Variety (January 1914)

VARIETY 21 Jesse L. Lasky Co. (10). "Clownland" (Songs). 23 Mins.; Full Stage (Special Set). Colonial. In "Clownland" Jesse Lasky has giv- en vaudeville entertainment that of its sort will be thoroughly satisfying to the audience. Whether the managers will believe it is worth what must be asked for the 16 people employed is pel haps another matter. But the act is there. Called "Clownland" there is no comedy whatever beyond the clown costuming, and this is made very at- tractive against an appropriate setting, the setting alone, which fully covers the stage, even to the tormentors, giv- ing an appearance of brightness to tiie whole that is of no little aid in sur- rounding the well-staged numbers. When Valcska Suratt hit upon the white, and black stage dressing scheme in her latest act, she suggested some- thing to lots of 'em. Nothing but songs in "Clownland," all or mostly all published ones, with no publisher favored. In this turn, which in reality is a big straight cabaret number, Mr. Lasky has clung to popular airs with good results. George Spink presides over a concert grand and Mabel Ge- beau has charge of an upright piano on the other side. In between are two lines of principals and choristers, with Victor Stone and Ceballos and Desmond featured. Mr. Stone looks well and can lead a song. Ceballos and Desmond do their fast dance to much applause. Mr. Spink has charge of the best produced number, although the staging has all to do with the success of the turn. The act travels swiftly to the finale, which is ruined by a non- sensical plan of sending the entire company into the orchestra aisles for a very, very noisy hurrah, horn-tooting finish. This is old stuff, too, and should be thrown out. The act goes to a legi- timate conclusion on the stage and should end there. Other principals who lead in numbers arc Shirley Lawrence, Charlotte Fielding and James Du Bois. They do well enough. It might be said that this is the first practical vau- deville act Jesse L. Lasky has turned out. All his others depended upon some one thing, or more. "Clownland" has nothing but specialty, people and songs. Perhaps that is why. Rimr. Rube Strickland. Musical Monolog. 13 Mins.; One. Grand O. H. (Jan. 4.) Rube Strickland gets a laugh on his first appearance. In yokel makeup Strickland looks nearly seven feet tall, ir awkward and ungainly and ambles around like a country cousin some years behind in dress and mode of liv- ing. Strickland did well with the first half of his act, but didn't seem particu- lar about hurrying things up a bit. The Grand audience couldn't hear what he said, as his talk was done mostly to one side. Strickland could improve considerably speaking louder from closer footlight proximity and work his musical numbers up along a more modern type. He's. funny on looks, has musical ability sufficient to frame a much better turn and could give his Rube dance some new angles. Rube should not turn down "pop" house bookings. Mark. Mona Garrick. Impersonations. 11 Mins.; Five (Parlor). Harry Lauder Show. Casino, New York. Mona Garrick is proclaimed in the program an English Dramatic Actress who gives impressions, something she fails to leave behind her, however. Miss Garrick's first was of Martin Harvey, as Fabian in "The Corsican Brothers." Mr. Harvey is reported to be on the water on his way here, perhaps to stop Miss Garrick. The girl's second (and last) was of the late Wilson Barrett in "The Sign of the Cross," in the scene where Barrett pleaded for the release of Mercedes and fought a duel. Miss Garrick did it all, even to the duel, going to the latter single-handed, with a tin sword. It's not nice to talk about '?. dramatic actress who bears the name of Garrick, but if Belle Blanche should appear at the Prince of Wales theatre, London, and give an impersonation of Edwin Arden, London would have the same opinion of Miss Blanche that New York will get of Miss Garrick. Bim* Ethel Bourne. "English Contralto" (Songs). 6 Mins.; One. Harry Lauder Show. Casino, New York. "The English Contralto" is from the program, which also mentions "From Albert & Queen's Halls, London." Did Ethel ever hold down a job at the Albert & Queen halls, she should have stuck to it, not taken a chance over here. Carnegie Lyceum, New York, ranks with the London places mentioned. Miss Bourne first sang at the Casino Monday evening, "Rocked in the Cradle of the Deep." They died pretty fast and in a row during the first half of the Lauder show. That was the funeral anthem for all of them, including Ethel, who possesses a few real contralto notes but has a pancake pushed off the route for flatness in her other tones. Sime. PeAlma, Perry and Hunter. Banjoists. 11 Mins.; One. American. Two women and a man, straight ban- joists. Open with a selection by the trio, then the two girls, man follows with an operatic bit, close with pop medley by trio. Orchestra plays forte throughout. Neat appearance, but old style of turn, hence big small timers. Jolo. DeLassio. Tumbling, Contortion. 5 Mins.; Full Stage. American. The impression is gained until the finish that but one man is performing, with mavellous rapidity, a series of contortion, tumbling, Arab handstands and finally Arab whirls or pirouettes. When both appear simultaneously it is a complete surprise. The men are un- doubtedly twins. Good act of its kind, and a novelty. Jolo. If you don't advertlM In VARIKTY. don't advertise at all. Dick Crolius and Co. (2). Comedy Sketch. 18 Mint.; Five (Parlor). Columbia (Jan. 4). The unnamed and unprogramed comedy playlet Dick Crolius presented at the Columbia Sunday seems new. It again brings him forward in a rac- ing, slangy vehicle, into which he fits so well. The story is consistent, unu- sually so for a comedy sketch, and while possessed of some sober mo- ments, Mr. Crolius, who handles them, does not try to become a tragedian in the process, thereby easily passing over the quiet periods. The piece is z. bit protracted and could be taken in a faster tempo. This likely will be done after Crolius has tested it for a while. His company could be im- proved upon, both people, although the sub-male character calls for a "type" presumably. The story is of a daugh- ter, left a fortune by her father, a horseman, on the condition she finds and marries the man who saved his life on the track. The amount of wealth involved is only $500,000. The girl has a suitor. He wants to frame for the money with her. Enters Mr. Crolius as the race track hanger-on, who wants to know if "Black Bess," her father's famous runner, will en- ter in the next big stake. The girl says no, the horse is going to pasture. It's worth $100,000, remarks Crolius, who doesn't want to see the animal turned out to grass. He needs the money, it is explained, that might be won by him on "Bess" to send "Becky" to Arizona for a "new set of flues." Showing the girl a picture of Becky and himself at the track, it is disclosed Crolius was the man who saved her father's life. She asks him to marry her, stating the conditions of the will. Crolius refuses, says he is not in the same class, but mean- while puts a dent in the ambitions of the suitor, and finally informs the girl "Becky" is his sweetheart; he will marry her that afternoon, giving the daughter a clear lien on the money. In return for his generosity the girl makes him a present of "Black Bess." Crolius of course carries the act. There are good laughs and slang in it. Sime. Mme. Mary's Greatest Show on Earth. Circus Act. 11 Mins.; Full Stage. (Special Pano- ramic Drop.) Fifth Avenue. A straightaway presentation of the i evolving table claimed by Cliffc Bcrzac ;nd the unridable donkey for the fin- ish, the turn being conducted by a woman in riding habit, who worked the dog which runs on the table and man- ages the donkey. The strength of the act is a clown made up much in the Marcclinc manner, who takes a most remarkable scries of falls from the spinning table and has a screaming bat- tle with the donkey. Five other nun appear incidentally, but the clown men- tioned is the one best bet. On "No. r at the Fifth avenue (8.10 p. m. Mon- day evening), the offering was an im- mense laughing success. Rush. George W. Day and Co. (2). In Dutch" (Comedy). IP Mins.; Full Stage (Interior). Union Square. George W. Day does a most artistic character study of a philosophical mid- dle aged German. Aside from the por- trayal of this interesting individuality the offering is light. Henry Schiller (Mr. Day) is a contented shoemaker cf socialistic tendencies. He has his daughter, Mary Ann (Marion A. Day), his health and enough money from his humble earnings to eat regularly and sometimes spend a day at Coney Island. He wouldn't change places with John D. Enters Phil Daly, Jr. (Charles Hines), a poor working man, in love with Mary Ann. Phil and Old Henry arc on the friendliest terms, and it looks as though there would be no opposition to the wedding. Here Henry learns that an uncle in the Old Country has left him $20,000. Gone is all his contentment. Gone is his socialistic leaning. Mary Ann must have a rich husband, and old Henry schemes to wed her to a middle aged undertaker. Then word comes that a later will leaves old Henry out. Op- position to Phil ceases imme- diately and the wedding is in prospect. The tale is bald, and the playlet is in- teresting only by reason of the little touches of characterization which Day gives to his Old Henry. ——- Rush. Myrza Marsten and Co. "The Love Slave" (Dramatic Sketch). 19 Mins.; Full Stage. Poll's, Bridgeport, Conn. Based on the episode of Melvin M. Couch, of Monticcllo, N. Y., and the discovery that Adelaide Branch had lived in his law office for 15 years as his constant companion, "The Love Slave" is offered as a sensational love story. It is by Edward Weitzel and five people arc concerned: Myrza Mar- sten as Ada Bell, the "love slave"; Koyal Thayer, the lawyer; Thomas Mceghan, the doctor; M. H. Harri- man, the sheriff, and Martha Thayer, the wife. The action starts with the appearance of the "love slave" in the lawyer's office just as the latter returns from the doctor's where he has learned he has heart disease. The "slave" begs he accompany her on a visit where she can meet members of her own sex for a time. A discussion follows, during which the lawyer becomes excited and falls dead. The lawyer's brother, a doctor, is summoned. He tries to cover up the affair by hiding the woman. The appearance of the wife and her suspicions impel her to demand that the sheriff be summoned and order a March. "Love slave" thereupon dis- closes herself and tells of her self im- ! oscd imprisonment. The wife sneers at her and orders her away. The "slave" attempts suicide, but a revol- ver is snatched from her in time. The wife would hush the affair up, but sher- iff insists that the legal forms be car- ried out. Curtain descends with the "slave" crying "It's the woman who pays!" The playlet is put on at "small time" standard, although the players are adequate. As a sketch it is weak, particularly in the finish, but the vast publicity of the Monticellp affair made if an immense "draw" at Toll's. Roberta.