Variety (October 1914)

18 VARIETY HAMMERSTEIN'S. Novelty predominates at Hammer- stein's this week and with a fairly go<>d program of vaudeville selections, tlic composite result is highly satisfactory. "Any Night" (New Acts) closed the hill, showing the second section with Deiro and Diamond and Brennan. The opening fell to Louis Leo, who works atop a ladder, gathering the usual response the position is produc- tive of. Leo's orchestration might In- toned down some to advantage. One railbird noting the indifference of the audience during Leo's activity suggest- ed that since the opening spot at Ham- merstein's is sure death, it might he good policy to eliminate the position entirely. "Smiling" Bunny Gray—the adjective in this instance being a misnomer— came next with a cheerful routine and a melancholy delivery. Just wherein the girl's claim on big time vaudeville is contained remained an unsolved mys- tery after Monday night's performance. Capt. Sorcho and his deep sea pro- duction, an educational novelty that promises eventually to replace the ster- eotyped tank act that is gradually out- vaudevilling its usefulness, was a con- servative hit in fourth spot. The Ray Dooley Trio, next, seemed a bit out of place for some unaccount- able reason. The finish pulled them over, but the early section dropped perceptibly. Just why Miss Dooley in- sists on exhibiting her bare underpin- nings is problematical, since it neither helps the turn proper nor improves the appearance. The comic scored indi- vidually, but the turn needs revising with the complete elimination of the full stage portion, to bring it up to ex- pectations and within the confines of the principals' abilities. Ed Vinton and "Buster" found thincs to their liking and chalked up their usual mark, the dog's antics combined with Vinton's conversational routine bringing the turn completely beyond the classification of an animal specialty. For an act of its kind it seems to fall into a hitherto unexplored groove of its own. Bonita fell afoul of the inevitable fate the "single" woman is bound to inherit at Hammerstein's. Working "straight," with no pretense at light comedy, her repertoire naturally suf- fered. A comedy lyric rendered near the finale carried an extremely sugges- tive theme and should be confined to burlesque or stag audiences. Bonita was hardly given a fair trial at the "cor- ner," consequently this review should be construed as neutral. Fields and Lewis were a laugh throughout, once they arrived at the cabby routine, the first part going a bit slow for natural reasons. Diamond and Brennan, who held a difficult spot, fol- lowing Deiro and coming just before the "Any Night" production, also made good with comparatively little effort. although their encore number should be replaced with something more modern. Wynn. COLONIAL The modern style of ball-room danc- ing, in so far as its relation to vaude- ville is concerned, was handed a very visible jolt Tuesday night at the Colo- nial with the mild reception tendered the Castles, headlining there. A capacity house, undoubtedly pulled by the feature attraction, was on hand, but the appreciation was of the silent brand and lacked all sign of outward enthusiasm, the net result of the reper- toire being one earned how and a very <iuict exit. The Castles exhibited four steps, each preceded by an explana- tion, opening with the Fox Trot, with the Lame Duck, Argentine Tango and One-Step following in order named. The latter with its accompanying fast tempo encouraged some applause dur- ing its action, but the others failed dismally. The present vaudeville en- gagement of the Castles proves con- clusively the advantages of printer's ink when coupled with originality. They draw, but after looking over the multitude of similar turns, one just naturally must concede their press agent to be in his own class. A noticeable character confliction through the presence of three elderly types in as many acts failed to help the general running although the in- dividual marks were not affected to any degree. The clash came through the characters of Foster Ball, Manion and Harris and Harry Beresford. Manion and Harris held second posi- tion with a singing specialty, one of the duo impersonating a frisky old gent in evening clothes. The talk is passable, but the immediate elemina- tion of the opening song would help things along. They breezed through nicely. Maxine Bros, and Bobby opened with their acrobatic specialty in which the dog does much to bring the hit home. Tt's a safe opener for any bill. "The Kdge of the World" (New Acts) closed and Harry Beresford (New Acts) had a spot well down in the layout. Ball and West were probably the biggest hit of the evening, Ball's char- acterization of the veteran offering a character study that runs close to the best in vaudeville. West makes a cap- ital feeder, a task that carries little ap- preciation in this 9tyle of act, yet is highly essential and calls for perfec- tion in delivery, that West has in abundance. Darrell and Conway. following Beresford. gave the audience an op- portunity to glimpse at the secrets of the stage crew, a treat which seemed to interest them to the general detri- ment of the couple's opening. The talk met with some response. Con- way's vocal efforts should be confined to talk, his singing measuring about the same speed as Mike Donlin's danc- ing. Florence Tempest with her artistic little routine of songs and dance scored nicely with Lyons and Yosco in I heir familiar character bit, won out. Wpnn. BROADWAY. The second week of 50-cent vaude- ville at the Broadway theatre started off Monday (holiday) matinee with a very big house, considerably larger than in the evening. The Broadway is drawing heavily from transients. Its location (Broadway near 41st street corner) is most favorable for this. A sidewalk ticket office booth helps along. Monday night the orchestra at 50 was about half filled. The balcony at 25 was capacity, and the gallery at 15 quite good for a young vaudeville the- atre. That the crowd was a strange one was indicated by the reception of the turns. Ten acts comprised the bill, with a Pathe Weekly (somewhat old), instead of an intermission. The show was short on comedy and long on music. It also held several acts playing under assumed names, for no special reason as far as could be learned. The Broadway isn't billing its program, other than outside the the- atre. The house plays three perform- ances daily, giving a "supper show" that is lightly attended, but may de- velop at this ^particular stand. Two distinct hits appeared during the evening. The Connolly Sisters made the most decided score. It is a sing- ing two-act, of the former larger Con- nolly Sisters turn. The two girls now in it sing rags, with one doing comedy somewhat repressed. They danced, the comedienne doing an eccentric, which Cavanagh and McBride, follow- ing in "The Honey Girls" (billed as "The Beauty Party") did similarly. The Connollys also wore a set of dresses, almost duplicated by the women in "The Honey Girls." This turn should have closed the show. It was followed by Walters and Johnson, programed Moss and Frye, really, a colored turn, which was succeeded by Mr. and Mrs. Clivette, closing the per- formance. ' The other hit was the International Sextet (Pieria Sextet), with string music. The Sextet has no novelty other than its string, but strikes a popular melody now and then, and this helps the turn along. There is no no- ticeable improvement in the turn since first showing some months ago, and since that time vaudeville has grown ever so much more rapidly. But it will be liked by music lovers. Neither has "The Honey Girls" been changed. One little chicken of a chor- us girl when the turn was new is still there, rounded into a plump mature looking young woman. The telephone operator still tears the air with her speaking voice and is indistinct. The turn has a number that was sung not- withstanding a three-act had used it previously. The three-act was O'Brien, Dennett and Goslar, billed as Stewart, Walker and Steele. A sketch, "Straight," played by Arthur Sullivan and Co., also did nice- ly, though on too early. It is a "crook" story with a surprise comedy finish. Hunter and Davenport opened, the man securing some laughs with re- marks, a little crude at times. "No. 2" held Wright and Clayton, an ordinary dancing turn, doing the society and hard shoe stuff. Dorothy Wall and James Abbott, perhaps a new combination, did more music in an early position, tried for Italian comedy and closed as a con- tender for the small time. The Broadway is said to have held capacity last Sunday night, its first Sunday under the new policy. That is doing very well, and the theatre ap- pears to have an excellent chance, but could stand more booming. The ad- vertising for the opening was light. It has been sparse since. The invest- ment warranted more. This week's bill is costing the Broadway around $1,700, figuring pop prices paid. Si me. PALACE. A big unwieldy bill at the Palace this week, that makes the show run late, but it is a good performance, and it played to full capacity Tuesday night. The feature Kitty Gordon (New Acts) in a sketch that held her up in an im- portant position made the circle com- plete. The running order program was changed after the first performance. The rearrangement kept Belle Baker in the same position, but the shift made Miss Baker the closing turn, before the Weekly Review, usually opening the Palace show. It was as hard a spot for Miss Baker, following this big show, as a single act ever under- took to carry, and that she did so well in the position will probably officially stamp her as an extraordinarily valu- able turn. Miss Baker used the same songs as when recently at Hammer- ; stein's, excepting the addition of Ber- lin's war number. Another turn well liked was Welling- ton Cross and Lois Josephine, opening after intermission, before a plush cur- tain and with a concert grand on the stage, Hector McCarthy playing it. Mr. Cross and Miss Josephine have a real turn in its present shape. The travestied finish is no longer there. They are singing and dancing, with one dangerous experiment in the dance portion, Miss Josephine taking a run and long jump into Mr. Cross' arms. Among the songs is "Schnieder's Grocery Store." As sung by Mr. Cross it is a big comedy number, and the publisher would profit by telling other singers of it to catch Mr. Cross' man- ner of handling the song; that depends upon its lyric. Joan Sawyer in her familiar and the familiar dances closed the first part. She danced with Nigel Barrie. Just before came Bickel and Watson, the comedy hit of the evening. Bickel and Watson don't do much as far as ma- terial is concerned, but they get laughs innumerable. While they have been doing it for a long time, it was new and funny to the Palace crowd, and it is funny, because regular performers know how to put it over. Talk about your "million dollars' worth of ma- terial!" Two people like Bickel and Watson with nothing, can do more. A big production in the early part of the program, that had been shifted out of the closing position after the Mon- day matinee, was "The Society Buds" (New Acts). Rayno's Bull Terriers opened the bill. The Sharrocks, from the west, who were forced into the "No. 2' spot by circumstances (and entitled to a much better position) also under New Acts. Simc.