Variety (September 1913)

18 VARIETY RECTOR GIRLS At in the case of most of the Pro- gressive shows opening around here, "The Rector Girls," a former Western Wheel aggregation, sponsored by Mor- t'k& Wainstock, seems content to run along low comedy lines, the produc- tion evidencing both neatness and economy with no aim at pretentious- ness. Considering the outlay, the possibilities and the natural handicaps encountered, Wainstock has done ad- mirably well. The performance, strictly clean, is well balanced between comedy and music, the former fortu- nately falling into capable hands. Leo Stevens is credited with the authorship honors of both the opener and the burlesque, handling the bulk of the comedy work himself. Stevens is of a distinct eccentric type and has a few odd characteristics that stand by him well in his present employment. He is seconded by I'Vancis Reynolds in the first part, Reynolds playing a sort of light comedy part with an un- usually heavy facial make-up. As a foil for the comedian, Reynolds does fairly well, although he could consist- ently change places with Chas. M. Baker, whose "straighting" abilities helped make the burlesque a success. Baker portrays a silent role in tnj first part. He also scored in a moving picture bit, which incidentally is a novelty for burlesque. It employs most oi the principals, is of a travesty nature and abounds with good rich humor. Another bit was a panto- mimic scene in which Stevens and four show girls took part. This also landed nicely through the comedian's efforts. A scene in the first section wherein Stevens is upbraided by each of the principals in turn, is a duplicate piece of business to one shown in the Wat- son's Sister's Show, an opposition outfit. Lydia Jopsy, a prominent bur- lesquer, features the female contin- gent, occasionally landing a favora- ble mark with a good voice. Marguerite Ferguson, a gingery little soubret without any vocal ability, did well at times, but the lack of a voice handi- caps her efforts. Helen Jessie Moore and Stella Gilmore playing leads were prominent in the cast, but failed to do anything exceptionally wonderful with their unimportant roles. The olio consists of Miss Jopsy, with a repertoire of ballads and The Progressive Trio, a trio modelled along old fashioned lines. The latter act could be dropped from the vaude- ville end. They failed. The chorus of 20 make a fairly good appearance, singing well and continu- ally working. The costume changes show good judgment. A big improve- ment could be made in the musical division which carries considerable deadwood. The absence of good sing- ing voices among th« principals help show up this detect worse than it really is. The best part of "The Rector Girls" is the comedy, which after all is un essential in burlesque. Stevens can be relied upon to please and as the sea- son goes along will undoubtedly im- prove the weak spots. As it stands now, "The Rector Girls" can make the route without any trouble Wynn. WATSON SISTtRS SHOW Occasionally during the revolution of the wheels, show perhaps weary of burlesque's beaten path and its an- cient customs, disregards convention- alities, assume^J/he proportions of a • musical comedy and develops an unus- ual propensity for increasing receipts. 1' invariably felides through three prof- itable seasons. There are instances where such a show has exceeded that age, not to forget that it meanwhile ac- <iuires a valuable reputation along its route and becomes a prominent fix- ture on its Wheel. Such a show is Max Spiegel's aggre- gation headed by the Watson Sisters (Eastern Wheel). Its the nearest ap- pioach to the big thing since the ad- vent of "Wine, Woman and Song" jmd considering the presence of Marion. Joe Hurtig et al., Max Spiegel has ac- complished quite a little task. His per- formance has a consistent theme, the book carries an interesting story and tells it completely, the numbers have been apparently selected according to their relative value and his production measures up to all expectations. The chorus of 20 make a strong musical support and while not all individual beauties they have fortunately been blessed with attractive figures, one of a burley-que girl's greater assets, and in tights they establish a precedent as .1 collection. The principal division has been as- sembled with equal care, the comedy falling to the inevitable Irishman and Hebrew, but Spiegel has wisely elim- inated all suggestions of buffoonery, Uaving the characters with strictly legitimate comedy as their only ammu- nition. Frank M. Christy handles the Celtic role. The Yiddish comic is Ed Smalley. Christy is the every-day Irishman of life, minus the unnatural characteristics usually applied to the type, dressing neatly and cleanly ami employing no stage license for* the in- terpretation. Smalley also does not re- sort to the ridiculous for rewards. Fred Collins is the "straight," mod- elled for the part in appearance and carrying a perfect enunciation, an es- sential sadly lacking in most shows. Frances Farr, a soubret with a contor- tionist's ability is an earnest worker; likewise Joe Stanley wlio essays a ju- venile role and dances to a hit in the second section. Louise Rice playing a brown-skinned maid of the harem, fre- quently appeared to advantage partic- ularly in her classic dance. The Watson Sisters were an individ- ual success and justified their promin- ence. Their specialty was a distinct hit, comprised of a sensible selection of numbers. They gave the performance that little touch of class so seldom seen i'l burlesque, especially among its lead- ing women, their presence assisting in the creation of the general tone of re- finement that goes to make their own show a season's pacemaker. The production department features its scenery, the second part being par- ticularly pretentious, carrying a foun- tain and tank into which the comedians do a graceful flop during the action. The costumes are pretty, and in gen- eral keeping with the show, although another change could be added between the opening chorus of the first part and the arrival of the sailor coitumes. The red dresses are conspicuous because of their color and the absence of a needed change is more noticeable because of this. The book is by Joe Le Brandt, lyr- ics by Arthur Denvir and music by Ed- gar A. Vinall. All have done well par- ticularly Le Brandt, his story running nicely through a series of complica- tions to a reasonable climax and a con- sistent finish. Spots in which the com- edy lines could stand correction are in the minority. The ice cream bit could be moderated, Smalley running close to the undesirable line in his comedy business. The Watson Sisters have attained a mark the seasoned veterans will find pretty hard to outdistance. A well-bal anced cast and a real book with the Sisters added for good measure make one of the best shows any Wheel has ever held. If it doesn't come pretty rear establishing a record this season, the burlesque dope hook is all wrong. Wynn. EVA MULL SHOW Lewis Talbot' Eva Mull Show on the Progressive Wheel is not alone saved, but it is placed in the good grade through a plentitude of popular num- bers, fairly well led at all times and backed up by a chorus of 20 girls, who are made to keep on the move, giving the performance a semblance of con- tinuous ginger that pleases. The show is at the Gotham, New York, this week. It runs in two acts, with no olio. The first part is 75 min- utes, but it doesn't drag. Encores are only taken when earned, and this helps greatly. Hardly any of the numbers could be said to have fallen down, though the tights affair with Anna Yale in front was not impressive. It was followed up in the same fleshings by "Lincoln's College Flag," which Frank Thorndyke led. The speed caused by the many songs breaks up the entertainment sufficiently for the comedians to get over. There are two, Fred Russell as a Hebrew and Jimmie Kearney in the Irish role. Russell doesn't dress cleanly enough in the opener, and fails to score when first appearing; but gradually gets to the house and wins out easily by the time he reaches his parodies in the burlesque. Elongated legs ^<a(e of some assistance to him. Kearney has a good idea of comedy and a comedy face. As the opposite to Russell, he does very well. Bobby Harrington passes as the straight. He has an "Ah" voice, a heavy facial make-up, and affects the Harry Fox style. Thorn- dyke leads numbers and looks good. No one dances, and while this is missed it helps the choristers to get over with their light stepping. Thomas Grady staged the show. He may not be creative, but he stuck to his objective point—motion. The chor- isters have simple movements, but they never loaf. In "Raggydora" the business as far as possible was taken from "The Honeymoon Express" at the Winter Garden. The chorus girls run to spareribs and brawn. Some are pretty, and oth- ers are not. A few of the heavyweights seem to favor their own figures, but they may as we'l yield to Miss Yale in this. One of the girls, and the best worker among them (having ao end position), Helen Douglass, was given "Country Girl" to lead. Helen handled the song all right, but led as a "country girl" in tights, while the bunch behind her wore gingham wrappers. This isn't recherche. Another point about the girls of this show—their wigs were very bad, almost without exception. The principal women dress neatly, and the choristers look nice; but there has been no extravagance in clothes. Considering the new Wheel and many other things, it is no real fault if the girls present an appearance as these girls do. Miss Mull is principal woman, of course. Whether Eva Mull can hold up a show is a question, but she pleases in this production, and appears to be a fair combination of an engenue and soubret who can't dance. Eva looks promising, and is an earnest worker. As a boy in evening dress singing "Where Did You Get That Girl?" Miss Mull showed to advantage. Some "show girls" behind her should be tak- en away. They can't look it, so why force this? The first part finale is "The Man Who Broke the Bank at Monte Carlo." Though in blend with the set, the finish should be strengthened up with a swinging number. The whole first part leads up to a big finish, which simmers down through the ' song. Alice Gilbert and Fred Church are also listed as principals. What is termed a travesty of "The Littlest Rebel" is put on for five min- utes. It is preceded by an unncessary announcement and the thing is made altogether too important as "something out of the line of burlesque." It is neither that nor a travesty. The piece is played too straight, and but for two lines would be entirely so. It is a diversion, however, and fits in, but there is nothing about it nor the work to gloat over. Miss Mull takes nice care of the kid part, but a fault with Eva that never leaves her is a very bad make-up. Her eyes are blued to extreme, and it is above a heavy red on the cheeks. The chortis girls ap- pear to have followed Miss Mull's pre- scription, and this defect extends down the line. Russell and Kearney have a couple of bits of their own for fun relief. There is some familiar work, variated, and the comedy on the whole isn't bad at all. One recommendation for it is that there is not too much. Some "spice" in dialog finally runs to "dirt" when Miss Mull and Mr. Harrington speak of marriage. Up to then everything had been lovely. If Miss Mull wishes to establish herself as a Wheel card she had better side- step this stuff. If it must be pulled have someone else stand for it. The Eva Mull show is not dirty, however, and it's a good entertainment of the burlesque sort, the kind of a performance that when playing against the opposition show will let it know it's in town. These Progressive Wheel shows are making good, at least those seen so far. For 50 cents top, the scale at the Gotham, they are a regular return for the money. Tuesday night the Gotham had a 75 per cent, house, with no extra attraction. Sime.