We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
22 VAK bbbbbbbb UTY BBBBBBBaBB » NEW ACTS NEXT WEEK laltlal Preaeatatloa, First Appearaace or Reappearance la or Aroaad New York Ching Ling Foo, Hammerstein's. Frederick and Vania, Hammerstein's. Hale Norcross and Co., Fifth Avenue. Fitch Cooper, Fifth Avenue. Frank A. Moulan and Co., Orpheum. Gertrude Barnes (New Act), Bronx. Porter J. White and Co. (3). "Scandal" (Dramatic). 16 Mint.; Five (Parlor). Fifth Avenue. Oliver White wrote "Scandal," pre- sented for the first time on Broadway this week, at the Fifth Avenue. The sketch is well written. The chief sub- stance is the theft by a playwright of another's idea, taken from manuscript while read by his wife. The purloined theme is produced and becomes a suc- cess. The real author calls at the home of the plagiarist, recognizes his sup- posed wife as a former sweetheart, and awaits the return of the successful playmaker. During a conversation be- tween the two men, a second visitor is announced. He accuses the husband- playwright of having incorporated in his play the story of his family skele- ton, and says by the act the author has admitted he was the wrecker of his home. The originator of the story is meanwhile acting as butler to the ac- cused, who, when threatened with the courts or death, confesses he stole as his wife read the play to him. The enraged visitor thereupon discloses himself as the attorney of the real author, who schemed to obtain evi- dence of the piracy in the manner he did. Another swift turn reveals the supposed wife as the cook substituting temporarily for the absent wife of the thieving playwright. The story is well held to and the finish gives it an im- petus bringing a lively finale, with a "surprise" laugh or two. Porter J. White is the author-butler; John C. Tremayne the lifting playwright; Harry Stephens the enraged husband, and Adelaide Fairchild, the wife-cook. As enacted the piece is interesting to a certain point, but in justice to the au- thor of "Scandal" it may be said that his playlet would be worth consider- able more and be assured of a greater success were it casted as well as it has been thought out. Slme. Lozano Troupe (7). Wire. 8 Mins.; Full Stage. Fifth Avenue. The Fifth Avenue appearance of the Lozano Troupe is programed as the American debut of the Mexican wire walkers. Of the seven in the group, four are boys and three are girls. They walk the double line of tight wires singly, in duos and trios. For the num- ber of people engaged no novelty or sensational formation is shown, nor are any of the tricks especially strik- ing beyond what has been seen in other wire acts. Closing the bill at the Fifth Avenue the troupe filled the stage with motion, and the act became more impressive because of that, than through the wire walking. Slme. Kathryn Kidder and Co. (3). "The Washerwoman Duchess" (Dra- matic). 20 Mins.; Three (Interior; Special). Union Square. In a new playlet woven around Sar- dou's comedy-drama, "Madame Sans Gene," labeled "The Washerwoman Duchess," Kathryn Kidder started in vaudeville at the Union Square Mon- day. The legitimate actress received a most enthusiastic reception, and the act made such an impression that the audience forced her to take many cur- tain calls. A handsome bouquet of roses proved Miss Kidder's friends were aware that she was not slipping into vaudeville on gumshoes. Miss Kidder was successful on the legiti- mate stage, and she will be deservedly so on the variety boards. Long sea- sons of hard work and finished acting in Shakesperian roles have made her a familiar figure in America's theatrical history. Her clear enunciation, ease of manner and ability to put her lines across with that telling effect so many strive for but fail to secure have not deserted Miss Kidder. As the quick- witted washerwoman who enjoys pala- tial luxuries through her parade into the royal chambers of Napoleon and who outwits him both at repartee and cunning in a bedroom scene where the emperor has come to upbraid her, she scored heavily. Miiss Kidder is ably supported in her vaudeville act by Wal- ter Wilson as Napoleon and Mitchell Harris as Count de Mourney. Frank Woolfe has little to do as Marshall Lefevre, but handles the role accept- ably. Mark. Stepp, AUman and King. "The Phoney Photographer" (Com- edy). 17 Mins.; Three (Interior). Union Square. It's Louis Stepp and John King in a new act with one James AUman of southern birth as Artie Mehlinger's successor in the former trio. AUman works in blackface, uses a pleasing, darkey dialect, sings Bert Williams' song, "Constantly," in a way decidedly his own, does an eccentric dance that goes over rippingly and in an exag- gerated troubadour make-up works in the burlesque song number, at the close. AUman is a hard worker, a good comedian and fits in very nicely in the Stepp and King act. At the opening. Stepp plays J. Ketch, financially em- barrassed, who poses as a photograph- er in order to grab some loose change from King as Byrdye, a stage-struck "nance" with coin to burn. He is ac- companied by AUman as the colored Isaac Pyckyman, valet to Byrdye. The comedy byplay of King and AUman was good for regular laughs Monday night. For the finish, Stepp, with his banjo, and King, at the piano, get busy- along the lines of the former turn. The closing number is done with King donning the long-braided blond wig and AUman clowning at the rear of the piano. Stepp, AUman and King should be able to go right along and resume bookings where the former trio stopped when Mehlinger withdrew. Mark. "The Lawn Party" (9). Juvenile Revue. 32 Mins.; Full Stage (Exterior; Spe- cial) Columbia (Dec. 1). Anyone thinking the "kid" market has long been monopolized in vaude- ville had better take a good look at this youthful outfit from Philadelphia in "The Lawn Party." The act, shown in New York at the Columbia for the first time Sunday brought the verdict that it was big time material. Of the nine William J. Dooley, of original ac- robatic inclinations, does the principal work. As the sheriff this youth springs a series of funny falls that veteran knockabout comedians would give a season's salary to be able to do. Doo- ley is older than the others but he doesn't look it. A lawn setting is seen with the boys and girls waiting for stage stars to appear and entertain them. The sheriff brings word the ce- lebs are prevented from coming by a train wreck and suggests the "kids be their own stars by making up as the different stage people. In succession appear Robert Mantcll (James Dough- erty), Eva Tanguay (Florence Hughes) David Warfield (Harry Anger), Fay Templeton (Marie Jacobs), George M. Cohan (Raymond O'Malley), Irene Franklin (Miss Hughes), Caruso (Frances Donia), Bessie McCoy (Elsie Taylor), Lillian Russell (Elsie Dingas). Dooley does the announcing and from time to time works in a comedy fall. The Columbia audience of course liked Dooley's antics the best, but it showed hearty appreciation of the Tanguay, Warfield, Cohan, Caruso and Franklin impersonations. The act could be shortened advantageously and a strong- er ensemble used at the close. Young O'Malley was a decided hit as Cohan, while Donia displayed a voice of tenor range that was phenomenal. The act needs a little more speed which will eventually come when the kids get in seasoned working stride. No matter what few shortcomings it has right now, the "Lawn Party" is unmistak- ably big time timber. Mark. NEW SHOWS NEXT WEEK laltlal Preeeatatlon of LetfltlMte Attraction* la New York Theatres. Cecilia Loftus. Imitations. 21 Mins.; Full Stage. Colonial. Cecilia Loftus has been on the Co- lonial programs as coming for some time. Monday night she was there and the house was barely three-quarters full. The desultory hand clapping which greeted the mimic's apearance came in rather the nature of a sur- prise. She is still the same inimitable mimic, but neither the crowd nor the applause was the same. Nora Bayes, Billie Burke and Ray Samuels were imitated in song. Jane Cowl and Mrs. Fiske were also "did." A Maud Allen ..... "impression" makes a very good finish. But a few vaudeville patrons on this side have seen the sensational Palace London hit of a few years back. A dif- ferent assortment of imitations may make a difference in the offering. It might be mentioned that Miss Loftus does her singing imitations with a pi- anist and not with the orchestra. She does not depend upon the song to car- ry her along, but the mimicry. Da$h. " Hindle Wakes," Elliott (Dec. 9). Three Travilla Bros, and Diving Seal. Tank Act 8 Mins.; Full Stage (Special Drop and Tank). Hammerstein's. At rise of curtain (drop in one), a seal emerges from wings and waddles over to steps, clambering up to the tank, which has a glass front, and dives into water, swimming about with- out anyone on the stag*. The trio of swimmers appear. One dives into tank and does a series of graceful back somersaults, the seal clinging to his toe and gyrating with him. This is continued for almost two minutes. Two men then descend to the bottom of the tank, where they remain in a lounging position while the seal swims about. They do not move for three minutes, with the animal continually coming up for air. A sign on the stage announces the Travillas hold the world's record for remaining under water—four minutes and 37 seconds. Whether this be so or not, certain it is they stayed in the tank three min- utes Monday night. For the conclud- ing trick a table was lowered to the bottom of the tank and all three joined by the seal remained under for two minutes, eating. It is impossible to de- scribe the grace and intelligence dis- played by the animal. It makes a very- pretty act, and what is more is a nov- elty in the east. In small towns, prop- erly circused, it should prove a pow- erful box office attraction, but is a good act on any bill. Jolo. Adele Reeves. Songs. 12 Mins,; One. Hammerstein's. Adele Reeves, with a name suspi- ciously like the greatest of all English importations in her line (Ada Reeve), bears no other resemblance to the lady from over the sea. She is just a neat little woman with a piercing soubret voice patterned after the Brit- ish story ditties, but of unquestioned American manufacture. The first is that of a "stranded troupe," in which she impersonates several members of the defunct organization with a little stepping. Second is a "cute" song, in which "Come and Kiss Your Baby" is the important factor, the tunc of which ascends the scale at the end of each line of the lyric. For the third num- ber she appears in black velvet knick ers, white silk waist, playing a guitar accompaniment to a ballad, the only lines of which that were distinguish- able being "Take me to a shady nook" and "true love." The fourth and last started off semi-recitative and wound up with a medley that included ex- cerpts from "Beautiful Lady" from "The Pink Lady," "Coming Thro' the Rye" and "Ragtime Melodies." On "No. 2" at ten minutes past eight Miss Reeves hardly had a fair showing. Miss Reeves might choose another name. No sympathy will be extended her by any audience for adopting "Adele Reeves." Jolo.