Variety (August 1913)

22 VARIETY THE SILVER WEDDING. In trying to build a play, and a com- edy at that, around a mere miscon- strued remark, Edward Locke in "The Silver Wedding" aimed blindly at the impossible and quite naturally met the inevitable. The piece is typically Deutche, both ir. locale and characterization. The comedy (and there is mighty little) comes from the stereotyped brand of language-mangling, for which a small time vaudevillian would be roundly criticized. A story, of course, carries an occa- sional flash of sentimentality, but the former lacks the kick necessary to hold interest and the latter was brought out solely through the efforts of Tom Wise, who, as Ludwig Kochler, introduced a character almost entirely foreign to his abilities. The theme revolves around the quiet rural life of an old German family, whose daughter has chosen a mate, who apparently measures up to all the re- quirements expected by the parents, until the father overhears him call someone a pig-headed old Dutchman. Without investigating he immediately concludes the prospective son-in-law referred to him. From the end of the firjl stanza until the final curtain, he proceeds to play the part of the pig- headed, etc., etc. To make matters more complicated everyone in the cast at some time or other absent-mindedly opined that he was pig-headed, etc. The scheduled nuptials take place, but stubborn to the last, pig-head refuses to attend except as the village band-master in charge of his crew of harmonists. 18 months later, the young couple return with a youngster and the recon- ciliation which everyone knew would take place before the story was half told, comes along with the asbestos. A common tale, lacking every essen- tial except good telling. Tom Wise and Alice Gale (as Frau Koehler) attend to the latter. Aside from those two no one can lay just claim to honorable mention, the various other characters merely calling for a straight portrayal of parts with a slight dialect. The fact that Mr. Locke has done something in German may act as a pul- monator to "The Silver Wedding," pro- vided the Deutche papiers are properly baited, but honestly considered as a Broadway proposition, it looks like a bloomer. Pretentiously exploited "The Silver Wedding" may attract the German- American who still thinks the Fader- land is just outside the gates of heaven, or the chap who has an old uncle or grandfather, like the character employ- ed by Wise, but otherwise it has no charm. Hoboken could stand the H. H. Frazee show for a run perhaps and through Pennsylvania, where Locke has placed his story, there may be possi- bilities, but New York, well maybe two weeks, maybe three. New York is not quite all German, unfortunately for "The Silver Wedding." Wynn. The Opera House at Hubbard, O., has been leased for five years by James Shagrin, a New York manager, who last season operated a house in Ken- ton, O. ROSELAND GIRLS. The official opening of the recently merged two wheels took place at the Columbia Monday, where James ("Blutch") Cooper's "Roseland Girls" hit the boards after three days on the road. Considering the natural diffi- culties encountered in the preparation for a New York opening with only a half week to devote to the breaking-in process, Cooper has done wonderfully well, although there is still a chance tc doctor in parts of the comedy sec- tion. Incidentally this opening pro- vided ample assurances of the pre- dicted fact that slit skirts and Septem- ber Morns would do much to uplift the new season's burley-que. The responsibility of the book, ly- rics and melodies rest on the shoul- ders of Cooper, Tom McRae and Billy K. Wells, the latter having attended to the musical department. Evi- dences of McRae's work stuck out in several spots, a few hits here and there being reminiscent of his early literary efforts, but on the whole both Cooper and McRae have struggled for origin- ality and with more than partial suc- cess. Wells likewise acquitted him- self nicely, two or three of his num- bers being practically sure fires. The banner song came in the opener and is labelled "Yankee Girl." The producer and the composer failed to co-operate on this number, for had Cooper realized in advance the possi- bilities of the song, he might have provided a classy outfit of interna- tional costumes. He probably will, for it's a great opportunity for a flash. Another sure fire burlesque number is "Nut-Nut-Nut," but the lyric and at- tending comedy are poorly arranged. It's one of those songs that Billy Watson or Andy Lewis could carry through for an hour. Solly Ward handles it, calling on the individuals of the chorus. • The opportunity is there, but the comedy is not. The principals headed by Ward and Lillian Fitzgerald are a capable crew, but a noticeable fault is the lack of a good lusty songster. The chorus seems to possess singing ability, but looks shy on ambition. This is prob- ably an early season fault and one easily remedied. But to make a hun- dred per cent, improvement in the singing division, Cooper should add someone with vocal ability. A "coon shoutcr" would fit in nicely, for the repertoire is shy on "ragtime" and they like it in burlesque. The book's theme is apparently new to the wheel, telling of a wealthy Ger- man (Solly Ward) who, in a fit of tem- per, attacked one of his creditors. He learns the man is dead and under the advice of his confidential secretary (Harry D'Mack) feigns insanity. His wanderings bring him to an insane asy- lum where he is mistaken for an ex- pected professor. This mistaken iden- tity idea is the foundation for the com- edy of the afterpiece. It's a good story, and will eventually work into a con- tinual laugh provoker. Lillian Fitzgerald heading the female contingent gives her familiar French characterization, occasionally stepping away to play "straight" and for a few minutes in the second section, portray- ing an Irish biddy. She docs the char- acter work in fine shape, but loses points when "straighting" it. Her work 15 on a par with her past efforts. Ward has improved wonderfully in a season. His German is better than his Jew, but the latter is far from bad. Eddie Schwartz does a Hebrew throughout. He displayed a falsetto voice in a quar- tet number that sounded promising, but lack of opportunity kept him in the back ground. Mina Schall is the leading lady, tall, blonde and good-looking. The Misses Fitzgerald and Schall dis- played some gowns that will run sec- ond to few. Jeanette Spellman had a big part and handled it with apparent ease to good results. Walter Pearson and Harry D'Mack played straight and light comedy respectively, both hold- ing down their ends to satisfaction. The chorus of 20 are all good-looking and a lively bunch, particularly the two end "ponies." The costuming of the girls is of the average class, but well selected and not overdone. There is one specialty in the show, Lillian Fitz- gerald's imitations, easily the individual hit of the program. Nothing in the way of a feature or novelty is exhibited, but with a few weeks to work up the action, the "Roseland Girls" will develop into a smooth working outfit that should please the most discriminating. Wynn. ROSE SYDELL'S. "Rose Sydell's Famous London Belles" may be kidded on the title with the present outfit of chorus girls, if the ensemble remains as seen Tues- day evening at the Casino, Brooklyn, the first season for that house on the Eastern Wheel. The plain truth is that when Clayton Frye led "The Gas House Gang" num- ber, the girls seemed to fit in the picture with their rough and ready clothes. Bill Campbell has a prize bunch of women this season. Where he got them the Lord and Bill only know. The twelve "show girls" are not, and the eight "ponies" are funny up, down and all around. "Looks" made it rather easy for Florence Nicoll, one of the principals who stood out strongly on appearance and had the best voice, which isn't saying much since Florence is the only person having anything sounding like one. She and Charles Bogard sang a couple of ballads in the second scene of the first act. Were they a riot? They were at the Casino. The house liked Bogard's voice. It's still a western Wheel audience over there. Virginia Kclsey is another principal. When Miss Kelsey, a decided blonde, first showed, in a green gown and a picture hat. she looked the goods, but her speaking and singing voice de- stroyed the illusion. Miss Kelsey also wore a cresent (perhaps of diamonds) attached to her chest. It's pretty early in the season to be displaying jewels. Later Virgie led the "West Points Cadets" in tights. The girls did a drill in good looking uniforms (tights). It will go better when they haye worked longer at it. The third and last principal woman was Mae Moran, with a horrible wig and no voice at all. Still she sang with William Moran, also danced, and later on Moran and Moran did their specialty, whatever that may be. It was missed as was Miss Sydell, if she ap- peared after 9:30, although Miss Sydell was not programed. She and Mr. Campbell have retired from stage work. The comedian is Johnnie Webber, playing a kid in long trousers, dirty- face and almost a tramp make-up in clothes. Webber should make up younger. He got some laughs as a "nance" sailor at the finish of the act, and also brought some giggles, es- pecially from the women, in front, with talk about "Sandy Beach." The Censor Committee can order out that "Sandy Beach" line of dialogue with out hearing it. It's pretty raw, as raw as they could come, and coarse, very coarse. Otherwise the first act was clean. Some transparency work didn't amount to much and a living picture pose made a good looking finale. In this Webber was in an airship, but it didn't run-off properly Tuesday night. Frye, who now calls himself George before the Clayton, got the most among the men in a tough character. He does fairly well with it. Louis Thiel played an elderly Dutchman and was nicely made pp for the role. Mickie McCabe is an ordinary Irish- man. Clara Stinson was of the prin- cipals, also Mr. Moran, both incon- spicious. Specially written music is being used. The first act brought out noth- ing besides encores. This encore thing is starting early. Three friends in front can hold up any burlesque show. It looks like a stall, and should In- stepped. If there isn't enough show to make the regular closing hour, more should be inserted. Some popular music would have boosted up the per formance. The dressing in the first part passed. It was nothing extra and being new helped. The opening chorus is gone through with the girls remaining on the stage until the second number in the same dresses, which do not set them off, instead showing them up The stockings in this costume are oi a heavy silk and cotton mixture, re sembling cotton more than silk, and look badly. One of the girls with real silk on made this more readily ap parent. The setting for the first act was an interior, almost a Palace set for the opening scene, a drop in "one," and a bright looking ship scene, with the sails resembling fried soft shell crabs. This setting was spoiled in its realism through the transparencies calling for staterooms in the cent r of the deck. The story is named "The Rising Son" in two acts (no olio), with book, lyrics and music by Edwin Ilanford. Julian Alfred staged the show. He hasn't given the girls enough to do. One or two movements call for action, but the remainder of the numbers in the first act were quite conventional. The Rose Sydell show needs new "peopled The book tsn*t "bad. for burles- que, but there are holes in the person- nel that knock the alignment all out. The Soubret vacancy is crying to be filled. Even at this early date it's safe to say the Campbell show will call for several other r aces before long. And Campbell can't expect to h.v/e his show talked about following attractions on the Wheel that will show go d looking •_• iris. Mine.