Variety (December 1914)

22 VARIETY WATCH YOUR STEP. Irving Berlin, who wrote all the lyrics and music in "Watch Your step/' groomed the production for the terrific hit scored by it at the Amster- dam theatre Tuesday night, its hrst ptrformance in New York City. It was "Berlin" all over the house after the smashing second act hnale, although the regulars in front had conceded New York's biggest musical success this season to the show after the hrst act. But Charles B. Dillingham on the other end of the production can't be overlooked. Mr. Berlin furnished the biggest part of the piece; Mr. Dilling- ham produced it, and those who saw the opening showing at Syracuse im- mediately detected Mr. Dillingham's expert handiwork in the transforma- tion of the playing and the running, from the Syracuse premiere. Up the state an "Automat" scene, of quite some pretension, with an excellent un- derlying comedy idea that had been built up to bring W. C. Fields upon the stage in his billiard table juggling specialty, was wholly eliminated, in- cluding Mr. Fields, who was the un- doubted hit of that performance. But the scene slowed up the hrst act. Other touches as deft in their general effect went to prove that as a manag- ing producer, Mr. Dillingham is there a mile. It may also explain why in the worst season in years he had the biggest hit in town ("Chin Chin" at the Globe) before "Watch Your Step" came in at the worst time of the worst season to steal some of the laurels of the other Dillingham attractions away from it. But credit any one, Harry Kelly, the principal comedian, who is doing the best work of his career in this show and was the individual all-around hit of the Amsterdam evening, or Vernon Castle, who is disclosing that for a professional dancer he is one dandy performer, or Elizabeth Murray, who can sing rags as no one else can, or Frank Tinney, who hit the bull's eye three times after waiting until 10:10 for his first appearance, or everybody, and Irving Berlin, in his first "produc- tion work" stands out like the Times building does in the square. That youthful marvel of syncopated melody is proving things in "Watch Your Step," firstly that he is not alone a rag composer, and that he is one of the greatest lyric writers America has ever produced. The same second act finale on "Old Operas in a New Way" held the rapt attention of the house through the words to the airs of the masters. Lines here and there brought laughs, and the story in song between the ghost of Verdi (Harry Ellis), who asked the people on the stage not to rag his classical songs, and the stage crowd replying in verse, with the musi- cal rewrites accompanying, nearly brought the packed house to its feet. Mr. Berlin came on the stage in re- sponse to the clamor, making a neat little speech, in which he said good songs were not good unless sung by good artists. The song hit of the night was "A One-Horse Town." Others nearly as big (in the order sung) were: "I'm A Dancing Teacher Now" (Mr. Castle), "Minstrel Parade" (Miss Murray), 'They Follow Me Around" (Charles King), "When I Discovered You" (Brice and King), "The Syncopated Walk (hrst act finale), "I Love to Have the Boys Around Me" (Miss Brice), "Play A Simple Melody" (Sallie Fish- er and Mr. King). The song hits were plentiful enough to practically guarantee that "Watch Your Step" will have a larger score book sale than any musical attraction in New York in years. After the au- dience thought the musical department had been exhausted, Berlin came back in the third (and last) act with a solar plexus in "Simple Melody." There is great team work in this show. Castle did as much as any one else for the universal good. Mrs. Cas- tle dressed elegantly and was always welcome until she comenced tinging. The Castles did all of their dances during the action. Besides rags Ber- lin wrote a Polka that was very pretty, and he intermingled ballads with trots, which, including the grand opera med- ley, gives "Watch Your Step" all the kind of music there is. Mr. Tinney started right in on his first appearance to kid the front row. All of his material (all new as well) was written by Tommy Gray (Harry B. Smith wrote the "book" of the piece). Tinney saw Flo Ziegfeld in front, and over the footlights said, "Hello, Ziegy, I'm not doing the same stuff here I did for you, am I?" Tin- ney, looking toward an upper box, re- marked, "Don't worry, Edna, I'll make good." And he did, so well, Mr. Tin- ney doesn't need the cornet he is now playing as a substitute for the bag- pipes. William (Billy) Halligan, Mr. Kelly and Mr. Castle all did straight for Tinney at the different periods. Mr. Halligan, though a recognized comedian, is doing straight through- out. Dama Sykes is there with a very small bit, having lost most of her role when the "Automat" scene went out. Kelly did not overdo at any time, and the audience .grew very friendly disposed. He scored heavily in "one" (with Halligan "straight"), using some of his dog stuff from the vaudeville turn. The dog put in some comedy on it own account, not rehearsed, when it started biting Kelly's trou- sers legs. Once in a while the dog missed the trousers, but got the leg. Charles King and Elizabeth Brice were given the choice "soft songs" and put them over strongly with their able delivery. They are a fine couple to handle a Berlin song, for you know what they are singing about. Sallie Fisher replaced Renee Graatz in the ingenue role. Miss Fisher sang well enough, but she could be termed an improvement on the creator of the part. Harry Ellis with his splendid voice shone brilliantly upon the opera house stage set, and also as Verdi. Justine Johnson looked very pretty in the first act. R. H. Burnside staged the show. While no unusual move- ments came out from chorus work, ex- cepting a dancing octet near the finish,* the music needed very little beyond itself. De Witt Coolman, the musical di- rector with the show, in order that the lyrics would surely get over, held his BUSHWICK. The weather was as bad in Brook- lyn Monday as anywhere else._ The Bushwick suffered. The show looked well on paper and did even better in the running. The headline honors went to Blanche Ring, and she accordingly was award- ed the second after intermission spot. The condensed version of "When Claudia Smiles" is good for a number of laughs on the dialog and Miss Ring's personality did the rest The Ger- man, as played by Charles L. Win- ninger, was a source of much amuse- ment to the Teutonic Bushwickians. The side remark of the star's that she was going to the "Cheese Maurice" may account for the nifty stepping. Bert Fitzgibbon, following, had the audience at his mercy. The rough and ready comedy employed by Fitzgibbon is exactly the kind that goes over with Brooklyn audiences. The parody on "Tipperary" was probably good for the biggest laugh of the act, filled to overflowing with roars. Of those in the first half the honors went to Rosie Lloyd (New Acts), next to closing the first part Joe Cook was on just before Miss Lloyd, and made them laugh. The Bushwick patrons do not see this sort of comedy as easily as* most audiences and Cook had to work pretty hard to get the laughs coming freely. Cook must be good to the boy he employs as his as- sistant for if there ever was a fellow who worked it is this chap. The second position had Sherman and Uttry who sang well enough, but the dancing at the finish did not help any. The man has a good heavy voice and harmonizes nicely. The girl looks attractive and handles the solos as well as one would want. Mr. Uttry is wear- ing a stiff white front with his dress- suit and while dancing it began to creep out. Arthur made no attempt to tuck it back. The show opened with Arthur Barat (New Acts) and "Mysterious Mr. Rus- sell" (New Acts) closed the first half. Bissett and Scott opened after in- termission and their dancing was well liked. The boys kept the encore solo work up too long Monday night when the audience felt as if they had had enough. For hard shoe dancers these two boys are there with the best The show closed with Lady Alice's Pets which proved a novelty that held the house in. The male assistant does much announcing. He should cut out the heavy penciling of his eyes. The rats in the act have been well trained, and as a novely closing turn fits in nicely. The Weekly Pictorial is now open- ing the show and Monday night the entire house was seated when the first act made its appearance. music unsteady at times at the Tirst performance, but he accomplished in this way what every one had thought would be the impossible, a large chorus making words intelligible. You will be able to see "Watch Your Step' at the Amsterdam any time between now and June. Sim*. PALACE. The Palace carries a great vaudeville show this week, great because of its comedy strength, its construction and the presence of a string of prominent specialties that have long since quali- fied for individual headlining honors. The Monday night program introduced a slight alteration in running form, bringing Annette Kellermann up from closing spot to the intermission period, delegating the closing task to Walter C. Kelly. Not a walkout was registered and Mr. Kelly gave the packed house their admission's worth himself. Every one of his yarns found a great recep- tion and his dialect tales brought enough response to give Kelly the classification of the Palace's biggest single hit since its opening. Bessie Clayton, in her third week, is little short of her original hit and looks good for another month's run. This week she added with a carded an- nouncement, a "Fox Trot" that makes the other similar efforts of the multi- tude of dancers that "worked" vaude- ville look like something easy. Mel Craig's harmonists add considerable to the general picture. The Farber Girls found quite a task before them with their dialog, although the numbers, which show something sensible in the way of selection, carried the girls through nicely. Their general stage appearance is much in their favor, but the comedienne should endeavor to eliminate the suggestion of self-con- sciousness that seems to predominate to the general detriment of the spe- cialty. Hussey and Boyle were a big hit from the start, Hussey's characterization car- rying the comedy section to the high- est realm. Boyle makes a splendid 4 straight," looks fine and sings fully up to expectation. The boys have some- thing that should keep them continually busy on "big time" and that particular "time" needs as many good two-men turns as it can get. Cheebert's Manchurians opened with their rather novel acrobatic turn, a good starter for any theatre, its unique- ness making it exceptionally desirable for the Palace. The queque bit gives it a good exit and should be featured more than at present. The whirlwind finale might be better dropped to allow for the queque work in a spot, without music. It's somewhat away from any- thing in vaudeville and its sensational features create favorable comment any- where. Flannagan and Edwards were a de- cided hit with their skit, although the surroundings created a contrast that didn't collect the appreciation due them for their work. Schooler and Dickinson overworked to some degree, the boy's sole efforts running a bit long, even to a tiresome period, although his ability remains un- questioned. The operatic medley is as good as the best heard around here in some time, but his previous solo ran to an unusual length. Hymack held interest with is quick changes and of course Miss Kellermann (New Acts) held her own with any- thing present. Wynn.