Variety (January 1914)

VARIETY 19 [OMAR, THE TENTMAKER It it easy to understand how Richard Walton Tully, author, and Wilfred Buckland, stage director, both gradu- ates from the Belasco school, were tempted to personally undertake the production offered Tuesday evening at the Lyric "Omar, the Tentmaker." It is one of those alluring propositions, like a poker game—you do not think you can play the game, you just know it—and forthwith proceed to pit your skill against the world. You may win but the percentage is against you. "Omar, the Tentmaker," is announced programically as a Persian play based on the life, times and Rubaiyat of Omar Kahayyam. Quatrain after qua- train from the Rubaiyat is used in de- veloping the plot of the piece, which is highly melodramatic in the spots where Oriental romance were intended. Had Mr. Tully's "dramatization" of the life of the Persian tentmaker been shown to the metropolitan public prior to the production of "Kismet," it might have been proclaimed a departure in stage presentment. To day it can only be said to have followed in its foot- steps. The character of Omar, as shown in the prolog, is that of a student, full of romance and heresy—and wine. He gave every promise of rivalling Hadj, the Beggar, in "Kismet." But despite the free use of the classic quatrains from the Rubaiyat he never once be- came invested with the romance of the filthy, dishonest, murdering—yet attrac- tive beggar, who is the central charac- ter in "Kismet." Guy Bates Post has the star part in "Omar," which just about one half the time resolves itself into a monolog, in- termittently broken by action to mark the progression of the drama. The author in a curtain speech said Mr. Post had waited three years, meantime playing minor parts, in order that he might have his present opportunity. And what actor wouldn't! There never was a "fatter" part in the matter of "reading," unless it be the melancholy Dane. Any actor, competent or other- wise, would sacrifice innumerable years for the glory that might attach to the creation of so stellar a role. In justice to Mr. Post it should be recorded that his reading of the "jug of wine, loaf of bread and thou beside me in the wilderness" and numerous equally well known selections, was, without detailed analysis, excellent. He was competently supported by the ma- jority of the male principals, i. e., Lee Barker, Fred Eric and Charles Fran- cis. The same cannot be said of the female contingent. Jane Salisbury, the leading woman, was unequal to the im- portant role allotted to her, while Louise Grassier was only partially sat- isfactory in the second part. No attempt was made to display any unusually expensive scenery, but some remarkably effective suggestions calcu- lated to appeal to the imagination wt.* offered. "Omar, the Tentmaker" just misses being a sensation. Jolo. STARS OF BURLESQUE This organization headed by Billy Spencer, was breaking in new material at the Gotham last week and in con- sequence there was some roughness in the going, especially during the first part. The burlesque was fairly smooth, being made up of sure-fire comedy bits and the usual complement of numbers. The one best bet in the number de- partment is (Miss) Will Nell Lavender, who is a sort of combination principal boy and prima donna. Miss Lavender has a soprano voice of a quality not too common in burlesque and uses it to splendid effect in the ensembles. Be- sides which she makes a most satis- factory picture in tights. The combina- tion of voice and appearance went a long way toward holding up the second half of the show which was not any too long on entertainment. Babe Mills did a spirited dance as an incident to "Parisian Ball," but did not otherwise become prominent, and Lil- lian Emmerette was hidden under a grotesque character role. The company is not especially strong in its principal women and the concealment of two of the three active workers did not make for the best effect. Had it not been for Miss Lavender the show would have done a total flop. As it was the results were far from sensational. Probably the best of the numbers was that which disclosed the 18 choris- ters in union suits of pink covered by long cloaks. Half a dozen members of the line were introduced just long enough to sing a chorus and give the house a glimpse of feminine curves. This was good for half a dozen encores, well down toward the end of the even- ing. Mr, Spencer plays his Irish character legitimately. He gets a fair amount of fun out of "Patsy Bolivar" role, with- out resorting to off-color material. For a moment during his talk with Miss Emmerette it looked as though he might overstep, but he got past without any disagreeable incident. Arthur Meyer in the familiar role of German hotel pro- prietor acted as feeder to Spencer and the pair had some reasonably amusing moments. They develop nothing particularly striking in comedy, but they handle the familiar bits well enough, such as the trick of drinking a glass of beer with one hand, money changing and the like. Jack Howard is the straight, working to only fair returns. He devotes one period to tangled talk concerning the name "McWhatt" which is far from novel. Lew Hoffman docs the conven- tional "Rube" sheriff and Al. Borger is the silly kid. A three-number olio divides the two pieces. Added the feature in it last week was a white slave film. REBUILDING ARVERNE PIER. The Arvcrnc Pier and theatre, swept away by the recent storms along the Atlantic Coast, will be rebuilt by Ed Margolies. He suffered a loss of $75,- 000 through the stripping of the shores. Plans are now being drawn for the i.»w pier by Henry B. Herts. It will have a dance floor and theatre. The old pier ran 400 feet into the water. AMERICAN ROOF "Country Store Night" jammed the lobby of the American theatre around eight o'clock Monday evening. It was a local crowd, although when the household effects were given away at the conclusion of the performance, Charlie Potsdam, the manager (who ran the stage for this period) announc- ed that May Mclnerney, of 1720 Third avenue, was among the prize winners. May was a long ways from home to get a glass flower holder, but one fel- low with a Brooklyn address received a pair of trousers, so it commenced to look, if the home numbers were on the level, that the American draws beyond a neighborhood patronage. Creighton Brothers and Belmont, who had closed the show proper, clowned the "Country Store" thing in their rube characters, securing many laughs with ad lib matter and enliven- ing the rather slow proceedings. The prize winners were called from their seats in the house to chairs on the stage, and after a group had been gathered, the prizes were distributed. Among these were some kitchen cook- ing material, with the names made em- phatic when mentioned as though that might have been a part of the bargain for the advertisement given. If "Country Store" can pull each Monday evening the way it did the first, the Roof, with its 25-50 admis- sions has hit upon a happy scheme to push business up the worst night in the week. Monday the Roof held capacity, in the orchestra and balcony, unques- tionably more than doub'ing the cus- tomary receipts for that evening. The bill ran through as usual, with an intermission. It was a good show to place before the new crowd, some of whom may have been drawn above at the higher prices to the cost of the down stairs pop price theatre. Caste- lane, the bicyclist, opened, making a good act for the spot. He works rapid- ly and concludes with his bicycle-som- ersaulting. The Olio Trio were "No. 2." The three-act has a woman in it who mistakenly sings a ballad, and the song frame up of the turn isn't of the best. The turn should make itself worth more than "No. 2" on the small time or go to cabaret work. The White Models came after. It is a posing turn in white that very closely resembles "The Act Beautiful" from the big time and may be that act. It was liked. Fantelle and Valorie were the first life of the fire in the next position. They talked and sang songs, danced and were quite popular. In a single song the man did, the verse referring to fairies should be omitted. It is ac- cepting too much for granted to believe the whole world is wise, and that ref- erence might cause the innocent to ask questions. Otherwise he has an excel- lent topical number in this that may be stretched out to any length, and should be always kept up to date. In the second half, which Mr. Pots- ('am rearranged to permit of the set- ting for the "Country Store" finish (without having a long wait), was Karl, a violinist, who features a one- string cigar box for the imitation in- strument. Pretty important spot given Karl. He's a small act. Maude Hall Macy and David Higgins, with their rather large company for small time (some of the company from the orig- inal cast), gave "A Story of the Under- world" to the undivided attention of the audience, who liked the playlet and made that evident at the close. It could hardly be said Mr. Higgins adds any strength to the piece excepting through the association of his name, for the role taken by him is not the principal male lead, but the combination of names (including title) and people is a very strong one for pop vaudeville. It's a big impressive looking sketch for the small time stage. "Thro* the Skylight" and Les Ava- dos, New Acts. dime. HAMMERSTEIN'S It isn't always quantity that draws business, as witness the current week's program at Hammerstein's, which has but ten acts and a feature reel, as against twenty acts last week and two feature reels. Monday afternoon the house was jammed full, perhaps in part attracted by Mr. and Mrs. Vernon Castle (New Acts). The night busi- ness was off, because of zero weather accompanied by a 75-mile an hour gale. On the same bill were Max and Mabel Ford (New Acts), another dancing turn, but of different style. Kola, a contortionist in frog make- up, with scenic and electrical effects, opened the show. His start is good, but the finish weak and lacking in showmanship. Shark and Baker, clad in wooden shoes and dress suits, later changed to business clothes. They in- troduce a novelty in the "hoofing" line by reversing the prevailing style of ap- pearing first in sack suits and finishing in dress clothes. Then again their clat- tering upon wood chairs should make "Hello George" green with envy and issue a proclamation of "plagiarism." Nellie Elting and Co. in a playlet adapted from the French, entitled "A Woman of the Streets," was overJcey- ed. The sketch was on rather early. Kilda Morris acted her songs well. Fisher and Green, with their tabloid "Potash and Perlmutter" comedy, are now working more smoothly and earn- ing for themselves plenty of applause. They should kiss James Horan, the author of the piece, every pay night for making their talents stand out so ef- fectively. Joe Howard and Mabel McCane were warmly welcomed. Joe has grown a trifle stouter and Miss McCane has de- veloped an unpleasant habit of hunch- ing her shoulders to indicate "naivete." Nicholson and Norton secured a riot of laughs with their burlesque skit "Ella's All Right." Some of the bits of "business" are not in very good taste, but they draw laughs. Belle Baker used the same gold chajr for putting over one of her numbers as Eilda Morris employed earlier in tilt evening. Miss Baker has a new song by Irving Berlin that would seem to be capable of much greater rhapsodizing. Charles Ahcarn troupe held the closing spot, preceding a feature film and reg- istered a strong laughing hit. The film is in three parts. It is of Italian manufacture, preaching a lec- ture on the sin of immorality and its consequences. It ran for forty-five min- utes, most of the audiences remaining for the finish in the hope of seeing "something come off." Jolo.