Variety (October 1914)

VARIITY 15 BY FREDERICK M.MSCLOY THE COLLEGE GIRLS. What a serene condition of mind a producer must have when really be- lieving he can go on year in and year out attracting the public to the same showl It doesn't make any difference how good the show is. It cannot be done. This applies with special force to a show that plays the same circuit every year. The longevity of "Ben Hur," 'Way Down East" and a few other excep- tional successes, is due to the fact that they are moved from one territory to another and to theaters of differing scales of prices, thus constantly appeal- ing to different classes of people. With burlesque shows, however, the same cities and the same theaters are reached every season and practically the same patronage is appealed to because every house on the circuit has a large regu- lar clientele. If there is justification for the belief that the same burlesque show can draw money every year in these circum- stances why should Charles B. Dilling- ham, for instance, make a new and ex- pensive production for Montgomery and Stone so often? It would be weak argument to assert Montgomery and Stone get double the prices charged at burlesque houses and can, therefore, afford to make new productions. Burlesque producers can afford to do anything that producers of two-dollar shows can afford to do. If their prices are one-half, their investment and ex- penses are less than one-half. It is all right to repeat a show once or twice, but it is only natural that regular pa- trons of burlesque theaters should balk when they are asked to patronize the same show half a dozen times. The present engagement of "The College Girls" at the Columbia marks the ninth week of the show at that house. Excepting in its musical num- bers and scenery, no changes have been made. It is the same brilliant perfor- mance that always has been given by the Max Spiegel organization, and to those who see it for the first time, it appeals as strongly as any show on the circuit. A new second act scene that is very beautiful, and the musical fea- tures are practically new and distinctly effective. The costuming has under- gone noticeable changes, and this im- portant detail of the production is fully up to the Spiegel standard, which means that for the display of taste, richness and originality of design, the wardrobe compares favorably with that of any two-dollar production of musi- cal comedy. It is in these particulars of sartorial embellishment that Max Spiegel excels and that give distinction to his produc- tions. In spite of its frequent repeti- tion, "The College Girls" performance keeps the ^spectators in a happy frame of mind from beginning to end and the snap and vigor of its musical num- bers evoke the vociferous applause that rlcuotcs thorough enjoyment. Abe Keypolds continues at the htad JIMt of the company. He plays Jacob Ro- senbloom with the delightful finish and unctuous humor that has always char- acterized his work. Mr. Reynolds has been so long identified with this part, it may be said that he has made it a characterization all his own. Mr. Rey- nolds is a skillful, painstaking actor, and his methods are admirable because they conceal artificiality and because there is never a suggestion of the conven- tional trickery, that is so persistently resorted to by many comedians in their efforts to create laughter. Florence Mills, the beautiful and ac- complished leading woman, repeats her brilliant performance of the fascinat- ing young widow. By her exceptionally charming personality, her bewitching grace, her melodious voice and her in- telligent portrayal of the imposing and well-drawn character, Miss Mills is the embodiment of all that goes to consti- tute the ideal prima donna. Her ward- robe is prodigal in richness and good taste and she wears the many superb creations of the modiste's art with wholly charming, unaffected ease. Several individual hits are registered by others in the cast. Nona Forbes is a dainty and thoroughly capable sou- bret; Molly Wood Stanford gives a good performance of the ingenue role in addition to contributing a very ef- fective violin and dancing specialty, and Johnny Berkes and Frank Grace ap- pear as the two sons with desirable re- sults, besides displaying remarkable skill as dancers. Charles Moran, as the Irishman, is an acceptable running mate for Mr. Reynolds, and Lew Christy succeeds perfectly as the professor in the first part and the Frenchman in the last, while Edith Parfrey is radiantly beau- tiful and becomingly French as Fifi. The "Dances of Today," at the opening of the second act, is a welcome and skillfully arranged novelty. All of the current popular dances are performed by different members of the company, and they receive merit- ed applause. It it here that the Messrs. Berkes and Grace do their spe- cialty which is the best of its kind that has ever been given on the Co- lumbia Theater stage. There is typical Spiegel chorus of uncommonly pretty, graceful and viva- cious girls constituting an aggregation whose selection and manner of utiliza- tion entitles Max Spiegel to preferment in the Ziegfeld category. ACADEMY, J. C, GOES IN. The Academy of Music, Jersey City, will be permanently added to the Co- lumbia Extended commencing Mon- day, Nov. 2, with "The Gay Widows" as the attraction. This addition will fill the open week between Paterson and Baltimore, although there will still he a lay-off after Jersey City on ac- count of reinstating "The High Roll- ers," one of the shows eliminated when the big changes were made two or three weeks ago. ZALLAH'S OWN CO. It's as foolish as it is impossible to dodge the returns or the facts. That is a prelude to the announcement that while "Zallah's Own Co." at the Olympic this week, is a fair show for the Extended Circuit, it is a decidedly off-color performance Zallah and her troupe are giving. The alibi may be pressed that this occurred at the Olympic, where so much has happened this season that was missing elsewhere on the Colum- bia turn-table, but even so, that could hardly be sanely accepted as an excuse for the "wiggling" executed by Zallah at the ending of the second part. This surely was never pronounced in ac- cordance with the Columbia's stand- ards by its Board of Censors. Sever- al sagacious remarks during the dialog were unnecessary and probably not in the original manuscript, if the show had such a thing. In leniency it might be said that some of these blue re- marks were inserted for the Olympic engagement. The "Juliet" number is also full of off-color lines. If the the- atre is responsible, its punishment may be reflected for the future in the com- plexion of the Tuesday matinee au- dience, almost entirely "stag," with the few women present secreting them- selves as best they could in the boxes. The Zallah show may have been built for the Extended Circuit. It was a recognized attraction of a certain sort when on the Western Wheel. With its advancement to the Columbia ranks, and the prestige that goes with that, it certainly behooves someone to give a bit more of intelligent thought to the companion shows on the same time, and attempt to make the Zallah performance attractive at the box office by half-way legitimate methods at least. The male principals, headed by Dewy Cambell and Manny Koler, work hard with little material. Cam- bell, as a tramp, secures laughs, and Koler wears neither beard nor whisk- ers. He plays an Englishman without much English. Joe Rose's contribu- tion is a "slide," now so familiarly used by so many who didn't originate it. Rose in Dutch plays opposite Walter Parker's Irish character. Mr. Parker won laughs throughout. Vera McKenna is the hardest work- er among the women. This little girl dressed nicely, but appears to be un- fortunately saddled with numbers that won't go over. The other women might accept Miss McKenna as a model for their roles. Nola Rignold (with the Fields and Fields Progres- sive show at the opening of the sea- son) has a large wardrobe, with a voice that was not running properly Tues- day. Monta Parker happened in the action often enough to wear two dresses. Two girls entitled to credit are Edith Lcfler and Margie Martin, who led numbers. They look alike in blonde wigs and their liveliness covers up their vocal shortcomings. The show girls are not extravagant- ly dressed. Their costumes in the first part seemed old. A much better clothes condition prevailed in the bur- lesque. Several of the changes ran to Oriental or harem costumes. The Zallah show could be called fair if cleaned up. It certainly needs that. For the honor of the Columbia Amusement Company, the only alter- native is to close it up. SHOWS MUST CLEAN UP. Recent reports that have come to the directors of the Columbia to the effect that there are still some shows on the Main Circuit disregarding the edict for clean performances, has re- sulted in a letter signed by President J. Herbert Mack demanding in no un- certain terms the instant and complete elimination of anything that is not in strict conformity to the idea of clean burlesque. Copies of the letter have been sent to house managers in advance of the offending shows with peremptory or- ders to closely scrutinize the perform- ances specified and report at once to the main office. It is the determination of the di- rectors to send an official censor to in- spect any show complained of, and em- powering him to proceed forthwith to make the desired changes. BARTON 18 OPTIMISTIC. James D. Barton, who has been on the road exploiting the new Barton Burlesque Circuit, announced upon his return Wednesday afternoon he had tacked on theatres in Detroit and Co- lumbus, O., to his list, the names of which he promises to divulge later when more theatres are lined up. The Barton Circuit will get under way for its regular season Thanksgiving. Barton said the Circuit, complete, would be in full operation around the first or second week in December. Barton went to Baltimore Thursday to settle up the Club Theatre affairs there and expected by Friday night to have disposed of the entire theatre holdings to new parties. The Progres- sive shows played the Club, the Pro- gressive having an interest in the house with Barton the heaviest stockholder. Barton said he did not intend to buy back the house, having decided to pass Baltimore up as a spoke in his new cir- cuit for the present. He emphatically denied the story from Rochester, N. Y., to the effect that the J. Leubrie Hill show, "Dark- town Follies," had been attached and was unable to play its engagement there. Barton has been given an option on the Arch Street theatre, Philadelphia, and on his way back from his Baltimore trip, intends to stop off in Quakertown and give the proposition there closer inspection.