Variety (January 1915)

16 NEW ACTS THIS WEEK NEW ACTS NEXT WEEK Initial Presentation, First Appearance or Reappearance in or Around Now York. Shean and Warren (Reappearance), Hammerstein's. Alick Lauder, Hammerstein's. Diamond and Grant, Hammerstein's. Johnny Stanley and Co. (New Act). Hammerstein's. Carolina White, Palace. Those Four Boys, Colonial. Chas. McNaughton and Co., Alhambra. Richard Bennett and Co., Orpheum. Reginm Courelli and Co., Orpheum. Naximova and Co. (6). "War Brides" (Drama). 37 Mine,; Five (Parlor). Palace. Another stage lesson for universal peace, presented in a neutral country. It is "War Brides," by Marion Craig Wentworth, played by Nazimova for the first time this week at the Palace, which likewise marks that actress debut in vaudeville. The story is print- ed in a magazine this month. A pic- ture screen slide said so just before the curtain went up on the sketch. It also said the playlet was neutral. Both ob- servations could have been placed on the program. They created a theatric atmosphere immediately. But—this war sketch is like others in its lesson. Still the "War Brides" has its argu- ment for women. Joan (Nazimova) says women make war possible, they give the country its soldiers—they should have a voice whether the men they give should murder and be mur- dered. That's a new light on Woman Suffrage. Joan, upon learning her hus- band had been killed in battle, deter- mined to defeat her country of possibly one soldier yet to be born of her, as her country would not promise that there should never be another war. She killed herself with a revolver—off stage, for the finale. Joan preached against "war brides," those girls called upon to marry soldiers who had an- swered their country's call, not know- ing at what moment they were to be sent to the front. Joan's theory, ap- parently, was that if her country had no men in that future, it could have no war through no soldiers. The story is tense only at times. Seven or eight minutes could go out. The star did not appear for some ten minutes after the opening. The company is compe- tent to support Nazimova, who is al- ways tragic in this tragic role that makes "War Brides" an acceptable dramatic playlet for vaudeville. Rime. Brown and McCormick. Violin, Dancing and Acrobatics. 12 Mins.; Two (8); One (4). Union Square. Brown and McCormick are two boys, doing a little bit of everything in 12 minutes with the result they have a very good little small time act. They were one of the applause hits of the Union Square's bill the first half. The boys might pay a little more atten- tion to their dressing and it would be a help. Fre<l- Adele Blood and Co. (1). "A Dream of Fair Women/' 21 Mins.; Full Stage (Special). Hammerstein's. Adelc Blood, assisted by I'ercival Lennon has a dream protean sketch. distinctly different. Miss Blood is a beautiful woman of the decided blonde type, and in this act she offers six character studies of women types, all exceedingly well thought out and pre- sented. The sketch would have been somewhat more effective if the action had been quickened. There were too many repeats in business by Mr. Len- non. There had to be something to fill in the time that Miss Blood utilized in changing her costumes, but the pace could have been speeded up. The story which gives the former star of "Every- woman" the excuse for appearing in the various characterizations us based on a dream a husband is supposed to have had. The husband, formerly a "rounder," has married and tired of his wife. She comes to him and asks that he accompany her to the theatre. This he refuses to do, and she upbraids him, saying, some day he will go too far and she will leave, never to return. The wife leaves and the husband lies down. His former loves pass in review. Final- ly he sees a vision of his wife writing him a note saying she is leaving him forever. He awakes, screaming, as she walks into the room. Usual end- ing. As the various "girls" Miss Blood gave a truly classic performance. There is one thing she might omit, and that is the snatch of song while portraying the last of the types. Mr. Lennon slightly overacted at times, but was otherwise satisfactory. The scene is laid in a very handsome set and Miss Blood's gowns are delightful creations. The act was staged by Bartley Crush- ing. Fred. Kathryn Durkin. Songs. 15 Mine.; One. Harlem O. H. Kathryn Durkin is a little girl with a collection of songs that sound as if her own. She opens with an Irish number called "Tom O'Day" following with a crinoline song that goes over very well. A kid comic gets good re- turns and the closer about a Ford a number of laughs. Miss Durkin is youthful with a nice way of handling numbers as well as several dressy dresses, the last, an orange and black coat and hat being especially attrac- tive. Albertson and Fox. Songs and Talk. 13 Mine.; Two (Special Drop). Fifth Ave. When tjiis man and woman frame up and get going they should be pos- sible for bigger time. At present the man attempts comedy, noticeably not in his line. The girl looks well and sings pleasingly as does the man. The two at present are working mostly at a window that is cut in a pretty house exterior front drop. They are pleasing when singing. Rose Coghlan and Co. (4). 'The Discovery" (Comedy Drama). 25 Mins.; Full Stage (Parlor Set). Orpheum. "The Discovery," written by Edgar Allan Woolf, is a sketch that will prob- ably never be very popular in vaude- ville. The one point of the story is not i» new idea, used before, on the stage and in short stories. Rose Coghlan's acting holds the act up. The plot tells of a Mrs. Betty Pasternot (Miss Cogh- lan), who robs herself while sleep- walking, hiding the jewels where she cannot find them in her wakeful mo- ments. A detective suspects her son, who returns unexpectedly from col- lege. He brings a girl with him. The girl's father objects to her marrying the boy. The son suspects the de- tective, and part of the detective's sus- picions are of the young girl. The "tec" was once a sweetheart of the mother's. Also a servant with a char- acter makeup, who is supposed to be dumb. At the Orpheum Monday even- ing the audience made plain their opinion by their silence. Jchn Jarrott and Vera Maxwell. Modern Dances. 14 Mins.; Palace Interior. Colonial A happy dancing combination. Not since Jarrott dropped the "Alabama" and "Jack," nicknames, or Miss Max- well stepped from the Ziegfeld "Fol- lies," have either been seen to better advantage than when tripping together at the Colonial Monday night. They appeared to relish their work, and not- withstanding that another act of sim- ilar construction was on the bill a few paces ahead went swimmingly along to an unqualified hit. Jarrott and Miss Maxwell are there on looks. The former has taken on weight, but it did not feaze his dancing in the least. Miss Maxwell looked sweet and attractive in a dress that radiated lavender, blue and pink, fetching, and away from the common run of female outfits in vaude- ville dancing turns. For some reason Jarrott and Miss Maxwell eschewed the waltz almost altogether, doing a few dreamy steps in their opening dance, carded as "Three in One," em- bracing the one-step, waltz and tango. It was the Fox Trot that established them as sure-fire from a vaudeville standpoint. This was given more at- tention and was capitally done. Jar- rott is given freedom in the matter of soft shoe accompaniment to Miss Max- well's graceful stepping. For the finisli "The Congo Tongo" had the dancers working unusually hard. This was a lively number. With the Fox Trot about the most popular dance of the present day and standardized through- out the country Jarrott and Miss Max- well could troop right out and mak.* rhem sit up. These dancers are not taking their work so rigidly serious. They arc "at home" with their danc- ing. Mnrk. NEW SHOWS NEXT WEEK Initial Presentation of Legitimate At- tractions in Now York. Robert Mantell (repertoire), 44th Street (Feb. 2). Jeflf Davis. King of the Hoboes. 7 Mins.; One. Hammerstein's. Because of the seven minutes tnat Jeff Davis spoke on the stage of Ham- merstein's this week it has become known that there is a fine distinction in the land of itinerant worker. The distinction is this: There are tramps (they won't work), hoboes (who will work if given a chance), and 'bums (who couldn't work if they got the chance). Also a few other very en- lightening remarks were passed out by the self-styled King of the Hoboes and managing proprietor of the Hotel dc Gink. Jeff stated he was not the first "bum actor" that had ever appeared on the Hammerstein's stage. He also stopped to remark that he did not have to shoot a hotel proprietor to get on. It's funny how these hotel men will stick together. Jeff appeared in a soft gray shirt, over which he wore a brown coat sweater, and an ordinary sack coat. This sartorial display was topped off by a checked golf cap, re- maining on his head during the talk. Also feeling that he would not be a regular actor unless he carried a cane. Jeff was supplied with that necessary prop. Jeff appears to be able to get along in life, providing he doesn't let Tommy Gray sell him his make-up out- fit. Fred. Gormon Bros, and Leopold. Piano-Act 12 Mins.; One. Columbia (Jan. 24). This trio, probably from a cabaret, have different ideas from the usual rathskeller turn. A sign says they write all the songs they sing. Two of the numbers used were in the nov- elty class, and "acted" by two of the young men while the third played the piano. The first was about eating at a one-armed lunch, while the other (clos- ing the act) was a bit of a court-room scene (with the judge and prisoner) set to verse. Another number has some face slapping that is not exactly slap-stick through the manner in which it is executed. The trio look good enough to have a chance at the regular bills. They are entertainers of the type that should graduate from :•. cabaret or rathskeller. Sime. Theresa Miller didn't like her posi- tion at the Lafayette theatre Monday, started something behind the stage, and a boy in the front of the house did his share by shouting "fire" as he heard the noise. No casualties "Gypsy Life" (10). Singing and Dancing. 15 Mins.; Full Stage. Union Square. Five girls, five men and an orchestra leader. The scene represents a gypsy encampment with the company lolling about in picturesque costumes. Three of the men play on mandolins and gui- tar at the rise. This is followed by some very fast dancing and a violin solo by one of the girls. For the close there is fast work that sends the act over with a bang. Fred.