Variety (April 1912)

VARIETY 17 WALL STREET GIRL. Blanche Ring is billed above the title of the show. Well she might be for the show without the star could stand very little comment. It's a one ring show, pure and simple. The action, lyrics, plot, music and every- thing else centers around this one Ring. Only when it is necessary for her to take breath or make a change of costume is anyone else permitted to creep into the limelight. To Miss Ring's credit it must be said her work Is truely a revelation. There are very few women who could go on through three acts and carry practically all of the show without becoming tiresome, but this Miss Ring does. She works hard, at times it seems too hard, and it would probably have been better had she allowed someone else to come for- ward to lead one or two of the num- bers. There are others in the cast N who should have been allowed more scope. This was especially true of Wellington Cross and Lois Jose- phine. The couple had a number each in the second and third acts. Both went over splendidly and their dancing was repeatedly encored. The comedy of the team in the second act was also well liked. Widening their field would have meant much for the performance. Harry Gilfoll is featured next to the star. The comedian does rather well with what is allotted him. There are several other minor roles that amount to lit- tle. Florence Shirley and Clarence Oliver have two numbers which should get more than they derive from them. Neither is able to carry a very heavy burden. Will Rogers scored a genuine hit in the second act with his lariat spe- cialty. Will says, "I knew it was al- right at fifty cents but I was a little afraid of it at *2." There are one or two rather catchy numbers amongst the musical score, although there is no real musical hit. Miss Ring has a whistling number that will not be whistled, two "rags" that do very nicely but are not "Alex- anders," and several others more or less musical. Miss Ring's delivery saves two or three of the common place numbers. There is no question- ing her ability to put over a song. The equipment is hardly up to the Broadway standard. The chorus has three or four costume changes in all. None is attractive. One or two are quite the reverse. The costumes at the opening of the second act are very ordinary. The scenery amounts to little. The third act is the most attractive. Oils Sohlke put on the numbers. He did a fairly good job. There are only a few, but one or two get over in good style. Although to any one familiar with methods it would not be hard to guess who put them together. The Cohan theatre was capacity Tuesday night, the second of the en- gagement, and the house was quite enthusiastic over the star. It is hard to predict regarding New York runs, but while "The Girl from Wall Street" is not a Broadway production, still it affords amusement and does not hang heavy at any time. It should do for the summer. Dash. HAMMERSTEIN'S. It comes close to "midnight vaude- ville" at Hammerstein's this week. It's "Anniversary Week" with fifteen acts and James J. Morton ("The Boy Comic") as special announcer. The anniversary "extras" display nothing out of the ordinary and as there is a superabundance of singing and dancing the audience is very will- ing to throw up its hands and cry quits long before the show is over. No numbers are displayed. Jim Morton majestically propels himself Into the footlights between the acts and tells the audience what's coming next. It's a trick he turned success- fully when the Folies Bergere was running vaudeville as part of its en- tertainment. At "The Corner" where Jim is some pumpkins it was a cinch the minute he strode on and kldding- ly outlined the evening's program. The orchestra gave Jim a special cue for each exit. He got a hand coming and going each time Monday night which robbed the regular program of some of its glory. Wallace and Rogers (New Acts) opened. Robinson and La. Favor did well in the second spot with the com- edy efforts off color. Dale and Boyle rounded up nicely when the female impersonator yanked off his wig at the end. His costumes and makeup fooled 'em completely. Henri French was third and his act pleased as of yore. The intro- duction of a little girl, who sings while he spins around on the wheels, found favor. Joe Keno and Rosle Oreen, "No. 5," had things their way with dancing. They are still using "Alexander," but they have been out of town for some time. John and Mae Burke were a genu- ine hit. The audience seemed un- able to get enough of Burke's piano "bits." Tempest and Sunshine, with Miss Sunshine wearing a new and very becoming dress, sang some new songs which went better than their former offering. "A Woman of the Streets" (New Acts) was presented by Eugene O'Rourke and Co. just be- fore intermission. DeWitt, Burns and Torrence, who combined pantomime with acrobatics, went quietly along until the perch routine, then the audience capitu- lated. Yvette 6truck a good spot and made the best of it. She called on every ounce of energy and a big hit was chalked up. Ed. Wynn and his English assist- ant held attention, but remained in sight too long, as the show was then running full steam toward twelve. Belle Baker has a stronger song program than shown on previous vis- its at the Victoria. Five numbers were rendered in good voice. Bud Fisher demonstrated that he is some favorite upon his entrance. Nobody walked out on him. The minute he disappeared the audience began to vacate in bunches. Hoey and Lee displayed gameness in fac- ing the outgoing tide, cut their act accordingly and depended on their parodies to save the bacon. They attempted no encores. Blanche Sloan followed in the closing spot Mark. PALACE, CHICAGO. Chicago, April 17. The current week's program at the Palace falls considerably short of the standard set by last week's bill. This, coupled with the evident inability of the house orchestra or the stage crew to cope with the situation, makes the performance a draggy uninteresting affair from beginning to end. The lights are badly handled and every now and then Victor Hollaenders orchestra of eighteen wander off into little musical siestas of their own, re- gardless of what's going on above them, which, of course, is of great assistance to the artists. Mary Elizabeth started the even- ing's applause in an early spot. Al- though all the fates were against her, she waddled through the mess of er- rors and finally came around one of the few big hits of the bill. Her little comedy chat was accepted for its lace value and this alone guaranteed her safety. Miss Elizabeth demonstra- ted something In the way of deliver- ing a song when she took "You Can't Expect Kisses From Me," for an open- er and turned it into a small sized classic. From then on, Mary had every- thing her own way. Of the four new acts on the Palace bill, none came through with anything that resembled the proverbial flying colors, and the remainder just went toward building an ordinary vaudeville entertainment. Charlie Case, consid- ered one of the few sure fire singles in vaudeville, held a late spot, but his chances were handicapped through having played the Majestic but a few weeks back. Case of course went over big, in fact was the hit of the show, tut the Palace will never prosper with quick repeaters. The Polzin Brothers (New Acts) opened the session and went through their routine to only a handful. The other and only other handful came in during Mary Eliza- beth's effort. Following Miss Eliza- beth, Vanderbilt and Smith, and Mof- fat's Players (New Acts) held the cen- ter and made it quite easy for Burn- ham and Greenwood. These girls have set a pace that will defy duplication. They have rounded their skit into a comedy scream from beginning to end. "The Kangaroo Waltz" is a new num- ber excellently rendered and the finish is certain. The girls took away a big score. The Mountain Ash Male Choir fol- lowed with another singing turn (New Acts) after which Mr. Case entertained leaving it to the Three Ernests to close the show. This is easily one of the best comedy bar acts ever in Chicago. Monday evening the Palace had a very small crowd. The orchestra was barely half filled, which helped a lot to dampen proceedings. Wynn. MAJESTIC. CHICAGO. Chicago, April 17. This is Ada Reeve's return week at the Majestic, a big feature in Itself, but Major Qlover has diplomatically surrounded the English star with an evenly balanced, smoothly running bill that would carry alone without the assistance of the headlincr. Miss Reeve not only duplicated her former record, she went it two or three bet- ter. In her repertoire were a few new numbers, but "Sue, Sue, Sue" is still the favoiite choice. This was em- ployed for a final encore. The matinee audience handed the headliner a hearty reception on both entrance and exit. The show opened with Loughlin's Comedy Dogs who go through a well devised routine of comedy stunts to a big laughing finish wherein a rou- lette wheel is employed. This device has been exhibited in pony acts, but Loughlin is first here with a miniature wheel for his canines. It makes a nifty finish. J. C. Nugent and Miss Jule York held the second notch with Nugent's .omedy vehicle "The Squarer." The skit opens in "one" and goes to full stage. The comedy lines went over solidly Monday afternoon and Nugent demonstrated what could possibly be done in that spot. He went big. Boyn- ton and Meyers followed (New Acts) after which S. Miller Kent and Co., oc- cupied the stage with "The Real Mr. Q" a sketch with a surprise finish. Kent's work brought the vehicle through a winner. Corelli and Gillette followed with their new acrobatic specialty in "one." The pair have not quite perfected their routine as yet, but the possibili- ties are there and with some experi- ence as a team should develop into a staple offering. The fact the couple held a position in the center of the bill speaks for itself. They scored a safe hit. Miss Reeve followed, using the entire stage for her several num- bers. The Six American Dancers held next to closing spot and the Six Ab- dallahs closed the show. Business at the Majestic keeps up, the matinee Monday carrying a house close to capacity. Wynn. OKI'IIKl'M- CLOSINGS. The latest, date for the season's closing along the Orpheum Circuit are May 18—Salt Lake, Ogdc-n, l)e;i Moines; May 18 -Kansas City; May 25— Omaha, Sioux City, Duluth; .lime 2 —Denver. The northwestern and f'.iriiir Coast Orpheums will rein-tin open over the summer as usual. NOT ItKAIW TO OPKN. San Francisco, April 15. Kolb & Dill did not open at the Savoy Monday night in "The Politic- ians." The reunited team were not ready. They got away last night. Kolb & Dill played to good business for the first two weeks of the re- union, drawing into the Savoy $9,000 the first and $8.«»00 the second, ac- cording to report, with "The Ciirl of the Train." "The Tink Lady" at the Columbia played to capacity business. Next week at that house Ali«'o Lloyd in ■"Iiitle Mias Fix L" ,.n:,- for the \ve»-k. Against her at fh" Orpheiin, as the headliner will l<e I:In :•••!■•- W.'hli. From '■- re M i. s I lev! v e:i- ■ ward .■ til w ill a n tour < 'a 'iada \\ i 'lie rii"' 1 before <i".siim her season.