Variety (September 1913)

VARIETY 17 Bert Jordan and Lillian Dohcrty. Songt and Dances. ^« 13 Mins.; One. Murray Hill (Sept 8). Bert Jordan and Lillian Doherty are apparently just framing up a double "nut act." They both sing, Jordan does eccentric dancing, Miss Doherty has a solo number (of a grand opera patron commenting on the audience and performance), with both changing at the finish to other dances, conclud- ing with a trot. The act did very big at the Murray Hill. A double "nut act" should have a chance, especially with Mr. Jordan and Miss Doherty, who are neither rough nor uncouth as are so many of these "nuts" who are getting over so easily, even if they will not last long in first class vaudevulle. Jordan and Doherty wil probably work mound for a little while to grow ac- customed to one another. 8ime. Eleanor Lawson and Co. (3). "The Trap" (Dramatic). 18 Mins.; Three (Interior; Special). 125th St. Eleanor Lawson is a likable looking woman and as the athletic type who dotes on capturing bold, bad men and marching them off to lock and bars is the type. Miss Lawson and her present melodramatic ofiering may never reach the pale of the big time, but any pup house would be glad to get the turn for the thrill it hands 'cm when Miss Law- son makes a single handed roundup of a daring robber. **Thc Trap" is set with all sorts of electrical contrivances used in view of the audience. Miss Lawson worked up her meilor climax, well supported by the man playing the chief clerk and the boy doing the jewel thief. The act will improve with re- hearsal and exhibition. Mark. De Lisle's Manikins. 16 Mins.; Full Suge (Special Set). Fifth Ave. DeLisle's Manikins probably reached the Broadway house from the small time. The figures look well, and are nicely manipulated, but the strings show plainly against the backgrounds, and the setting could stand almost any sort oi improvement. A river scene with effects closes the act. One of the best dressed bits is the Harry Lau- der imitation singing "She's My Dai- sy," with the girl entering. The open- ing is a deep sea ensemble, but the fif^l. are thin. This act might work in with an investment, but there's no chance for it in the present shape on the big time. Sime. Demarest and DolL Talk and Songs. 9 Mins.; One. American. A mixed team, man pianist and ec- centric, red-nosed "nut" comedian, woman doing straight and soubret. She's a cute little creature and a good foil for the man's nonscnsicalities. Man does piano imitations, such as music box, plays rags, burlesques Padcrewski and finishes by playing while jigging and standing on his head. The audience roared at him. Fine threc-a-day turn and might do just as well in the twice daily houses. Jolo. THE DOUBLE CROSS Chicago, Sept 10. "The Double Cross" is a crook play, and" as revealed at the Cort Sunday night, Sept. 7, it did not create much of a stir. The piece is in three acts, and is a rehash of "The Only Law," played in New York some seasons ago without success. The play ambles along from curtain to curtain in entertainment, although well acted in spots. Wilson Mizner and George Bronson Howard are the authors. They appear to be quarrel- ing over who had the greater share in making it, a useless proceeding, as it is not likely it will remain on the boards any great length of time, nor bring fame or money. H. H. Frazee, who presents it, has provided an excellent background, and a very good cast. Arnold Daly, £m- mett Corrigan and Harold Vosburgh, struggle manlully, but without results. The text of the play is: "Be- ing on the square with a pal is the only law we know," uttered by Florence Rockwell, known as Jean, oi the Follies. The story is unsavory, and deals with the seamy side of life in a big city. Jean is loved by several men. One is a rotter lor lair. Another has money and spends it upon her. Still another is a crook and, in the end, the only real man of the trio. Mr. Daly plays MacAvoy of Broad- way, who is living off the money Jean receives from the rich man. A dis- agreeable role, Mr. Daly acts disagree- ably, bringing out every mean trait of the despicable type. Mr. Corrigan is the gentlemanly ciook who does a little wire tapping but outside of that appears to be quite a saint in comparison with some of the other men in the play. The hrst act is slow and does not get any place at all. The second is a little better and the last has two or three scenes that are a bit exciting. Miss Rockwell has a chance to display her emotional powers, and Mr. Corrigan is also allowed an opportunity to do a little real acting when he takes Daly by the neck and throws him across a table in the most approved style. Later he throws him out the door, and that is the end of the rotter. Mr. Corrigan has all the "fat" lines, and some keen epigrams. The audience Sunday night was very light, and applause was lacking. There are a few laughs but nearly all caused by cynical and sophisticated dialog. The curtain did not go up until 8.30, there were ten-minute intermissions between the acts, and even so, the show was over at about 10.45. Heal. Robinson, Buckley and Co. (1). Comedy 3ketch. 14 Mins.; Five (Parlor). Murray Hill (Sept. 8). An old after-piece cut down is the medium to introduce Johnson, Buck- Icy and Co. The finish is the man mis- taking himself in the looking glass for someone else, destroying the glass by shooting in it. A straight, Irish com- edian and woman compose the cast, r's a small time turn for the small time wanting it. Bime. ir you don't advertise In VARIETY, don'l •dvertliie at all. TEMPERAMENTAL JOUR- NEY One rather clear indication of suc- cess for David Belasco's first produc- tion of the season, "The Temperament- al Journey" (at the Belasco, Sept. 4), was the facility with which those pres- ' cnt compared it to other plays, past and present, both foreign and of native conception. Most of those in search of encroachment were undecided as to whether there was any fatal resem- blance between it and Arnold Bennet's "The Great Adventure," to be present- ed in New York next month by Win- throp Ames with Janet Beecher in the leading female role. Mr. Ames and Miss Beecher were present and are understood to have conceded that the plays are totally dis- similar, with the single exception that in both a painter finds it expedient not to deny a report of his death. That Mr. Belasco anticipated charges of "appropriation" or "assimilation" is indicated by his notation on the pro- gram that the piece was "adapted by Ditrichstein from Andre Rivoire and Yves Mirande's comedy "Pour Vivre Heureaux," as produced at the Theatre de la Renaissance, Paris, Jan. 16, 1912." Also seated in the audience at the premiere was J. L C. Clarke, who col- laborated with Charles Klein in the writing of "Heartsease," produced by Henry Miller at the Garden theatre a decade or so ago. Clarke thought he detected some points of resemblance to his script. Others there were who r( called "Nachruhm," produced in Ger- many nine years ago, anuiher piece shown in Austria seven years ago (name not recalled), "The Genius," done by Nat. Goodwin a generation agone, Tolstoi's "The Living Corpse," Hauptmann's "Gabriel Schilling's Flucht," and so on. But what cares the audience—the regular theatre-goers—about points of resemblance? Just so long as they are piovided with entertainment commen- surate with their box office expendi- tures, they exhibit not the slightest in- terest in the origin of stage offerings. Mr. Belasco can rest content with the gratification that he has begun his pres- ent season with a hit. In addition to his usual artistic stage direction he has assembled an exceptionally competent aggregation of actors and actresses for the interpretation of "The Tempera- mental Journey." Almost any other producer would have fallen into the fatal error of resorting to the old style farcical, horse-play methods of making the grim comedy points of a man con- templating the effect of the mistake of the world believing him to be dead. Leo Ditrichstein has the stellar role and contributed a characterization as artistic and fine as that offered in "The Concert." Running him a close second for histrionic honors was Josephine Victor, who struck, and sustained throughout, a very human note. Next in importance was Richie Ling. Isa- bel Irving, as a nagging, conscienceless wife, was all that could be desired. With the possible exception of Frank Connor in an ungrateful role, every member of tlic cast is entitled to indi- vidual praise. This will be readily un- derstood wlicn it is stated that charac- ter "bits" arc in the hands of artists of the calibre of Henry liergman. Jolo. LIEBER AUGU^TIN In the wake of the deluge of crooky underworld plays and sordid white slave pieces comes "Lieber Augustin" to render surcease. "Lieber Augustin" placed a large welcome on the doormat of the Casino Saturday night. There's nothing about this three-act operette from the German that will appeal to the morbidly curious. It has much to commend itself and because of pleasing music, pretty stage settings, beautiful gowns, large chorus, augmented orchestra and principals headed by DeWolfe Hopper, George MacFarlane and May DeSousa the piece should remain on Broadway in- definitely. The Shuberts, with the consent of the foreign interests that have a finan- cial interest in the piece, have given the production more care than some of their previous operatic efforts. The scenery was not painted overnight and a large orchestra handled the music as it should be handled. The dancing department is ably headed by Roszika Dolly, late of the Follies, who scored heavily on the first night. The play concerns the love affairs of a princess and her maid with a nervous fidgety prince and just plain Augustin, it piano teacher. Hopper was the re- gent and infused a lot of his own hum- orous personality into the piece. He touched up current doings in a jocular vein and thereby bolstered the com- edy. Hopper works hard, but the role should give him more opportunity. ^ MacFarlane, who ranks as one of ^ our few great baritones, hauled down big applause with his singing of "Look Ii Her Eyes." Though with an incli- nation to pose at times his voice car- ried him over big. Miss DeSousa acted well, sang better than she has for some time, and appears to have grown stouter which adds to her stage Ir.oks. Arthur Cunningham and Frank Far- rington deserve mention, while Viola Gillette is again in becoming tights. Miss Dolly danced first alone, then with Julian Alfred, who staged all the dances, and later with Fred Leslie. The last named acquitted himself gracefully and artistically. Leo Fall wrote the operetta witli the American version and lyrics by Edgar Smith. Fall did a good job and the music as a whole comes up t(' the approval of America's critical music lovers. In striving for comedy Hopper is furced to use the old explosive trick c'.gar, a catch line ("You've spoiled a good sneeze") and give the piece as iiiuch American fun flavor as possible. J he biggest laugh came when Hopper, sizing up Leslie's hopping, flyinglike foot jumping character of the prince, said "IliL mother must have been frightened by a chicken." The audience and the critics liked . "Lieber Augustin." Mark. NEW OIIPHEUM HKATS 2,200. Detroit, Sept. 8. The New Orpheum theatre, intended for Pantages vaudeville and being built by the same interests that have the Washington, will open about Jan. 1. The house will seat 2,200, and charge 10-30.