Variety (October 1914)

16 VARIETY NEW ACTS NEXT WEEK Initial Presentation, First Appearance er Reappearance la or Around New York Rose Dolly and Martin Brown, Palace Tom Lewis and Co., Palace. Fridkowski Troupe, Palace. Johnson and Deen, Hammerstein's. Arthur Barrat and Co., Hammerstein's. Kolb and Holland, Hammerstein's. Eveleen Dunmore, Colonial. Walton and Brandt, Royal. Arthur Prince, Orpheum. Six Navigators, Prospect, Brooklyn. Newhouse, Snyder Co., Prospect, Brooklyn. "Night and Day," Union Hill, N. J. Sorettis and Antoinette, Union Hill, N. J. Willard. The Man Who Grows. 12 Mins.; One. Hammerstein's. Willard, the man who grows at will, has one of the most distinct and unique vaudeville novelties extant, combining an interesting study in human phys- iology with a semi-comic monolog that never touches the monotonous point of a lecture, and behind both a personal- ity and delivery entirely unexpected in a turn of this nature. In evening dress, with a colored attendant in livery, Wil- lard explains a few facts of current and past interest, giving a line on his birth, habits, etc., the spiel being well blended with comedy. Willard, who is six feet tall normally, then exhibits his grow- ing abilities, after assembling a com- mittee on the stage. The elongation is visible and mystifying, more so when Willard disproves the suspicion of a dislocation by freely exercising the joint muscles of knee, neck and waist while at an extreme height. Resting on one foot he elongates the other, and ▼ice versa, following this with a dis- play of arm growth, extending, either arm a distance of about fifteen inches beyond normal length. Realizing this to be the only act of its kind in ex- istence, a complete review is difficult, for Willard is one of that strange species of novelty that one must see to appreciate. At Hammerstein's on a topheavy bill he was one of the even- ing's hits and without doubt is a valu- able card, for Willard will create com- ment, and with the advertising possi- bilities contained in his exhibition, should break into the record division if properly handled. Wynn. Mary Hight. Raconteuse. 10 Mins.; One. Majestic, Chicago. Chicago, Oct. 14. Stories in dialect, told with consid- erable unction, Miss Hight is a local product, lacking vaudeville experience. She has a fund of pretty fair stories, beginning with Irish tales and then German, also darky folk stories. Her voice lacks carrying power, and she needs stage training. Monday after- noon the house was pretty well filled with friends. As a lyceum attraction fho would do much better. Gladys Clark, Henry Bergman and Co. (11). "The Society Buds" (Musical Comedy). 44 Mins.; Full Stage (Special Set). Palace. Forty-four minutes is too long for a big time vaudeville musical comedy sketch, even though a Jesse Lasky pro- duction with the popular Clark and Bergman starred. That is the only trouble just now with the act. If re- duced to a reasonable time limit, this Lasky number should rank with his "Trained Nurses" which did so well for a couple of seasons, with the same couple leading. William Le Baron wrote the book and lyrics, with music by Robert Hood Bowers. Frank Smithson staged the piece. Two songs are interpolated by the principals, writ- ten by Irving Berlin. Eight chorus girls and a musical director are there. A logical story is carried to the finale- Henry Bergman as a chauffeur in love and Miss Clark as a maid in the same family, impersonate their employers (who are professional dancers) to en- tertain a party of society buds that evening, teaching them to dance and re- ceiving $5,000 for it. The attempts of two butlers (Clifford Robertson and Vincent Erne) to steal the money furnish the grounds for the comedy and the repeated entrances and exits of the pair. One number, "Society Buds' Day," led by Miss Clark, is made into an extensive affair, a sort of illustrated picture series for the choristers who have an opportunity in it. This is very well put on. "My Idea of Paradise" (Berlin) is a pretty song. The other Berlin number was "I Love to Quar- rel with You" (used Tuesday night in place of the programed "Furnishing Up a Home for Two"). "The Chained Ankel Glide" (Bowers) afforded a chance for a neat little hit of business and satire on the prevailing short skirt. It was done by Mr. Bergman and the girls. Messrs. Robertson and Erne, tall and short respectively, had "It's Really Too Absurd" for a duet number, with a dance, and from this point onward the two dancing come- dians commenced to stand out. In fact the dancing, as the act is at present routined, is the biggest factor in it. including the dances by Miss Clark and Mr. Bergman, collectively and in- dividually. The two comedians brought several laughs, and the two principals did the same, securing most of the latter with repartee, using some sure-fires ^ch as "the first national bank." Miss Clark looked daintily pretty and her personality left an im- pression. Mr. Bergman handled him- self and his material as usual, excel- lently. The act is costumed in the Lasky prodigal manner. Until prop- erly condensed no one concerned in the turn will know just where they are at. excepting that there is enough "meat" to it, and four Class A prin- cipals. Jane Quirk conducted the or- chestra. 8ifnf. Kitty Gordon and Co. (3). "Alma's Return" (Comedy Drama). 25 Mine.; Full Stage (Parlor—Special Set) and One (Special Curtain). Palace. One could almost wish that Kitty Gordon were more of an actress or a singer and less of a dresser. "Clothes" are the worst part of the comedy dra- matic playlet Jack Lait has given Miss Gordon, to hold her at last in vaude- ville with something worth while. Af- ter the sketch concluded in about 18 minutes Tuesday night, Miss Gordon sang "Carolina" in "one," with Helen Goff helping her along from an upper stage box. It necessitated a wait for Miss Gordon to change gowns, and while it was the song that made her sojourn in "one" possible, it was the dress that brought her there. Not alone the dress, but a cloak, trimmed with white fur so deeply all over that it looked more like a white poodle that had been clipped than anything else. But the women gasped over it, and Miss Gordon must have been satisfied to know that the large portion of the act's investment her wardrobe repre- sented had completed its full duty. This "one" section of the new Kitty Gordon act appears to have been de- signed for an anti-climax, that was programed, but did not show. It wasn't necessary, and the reappearance of Miss Gordon was overloading the program. In the opening Miss Goff, as Mrs. Sut- cliffe's (Miss Gordon) maid, had "shown up" Kitty's voice through sing- ing immediately after her. It happen- ed in a boudoir, with a Colonist-post- ed bed. It's a handsome set. Mrs. Sutcliffe is about to retire. She is an actress. A reporter forces his way into the room. He has a story. There is an impending scandal in the Sutcliffe family. Mr. Sutcliffe is not at home. No, he is seldom at home. The re- porter informs the wife that earlier in the evening he had been arrested for speeding, accompanied by a beautiful redhead. The reporter has her pic- ture, and takes one of the wife from a dressing stand. Will he give the photos up and suppress the story, for $2,000, his salary for a year on the Eagle. Not for any amount, nor for a string of pearls worth $10,000. Either return the pictures or die, says Kitty, picking up a revolver. Old stuff, re- marks the reporter, when the wife threatens to kill herself, if he leaves with them. He does leave, but returns just in time to prevent her committing suicide. She faints. He departs. The maid 'phones for the doctor, the wife stops her, takes the receiver, calls the club, tells her manager the scheme worked, and to say to her husband everything is all right now, he can come home, she having "planted" the story for the front page in the morn- ing. Mr. Hunter played the reporter and probably, according to Mr. Lait's stage direction. The dialog is made a bit slangy by him, and the author has taken a long chance with one line, but it got away over before the Palace crowd. The sketch is a good one, the "surprise finish" easily holding it up, and Miss Gordon can safely go over the circuit with this playlet, but she must find a better excuse than she now has for the encore in "one." Sime. NEW SHOWS NEXT WEEK Initial Presentation of Legitimate Attractions in New York. "Life," Manhattan (Oct. 19). "A Pair of Silk Stockings," Little (Oct. 20). "Chin Chin" (Montgomery and Stone), Globe (Oct. 20). "Kick In," Longacre (Oct. 20). "Diplomacy" (Revival), Empire (Oct. 20). "A Perfect Lady" (Rose Stahl), Hud- son (Oct. 22). "The Salamander," Harris (Oct. 23). »» "The Edge of the World.' Scenic. '- \ 10 Mins.; Full Stage. Colonial. E. Rousby in his production, "The Edge of the World," gives a convinc- ing demonstration of the evolution of light and color projection. In place of the stereotyped stationary views ac- companied by a study in near-nude femininity, Rousby offers a combination of moving colors before which a gyra- ting danseuse cavorts in spring-like garments, her cavorting running a lengthy second to the scenic portion of the piece. The opening shows what is supposed to be the edge of the world where the passion of color lies exhausted after the day's labor (from the program argument). Soon the ocean, or what looks very much like it, floats into view with a rhythmic movement to be later replaced by the action of the many colors, blending together into a picturesque scenic ef- fect. Meanwhile the danseuse (Violet Hope) keeps busy, skipping here and there to the soft strains of a specially composed orchestration. The turn comprises novelty in every sense of the word, the color scheme being espe- cially well worked out. It's a big im- provement over the former brand of scenic art and since it held a capacity audience to the finish in closing spot at the Colonial, it looks like a prom- ising possibility. Wynn- Carroll and Hickey. Singing and Talking. 15 Mins.; One. Great Northern, Chicago. Chicago, Oct. 14. Joe Carroll saunters upon stage and quarrels with the orchestra that goes on strike. He suggests he could sing any old song if he had a piano player. Hazel Hickey, dressed as a maid, in rear of theatre, says she can play, and is invited tf the stage where she is hired. She plays a good ragtime num- ber, and also for Carroll's songs. Each one makes a change in costume. They close with "Poor Pauline" in which considerable action is injected, al- though net enough of the right sort. Carroll h*s a good stage presence and puts his stuff over in a bluff sort of way. K/iss Hickey's chief assets are a wealth of red hair and a talent for the piano The act went fairly well at the first show Monday night. Miss Hickey was apparently nervous. After the act has been worked into some semblance oi smoothness it will be all right for rhr middle-weight time.