Variety (June 1913)

VARIETY 21 Joe Cook. Comedy. 12 Mins.; One (5) Two (7). New York. A few short months ago Joe Cook's name was listed under vaudeyille "Who's Who" as a "dumb" act, one of the army who never worry about their position on the bill, realizing before- hand that the best they can do is open or dose. But since that time the pro- gressive movement matured and this week Joe Cook is headlining the New York show with a nifty little novelty in the way of a one-man vaudeville show. He carries two drops and has developed into a pretty good light comedian, his material running to the "nut" classification. The one and only fault with Cook's endeavor is that he doesn't talk loud enough. The former fault though is probably because of the acoustics of the New York, for Tues- day evening with the fans going full blast, it was difficult to catch anyone's voice from the back of the orchestra. Cook explains his intentions in a short opening speech, carries on a miniature proscenium section and gives his im- pressions of two or three vaudeville acts. He also offers a burlesque drama. It could be strengthened very easily and developed into a rich comedy bit. For his finish Cook goes into "two" where a circus drop is exposed. Here he does his club juggling, going through a swift routine with four and five clubs. He is right at home at that and with the comedy it makes a great finish. He deserves credit for gfoing ahead and will undoubtedly work his turn into a big time piece. It is a distinct novelty, carries innumerable opportunities and Cook being a pretty clever juggler, can get away with it. At the New York he carted off the evening's hit. Wynn. Higgins-Phelps Co. (4). "The Property Man" (Comedy). 20 Mins.; Three (Interior). Je£Fer8on. "The Property Man" takes one back to the good old days when the travel- ing Kickapoo Indian medicine compa- nies worked the west and south. In the Higgins-Phelps Sketch it's* Jim, an Irish property man, who wields the slaps and he swings them right lustily. One man does a straight, another an old tragedian while a woman breaks in long enough to get a good swat from the slapstick as she attempts to sing. At the Jefferson the two barrel staves worked overtime but the audience laughed. Mark. Gliding O'Mearas. Dancing. 9 Mins.; Full Suge. Union Square. Man and woman, open with a "step" waltz with a number of intricate steps; second a whirlwind prance consisting mainly of pirouette waltzing; third, turkey trot and Tommy. Not very much out of the run of similar turns. Best thing about the act is the syn- chronization of the steps. Woman neither lithe nor yielding, never once bending at the waist line making her merely an "accomplice" to the man's originations. The act recently gradu- ated from the amateur ranks. Jolo. Billy Arlington and Co. (2). Songi» Talk, InstrumentaL 20 Mini.; Full Stage (18); One (2). Union Square. Billy Arlington, of burlesque fame, is the only name mentioned in the pro- graming at the Square, though a sub- line states he is "assisted by a compe- tent company." It's unfair that the two men forming his "competent com- pany" are not specifically mentioned, as each in his own way forms a most important part of the turn. This is not detracting in any way from the star's personal talents. The act opens with the entrance of Arlington and Ed. Johnson as tramp musicians, starting with talk, followed by a violin and banjo duet. Enter the third man, in evening clothes, which gives rise to the bare mention of a story. After "feeding" the two tramps leading up to their instrumentation of "Cavelleria Rusticana" (Intermezzo), he sings and warbles the late J. K. Emmett's "Sleep Baby Sleep." This is followed by some of Arlington's rough comedy, rapid drinking leading up to the old Al. Leech stunt of trying to walk up four or five steps and constantly slipping back. Encore in "one" consists of a bit of travesty grand opera. It's not what was done, but the doing of it. It may best be summed up as an artistic slap-stick comedy riot. The act has been carried by Arlington and his companions from the burlesque show ("The Golden Crook") they were with the past season. Jolo. Macey Harlan and Co. (1). 'The Outpost'* (Dramatic). 15 Mins.; Full SUge (Special Set; Ex- terior). Fifth Avenue. Back in the states a soldier left his wife and child. She wrote him to flag the army business and come home. But before he heard about the letter, the soldier man had stood up to be shot. It happened in the Philippines. Over there, according to James F. J. Archibald, author, every time a soldier was killed the bugler blew Taps. "The Distinguished Romantic Actor," Macey Harlan, was shot likewise. As far as vaudeville is concerned Mr. Harlan is only distinguished for having picked the poorest specimen of a vaudeville playlet put on this season. If Warde Johnston, who leads at the Fifth Ave- nue, and his fellow musicians must watch the sketch for 14 performances this week, won't their friends kindly provide emergency treatment, also an ambulance, at 9.26 Sunday evening? Mr. Harlan will have to make another selection before showing vaudeville how he became distinguished as a ro- mantic actor. Sime. Herbert and Willin. Singing and Dancing. 12 Mins.; One. 23d Street Two boys, one as a "wench" and the other as a "swell coon." Good line of comedy, much enjoyed and the soft shoe dancing of the wench was well received. The act should go very nicely on the small time. Belle and Jones. Singing and Talking. 12 Mins.; One. 23d Street Boy and a girl. Latter good to look upon and dresses very prettily. Her work is easy going, somewhat on the order of Nora Bayes. The boy may have talent, but he has not grown out of his childhood days and still wants to "fhow off," much to the hindrance of his partner's work. If this child would discard the comedy in the last song especially and work straight, the act might have a chance in the larger houses in an early position. Four Brass Men. MusicaL 16 Mins.; Full Stage (Palace). 23d Street. Four colored men who open wearing long brown Prince Albert coats and high hats, each playing on a different instrument. Two play a selection, fol- lowed by a trombone solo by the com- edian, using his foot in place of his hand to work the slide. This number gives time for change to military uni- forms. The four then play on the Xylophone and finish with each again playing a different instrument. The act went well. Lillian Bradley. Songs. 12 Mins.; Two (Conservatory). 23d Street. Miss Bradley is a tall blonde of un- usual good looks and wears her gowns splendidly. She has a sweet singing voice, but of not much volume. Miss Bradley opens with an operatic num- ber which she sings in Italian and fol- lows with a ballad, well done. For her third number the singer uses a German song and plays her own accompani- ment on the piano; the fourth is an- nounced as her own composition but sounded rather familiar. Miss Bradley seems new to vaudeville. With a little more confidence in herself she should do in a way. Three Lubins. Singing and Dancing. 8 Mins.; One. 23d Street. Trio originally of the dancing act Five Lubins. The present turn con- sists of two girls and one boy, all of whom do some good wooden shoe work. The act opens with the three in a "Dutch" song and dance, followed by the younger girl and the boy, who sing a rag song and do some stereo- typed dancing. The older girl sings a ballad and the three finish with danc- ing. Costuming old fashioned and shabby. Judge and Gale. Trapeze and Rings. 10 Mins.; Full Suge. New York. This is a pretty good opening act for a small time house, the couple dur- ing their routine offering some ex- ceptionally good tricks. The finish is a bit of a thriller. The pair work hard, but rather slow and could improve their specialty with a little flash of show- manship. They pulled several bows. Wynn. La Grada. Dancer. 12 Mins.; Full Stage. New York. La Gracia is apparently still in her teens, one of the reasons why she will not progress for some time, for her figure has not matured and for a clastic dancer the figure comes second only to the dancer's reputation or title or what- ever excuse she has. Opening with a spring gambol La Gracia looks pain- fully thin. The dance should be dis- carded. Her Oriental effort was quite better and her closing number, a but- terfly dance, was the best. In all three she exhibited costumes that would do justice to a Dazie or a Maud Allan. The girl has been badly coached, her routine is all wrong or she might have struck the mark. La will have to keep on plugging and may rise to the ex- pected heights. Just now she would need the reputation of Tanguay, the billing of Houdini and the rank of nobility to attract attention. She pos- sesses a certain degree of undeveloped talent and apparently is ambitious. This with her beautiful wardrobe seem to be the sole assets. Wynn. Baker, Lynn and Co. (1). Comedy Sketch. 23 Mins.; Full SUge. New York. Baker and Lynn are well known along the Western Burlesque Wheel xoute, both as comedy kids. Their vaudeville skit is one of those mistaken identity affairs, but the theme doesn't enter into the general value of the turn for it is not complete. The scene shows the home of the girl, a semi-silly kid. Her father has per- fected a mechanical doll of some sort The boy wanders in looking for an- other party and is mistaken for the doll. The comedy hinges on the busi- ness between the boy and girl and is well saturated with laughs. Near the close Baker goes after a piece of pie and does an Andy Lewis with it, rub- bing it around his head and then eating it, a disgusting morsel of comedy and one that should be legislated into a misdemeanor. The third member of the outfit plays a dual role, straight and Dutch. They pulled a hit at the New York. It's a small time vehicle, played well, but hardly strong enough in its present state to graduate. Wynn. George and Anna Mack. Musical. 16 Mins.; Full Stage. New York. With all the surroundings of a big time musical skit, the Macks spilled the beans at the finish when they en- cored "Everybody's Doin' It" and "Alabama," two numbers that have come and gone. Earlier in the turn they played "Good-Bye Boys," another stale from over-use. The couple open with lights dimmed, the man playing a cello, his partner on a bench singing a semi-ballad. A beautiful scene, de- picting an orange garden with set trees bearing fruit, gives the act a splendid background. The orange trees come in handy later on for a bell and caliope duet. Then to the horns. With a new repertoire of numbers this act will classify for the bif^' time. It's a novelty. Wynn. (Ck>ntlnued on pas* 24.)