Variety (July 1912)

18 VARIETY NEW ACTS NEXT WEEK Initial Presentation, First Appearance or Reappearance In or Around New York Three Howards, Hammerstein's. (Jrlndell and Henry, Hammerstein's. Revolving Collini? Hammerstein's. Klnemacolor lectures, Hammer- stein's. Old Homestead Double Quartet, Ham- merstein's. Volant, Fifth Ave. Will Oakland and Co., Fifth Ave. Those Jordan Girls, Henderson's. Reeves and Warner, Henderson's. "Fear," Brighton Music Hall. J. G. Nugent and Co. (1). "The Regular" (Comedy). 28 Mlns.; One (6); Three (Parlor), (17). Union Square, J. C. Nugent, who has been appear- ing in the New York theatres for some time with Jule York in "The Squarer" (from Nugent's pen), is giv- ing the public a peep at his newest comedy offering, "The Regular" at the Union Square this week. "The Regular" is fashioned somewhat after "The Squarer," with Nugent doing the gentlemanly souse, first reeling.off a new monolog in "one" and follow- ing it up with a parlor scene with Miss York, wherein some clever re- partee is exchanged. Nugent dished up some new matter in his monolog, although the greater part went sky- larking over the heads of the Union Square crowd Monday night. In com- parison with his former talk in "one," it falls behind. Miss York first ap- pears in male attire, having come all the way from Logansport, Ind., to visit big city folks and above all things to be a "sport" by experiencing a real slumming trip. As Lizzie Collins, in rather smart boyish clothes, Miss York is followed to her hotel apartments by Nugent as Dun- can, a smooth-talking bachelor club- man, who enters her room by mistake. After some talk Duncan discovers Miss Lizzie's true identity. Then comes the confession about the slum- ming expedition, and Duncan volun- teers to pilot her around, providing she slips on different togs. This she does, but after Duncan sees her in the other garb, he backs out. After tell- ing her a pathetic little story about the girl who was once uppermost in his dreams but heeded the call of tho bright lights and caromed down the wrong pathway, he admonishes her in a very pretty speech to go to bed. As she listens attentively and then sheepishly exits, Duncan unsteadily meanders to his own room. "Tho Regular" has several little delicate "bits" and at times the dialog zig- zags into uninteresting channels. Nugent, however, has injected some sparkling comedy lines. On appear- ance, an effective way of putting his lines over and working up the comedy points, Nugent Is In a class by him- self. Miss York shows more than Logansport environment in her male get-up at the start, but does real well. Mark. Tempest and Sunshine and Co. (12). Musical Comedy. 20 Mlns.; Full Stage (Special Set, Ex- terior). Brighton Theatre. Tempest and Sunshine, surrounded by boys in a musical comediette, is about the proper billing for the pre- tentious offering the sister team are showing the managers this week at Brighton. The set is a college campus. It makes a pretty back- ground for the musical numbers. Ten chorus boys have been selected. They are a far better looking lot than is generally seen in the Broadway shows. They appear human and ting very well together. Two comedians round out the company. Perhaps nearer juveniles than comedians, they look well and fit into the picture with- out setting anyone hysterical with the comedy. The real act is Tempest and Sunshine. The team have without doubt won a place in the hearts of the vaudeville public. There Is a lit- tle plot to the production—that is why rt may be called a musical comedy. The boys and two sweethearts change about, one girl playing boy and one boy playing girl. That's all the story. The rest Is numbers, and very good ones. Both the principals lead a num- ber at the head of the boys. Each scores roundly. The numbers are very well staged and executed. They are not unlike those which the girls lead in the Winter Garden show. The finish brings the girls together at the head of the boys. Tempest, In girl's attire, something which she had not attempted before In vaudeville, inter- ests the regulars. She will do. The finish seems rather abrupt and does not get for the act what it deserves at the proper point. Some of the talk . between the comedians could be dis- pensed with. The comedy needs at- tention. There is little for the two men to do but stroll on and fill in time until the sisters can come back for another number. The act is new and these little things will probably be remedied. The audience apparent- ly enjoyed the act thoroughly, re- sponding heartily at all times. Dash. Doc O'Neil. Monolog. 15 MJns.; One. Fifth Ave. Doc. O'Neil hasn't missed anybody and he has chosen wisely, for all of his pickings are selected. Frank Tin- ney, Harry Fox, Jim Morton, Jack Wilson, Harry Breen and Bert Fitz- glbbons should each receive a letter of thanks from Doc. They are all helping him on his way. Not a bad idea this, getting a little from every- one. It sort of confuses to the extent that it is very likely to pass. Doc does it well. A good personality helps a whole lot, and wherever Doc gets on the platform he is going to put it over. The parodies at the fin- ish phould be dropped. They proba- bly belong to Doc and are too weak for the other material. Doc O'Neil has been playing about on the small circuits. It has taken some time for him to develop, but he has seen them all now, and it looks as though Doc is here to stay. It must have requir- ed a goodly amount of patience to place the material together. Dash. Josle Heather. Songs. 21 Mlns.; One. Brighton Theatre. Josle Heather does not sound like a new name for she has been playing vaudeville dates the past three years in this country mostly in the west. She is what we have come to know as the English type of singer. The type has been and still is popular with American audiences. Personality counts first (that is the point from which the success is measured), the songs come next, and it is the ma- terial which measures the extent of the success. Miss Heather is ready to be measured; she has the personality and all that goes with it for a foun- dation, she is pretty and dainty with fetching mannerisms and an alluring, although not a particularly musical, voice. Her numbers and dressing are not what they should be. Tuesday night she sang five or six songs. Of these "He Was Nice" was easily the best and splendidly done. Of the others the bathing number and "I Want a Husband" were the only ones to count. There is too much similar- ity in the present routine. A charac- ter or eccentric number of some kind should be mingled in, for light and shade. It would help immensely. The bathing number is hurt through a costume that is not right. The cos- tume worn is odd, but it lacks that chic smartness which goes so far to put these splash numbers over. The singer looks well in all her changes, but still It is not enough. The great- est care should be exercised in se- lecting a wardrobe. The pink dress worn at the opening should be dis- carded entirely. Even Miss Heather's good looks cannot carry it through. There is no question about Josle Heather getting over in vaudeville, but there is a question as to how far over she is going. It will require some judgment In placing an act to- gether to see that she lands properly. Miss Heather should aim high. The house was kind to the English girl, but she worked at least one song too long and made a speech which was unnecessary. In the present reper- toire. "He Was Nice" should be the closing number. It will make the fin- ish strong, and the audience should be left wanting. Dash. "The Girl from Milwaukee." Songs. 10 Mlns.; One. Fifth Ave. "The Girl from Milwaukee" made a speech Monday night. In It she stated among other things that it was to the kindness of Mr. Proctor that she owed her opportunity for an opening in New York. "The Girl from Milwaukee" is a "straight" singer. She has a well trained, in- telligently handled voice, is good looking and of a pleasing personality —but is a "straight" singer. Three songs more or less familiar wer<» given. The audience enthused over all with applause of the genuine sort. The girl is there; the name will do; but an act is essential. Three straight songs in a simple white frock mean rather a useless task in vaudeville, unless there are circumstances. Dash. Apollo Trio. Equilibrlstlc Poses. 7 Mlns.; Full Stage. Hammerstein's. Three muscular men, made up to represent bronze statues, have brought equilibrlstlc work up along the new- est lines and the act made a big im- pression on the Roof Tuesday night. The men assume all sorts of poses and follow it up with an effective routine of three-high hand balancing. The men first work on a platform, then on the bare stage and back to the platform for some more difficult balancing positions using supports to maintain them at the start. The un- derstander has some work laid out for him. Most of the poses were excel- lently maintained. A good posing act for any kind of time. Mark. Leonard and Alvin. Dancers. 10 Mins.; One. Hammerstein's Roof. Leonard and Alvin comprise the usual dancing male duo so common in vaudeville. There is the regulation stepping routine with individual work sandwiched in. The act opened the Hammerstein show and fared accord- ingly. Mark.) New Acts in "Pop" Houses Five Hursleys. Gymnasts. 0 Mlns.; Full Stage. Two men, a woman, a boy and a "girl." Young female Is so good a tumbler "she" might be a "boy." A pretty sight act and good big small time turn. Jolo. Rena Santos. Songs. 13 Mins.; One. Rena Santos is a "straight" singer, who appears in "one" with a piano player. Why the pianist? It may be for class! So perhaps Rena expects to leave the "small time." But sli° won't while remaining in the category of "straight" singers. Rena has noth- ing but a trill at the finish to repeat toe chorus of a song. It's a very pretty trill, and Rena has a nice 9> prano voice, also she made "Love in the Springtime" a pleasing numbo.*, not forgetting Rena changed costume by removing a picture hat for a Pari- sian headpiece, tut, withal, the pi- anist, with a fair rag solo to deliver, had no "waits" to cover. The orches- tra would have cone much more for the vocalist. Sime. Great Kernel. Magician. 13 Mins.; Full Stage. Tall young man In dress suit, of pleasing appearance, nicely modulated voice, a good sleight-of-hand perform- er doing practically regulation tricks. His appearance carries him through to some "class." Good for big small time. Jolo. OUT OF TOWN Donald Meek and Co. Comedy-Drama. 20 Mins.; Interior. Keith's, Boston. Donald Meek, a comedian of the (Continued on page 21.)