Variety (December 1912)

VAKUTY "The Guy That Put the Tone* in Bari- tone." Songs. 8 Mint.; One. Hammerstein's. "Izzy" Ward manager for "The Guy," says he was a prizefighter. The program describes him as '"formerly a Chicago blacksmith." Perhaps he was both. Other information volun- teered at "the corner" is to the effect his name is Pearl and that he is a well-known singer with outdoor bands. Last Friday he stood on the roof of the Cadillac Hotel and bellowed a few ditties. Unfortunately it was cold and passcrsby didn't loiter, thereby spoil- ing a good press stunt. "The Guy" is a deep-chested giant with a very pow- erful, throaty, but not unpleasait, baritone voice that has more volume than music in it. He sang three num- bers—"Lulu, I Still Love You," "On the Mississippi," and "Oh, What a Beautiful Dream," and appears to know how to make good use of his voice. He was attired in a sack suit and sweater and was cleanly shaven. Ap- plause from all parts of the house greeted his efforts, but most came from the rear of the orchestra and sounded like a little "boosting." Perhaps in Oshkosh or Providence, if that sing- ing from the top of a high building was properly worked, he might attract attention. Jolo. New Ads in "Pop" Houses Robert Dunlap and Co. (2). Comedy Sketch, 20 Mine.; Full Stage (Interior). City. Robert Dunlap and Co. have a com- edy sketch with a touch of pathos that will probably do for the pop houses, although it is along lines familiar to the most disinterested of theatre-go- ers. Country doctor sends son to col- lege. After four years father, with boy's country sweetheart, prepares big welcome for his son. Boy returns full of big time ideas and disappoints both father and girl. Pop takes a hand, however, and son sees his mistake in time, that is, after he receives a wire his pal has run away with his chorus girl sweetheart in the city. The girl and the father do very well, but the college boy acts as though he came from a reformatory instead of a col- lege. He talks with a husky voice, uses gambling room slang and wears a suit of clothes that would immedi- ately place the wearer as a rube no matter what college he went to. He looks more as though he was just leav- ing the jay town instead of returning to it. D"** Isabelle Grey and Co. (2). Songs and Talk. 10 Mine.; Three (Interior). U6th Street. Isabelle Grey received the most at- tention with her "Sis Hopkins" num- ber. She has the assistance of two men, using a lot of material long rele- gated to the ash heap. The strength when singing together is not sufficient to carry the act beyond the pale of the "small time." The turn needs fixing all around. Mark. Jock Mills. Scotch Comedian. 14 Mint.; One. American. Mills has played about in the West for some weeks, but a trial perform- ance at the American Music Hall Tuesday night, was his first appear- ance in the city. He sang four songs, with a costume change for each. Mills is a clean comedian, without grotesque makeup or rough method. He is also an earnest worker, playing with a clear idea of characterization without bur- lesque. His one attempt at pure com- edy was in his final song which had to do with the tribulations of a suffra- gette's weak-minded husband. This had capital comic lyrics, and the ridic- ulous costume that went with it guar- anteed laughter from the American au- dience. The other three songs were sprightly Scotch numbers, delivered at- tractively in a dialect that was foggy with the native burr. Mills sticks closely to his songs and makes them stand up with his agreeable baritone voice. They liked him immensely at the American. Rush. Harry English and Co. (2). Comedy Sketch. 20 Mins.; Full State (Interior). American. After an opening that drags lament- ably, the offering of Harry English and Co. gets down to sure fire laugh- ing material. English is supported by two women, one in the Percheron class. This member of the organiza- tion was responsible for one of the funniest bits of business, a comedy sketch has put over this long time. She does a comedy fall when she faints that is a wonder. She and English are also, concerned in some further ef- fective comedy. The sketch itself is built along ancient lines, and only the business that has been worked in makes it funny. Rush. Bagley and Bigelow. Talk and Songs. 14 Mins.; One. Murray Hill (Dec. 1). Two men, apparently newcomers to the stage, appear as comedy Irishman and straight. They open with incon- sequential talk, uncertainly delivered. The cross-fire works up to an argu- ment as to whether the comedian can sing. He asks the orchestra to give him the key, and starts off with a hideous discord. After a good deal of delay he gets under way with an Irish ballad, in an untrained but rather agreeable voice. The rest of the routine is made up of duets. The audience liked the singing, but passed up the talk. A light small time number. Rush. Wilson and Rich. Singing, Dancing, Crossfire. 12 Mins.; One. 66th Street. Two men, one doing straight "rough" feeding, the comedian responding with quibs and laughing uproariously at ev- ery single one of his own jokes. A couple of "coon" songs, wooden shoe stepping by the comedian, and so forth in approved small time fashion. Jolo. The Wilsons, Songs and Talk. 15 Mins.; One. City. The Wilsons have a very interesting little talking and singing offering which they handle nicely. The bulk of the work falls to the woman, who makes her fast talk at the opening quite funny and also gets a great deal out of two lively songs away from published numbers, with a goodly amount of comedy possibilities in- volved. The man plays a rube of the usual sort, staying within bounds and playing easily, although without giving it distinctiveness. The Wilsons will hold their own among their present surroundings. The violin imitations at the opening might he done away with. Dash. Klein and Erlanger. Comedy Jugglers. 12 Mins.; Pull Stage (Special Drop). 86th Street. Man and woman made up as clowns. Man a fast juggler, doing some things uncommonly well. But they fall shy with their comedy which has the ap- pearance of being "home-made" in its creation. The opening of a small box which releases a "prop" snake is no longer a novelty. But the two people work well together, indicating long association. As the finish the woman removes her clown h«ad covering, let- ting her hair fall down her back and two little children, also made up as clowns, dash out and take a bow with their parents. It's a pretty picture of domesticity. Jolo. Georgore Troupe (6). Russian Dancers. 16 Mins.; Full Stage. Murray Hfll (Dec. 1). Four men and two women in Rus- sian costume have put together a crude routine of singing and dancing. They supply their own music on curious in- struments resembling mandolins. The dancing is best, although its effect is sadly injured by lack of speed. The , appearance is unattractive. Color com- binations are unfortunately chosen and the costumes look positively soiled. The sextet need someone to work up an act for them. The present arrange- ment will not do. Rush. Hurst, Watts and Hurst. Singing and Talk. 18 Mins.; One. Murray Hfll (Dec. 1). Two straight men and a fat come- dian get away with what the Sunday audience accepted as an amusing com- edy offering. The comedian is the mainstay of the act. He clowns ad lib, while the two others fill in with talk and straight singing. The trio got over in good shape. Rush. Ryan and Bell. Songs and Dances. 9 Mins.; One. Columbia (Dec. 1). Ryan and Bell pass along quietly un- til they don white sailor togs and do an eccentric dance. At the Columbia Sunday this closing .stepping routine brought them applause. They sing fairly well but dancing seems to be their stock in trade. Mark. 23 ssssa Murry Livingston and Co. (2). "The Man from Italy" (Comedy - Drama). 22 Mins.; Full Stage (Interior). Audubon. The character acting of Murry Liv- ingston as an Italian street vendor fur- nishes the chief interest in a light sketch. The proceedings open with the love-making of two tenement waifs, after the manner of "Skinny'* Finish." The girl looks out of th»- window and describes the actions of a crowd of boys who are stoning the helpless Italian. She invites the ped- dler up into the squalid rooms. The tough boy becomes jealous of her sym- pathy for the Italian and leaves in anger. Dialog between the girl and Italian works up to the discovery of the amazing fact that she is his long lost daughter. Of course, the Italian has to deliver a sentimental recitation about "Rose Marie." And so it all ends happily when the Italian pays the rent and saves the girl from eviction. Then the tough boy comes back—em- brace and curtain. The Audubon au- dience liked it, "Rose Marie" and all. Rush. Jim O'Brien and Boys (2). Songs, Piano and Violin. 9 Mins.; One. Columbia (Dec. 1). Jimmy O'Brien has for years been a redhot Cabaret favorite in Chicago. He brings with him an irresistible person- ality. In the present frameup it's two- thirds personality with Jimmy. With him are two musical boys, a pianist and a violinist. Speaking of personality as a valuable asset, both chaps possess enough to help the act make a pleasing impression. The violin man reminds one greatly of Smiling Jimmy Morgan. Ragtime numbers predominate with O'Brien doing the bulk of the singing. He's gingery and puts his numbers over nicely. While O'Brien and Boys should get all the work they want it's too bad that they didn't hit Broadway when the Cabaret thing in vaudeville was at its zenith. Mark. McGee and Reese. Songs and Talk. 15 Mins.; One. 86th Street. Man and woman open poorly with "tough" song and talk. Man sings comedy song to melody of "Chicken Rag"; girl a "wop" song. All this is exceedingly commonplace. But the pair redeem themselves by some very smart crossfire material that is far su- perior to its rendition. Five minutes of editing of the material and a couple of hours' rehearsal by a competent vaudeville director might place this team as contenders for some of the two-a-day houses. Jolo. Lambert and Van. Singing, Dancing, Crossfire. 16*Mins.; One. Academy. Two men open with song. Crossfire follows, made up mostly of old "come backs"; ballad solo by straight, with a few neat steps; comedian sings a cou- ple of parodies. Finish with "co.tn" duet. Small time act. Jolo.