Variety (June 1911)

VARIETY *3 THE MERRY WHIRL THREE WEEKS It's not a new, but a better "Merry Whirl" at the Columbia. The Gordon & North show opened there Monday matinee. Returning for a summer run to the Broadway house of the Eastern Burlesque Wheel, the prospects are promising. The production is brand new and a meritorious one. With the large chorus, principals, besides the stage settings and "clothes" "The Merry Whirl" becomes a high ranking bur- lesque organization going much higher than it did a couple of years ago, when Messrs. Cliff Gordon and Bobby North were strange to the past- time of managing. Even now, however, a few of the faults from the earlier days are still in evidence during the performance. These mostly are things and dialog that do not belong to a classy show— and in "The Merry Whirl" Gordon ft North have put forward as classy a show as burlesque ever held—classier even. These things that should not be are in the second part. Possibly they are there because the second part is so much weaker than the first. That may be through the matter of arrange- ment of numbers particularly. Little excuse will remain when the change- about process is finished for James C. Morton to fondle the dressmaking "dummy" as he did Monday evening, nor for the "measuring" scene to be carried as far, although in neither of these particulars were the principals involved to the extent gone to at the first presentation of this show. The principals have been improved upon, where changes have occurred. This is especially so with Mildred Elaine, taking the French soubret role in the first part, named "The Magic Ring." Miss Elaine makes her debutin burlesque, having graduated from the Raymond Hitchcock show. She is a classy miss, who can dance, sings well, handles herself decorously (even in the "undressing" bit of the first part), and becomes altogether very well liked, through work and appearance. Miss Elaine comes under the classifica- tion of an actress, and this makes it- self felt. Mr. Morton and Frank F. Moore are the other principal principals. Each is a favorite in burlesque, and each se- cured much applause from the capac- ity audience Monday night. Mr. Mor- ton is the Clock, Mr. Moore the Snow- man, in the first part. In the bur- lesque, called "The Merry Whirl," Mr. Morton becomes the prize fighter, with Mr. Moore his manager. These are the characters originated by the cou- ple in this show. Later they left it for vaudeville. In their return, they are introducing as a specialty their vaude- ville act. The weakest character in the open- ing Is that of the Hebrew, played by Phil White. Mr. White doesn't seem to "get" the character, nor much out of it, although the opportunities are many. In the second part, he Im- proves greatly as a French proprietor of a dressmaking establishment. The performance had many drags to it Monday night, running until 11:16. These occurred in both parts of the show, made more noticeable in the opening piece (after a brisk start) by the dialog apportioned to Mr. White and later, just when a "rag" was about due, through a ballad sung by Rita Redmond, another newcomer to the cast. Miss Redmond is of nice looks, lacking any dash in appearance, and has a passable soprano. Nervousness may have affected her first song. In the burlesque she did much better when singing a pretty waits number. Miss Redmond will likely show consid- erable improvement with playing. The numbers were quite good throughout, well put on, with sixteen chorus girls, eight "ponies" and four "show" girls, also six -chorus men to give them strength. The four show girls were used by themselves in two of the numbers, and aided both greatly. "The Whirl" has a crack working group of girls. The big song hit of the evening was "Alexander's Rag Time Band," sung by Morton and Moore, with the chorus in for a "Grizzly Bear" dance. The "Rag Time Band," arriving near the finale of the first part, was so strong nothing could follow it. Another somewhat similar number in the sec- ond part "Paris Push" (from "The Deacon and the Lady") seemed mild in comparison. Had the places of the two numbers been changed, the "Rag Band" song would have done much to hold up the latter end of the perform- ance. "Strike Up a Bag-Pipe Tune" in the second part, is a lively, nicely staged number, with the chorus prettily di- vided for much effect in appearance and stepping. This was the hit-num- ber of the original show. In the firBt part "La Belle Francaise," led by Miss Elaine, was much liked, as was "Ha- vana Bay," sung by Billy Meehan, with the girls behind him. Mr. Meehan left an undeniable im- pression. He's a "straight" or light comedian, wears good clothes well, and although a trifle handicapped by a light voice, is one of the neatest danc- ers hereabouts. The "clothes" in the show are of the handsome description. It can hardly be said there is an oversupply of dresses, either for the principals or choristers. In the first part, from the "Havana Bay" number to the finale, quite a long stretch, the chorus girls did not change, reappearing two or three times in the same costume. Nor did Miss Elaine attract notice for wardrobe, but did wear a handsome gown at the opening of the second part. Miss Redmond's clothes led the principals. As a whole the show girls shone the most brightly on the dress end. In the waltz number, the chorus wore full black gowns, slit up the sides, wholly spoiling them. It is the only one of the many dressing mis- takes of the original production left uncorrected. Edward Jerome, playing an "acting" role in the second part, did it well enough to qualify as instructor in a From appearance Tuesday night, all the roads led to the Grand Opera House, where the Corse Payton Stock Company is slowly, but nevertheless surely, dissecting Elinor Glyn's "Three Weeks." There Is no class distinction at the Grand Opera House in these days. Whoever is on the scene first with three hard silver "dims" is sure to get the best in the house. There was even one lone "spec" who worked in- side of the front of the house, selling lower floor seats at an advance of twenty cents over the box office price. No one noticed him until the white clad guard on the outer rail of box office announced in loud tones that "Dar ain't no moh seats for tu-nlght, get youh advance seats now." Then there was a concentrated rush made for the lone "spec" by Maggie, Min- nie and Mame, who had trailed all the way from Greenwich Village (located slightly south of Fourteenth street) to witness "Three Weeks" at a dime a week and who were not going back to the village without having seen the troupe act out. Maggie, Minnie and Mame did final- ly get three seats in the last row of the balcony, but they were slightly on the side of the house and all that they could see of the stage was one corner. To their dismay they learned later that the one tiger skin was spread on the side that they could not see. From the time that the curtain rose on the first act of the authoress's own dramatic version of her sensa- tional novel, the three girls, one for each week in the play, listened and looked with rapt attention. There are four acts in the piece and an olio. The olio consists of two acts an illustrated song singer and Corse Payton. The latter makes the announcement re- garding the coming attractions. This alone is worth the expending of these three "dims." Act I. Prologue. Scene Boudoir of the Queen in the Palace at Sardalia: This round was rather tame, although the Queen (Minna Phillips) had the worst of the milling. The King (Jos- eph W. Girard), resplendent in much gold lace, was "some" King. The Queen was seconded by a male and female attendant. The former was Charles W. Rowan in the role of Dmitry, and Grace Fox as Anna. Act. II. Lawn in front of the Hotel at Lucerne: Queen and attendant traveling incog. Mother and father of Paul traveling with son, who has formed an attachment at home for the six-foot daughter of a parson, against the wishes of the family. Ma and Pa go home, leaving the boy on his own school of acting for burlesque princi- pals. "The Merry Whirl' needs some cut- ting to jam the whole piece together for best results. Probably fifteen mln- rtes will be taken out, or closed up. But "The Merry W>hirl" is a regular show. If all the Other burlesque shows of next season anywhere ap- proach it in every way, burlesque will receive the greatest boom it has ever had. Sime. as It were, but with sufficient funds furnished by the indulgent Pa to atr tract another girl. Queen dines on the lawn (nice green prop lawn) and Paul sees her (Paul In this case has raven tresses, very, very disappointing to Mame, Mag and Min). The best speech in the act was by Paul. His line, "Who are you?" gave the boys a chance to "kid" the girls during the intermission. Paul also proved to be some climber, reaching the balcony where the Queen was standing without any mishap. This round an even break. Act. III. The Loggia of the Palace at Venice: This is where the tiger skin proved it Is some actor. Round all in favor of the Queen who admin- isters a knockout to Paul and makes her escape. Act IV. Same as Act I. Queen is at home again, and there is an heir to the throne of Sardalia. Populace Is venting its joy on the streets of the city with loud shouts of "Long Live the Queen and the Crown Prince." Paul baa followed his love to her Kingdom. The King is jealous of the homage done to his Queen and plots against her life. He finally succeeds and for a moment it looked as though the round would be In his favor, but Dmitry, with the aid of a six-shooter, puts the finishing wallop over on the "Kink" and the show is over. (Not in accordance with the line of procedure as laid down by the gallery censors on Eighth avenue. One of those in the upper loft shouted after the final curtain, "Aw, where's Paul?") Next week "For Her Chil- dren's Sake." Frtd. WASHINGTON. The Amsterdam avenue seems to do the business when the weather Is right. It was right Tuesday evening. A wise little audience at the Washington. When one of the girls In a moving pic- ture gave up a good home in the country to come to the city to work, the crowd In a body decided that she was a foolish person. Some said so out loud. Blake's Animal Circus put one over easily. A notice is posted in the lobby offering a reward if any one succeeds in staying a minute on the back of "Maud." One of Blake's men stuck the distance and was loudly cheered. The act is a bis laugh getter through the Rood work of Blake's assistants. The Cora Youngblood Corson Sc\- tette has found a home in houses of this type. The girls finish the act by gaving their own cheer. The spirit shown is immense. The act remains w possibility, until the girls sing. More popular musir would be a big help to the Sextette. Cordon and Kayes appeared quit* 1 late in the program and the colore i team mummed to make good. Hose Snow and Co.. Semon Duo and Kdna Tarlowe 1 N"w Acts). •It's*. Cliutics Kendall and Dorothy Draper were narriod at Fli\t. Mich.. Juue 10.