Variety (October 1914)

VARIETY 21 HAMMERSTEIN'S. Hammerstein's, Monday, held two good houses. The matinee was over ca- pacity, and the night show very big. The center of attraction at both per- formances appeared to be Paul Swan (New Acts), billed as "The Most Beau- tiful Man in the World." Mr. Swan ap- peared near the finale of the show, and stealing some of Wynn's stuff, it may be mentioned he weakened the second half. The feature came forth in Harry Fox and Jennie Dolly, closing the first half. They sang and danced, also kidded with their "cissy" stagehands at the finish, to much laughter. Van Hoven, opening the second part, was another success. Van Hoven almost ran into a snarl Monday evening, when calling for boys. A strange kid went on tne stage, but the crew coaxed him into the wings and sent him away. Van Hoven had some new talk, and he got enough laughs to suit anyone, but should drop the "dirty neck" dialog. A revival of a playlet was made by S. Miller Kent in "Just Dorothy," It is very talky and hardly fitted into the Hammerstein atmosphere, although holding attention. Truly Shattuck pre- ceded the sketch, having been moved from "8" to "6" before the matinee. Helen Trix (New Acts) originally billed "6" was "9", causing her to fol- low as well the singing number by Jack Lorimer (New Acts) just ahead. Miss Trix left a most excellent impres- sion and really started off a show that picked up quite some speed from her appearance until Swan swamped it for a few minutes. Jack Nelson, a singing and talking cartoonist, opened. Mr. Nelson's idea of humor may be contained In one of his announcements that said: "I will now give you an imitation of a Swede singing an Irish song in front of a butcher shop, for a peanut." His car- toons were better. Auremia was "No. 2," a position like- ly assigned for this quick return date to keep him far away from the Swan act. Auremia showed some more clothes. He is a modiste shop in his wardrobe, and can create talk through his dresses alone. He's rather remark- able and stands alone for female im- personation on the clothes thing. Fran- cis and Rose (New Acts), a couple of dancers, did little, with Sherman and DeForrest in "A Jay Circus," appear- ing "No. 5." It's a long time since Dan Sherman played in Times Square, but he's been working steadily, never- theless, and showed the booking bunch why toward the finish when he had the audience laughing its heads off. There's a bit of slapstick in the turn, but it's within the characters, and Mr. Sherman, together with his company of four or five people, go in for comedy only. Miss Shattuck did very well and had a brand new song, "Tippcrary Mary" for decided assistance. Maud Lambert and Ernest Ball had to follow the classical dancers near the finish. Reynolds and Donegan closed the bill. There is nothing this week in the show for Loney Haskell to talk about —on the stage—but he and others could find plenty for outside converse. The Monday matinee audierce afforded enough for a week's topic. All of our set were there. Sime - PALACE. There is a little too much vaudeville to the Palace bill this week with nine acts bringing the final curtain down around midnight, the Agoust 1'amily closing to a continual walkout, made cloubly difficult for the act through the presence of a necessary stage delay previous to their opening. Of the en- tire combination, two are new, George Stallings (New Acts) opening for his short vaudeville tour with a routine of 'Gray matter" that should carry him through nicely once he becomes ac- customed to his surroundings. Louise Dresser and Co. (New Acts) are show- ing a new sketch, both getting away with big hits, although Stallings' measure was of a sentimental grade. The running brought Mr. and Mrs. Carter De Haven on in next to clos- ing spot around 11.15, and while the audience remained for the finish, con- ditions were not favorable to the turn. The De Havens have a rather enjoy- able novelty for this engagement, a sort of musical comedy sketch in three scenes with Carter wading through in one evening dress, contrary to his usual series of changes. It carried in- terest throughout, particularly the finale in "one" with its accompanying light effects and novel set. Although the couple did not arouse any signs of over-enthusiasm, they managed to keep the packed house seated at the late hour, quite an accomplishment, considering everything. Emma Carus and Carl Randall were one of the big hits, although the first section of the turn slipped by rather slowly, due to the handicap in spot. Miss Carus would do well to eliminate one verse of her numbers, if such a thing would permit Randall sufficient time for costume changes, particularly with such a slow running fire. The dancing brought the couple the even- ing's legitimate honors. Randall's agility in this department is surpris- ing, but not half as much as that of Miss Carus who is rapidly reducing to normal weight. It's easily the best vehicle the popular comedienne has ever staged and should keep her in the lights for a long time to come. The Primrose Four were another semi-sensational hit, holding down the second spot. With good straight quartets at a premium, this combina- tion seems in a class of its own. In fact it would not seem an exag- gerated assumption to declare them the best all around singing group that vaudeville has as yet unearthed. Dolly and Brown opened intermis- sion with their collection of ancient and modern dances. Unless it be in the costuming, one is led to wonder just where the value of the turn exists. Miss Dolly is talented to a degree and makes a stunning appearance, but why all the excess fuss over Martin Brown? After watching the long procession of modern dancers who have come before Brown, one is led to believe the busy little press agent has been at it again. Carl Randall seems able to dance rings around Brbwn, and while one can make agreeable allowances for his graceful- ness and ideas (and these are quoted as copied) it's a hard task to swallow the advance dope after reviewing an actual performance. If individual opinions are as worthless as claimed, AMERICAN ROOF. Not enough people on the American Roof Tuesday night to call them a crowd. The acts were left stranded as far as applause was concerned. Not any did their full turn, including en- cores, probably (and justly so), con- sidering extra effort would be lost. The first cool weather may have kept people away upstairs. The theatre below held capacity, although Tuesday night in the theatres around Times Square was as poor in attendance as Monday. Lew Palmore opened the Roof pro- gram. He is a juggler with a couple of new ideas, doing especially well in his different way of handling the bound- ing hats, but the only time Mr. Pal- more smiled was when taking a bow. He should loosen up, and aid his com- edy. There are many laughs in the hat work if he goes after them prop- erly. Not a bad opening turn, with too much time taken up in "one." Next were Grace Leonard and Tom Dempsey, who seem to have changed the turn about some, to its advantage. More of the cross fire talk on family relations has been put in, and the act runs more smoothly. Miss Leonard makes but one change, to man's eve- ning dress, and remains in it to the finish. After them came The Danc- ing Mars, three—a woman, boy and girl. They dance and seem to be working out a story in the steps, but it is vague at best, and two youths of this couple's seemingly limited experi- ence are attempting a great deal when trying for pantomime. The woman's solo dance is wholly wasted. A trans- parency is employed as a special drop, and though something might be made of this, it amounts to little as now used. The trio needs staging unless it is decided for the youngsters to con- tinue as a two-act They can only flounder about without advancement as at present framed. One song used by Polly Prim, "There's a Fellow I Can Never For- get," did enough to bring her over. It's a sort of character number, de- scribing different lovers and permits of a poor imitation of George M. Co- han. Miss Prim also sang a "Rainy Day" number in a rubber raincoat, re- taining it to recite Frank Fogarty's (an- nounced) "It's Great to Live and Learn," which she did fairly well, get- ting the points over well enough for the small timers in front. Waterbury Bros, and Tenney closed the first half. Niblo and Riley opened after inter- mission. This Roof intermission, by the way, is too long to have the sec- ond part start off well. Following the team came Owen McGiveney, the head- line, in his protean turn, "Bill Sykes." Mr. McGiveney was cramped in a small spare on the roof stage for his rapid work, but interested the house with the story and mystified them with his lightning changes. Bigelow, Camp- bell and Radyn, and The John Troupe were the two finishing turns (New Acts). Sim*. it will do no harm to register this one —very average, yea bo, very. Derkin's Animals opened the show with the entire turn revolving around the antics of the drunken dog. Wy/m. MtOADWAY. The Broadway did not have good business Monday night.' At eight o'clock down stairs held but a few peo- ple. They straggled in up to 9.30. Those there saw a good show that contained big and small time acts. The biggest name the show had was Norine Coffey (New Acts) put into the second spot, much* to her disad- vantage. If Miss Coffey were capable of headlining a show at the Brighton Beach Music Hall last summer there is no reason why she should be forced into the second spot at the Broadway. Had she been placed in the last half or any later position Miss Coffey would undoubtedly have been one of the biggest hits of the bill; as it was there was applause enough to warrant an encore. The Scotch Players with their sketch "My Wife from London," put over a nice hit. The Scotch people have a vehicle that contains many laughable instances. It is exceedingly refresh- ing after the usual run of dwarf plays. Willie, the actor-son, should primp up a bit on his appearance. A London music hall artist would not wear clothes Willie wears. The entire cast did some good acting that was well liked. The Haberdashery" with Har- tington Reynolds and Co. (New Acts) was another of the popular turns. Keene and Sharp, under the name of Fox and Witt (or vice versa) played the piano and sang some character bongs that pleased to some extent. The man who handles the songs is the real worker, his partner posing con- tinually at the piano. The baseball number holds up as the best and puts the two over at the finish with a bang. The well-known back-stage skit pre- sented by John Delmore and Co. scored nicely toward the finish. The first part dragged somewhat. The four Chinese boys consisting of the Chung Wah Comedy Four, had the next to closing spot and did some good harmonizing. The heavy fellow seems to be aching for a chance to get in comedy, but fails to get an oppor- tunity until the last, a Scotch number, in which he uses a comedy make-up that is old but good for a few laughs. Surprisingly good harmony from these four. The Littlejohns closed with club swinging and balancing. The spin- ning of the three dishes on sticks placed in her mouth while balancing on a large ball and juggling knives is the best the girl does. A good closing turn the sparkling "toss abouts" being a novelty. The two remaining turns under New Acts were Andre, M'lle Sherri and Florence Doyle in modern dances and Cervo, an accordionist. The two acts fared moderately. Evidently some of the acts were there to show as there were a number of watchers, the left hand side of the balcony resembling back of third base at the Polo Grounds during the sum- mer with the agents present.