Variety (April 1912)

20 VARIETY BEN WELCH SHOW. There is many a good laugh in the "Ben Welch Burlesquers" show. They occur continuously, culminating at the very end in a laughable court scene. With Ben Welch as the He- brew Judge and Lew Kelly in his "dope" character, this leaves an ex- tremely pleasant Impression, especi- ally as the best number of the even- ing happened just previously. It was "Madhouse Rag," led by Effle Weston and Patsy Delaney. These two young girls (perhaps principals for the first time this season) are the only women entitled to be in the printed cast. Miss Weston appears to have the elements necessary for a fast-working sou- bret. She did nicely while assisting Alice Clifton in "The Military Maids," one of those patriotic things (for tights) that doesn't get very far. The show's numbers don't total much. There are not many. Be- sides the two mentioned, the songs sung by Mr. Welch, and a well-writ- ten topical lyric sent over by Mr. Kelly, the only one left worth while was "He's My Daddy/' sung by Miss Delaney with the chorus. She dis- played in it a pretty style of dancing sufficient to draw encores on its own. But the "Rag" was the number hit. Miss Delaney seemed to be harboring a cold. If not, her voice or throat needs attention. The "Ben Welch Show" is new on the Eastern Wheel, and rated among the best. It Is deserving of that through pleasing thoroughly. Messrs. Welch and Kelly capably hold up the performance, but they are also capa- bly assisted by Pat Kearney, Vic Cas- more and Ben Turbit. Mr. Kear- ney succeeded Lon Hascal as the "straight." He plays a "hick" in both pieces, and does well enough, but a better line of slang and more of it should have been furnished him. Mr. Casmore Invariably essays Latin roles, and has a couple here. A hard work- er and a good accent player, Mr. Cas- more is an exception among "wild men" in burlesque for holding an au- dience. He fits in both pieces, al- though his single number, "Maduro," does not. An Irishman in the open- er, Mr. Turbit did surprisingly, han- dling the part very well, but as a re- former in the burlesque he was mis- cast with no opportunity. The settings of the two acts are above the average. Late in the sea- son, Xhe company still retains a bright appearance. There are sixteen cho- rus girls. In one of Mr. Welch's numbers Grace Sachs aids him. Welch says she promenades Lenox av- enue every Sunday; doubtlessly true. Several others from the ranks prob- ably walk with her. That may be the trouble with the chorus. Something is. The first part is labeled "A Hot Town," similar to the piece Mr. Kelly played last season, as a "dope" also. There is much repartee during it, mostly indulged in by Kelly, and known as "cross-fire." Mr. Welch steps into the opener only for his specialty. Kelly takes full playing charge of the first division. He and Welch divide the second for the com- edy end, but all of the men work in a laugh here and there. The number Mr. Welch makes the most of is "Becky," gaining encores through roughly manhandling the girls for "business" of removing wigs or hair-attachments. It isn't legiti- mate. The remainder of his matter easily gets over, and he is a big laugh- maker for burlesque, if you except a recitation. That sounded as though Welch was trying to act. The burlesque is called "A Day and Night in Chinatown." Messrs. Welch and Kelly did the rest. They are a big team of comedians for any show. HHtM. COLONIAL. The entire house at the Colonial Tuesday evening was sold to some sort of an association for the benefit of one of the local hospitals for crippled chil- dren. The management tried to slip the affair over during Holy Week, but didn't get away with it. It was an un- usual audience for an American vau- deville house. The majority of the men and women were attired in even- ing dress. One of the amusing things in connection with the benefit was the effort of several persons holding tick- ets attempting to redeem them at the oox office. Special programs were is- sued for the occasion and were ped- dled in the lobby by attractive young women at a quarter apiece. But it was in a good cause, so nobody balked. The Four Konerz Brothers with their diabolo and hoop tossing opened the show. The hoop work has been re- duced to a minimum. New and in- tricate diabolo work has been substi- tuted. The finish with the illuminated dlabolos creates an effect similar to Salerno's torches. Lew Br ice and Lil- lian Qonne (New Acts), were Becoiid and were succeeded in turn by Bert Levy with his original and clever stereopticon cartoon work. Levy man- ages to extract a lot of comedy by his side "remarks" projected on the screen. Ethel Green was a great big hit with her dainty "singing comedienne" turn and scored so strongly with her clos- ing number (a combination of songs of the present and past generation) that a woman seated in an upper box tossed her hand bouquet on the stage as a mark of appreciation, which was graciously acknowledged. Miss Green has learned to make her exits after each number more effectively than heretofore. The Ryan-Richfleld company closed the first half with their comedy skit "Mag Haggerty's Reception." Ryan's "tad" work is always entertaining. Vallecita's Leopards (New Acts) open- ed the second part and proved a strong applause gatherer. Stepp, Men- linger and King followed with their "rathskeller" turn. Ned Wayburn in "The Producer," closed the show. Here's hoping he may occupy a similar spot on many bills in the metropolitan vaudeville houses so that Variety's reviewers can make early exits. Jolo. HAMMEKSTEIN'S. Root and White, youthful male steppers, opened the show at Ham- merstein's Monday night at 8.18 and had the good judgment to essay a modicum of singing for their en- trance, immediately going Into their "terpsichorean" routine. They did as well as could be expected In that spot. McRae and Levering, cyclists, next, fared well with good riding and ac- ceptable comedy, their novel comedy "aeroplane" finish being particularly effective. Luciana Lucca, with his double-voiced singing, passed—just. Beattie and Babs were moved from ninth position to fourth, changing places with Daisy Harcourt after the matinee. In that early spot the two girls won out only with the buck and wing and other dancing. Joe Howard a~d Mabel McCane fol- lowed and did nicely. The patter por- tion of their offering did not raise a noise, but the encores in "one" re- quested by the audience and bid for on the program, earned several healthy rounds of applause. Tom Lewis and Co. (New Acts) closed the first half. As was to be expected, Lewis received a boisterous reception on his entrance. The Berrens, in their musical act, were mildly pleasing until the finish of the turn when the violinists re- moved his wig showing him to be a man. The audience liked the decep- tion. Daisy Harcourt sang four songs in her usual smart way. Those in the audience who did not like the "blue" ones received them quietly while the majority were generous in approval. Ned Wayburn's English "Pony Ballet" is now minus the man who danced during the costume change. This gap was filled in by a "song plug- ger" "planted" in an upper box, who was not molested because of the brev- ity of his contribution. When Frank Fogerty emerged at 10.45 many in the audience started for the door and he had a hard time getting his stride. When he finally struck it he went as well as usual with his good material. But the story about Victor Herbert's "large repertoire" is hoary with age and might be omitted. Clara Bal- lerina in her excellent equilibristic offering, closed the show. It was a hard spot for her act, but she fared uncommonly well. Jolo. FIFTH AVENUE. Things didn't seem to go right at the Fifth Avenue Monday night. The audience proved a pretty chilly prop- osition and the bill as a whole fell down with a sickening thud. Prob- ably one of the principal reasons for the failure of the bill to go over with the bang one likes to see was the ab- sence of the headliner, R. A. Roberts, who lost his voice. Olga Petrova was held over and proved genuinely entertaining with] ner mimicry and facial expression. Not since the palmy days of Elfle Fay has anyone been able to make the hit with "mugging" as Miss Petrova does. The biggest hit was a clean score by Isabelle D'Armond and Frank Carter. Their singing, dancing and comedy tidbits brought them con- tinued applause. Two other solid hits were landed by Fred Dupres and "A Night In A Turkish Bath." Dupres came along quietly but had 'em in an laughing uproar before he left. The Turkish bath act, with Robert J. Webb singing in good voice, went over nicely. It's a good, wholesome sketch. "The Antique Girl" in fourth posi- tion did fairly well with Fletcher Norton's dancing, Charles Pusey's re- partee, and the work of Maude Earl and Doris Wilson holding attention. Miss Petrova was fifth, the Turkish bath act sixth, D'Armond and Carter seventh, with the Four Clovelly Girls closing the show. The girls were pulled into the breach when Roberts dropped out. They did real well, bar- ring slight nervousness on the part of two of the misses, probably due to over anxiety. Five Melody Maids and a Man (New Acts) followed the Strength Brothers, who opened. Mark. AMERICAN ROOF. It's a good thing the whole ,cast of "Oliver Twist" wasn't used in the tabloid version the Roland West company presented Tues- day night or that audience would have been rushed to the crazy patch. When two people can present a version of "Oliver Twist" in sixteen minutes it's going some, but Anthony Andre and Louise Ripley accomplished it satis- factorily at the American. Bill Sykes (Andre) takes a snooze after a heavy draught of liquor poured out by Nancy (Miss Ripley) while she meanders from the place only to re- turn and be dragged out by the hair and pounded to death. She crawls In for the finale while the murderous Bill inarticulates like a beast and the cur- tain falls. Andre also did Fagin at the opening of the act. The sketch left a dark, brown taste and no moral. In vaudeville it means noth- ing. Chris Tray nor opened with an illus- trated song. Chris' voice is an im- provement over the boy who sang there last week. Ward, Clare and Ward got the best results in the last few minutes in "one," the earlier portion practically wasted. The Ahlbergs combined mu- sic and acrobatics entertainingly and scored a hit. George E. Garden, with his xylo- phone, featured popular airs and got away with them splendidly. He's a good musician and should always keep working. His numbers are well ren- dered and Georgie is there when he wants to tackle the thing classically or with lightning rapidity. Mayme Remington and picks, billed as Margaret Jackson, followed the grewsome "Oliver Twist." The col- ored part of the entertainment was voted one big success. Kurds' Roost- ers were also there. Karlton and Klifford, Grace Bene- dict, William J. Coleman, New Acts. Mark.