Variety (October 1914)

14 TA1IBTT BY FREDERICK M. MS CLOY Every once in a while there occurs some new substantial indication of the growing importance of burlesque. It is usually revealed in the recognition of the worth of this form of amuse- ment by some great daily newspaper that had persistently ignored it on thr ground of worthlcssiu'ss. This particu- lar kind of approval of burlesque is two-fold in its significance and value. It emphasizes the fact that burlesque has actually achieved a place in the schedule of accepted meritorious af- fairs of the stage, as opposed to its long-standing denunciation or ignor- ing by the important press. In my opinion, this is the most felici- tous conquest burlesque has made. Aside from its purely ethical meaning, it automatically carries with it the patronage of the great mass of peo- ple that is swayed by the utterances of the newspapers, whether for policy or for a conscientious unwillingness to patronize an unworthy exhibition. The people engaged in the burlesque busi- ness should welcome every turn in the treatment of their activities that makes for self-respect and for the commenda- tion of their fellow men. It is not agreeable to the person of average sen- sibilities to be constantly conscious of the unworthiness of his vocation or of the existence of unwholesome atmos- phere in his business life which must, perforce, extend to his personal en- counters. The approval of the credible press indubitably means the approba- tion of the public. , The most recent instance of the im- portant recognition of burlesque by the daily newspapers that has come under my observation, is an editorial in the Hartford Post of Sept. 25. It was writ- ten by Dr. Henry McManus, principal owner and dramatic critic of that paper. Dr. McManus was attracted to the Grand theatre, Hartford, in which Dave Marion was presenting his show. In his more than half column review of the performance that appeared on the editorial page the next day, after alluding to the house as "that extreme- ly attractive theatre" and dwelling upon the beauty and completeness of the Marion production, the critic wrote "Mr. Marion's performance last night was my first chance to realize fully what a remarkably convincing actor he is and what a truly impressive per- formance he is capable of giving. His •Snuffy* and 'Jim, the Hick' is as fine and truthful a bit of character study, as deftly and convincingly presented, and as distinctly humorous as anything the legitimate stage has ever seen. And his recitation of The Top of the Morn- ing, Ireland,' is as charmingly sincere and touching. Neither 'Snuffy' nor 'Jim* are complex or cultivated charac- ters, but they are humorous and abso- lutely natural. I am sorry that this is Mr. Marion's farewell season. I wish George M. Cohan would write him a play and I also regret that I did not have an opportunity of making his ac- quaintance ten years ago. It has be- come a fashion in the last few years for dramatic critics to take themselves so seriously that nothing less than Ibson. Materlinck or Hauptmann could induce them to uncover their critical facility enough to acknowledge that the art of acting could be expounded and exemplified in anything but morbid and melancholy mummery. But some of us who simply profess to be thea- trical reviewers can, thank God. see good work wherever we find it and give expression however unskillfully to the appreciation we feel." The purpose of this article is to record the circumstance that burlesque is advancing to a position of conse- quence in the important affairs of the theatre. To Mr. Marion, as a con- spicuous unit in the accomplishment of this laudable achievement, all praise is due, and to the Columbia Amusement Co., whose desire for the betterment of burlesque is materially furthered by such newspaper commendation. Unauthoritative^, I want to say that the prospective taking over of a num- ber of Progressive burlesque shows by the Columbia Amusement Co. is not the result of any initative on the part of the Columbia people, either individ- ually or as a body. Based entirely upon my own observations and trust- worthy information that has reached me, I am convinced the endurance of the Progressive Circuit could not have been prolonged beyond the immediate future. While it is true that some of the shows at certain points have played to profitable business, it is equally true that a majority have so seriously suf- fered from lack of patronage that the speedy end of their operations was in- evitable. Specific instances of this condition are so numerous that the enforced abandonment of the struggle for ex- istence would have compelled the clos- ing of so many theatres on its circuit that the Progressive shows which could have weathered the storm would have been unable to continue, through lack of a sufficient number of houses to play in. It must be borne in mind by those who are unfamiliar with the prevailing system governing the oper- ations of the burlesque circuit, that when a show closes a theatre is neces- sarily closed. It is the existence of these conditions that has brought about the expiration of the Progressive Cir- cuit. Having nothing to lose and noth- ing of direct or special importance to gain by the discontinuance of this con- cern, there never was any reason why the Columbia Amusement Co. should seek or desire amalgamation with it. Acquiring a few of the best of the Pro- gressive shows and theatres simply means the expansion of the Columbia Circuit and the concentration of the burlesque business under one super- vision. BILLY WATSON'S SHOW. In burlesque, Billy Watson is a name to conjure with. On the bill boards it is an invariable precursor of crowded theatres. This is as positively true as it is certain that the great throngs don't care a rap about the mise en scene, the technique, the observance of the niceties of equation in construc- tion nor any of the other integrants that are demanded of an author who relies for success upon such details. The great American commonality, Who are loyal Watsonites to a man, simply want Billy Watson. They know him and for years he has satis- fied their thirst for enjoyable en- tertainment at his exhaustless well- spring with its generous bucketfuls of robust humor. The Billy \v*atson show is sui gen- eris. It is in a class all by itself. If the spectators fail to laugh immoder- ately all through the performance it is a sure sign of dyspnoea. For no liv- ing, breathing human being could re- sist its drollery. It is Watsonesque drollery, to be sure, but it is irresisti- ble for that very reason. A lively tempo is struck at the be- ginning and it is maintained until the ruthless asbestos descends and ends it all. Mr. Watson has a new show this sea- son. The old familiar Krousemeyer's Alley and the cats and all that are gone. In their place is a superb throne-room in an Irish palace, a salon in a "toney" East Side residence and a brilliantly lighted roof garden where a christening party is holding forth. Krousemeyer and Grogan are there as of yore, and they quarrel and make up with customary regularity. Gro- gan comes to the function accompanied by a keg of beer and one of the cats of yester-seasons. Likewise, a "bun" exception to which upon the part of Krousemeyer is the cause of a lively row. Krousemeyer is more particular for the observance of the conventions in his "swell" environment than when he dwelt in the alley. This is made manifest at a point during the progress of the banquet when Grogan insists upon making a speech, using a daintily set table for a rostrum and is indig- nantly admonished by Krousemeyer to remove his feet and "give the cheese a chancel" Watson should worry about the inference conveyed in this demand; it was followed by a roar from the audience that could have been heard upon the street. "Make 'em laugh and please the eye!" That's the Watson slogan, and it calls out the faithful every time! Those laughs and the glued-eye inter- est of the onlookers all the time the ponderously constructed ladies are within the range of vision, effectually disarm criticism. And you have got to let it go at that. When people at- tend the theatre to be interested and amused, and when they so obviously get what they seek as in the instance' under notice, why bother about cause and effect? The public is satisfied and Watson is successful. And that's the end of it. Just the same, there is some mighty good acting done in this Watson show. Regardless of the material that is em- ployed, the star is a natural, convinc- ing performer. In "Phillip Krouse- meyer," Mr. Watson has drawn a type that is as distinct as any character cre- ation of Sol Smith Russell, John E. Owens, Edward Harrigan or any of the other celebrities whose names live in stage history. And he portrays it with a fine sense of humor and with a manifest understanding of the exac- tions of faithful portraiture. He looks the familiar German of the lower East Side, and in dialect and action he is a perfect counterpart. John W. Jess, who plays Grogan, the Irishman, brings to his work the true appreciation of mimicry that denotes the skilled actor. Mr. Jess' impersona- tion is a faithful representation of the character and he is genuinely funny, the more so because he makes no ap- parent effort to create laughter. Wat- son and Jess work together with an even break for first honors, and not- withstanding the inanity of the book, their efforts succeed perfectly in keep- ing the audience thoroughly amused. While the stage is being set for the change to the roof garden scene, Wat- son and Jess introduce a duolog in "one" that is a scream. Lillian Franklin, the prima donna, makes a fine appearence and sings ac- ceptably and Ida Walling appears to advantage, especially in her imperson- ation of the Irish Queen in the first part. Margaret Newall does a Yid- disher song and dance and gets well merited applause for it, and Ruby Marion and Amy Thompson contribute a musical specialty in brass with good effect. Others in the cast that aid in keeping the performance moving swiftly are Adelaide Walsh, Lulu Leslie, Ed Lalor, Charles P. McGinniss, William J. Bowere, John B. West and Harold Mortimer. RUSSELL-MORTON WEDDING. Zella Russell, the accomplished pianologist and leading woman with the Gus Fay "Gayety Girls," and Har- ry K. Morton, co-star with Mr. Fay. will be married next week while the show is playing at the Star and Garter, Chicago. '" , Fred Nolan Leaving. Fred Nolan, of the Rose Sydell show, withdrew from that organization last Saturday at Rochester. Marion Show's Route Switched. General Manager Sam A. Scribner has switched Dave Marion from Worcester and Bridgeport to the Ca- sino, Philadelphia, next week (Oct. 5). This gives the "Happy Widows" a lay- off.