Variety (August 1911)

i6 VARIETY THE WHIRL OF MIRTH GIRLS FROM HAPPYLAND On the billboards "The Whirl of Mirth" Is described as a different show with "Funny Face" Eddie B. Collins featured. Both statements are truth- ful ones. The show Is different, and Mr. Collins has a funny face. It's a Whallen ft Martell company, as new as the costumes and the book, the latter written by Edgar Selden. Charles W. Daniels, resident manager of the Western Burlesque Wheel house, Casino, Brooklyn, produced the entertainment. "The Whirl of Mirth," as a show and production, Is something that Harry Martell need never be ashamed of. Within memory, it Is the only show that Mr. Martell has had that that could be said of. The credit go- ing to Mr. Martell Is on liberality, from stage setting to costumes—but not including the cast. Outside of a few "Hells" In the first act, uttered by Mr. Collins, "The Whirl of Mirth" as presented at the Casino, Brooklyn, last week, was as clean as a whistle. If any or all of the Western Wheel productions fall below the standard proposed by the Empire Cir- cuit Co., for this season, It may be handed to Harry Martell, on the strength of "The Whirl" alone, that he made an honest effort to place burlesque on the Western Wheel where It should be. "The Whirl" will gain the greatest fame from its production. The two sets are very pretty, that for second act specially so. One is an exterior, the other an Interior, but more nearly a palace. The costuming Is neat, of- ten pretty, of good material and al- ways well made. In "Back to New Orleans," the girls wear a tight ar- rangement that is very attractive. It Is in this number, led by Robert Beat- tie, that a "Grizzly Bear" dance is tried for, but the young women of the chorus can not put It over. They should be further rehearsed. It is the "number" opportunity of the perform- ance. "Alexander's Rag Time Band" has been left for the two "singles" In the olio. Other than these two singles, the olio at the Casino held only one other turn, an illusion similar to the "Arvls Mystery," where the depend- ence was placed upon partially nude poaings by three women. The act, probably an extra attraction for the Wheel shows, is well enough worked, but not nicely nor newly set. In "Mam- my's Shuffling Dance," led by Willie Mack, the girls wore "Tama" suits, looking very well, although the best dressed number to the audience is the fencing song, led by Hester Waters near the finale of the performance. Mr. Collins did nicely with his only song, "They Don't Speak to One Another Now." About the poorest se- lection of the pieces is "Old Love Let- ters," sung by Miss Waters near the opening of the second act. It is just about this time that the action slows down to such a point the stage looks like a stock company setting. There Is too much explanatory dialog throughout. Nellie Walker, the principal woman, Is in front of several numbers, and is made again to sing in the olio. She is one of the "singles," but could be well left out of It. Miss Walker Is a good looking woman, wears nice gowns, four in all, although the one for her olio act poorly fits. Were she supported by a lively soubret, Miss Walker would seem quite big. As It Is, Miss Waters, supposed to be the soubret, isn't there in any way. There are but two comedians In the first act, both Irishmen, Mr. Collins and Wm. J. Kenney. In the second act, George M. George appears as a "shys- ter lawyer" with Richard Carle meth- ods and mannerisms, gaining many laughs, as his advent is welcome. Throughout the evening, Messrs. Col- lins and Kenney are really indulging in comedy In nothing more than "sidewalk conversations," same as the old double Irish acts did years ago. This may be the fault of the book, which tells a farcical story, very straight, too straight in fact. The story will need some elimination of dialog. This is not a particularly bad fault, however. The story as it runs evidences that Mr. Selden had quite a good idea of what he was do- ing. Several of the lines catch laughs, and the consistency is commendable. Willie Mack is the juvenile, playing opposite Miss Waters. He does well enough, all but in the olio, where the young man has an opinion of himself, causing the billing "The Cohanesque Entertainer." After singing a song about the U. S. A. with "Brooklyn Is my home" In it (although the finale of the first act was "Ladies of the U. S. A."), Mr. Walker gets over with "Alexander." He spoils that by pulling "There's Nothing New Beneath the Sun," so old, Walker doesn't know yet that Cavallerl and Chandler have been separated for some time. A five-dol- lar note could have got him a verse on the Astor-Force engagement, if he thinks he can sing the song, anyway. A couple of numbers were added to the programed matter. The show would have been a little short on them otherwise. Harry McAvoy was an Irishwoman in the first act, and a butler in the second, singing one song. Maude Ste- vens had a small "old maid" role. Of the sixteen chorus girls, four are "show," four, "mediums," and eight "ponies." As a rule the girls are unusually good looking, but not com- petent workers. The two seldom are found together, although this bunch may do better after awhile. Six chorus men also add to the singing. The volume is never big. It sounds thin. The singing would have been helped by a larger orchestra. Seven pieces did very little with the score. While speaking of the Casino orches- tra, perhaps the house management hasn't noticed that the stage is not well lighted. Of the numbers, a double sextet by the chorus, "I Like the Hat, I Like the Dress. I Like the Little Girl That's In It," was very well put on, and made to score by the six girls and six boys. "The Girls From Happyland," in Its lr st season's form, was evidently con- sidered fit for another tour over the circuit by Hurtig ft Seamon. There have been very few changes made. The show is well able to go over the ground again. A better dressed troupe than the "Girls From Happyland" will be hard to find. If some of the managerial boasts of the early season are to be made good, they will have to go some for better judgment In the selection of costumes, combinations of colors and taste has not been shown in dress- ing a chorus to date. Nothing has been overlooked. There are no less than ten complete changes worn by the chorus of twenty. Of the lot there is but one that ap- pears anything but brand new. Those are the outfits at the opening of the burlesque, when the chorus for just a minute or two do not look well. The women principals fall in line with the good dressing of the chorus, each of the quartet wearing a series of cos- tumes, one outdoing the other. The numbers, of course, profit by the good dressing, for, if nothing else, they look well at the getaway. This is a great help. Further than this, however, Dan Dody, who staged the numbers, has done excellent work in the arranging. The one trouble is the numbers have not been selected with the best of judg- ment. Once or twice when the action of the piece is at the high water mark, a number of the ballad order breaks into the proceedings, and hits a tell- ing wallop. One ballad is plenty for any burlesque show. The show is in need of one or two more lively num- bers. The women principals are there to lead them and the chorus to back them up. A "rag" would probably do the trick. Amongst the present numbers an audience song in the bur- lesque received the most, although It is a worn out idea and one that a show of the calibre of the "Happy- lands" does not need and should not countenance. Several more encores than were called for were given. The finale of the first act uncovered a good finish, showing the principal women in various hued tights and the chorus in the uniforms of different na- tions. With each nation a change of scene is shown. It is a big finale and got its rewards. Several other numbers went over nicely. Ir the matter of comedy there is Billy W. Watson, almost saying enough. Watson still insists upon expectorating, which admittedly gets laughs, but it is pretty low comedy. In the opening piece the fun grows a bit rough and noisy, which also seems unnecessary. Mr. Watson and Joe Buckley, who plays an Irishman opposite, are funny enough without going to the ends they do for laughs. Some of their business should be sub- dued. Chas. Lipson, a Hebrew, in the opener, and a Frenchman In the close, helps along the rough comedy work, getting into the heart of the action at times but for the most part as a helper only. Lipson needed a little rehearsing in his French role, but should fit in alright when he gets going. Thos. A. Brooke does a "coon" bit in the opener, getting something with a little dancing in one number. Margie Austin takes the star place amongst the women principals, in the soubret role. Margie has not much real soubret work to do, but she looks the part and at the head of a bunch of numbers, shines at all times. She is a dandy soubret, lively and good looking with a wardrobe that seems endless. Margie is also able to wear tights. Her Japanese costume is a beauty. Nellie Watson and Ida Bay- ton helped the looks of the feminine end of the show considerably. Both work well and keep things going at a lively clip. They crowd Margie in the dressing line, both girls wearing several stunning costumes. June Adair is the leading woman, heading several numbers with a pleasing voice. June is a good looking girl, not of the heavy weight type, usually saddled with the leading lady role. She is well built, can and does wear, not costumes, but gowns. June has a couple of the numbers on the ballad order. She could stand some rehearsing in these. She fights the numbers, making a lot of prima donna gyrations that are un- necessary. Mabel Blake is among the principals in a small way and aids through wearing her clothes well and looking pretty. Misses Austin and Blake have a "sister" specialty In the olio, that makes a very good starter for the vaudeville section. The girls keep up their reputation for dressers in the specialty, making three very pretty changes. The dancing was liked. Ernest and Adele Yerxas have a contortion specialty that Is out of the ordinary and a big help to the olio. The act received well earned applause. The 4 Harmonists do their best work helping out in the numbers in the show. The olio specialty does not develop anything unusual In the quar- tet line. The act did not do as well as quartets usually do in a burlesque show. "The Girls from Happyland" Is a very good burlesque entertainment. The management have wisely given the girls a showing throughout and they have secured girls that can be shown with profit. Dash. Hugh C. Cannon, the song writer, was taken ill on the street in Toledo, and removed to St. Vincent's Hospital last Friday night. His condition was said to be improving a day or so later. "The Whirl of Mirth" should de- velop Into a first class show. Perhaps if a little more money had been ap- propriated for the salaries of princi- pals, It would have been better. Sime. Tom Morris, the open air amuse- ment resort promoter, returned this week from a long trip abroad, where he has several projects started. Among them is a proposed "Dreamland" for Berlin.