Variety (November 1914)

VARIETY 19 HAMMERSTEIN'S. Election eve saw about the poorest Monday night house of the season at Hammerstein's, despite some ambidex- terity on the part of the box office ex- perts in "padding" the lower section. The show did not make everybody happy. The absence of speed, comedy and pep up early jarred the bill so hard that it really never did recover from the shock. In the headline spots were Singers' Midgets (New Acts) and Joe Howard and Mabel McCane. Things didn't appear to go smoothly with the Howard-McCane turn and Joe was so peeved he perspired like a circus can- vasman. Howard has made an im- portant change in his act and one that will make him more popular here- abouts. For the finish he and Miss Mc- Cane offer a number of the songs that Joe wrote when the going was good in the old musical comedy days in Chi- cago. They carry a special "curtain" in "one." Joe sings the verses aided by pictures of Joe and Miss Mabel in the atmosphere of the lyrics, with the latter joining in the chorus in a cos- tume befitting the time of the song. This makes a much better closing and gives Miss McCane a chance to display a nifty wardrobe. Joe appears to be singing better than he has in several years, while Miss McCane's voice also appears to be getting better. Orville and Frank opened with their Japanese "perch" work. The balancing in "one" close to the footlights kept Musical Director May worried. Nor- cross and Holdsworth sang effectively hut added no speed to the bill. Brown and Newman were "third," pretty early; too early, in fact. Robert L. Dailey and Co. gave the show its first comedy, but it was not of the healthy proportions the Hammerstein bill could have stood at this juncture. The best enjoyed turn of the evening was that of Claudius and Scarlet. Their recall of the days of the sixties with the audience privileged to sing the old songs awakened the bunch out front. Singer's Midgets closed the first part. Jack Lorimer and his kilts were "sev- enth." Lorimer sang in good voice but he made no effort to respond to an encore. After Joe Howard had sung himself almost hoarse, Brooks and Bowen, colored, were thrust into the bill, next to closing, Harriet Burt's withdrawal giving them the opportu- nity. It was near eleven, but it didn't take long for the pair to register a solid hit. Dainty Marie closed. HARLEM OPERA HOUSE. All Harlem turned out on Election night and Manager Harry Swift at the opera house had his share of the patron- age, for he packed them into his theatre so that there was scarcely standing room left. He had 50 extra chairs in the boxes and at seven o'clock had to stop selling. There was a line in front «>f the box office at that time that choked up the lobby and extended far out into the street. The show comprised seven acts and five reels of pictures.• The Creole Trio went on at 7:30 to open the show. A special Harlem Weekly which Manager Swift hi. take i l;«?t week showing views of 'he Harlem Tercentenary cele- bration was next and in turn was fol- lowed by a Pathe Weekly. Roy and English (New Acts) followed the films and were too quiet an act for the spot. A film showing the writing of "Chi- natown, My Chinatown," by Jerome and Schwartz, followed and got a few laughs. It is not the kind of a picture that will help popularize the writers to any great extent. There is too much "hitting the pipe" thing in it. John Ellis and Co. with their political sketch had the next spot and because of the crowd being imbued with the election spirit the act got over in very nice shape. An old Keystone comedy, 'The New Janitor," was next shown and brought a legion of laughs. Post and DeLacy (New Acts), who followed, caught the audience in good humor and had an easy time of it. John Burke and Co. (New Acts) made a decided impression with his 'Old Master" sketch and its attendant dancing features. A Sterling comedy with its juvenile actors was also a laugh getter when shown after the sketch. Sam Soder (New Acts), a rhymster, did fairly well in the spot next to clos- ing. The big act of the bill was "Va- cation Days" (New Acts) down at the tail end of the bill and proved that it was not strong enough for the position. "Perils of Pauline" finished. BROADWAY. Business is gradually climbing at the Broadway where a reasonably good ten-act program is offered at fifty cents top. The current week's layout carries a few individual weaknesses, but collectively the show is entirely enter- taining and well above the average small time speed. Harry Bulger (New Acts) is introducing his latest vaude- ville effort and Mike Bernard and Amy Butler (New Acts) are making thei: debut as a team. "A Dream of the Orient" is perhaps the most pretentious production on the program, featuring Madam Makarenko who has attained some prominence in vaudeville with her former Russian dancing aggregations. Equipped with an extremely elaborate set with the male Makarenko in the orchestra pit, the company proceed through song and dance that contains all the require- ments of big time calibre. The man's dancing is exceptionally commendable and Madam Makarenko has developed a voice that proves a valuable asset to the turn. Compared with some of the many other girl acts recently produced, this piece looks in a class of its own. They were a big hit. Barney Fagan and Henrietta Byron have perfected a double routine of songs with some attractive dressing that should keep them continually busy. Fagan's perfect enunciation, Miss Byron's appearance and the gen- eral build of their piece is so superior to the stereotyped offering of their kind they should connect with a route with half an effort. Ah Ling Foo, a Chinese magician with enough fowl to stock a dozen modern butcher shops, mystified to some extent. The Kloofs presented one of those novelty musical skits, util- izing wearing apparel and house fur- nishings for the harmony, getting away with usual results, although the novelty of such turns has long since ceased to exist. Charlotta St. Elmo with some popu- lar numbers and costume changes was a bit handicapped in an early spot. Her opening song, a light "rag," brought her big applause, but the ballads didn't help. Another number on the order of the first offered would help some- what. The Guy Bartlett Trio just about made the margin line with nothing to spare. The tall member's facial make- up needs attention, the merit now rest- ing wholly with the comic. In this heyday of trios, the Guy Bartlett three run a distant second to the large ma- jority. Burke, La Forge and Burke breezed through to a safe hit, and the Azard Trio, who closed, kept them in as well as expected. Wynn. AMERICAN ROOF. The William H. Macart-Ethlynne Bradford billing appeared to be doing business for the American Monday night, though the Roof did not show it. Downstairs the theatre held ca- pacity on Election Eve. Macart and Bradford, from the big time (playing their first week downtown on the smaller division), headlined the pro- gram, appearing second in the second half, giving "The Second Generation" the first three days, and playing "A Legitimate Hold Up" for the latter end (remaining at the American the full week). Mile. Tojetti and Wallace Bennett opened the Roof show, with Weston and Young second, they finishing up strongly with their laughing number. Harold Crane and Co. in "Justice" (New Acts) were third, followed by Merlin, a talking magician, who gets considerable comedy out of his tricks and "Committee," one of the latter probably being a "plant," although appearing to the audience as a layman. The point of this is that Merlin makes him the butt of his talk. Perhaps it would be as well to indicate at some time during his stay upon the stage that he is connected with the turn to disabuse the minds of those in front that a "volunteer" would be handled that way. Merlin does "nut stuff" in his talk and actions, getting away with it in big time style. The Ten Dark Knights (all men) closed the first half. It is a colored turn, with music, songs and other things, including comedy and a fast dancing finish. It did well enough in the spot, and can be used, owing to its numerical strength. In the second half Macart and Brad- ford were easily the hit of the show. Hagcr and Goodwin furnished another good turn for the second half. The work of these two boys was highly en- joyed. The country fair number is good for laughs, as is also the war song bit. These two are so different from the usual male two-act that the audience more than appreciated their work. The Skatelles opened after intermis- sion, and Charles I.ederer ch>si-d with hi* ■-slack wire work. FIFTH AVENUE. The Fifth Avenue fell down on its show the first half this week, with the exception of one act, and that was the headliner, Robert T. Haines and Co. The Haines sketch was easily the hit of the bill. Though rather old, it pleased the Fifth Avenue patrons. The war has furnished Harines with one new line for the sketch, but that is sufficient. The remainder of the bill was very small-timish, not a single act showing big time class. Dare Austin and Co. were the second best bet. The sketch made them laugh and the quick change by Austin furnished a surprise. The show opened with Evelyn Ware, who plodded along slowly until she used "Tipperary," near the finish, and put the song over very nicely. The encore received was evidently unex- I/ccted, as she was forced to use a pretty old number for it. Devaro and Zemater, "No. 2," did their usual routine on the triple bar. The men show nothing new in the way of stunts, but those performed went off without a slip. John Philbrick, next, talked and sang a number of parodies. John's talk did not reach to any great extent, the singing going much better. The old poker number has been done too often by others to need repeating. The songs at the finish created fair enthusiasm. Quigg and Nickerson have the same old routine, but the blackface comedian is capable of getting laughs aplenty with his woman's image, which has a movable skirt and arms and legs. The musical part remains the same. A bit of hard shoe dancing was intro- duced by George Murphy. Murphy an- nounces a number of things, but they arc hard to distinguish when he does them. A fair ripple of applause at the finish greeted this chap, although throughout the act the returns had been rather meagre. Luckstone and Cambell (New Acts), i.i: rather late for comfort, made a k:ir impression. The show closed with Bud Snyder with his cycle work. 86TH STREET. The folks up the 80th street way may be squeezing the nickels and dimes pretty close, hut the Moss & Brill house Is Retting Its share of the show money. Uptown pop houses report a slight slump now during war times, but there's no complaint on the week end rushes. The Wtth Street was close to capacity last Friday night. The show found big favor with sufficient "dumb" and "sight" acts. A big help was the picture feature, a Vita- graph feature, "The Shadows of the Past." The picture is full of splendid acting and a rnellor thrill. Prcderlcka York, a name assumed, was Lu- cille Tllton. Miss Tllton had them guessing all the way and half the house went out per- plexed and not sure of MIsh Tl Ron's real gender. She first appears In feminine attire and for the remainder of her numbers uf- feetn masculine ouflts. To carry out the dis- guise she has her hair cut close and combed after the male style. It. Is sure to fool everybody In the pop houses. R. W. Knowles and Co. were the Leona Leigh act. It's a suffragette affair with the comedy play on two newlyweds attempting Hiilclde and mistaking cantor oil for rat polHon. The company (three people) make themselves heard, a big advantage on the small tlmr\ Dave Wells, working alone, his wife (Miss La Vine) helng 111, does a Harry Mreen opening and follows It up with a Frank Tlnney orchestra "hit" and offering a dialect Hebrew and Scotch that scored. Wells might Improve his personal appearance. lohn Xeff fooled them with his musical Instruments, talk nnd songs and was a hit. They ^nt his idea after awhile and laughed all the heartier. Morey's Tltnnlc Disaster ea-t a natural gloom but proved Impressive as a "sight net." Tom and Star la Monre followed and hid one fmiL'h time The |'nley f, le Have- ( l>> ; ( | to Hose attention.