Variety (June 1913)

VARIETY 15 NEW ACTS NEXT WEEK Initial Pr«Motatioii, Pint App—mnco or R—ppwranct In or Arouiid Now York Lady Constance Stewart-Richardaon, Hammerstein's. 3 Equili Brothers, Hammerstein's. Margurite Haney, Hammerstein's. Fernanda Eliscu and Co.» Fifth Ave. Herbert Brooks and Co., Fifth Ave. Hussey and Lee, Fifth Ave. Ray and HUliard, Fifth Ave. Doris WUson and Co. (2). ''Through the Looking Glass" (Magic mirror). 13 Mins.; One (3); Five (Interior)— Special Set (10). Fifth Avenue. Doris Wilson upon arriving at a de- cision she was not weighty enough as a "single/' thought out a sketch, pre- sented this week at the Fifth Avenue. by Miss Wilson and her two sisters. What Miss Wilson eked out was a sketch foundation to support a "magic mirror" act, recently revived abroad by the Schwartz Bros, with their •'Broken Mirror" and more latterly given over here by the Hanlons and Sager Midgeley, maybe others. The Wilson girls do it differently and much better. The opening is in "one" when Miss Wilson appears singing "I'm Glad I'm in Vaudeville." The song has a well written lyric, a trifle too techni- cal for all of those in front. Inform- ing the house,she is about to prepare for her act, Doris goes through a wobbly door in the drop which when raised reveals rather a pretty dressing room scene, one of those neat look- ing dressing rooms Palsy Morrison is always bragging his house at Rocka- way has. One of the sisters is Miss Wilson's maid. She asks to be ex- cused early and she is, by unanimous consent, mostly on account of her French accent. Afterward this sister plays behind the arched opening de- signed as the "mirror" with Doris in front, their work being timed to an exact nicety. During this portion the third girl gets in the picture, giving three doing the mirror work at once. Doris sings throughout tne turn. She has a voice, also a quick-change cos- tume that was employed by her when appearing as a "single." But Miss Wilson has passed out of the single division. She now has an act. The two girls look much like her. One is smaller, however, but the gowns and hair dre^s help the deception. It doesn't deceive, but it does amuse, and the good looks of the girls do the rest. Miss Wilson's voice may as well come in for its share, too. Seldom does a "voice" happen with a "novelty." Whoever weaned Doris away from the idea that with her voice all she needed was an "Ave Maria" to get over in vaudeville? Doris must be a funny kind of a girl to have listened to good advice. It happens so infre- quently. Better book up Doris Wil- son and Co. for next season. 8ime. Fred Qraham, Nellie Dent and Ca (1) *The Packing Day~ (Comedy). 15 Mine.; Five (Parlor). Fifth Avenue. Fred Graham and Nellie Dent are English people, arriving in New York via Australia. The program says they have scored heavily all over the world with "The Packing Day" sketch. It might have added "Excepting the Fifth Avenue" but the program could not have known in advance of course. It may have been the position (No. 3) on the bill and the two acts preceding may have injured the chances for the sketch, but at best the little comedy ie very little, and chock full of dialog. Mr. Graham is always talking, even while aiming for fun in business while shaving, looking for a collar button and one or two other things. Miss Dent is silent most of the time and could not well be otherwise. "The Packing Day" is about a married cou- ple who must catch a train in a hurry and are packing up while the express- man is on his way to take away the trunks. The expressman (Frank Kelley) duly arrives. Besides remov- ing the trunks he got a label pasted onto his trousers by mistake. The la- bel was intended for a trunk but Mr. Kelley somehow got in its path. Yes, everything was hastily thrown into the trunks for the finish. "The Packing Day" is not big time material for this side. What Mr. Graham could do with a suitable vehicle remains un- known, as this is his first appearance in New York. Blme. Juliette Dika. Songs. 14 Mins.; One. Brighton. The initial American vaudeville ap- pearance of Juliette Dika brings back fond recollections of Koster 8l Bial's, where there was always to be found on every program one or more large breasted, tightly-corseted and short- skirted soubrets. But times have changed and with it the method of dressing; also that of presenting such a turn; likewise the character of the houses in which they are played. Miss Dika is the typical French soubret, with no voice, plenty of accent and other unmistakable evidences of for- eign origin. She has her own pianist, programmed as "Mons. W. Kelgardc." Ii proved to be "Billy" Kelgarde. Miss Dika's gowns were not short-skirted, but exceedingly decollete especially about the armpits. One of the dresses had a pink outline underneath in order to more closely mark the bust line— a typically French mode of sartorial investiture—or lack of it The songs were not especially brilliant and dur- ing one of the costume changes "Mons. Kelgarde" did his famous "Waiting For Me" pianolog, his usual contribu- tion to the soubret-accompanying thing. At the finish he also "trotted" and sang with his principal—also his usual contribution. Miss Dika is no sensation in vaudeville. She is, how- ever, a fair specimen of her type and with an unusual amount of booming, would pass muster as an important vaudeville single. But it will require a lot of hard work in the press agentry line. Jolo, Ismed. Pianist 10 Mins.; One. Fifth Avenue. Ismed slides onto the stage and seats himself before a concert grand piano dressed like an advertisement for a Turkish cigarette. He is a dark vi- saged person and perhaps a foreigner. He said nothing, just played the piano. The selections were all classics, often heard before on various instruments. He rendered but three. The audience v/anted an encore. Ismed appeared before the cloth and bowed repeatedly, but he wouldn't talk nor did he per- form again. Ismed may be thanked for not making a speech, whatever the reason for his reticence, and he may be thankful for receiving the ap- plause he did. No one would accuse Ismed of being a great pianist, but someone should get credit for putting over the act. Ismed may have been nervous. He never seemed quite cer- tain and played methodically without a touch of brilliancy whatsoever. In fact he seemed just a cold matter of fact pianist taking advantage of vaude- ville. Whether he knew another clas- sical number beyond the three given must remain his own secret. Being a pianist playing without orchestral accompaniment he can not well say nothing more had been rehearsed. But you should have heard that Fifth Avenue audience applaud. After lis- tening to that, you will justly remark, "What is the use of an act?" Slme. NEW SHOWS NEXT WEEK Inltlml Presentation of Legltlmnte Attractions In New York Theatree Ziegfeld's "FoUies,- New Amsterdam (June 16). Mile. Lucille and "Cockie." Trained Cockatoo. 11 Mins.; One. Fifth Avenue. Since Mile. Lucille believed it nec- essary to have something besides her- self on the stage to make up an act, the choice of a cockatoo will do. For while the bird interests and amuses, it is the manner in which Lucille works the act that puts it over. She is a most pleasing appearing woman, with a pleasant voice that does not tire the audience (though she is continually speaking) and Lucille has such a nice way of handling her feathered pet the house likes the turn from the outset. The cockatoo has a funny bit in his- sing "Yes" in reply to questions. This is often repeated in and gets laughs much the same as Victor Niblo did with his "talking parrot" saying "Well, what do you want?" Lucille's bird also has a whistling tune, a few bars said to be the call in England for a drink. The cockatoo says quite distinctly "Good-bye, darling" when kissing Lu- cille, and at the finale of the act gives an imitation of a cornet. One of the best bits was wlicn the bird danced and "sang" ragtime. The turn was often interrupted by cither laughter or ap- plause. It will make a neat number on any program. But if Mile. Lucille had not picked a cockatoo for assistant, she would iiavc become a vaudeville act anyway or somehow, for she has one of those likable personalities worth more in front of a vaudeville audience then almost anytiiiii^' that may be imagined. Hime. Rice Brothers. German Comics. 10 Mins. to 2 Hrs. Union Square. You have to know the Rice boys to appreciate them. Out around Chicago where they grew up with the land, the Brothers Rice accumulated the leputation of being the champion util* ity act of vaudeville. Because of this rep, justly deserved, the act was always in demand. Walter Keefe claims that one time he found a bill 47 minutes short on running time and only one act needed. He sent for the Rice Brothers and after the first show they reported the hou^e was rather cold in- asmuch as they only did 81 minutes. So much for their uncertain time. Their act is a sort of revue, a revue of all the material introduced during the past 50 years by all the prominent German comedians of the stage. Such puns as "Why do you walk on your heels" and "Mr. and Mrs. Bigger have a little Bigger" were sandwiched in between the thoroughly up-to-date routine of "What's your boss' name?" Answer: "Ask me." For a finish the boys offered a unique bit of comedy which called for two stiff newspapers. In order to bring out the points so that everyone would get the laugh, they lammed one another over the head with the daily prints just as the point came to the surface. And their paro- dies! Shriek after shriek of laughter greeted each and every one. Old men and aged spinsters were brought back to their childhood days at the Square vhile the Rice Brothers held the stage. Fennsyltucky and Massachoosenuts were frequently referred to with won- derful results. Altogether the turn was a huge riot, whether because of their rerve or their material is a question. Many a short show has been saved by the Rice Brothers in the middle west. Chicago's loss is New York's gain. The Rice Boys can be credited with the most retentive memory on record. \'\)T ciiarmed lives, they are champs. Wpnn. Emma Dunn and Co. (3). *'Making Good" (Comedy). 14 Mins.; Five (Parlor). Fifth Avenue. Doth know Emma Dunn? Or James H. Bradbury? Or George Backus? They arc together in a sketch at the Fifth Avenue this week, called "Mak- ing Good," written by John Stokes. Go on and book it. It's a regular act with the l)est cast ever assembled on a vaudeville sUi^a. Think of it! Emma Dunn, James II. Bradbury and George I'.a(kus in c^ne sketch in vaudeville! What was that sketch last week that ^ot $500? Can't think of it now. Nev- er mind, it's past anyway, but just V anted to remark that if that piece was worth $500, K've Miss Dunn the the- atre. Slme.