze among Scumble's models, and the 9how was named after her. Miss LaRue ran through these "sad" lines as though in a hurry to put on another dress. Scumble didn't seem to mind. He's a regular actor, and acted like one all the time. The germ of the story concerns n son- in-law and his father-in-law, each attend- ing a ball while their wives are away. They return home at five in the morning. The wives come in shortly after. Expla- nations—farcical explanations. Then the models come and go. They were at the ball, also. There are sixteen of them. Then the taximen come and go, coming back in evening dre9s—in the morning— having been "soused" the night before— but didn't rumple their shirts—nor their vests—ten of them (all made the same). The "company'' is made up by sixteen chorus girls and ten men (for a Broadway production). Beside the "company" are twelve principals. Some of the princi- pals have principal parts. James E. Sul- livan, as Senator Sparks, the father-in- law, is the German comedian. Mr. Sulli- van has 9ome awfully poor dialog to handle. Next to the "book" as the poorest thing in the show, is the lyrics, and the next, the company. Mr. Edwards seemed to be about the only person connected with the piece who did his duty. A few of the selections are quite pretty in melody, but there are too many "numbers"—twenty- five. Of these Miss LaRue takes care of eight. In the first two acts a couple bap- pen so closely together for Grace that the second could have been the encore for the first, if the orchestra leader had not listened to "applause" more readily than the musical conductor of a poor burlesque show does. Everything is an encore in "Molly May," excepting "Posing," a LaRue song with Grace placing her head in a framed picture opening. The second "pose" was supposed to represent "The Vampire." The lyrics said so. The stager who did this bit of work should have had all the comedy end of the play left to him. It was so funny that even the small, friendly audience wouldn't ap- plaud, though no one laughed out loud. Another poor song is saddled upon Miss LaRue. It is "Molly May." If it's a good song, the singer did not cause it to sound like one. Later Miss La Rue sang "Nancy." If Mr. Edwards didn't "compose" that mel- ody, he should.oblige the program to state it; also the other interpolations. "Nancy" is "Kelly," excepting the words. For the second chorus, the refrain is, "Has Any- one Here Seen Norah?" (Miss Bayes may answer). Preceding a very pretty duet (one of the few real musical compositions in the show) sung by Helen Cullinan and George Odell, the dialog reads, "I wouldn't cry for the best man living," with the answer, "You don't have to; you've got him" which may arouse memories in one Tim McMahon. The "and" on the program comes before Sydney Grant, who is a light come- dian, singing nicely all the songs allotted to him, and doing quite well in the sur- rounding company. With "Baby Grand," Mr. Grant caught the real hit of the eve- ning, though in the first act Miss LaRue had several encores with "When a Girl I^ads the Band" and "Clap Hands," the iatter an "audience song" of the easy sort that anyone could put over before a will- ing and unwise house. The little and light quantity of dancing Mr. Grant does during the performance also finds ready response, as no one else in the show seems able to really dance, though Audrey Ham- ilton (an attractive girl), as a maid, did something in this line during her duet with Frank W. Shea, the butler. Mr. Grant plays a debatable "drunk" at the opening. The settings are not bad in their adorn- ments, though not calling for extrava- gance, and the costuming bring? no gasps cither way. Kate Rolla plays the mother-in-law, and is the leader in a trio song, "Sleep On," having a most peculiar arrangement for the. three oddlv matched voices. The story and music in "Molly May" would be strong enough to send this show over on Broadway, were the piece properly cast, and with a company of sufficient numbers to reach the Main Street mark. At one dollar per for the best, "Molly May" might get through without a grum- ble, as now composed; at less it wouldn't be so bad, but at "$2" "Molly May" is awav off her feed. Simr. Frankie Kane is lying seriously ill in a sanitarium at Llano, 'IVx. Maude Raymond and Violet McMillan rire to be members of the New Amsterdam Roof company this summer. AMERICAN. Twenty-four men and four women took part in the American entertainment this week, establishing a record for the di- vision of the sexes in a vaudeville show. By the ordinary rules the arrangement should not make good entertainment, but as a matter of fact a well filled house Monday evening (when the rainy weather seriously injured the attendance in pretty much all theatres) approved the bill with unusual enthusiasm. It was a big show and a strong one, with eleven acts, half that number scor- ing extraordinary hits. Julian Eltinge bad next to closing position and drew down the hit of the evening, with Cliff Gordon, The Joe Boganny Troupe, "The Hold Up" and John a Rice and Sally Cohen bunched and close up for honors. In his song and accompanying dance, "The Spanish-American Rag," Eltinge has a double winner. The dance marks the high point in skillful impersonation. El- tinge is a master of all the little arts and graces that go to make up a clean cut bit of mimicry. Each of his four numbers, including only one familiar one, the "Colonial Dame," is new, and all went over substantially. Eltinge thanked the audience in a simple little speech in which he said he was glad his new numbers were liked—a vast improvement over the usual manner of announcing a song as "my latest phenomenal hit," common to many singers. At the American "The Hold Up" made u strong feature. Taylor Granville has worked out a capital melodramatic play- let holding a strong, concise, convincing story, the interest of which is vastly ad- vanced by admirably devised mechanical effects. The "props" worked better at the American than at the Fulton last week and the house management gave the sketch every advantage, even to placing a wait just before to permit the audience to settle down after the enjoyable dancing turn of Cartmell and Harris. It might be possible to do away with a slight waving of the curtain, which gives the illusion of an express train rushing past, and earlier a better locomotive whistle would add to the effect. Ginnio Socola might be less fever- i.sh in his elocution unless the present style is designed to throw the quiet, de- liberate style of \V. S. Hart into relief and emphasis. Joe Boganny started a young riot with his five acrobats. The act remains un- changed in routine, and what is more im- portant, is as swift and clean in execution as when seen first. Besides having an im- portant position the Englishmen followed two other acrobatic turns and practically cleaned up on the early half of the show. Cliff Gordon is sacrificing the essential humor of his talk and characterization to ;;n effort to keep up with the newspapers in recording passing events. Monday i vening he made reference to the accept- ance by Gov. Hughes of the Supreme Court appointment. John C. Rice and Sally Cohen won their usual reward with "A Bachelor's Wife," en exceedingly well handled bit of farce. Searle Allen and Co. were placed "No. 2," a spot where the fast talk and "flash kidding" of the sketch had hard going. Mons. Alexia opened the show with a light trrn consisting of simple contortion. Miller Bros, scored a laughing hit with their first rate comedy bar turn in "No. H," although they deserved a much better COLONIAL. Monday was a fine night for an Afric duck, and the house didn't look very healthy to the percentage boys. Tke greater part of those who did brave the storm straggled in all through the first part. 4 Lew Dockstader is the beadliner thk week and gets over safely with a little to spare. The "suffragette" talk has been, juggled unmercifully both in lyrie and monolog which doesn't help Dockstader any, but his ability to put it over a little differently makes it go. The automobile trip story is full of good laughing ma- terial and easily the best of his routine. For this reason it would do well to try this for a finish, using the other in its place. "Schoolboys and Girls" followed Dock- stader and were easily the hit of the bill. Lillian Gohn is working her whistle over- time. Frank Alvin shows considerable improvement in his work, and is the beat singer of the lot. Some local comedy, in appropriate spots helped send the, .act home a winner. Oscar Lorraine tackled three numbers on his violin, his Rigo imitation going big- gest. The best part of this bit is the facial contortions and the "wabbly-knee" movement. Wills and Hassan opened the show with their head and hand balancing specialty. After "stalling" three times on one feat, in which the understander lifts his partner straight up with one hand, the team shortly afterward performed the same trick six times without a miss. Julius Tannen didn't take long to be- come acquainted with his surroundings and made a hit with his monolog, which includes a few new stories. Dan Burke and his "Wonder Girls" went through quickly. Burke's dancing is a help, and the girls get in some good work. Maurice Freeman and Co., in "Tony and the Stork," gathered some laughs, due to Mr. Freeman, but the climax is rather weak. Hedford and Winchester with their comedy juggling routine were a laughing hit, although some of the comedy has been quite frequently shown in and around New York. Will Rogers closed with his lariat throwing. Wynn. ' "By-Products," the dramatic piece pre- sented at the American, Chicago, for the first time last week, is held over at that house. The New York Roof will lose its mov- ing pictures May 15 for over the hot weather term, to make way for "The Follies." position. The turn stands close up to the top among the half dozen of the sort which are at once funny and interesting through straight gymnastic work. The burlesque wrestling bout at the finish is a splendid bit of travesty. The whole turn is alive with originality and entertain- ment. The three Dumonts did nicely with their musical number, the audience finding amusement in the antics of the comedian. 'I he Four Dcltons < losed thc< show with a striking scries of hand lo hand feats, making the fourth acrob.it ie number on the bill Ruth,