Variety (May 1915)

SHOW REVIEWS 13 SHE'S IN AGAIN. The Gaiety held as large a crowd, consider- In* Its relative capacity, as any first night of this season, when "Shu's lo Again" was first shown on Broadway Monday evening. The two Important points of Interest to most of those assembled were what Tommy Gray could do with a $2 show, and how Ned Wayburn would handle a production without music or chorus. The large majority knew or knew of Tommy Gray. He's a vaudeville writer, who has trained himself to write laughs. This may be a strange pursuit for any writer, according to the Broadway lights who have been drawing royalty for years through being good choosers of other people's material. And it will be to Tommy Gray's credit forever that, regardless of the fate of this farce, whether its farcical base and trimmings are high brow or low brow, rough or polished, that Mr. Gray, who turned out the American version of this Eng- lish farce, adapted from the French, did not employ one "sure-fire" line, gag or situation that had been previously employed upon the stage—vaudeville or legitimate. The very near- est be came to It was In the third act, when a chorus girl, visiting for the nonce in a pri- vate home, looked about the room, exclaiming, "Bo thiB is Lakewood! ! It brought a loud laugh from the wise regulars in front. In fact, "She's In Again" brings many loud laughs. The piece builds up. At the end of the second act, It didn't seem as though value for $2 could be given, with yet another act to come, but the third act, given over almost entirely to Ada Lewis (who easily walked away with all comedy honors), forced the laughter in a stream, and at times It was a scream. Mr. Wayburn turned out three good-looking sets and had his play running in fast time, though It was noticeable in more than one Instance that rigid rehearsing apparently was holding down principals to the exact manner of their coaching. This was especially true of Mae Hopkins, a chorus girl, playing a chorus girl's role. She did It too mechanically, whereas naturally and outside the theatre Miss Hop- kins is the exact person for the part. On the Gaiety stage, though, she was the type in ap- pearance only, a good-looking blonde, who would probably give a better account of her- self If allowed to take the character In her own way. It's a "fat" role and should hold up almost anyone. "She's In Again" was "My Aunt" In Lon- don, where it had a long run. The original In French must have been a piece of burning ginger, according to the last act, where Miss Lewis, as a middle-aged "dame," thinking she sees her last hope for a husband In William Roselle as a lively young budding lawyer with a rich aunt in Kalamazoo, goes Into a bedroom to sleep, arrays herself In borrowed pajamas and climbs Into bed, while Aubrey Brighton (Mr. Roselle) Is in the practical bathroom, also attiring himself in pajamas for the night's rest, both having been given the same room in error. With lights down and Ann Rayner (Miss Lewis) under the covering, Brighton also clambers Into bed, the two lying there for an instant before the ensuing ex- clamations commence. This is Just at the finale, when the door of the bathroom is open- ed to exhibit a girl Immersed in the tub, up to her shoulders. The farcical plot Is of Brighton taking Miss Rayner home with him from a masquerade ball. He occupies a bachelor apartment at 7th avenue and 40th street, and told the girl he wanted to show her some photographs. When the mask leaves her face, Brighton's only thought Is to get rid of her. Meantime his aunt arrives, and later the chorus girl, who wishes to make up a quarrel she had had with her sweetheart, Leslie Tarlton (Edwin Nlcander). Tarlton grew angry because "Paul Swanson" had taken his girl around the park seven times In a taxi cab In the rain. Brigh- ton askes why he worried as long as Swanson paid for the taxi. The complications com- mence to multiply from here to the finish, with fast action that begets laughs, In which the dialog Is an able first assistant. Miss Lewis did a gem of a character make- up without make-up especially. It was odd and It was laughable. In the third act, while wearing evening dress with a man's low soft black hat on, Miss Lewis was a continual laugh on looks alone, and she played very well ( besides. Sydney Greenstreet as a butler gave an excellent performance. Mr. Roselle, barring a visible nervousness, ran nicely through his part, although tbe kissing of the doorknob should come out Instanter. That's too much mush with no humor for Broadway. George A. Schiller and Julln Ralph. In elderly roles, well carried them, Mr. Schiller getting every ounce out of his part without pressing it. 0 Eileen Van Blene was a sweet engenue, programmed as a widow, which conflicted with her dialog and playing. The widow billing seemed superfluous, unless It was necessary In the French. For a first attempt at legitimate playwrlght- Ing, even though a rewrite, Tommy Gray la entitled to a lot of credit. It will give him confidence for the future. Tommy has an In- herent funny streak that simply needs culti- vation. Built only for laughing purposes, "She's In Again" accomplishes Its object. It looks as though Ned Wayburn Is threatened with a hit on his first try. The Gaiety Is about the best house In town that could have been selected for a farce of this order. 8ime. PALACE. 'Never before In her entire professional career has Eva Tnnguay fnced such a legiti- mate handicap as she did at the Palace Mon- day night, following a line of successive bits that made one automatically regret In advance the possibilities that apparently awaited her. The cyclonic genius of originality seemed con- fronted by the established precedent that spelled plainly professional death, for the pre- ceding team shook the rafters with well-earned applause, but Tanguay'a musical Introduction not only shattered the rule, but undoubtedly registered an applause record for this or any other New York vaudeville house. A spontaneous reception welcomed Tanguay that fairly took her breath away, in fact it seemed to temporarily embarrass the princi- pal, for she could do little In the way of acknowledgment beyond bow and salaam. It doesn't require much mental reflection to seriously weigh the Import of such a condi- tion, recording as it surely does the remark- able popularity of Eva Tanguay as a vaude- ville attraction. Tanguay was an artistic hit as well, an artistic hit from every individual standpoint, including that moBt important es- sential, appearance. Tanguay never looked more attractive, more uniformly trim nor more perfectly figured than she does at pres- ent. Her wardrobe, continually changed, needs neither introduction nor comment. And her routine Is easily the best she has con- structed In several seasons, every single lyrical addition gathering its full quota of apprecia- tion and applause. She finally concluded after a speech, an encore, a recitation and "I Don't Care," which came after repeated requests. And her box office power successfully held up through a crucial test, for the house carried a capacity attendance under unfavorable weather conditions. As for the supporting program, the Pekln Mysteries, presented by Hang Ping Chien, parallel the Chinese with the best Jap acts seen hereabouts, as entertainers. The stereo- typed Chinese feat of producing hugh bowls of water is featured, while one member ex- ecutes a roll-over In this line that tops any shown by preceding competitors. The Chlen troupe corralled one of the evening's hits and were voted a distinct novelty. Robins held the second position with his novel comedy specialty, the mimic's quaint de- livery and seemingly original line of comedy striking a responsive chord. Following came Florence Tempest and Co., chiefly assisted by Donald McDonald and Allen Kearns. Miss Tempest's Impersonation stood out conspicu- ously in contrast to the efforts of her com- pany, but for some unaccountable reason, the numbers did not make the expected connection. The vocal efforts of Kearns ran somewhat be- low form and whatever the offering gained can be credited to the principal and McDonald, who seemed well at ease In his new role. The costumes and general stage dressing were at- tractive. "Woman Proposes," the one-act satire con- tributed by Paul Armstrong landed nicely once the monotony of the Introductory dialog had passed, the descriptive situations cleverly interwoven Into the action of the second sec- tion coming fully up to expectations. The work of Ruth Allen and George Kelly, who are delegated with the explanatory labor was especially good. Ben Welch was a laughing hit with his Hebrew monolog, and Lillian Goldsmith and Co., who closed the bill, kept the majority seated for a view of her nautical set, which makes a splendid background for her terpst- chorcan efforts. Collins and Hart opened the show. Just before Tanguay the Canslnos, Spanish dancers. Wynn. BRIGHTON. The Brighton started Its seventh season as a vaudeville house this week, under disheart- ening conditions. Monday found a rainy day and Tuesday was cold, making a noticeable depression in the box office receipts. Tuesday night the house was about half full, with a goodly number paper. Irene Franklin was given the honor of head- lining the Inaugural program. She did all that was asked of her and put over the hit of the bill, the audience being loath to let her go. Of her six numbers two were new. One Is a satire on the dancing craze, "A Fox Trotter's Chatter" and a number called "ft I Don't Lock My Family Up It's the,Old Maids' Home for Me." Both are put over In the inimitable Franklin way, and caught on Im- mediately. Bert Green was at the piano, con- ducting In his usual finished manner. The bill contained other hits. Ethel Klrke and Billy Fogarty started things off with a snap In the second spot and from then on the show never stopped. Bill Fogarty made many frlendB with his care-free comedy, while Miss Kirko sang, and looked decidedly attractive In a new wardrobe, two of her dresses show- ing a most expensive back. The Langdons In their "A Night on the Boulevard" secured many laughs with their prop auto. The Primrose Four, with songs and well regulated comedy, made one of the big im- pressions. The men sans; eight numbers, end- ing with "Bobbing Up and Down," their stand- ard number, owing to the way they put It over. The sprlghtllness of the men, con- sidering their weight. Is exceptional. The sketch was furnished by Allan Dlnehart and Co., In "The Meanest Man In the World." the company consisting of Marie Louise Dyer. The youtbfulness and the personality of the two made a noticeable Impression. The Arnaut Brother* opened after Intermis- sion with their clowning and violin playing. The bird business at the finish was vastly amusing. Miss Franklin scored after Inter- mission was followed by Clark and Verdi, who wore still able to secure laughs aplenty with their Italian talk, from an audience that had almost laughed Itself out. "The Act Beauti- ful," an ever pleading closer, did the honors Tuesday night. Balzer Sisters (New Acts) opened. The bill for the. opening week at the Brigh- ton Is exceptionally attractive. If maintained, such will bring the crowds to the theatre. HENDERSON'S. The summer season was ushered in at Heu- derson's, Coney Island, Monday, with an at- tractively arranged seven-act bill that pleased the few present Tuesday afternoon. Carlton Hoagland, who books the Island house, is out to give his patrons the best, evidenced by tbe first show of the year. Henderson's appears tbe same, with a bright and airy atmosphere. I^emuel Blakcman. resident manager of the theatre, had ovcry thing In readiness for the opening. The usherettes are adorned in white with large blue sashes bo the patron* may Identify them. The opening bill was headlined by Rajah, who, although featured in the billing, was by no means the biggest hit of the day. Her work was liked but the audience seemed Just as enthusiastic over the other turns. Tbe show started with Le Prince and Sanchez (New Acts). Weston and Leon sang their way to popularity. The girls evidently thought they had little chance of making any kind of an Impression upon the light crowd but were agreeably surprised at the applause. The character songs of the girls and a new num- ber, "When Sunday Comes to Town,' gained for them one of the hits of the bill, although on early. For the novelty hit the Meyako Sisters ran alone. The two little. Jap girls Jumped Int > immediate favor. Plenty of life was added to the show by Keno and Green, clever dancers. Dunbar s Nine White Hussars sang •and played their band instruments to the best of results. Harry Lester Mason (New Acts) with his Dutch comedy, had laughs from start to finish of his talk. Rajah was followed by Lydell, Fisher and Lydell. Fisher Is a new member of the trio, playing straight. Few opportunities are given him, the real weight resting upon the Hick part, which is well handled by Lydell. The young woman seems to be anxious to do more, but little chance is given her also. This act next to closing made their work felt. Sylvia Loyal and her Pierrot held them In till the last. AMERICAN ROOF. It may have been the cool weather Tuesday evening that accounted for the unusually large throng on the American Roof. The house up there looked good, with so many people on It. Svengall headed the first half's program. He, with Elsie Terry, does the musical mind read- ing, Miss Terry playing the pieces whispered by the audience Into Svengall's ear, also sing- ing them, In a rich contralto. Besides, Miss Terry Is a good looking girl, and lends class to Ibis act that looks to be the best of Its kind that has shown around New York. Svengall makes a brief anounce- ment after "hypnotizing" Miss Terry, who enters singing "Ben Bolt." While playing she never ceases to watch Svengall, as he walks through the orchestra, but she plays and sings continuously, making It a pro- longed medley, changing tune end tempo In- stantly, as often as another number (s called for. The songs ran from opera to rag. No matter how the player Is cued, the act Is ex- cellent, especially for the small time, where It should be a very big feature. Svengall makes a good appearance, speaking with a slight accent. The one fault with this act. as with others similar, Is that when the man Is working under the balcony the upper por- tion of the theatre Is helpless for amuse- ment or sttentlon, having onlv the pianist to watch. Remembering this It might be as well not to go beyond the vl«ion range of the first rows upstairs, but keening well down In front In the orchestra would he even better. Svengall Is said to have been the first In these latter vaudeville days to present this sort of a turn. He has played the middle west for a long while, but that has not kept the act from the class It has secured, and which would en- able It To appear In any house. The co- slnglng and playing makes It a novelty almost. Closing the first part Svengall scored de- cidedly, and opening the second part, Patrlcola and Myer (New Acts) were the hit of the bill. They stopped the show. After them came the Hippodrome Four, a rough quartet In a school room set with the u«ual characters, German school teacher. He- brew comedian, "cissy" and awkward lanky boy. It was a little harder In position than It ordinarily would have been through fol- lowing the two-act, but the Hippodrome boys, who are longer on eomedv thnn they are on singing, created mirth throughout, finishing very well. Unless the closlna In "one" Is needed by the stage manager (and It whs not on the Roof), there Is no reason to end the act In front of the drop. As a slap stick school quartet the Hippodrome Four qualify. In a still harder sp^t. rltrht nfter. and next to closing the bill, the White Sisters did well enough. But "White Sisters" Is not their name. The two girls appeared to he trying out or working In. The Throe Donala closed the performance. Openlnc the hill was IV Armo with Juggling. After that rame Jose- phine Kathryn (New Acts), a single. Myles McCarthy, with Alda Wolcott, wan third In his old sketch. "Cnn Dreams Come True?" It amused thonc In front, and the finish went particularly strong. Rouble Sims, who sings and talks while he cartoons, wns next, and well received. A romlc and a serial Aim were also on the hill 8ime. without effort to adhere to the main plot which became lost In tbe network of numbers, managed to bold sufficient Interest through- out the performance to Justify the engage- ment, but taken seriously as a contender for future booking, this particular aggregation loomed up as a decidedly weak applicant It looked like a well oiled one-nlghter, the principals automatically delivering a routine of dialog that seemed consititent but unin- teresting, the occasional appearance of the choruB (which registered well as a singing combination) breaking up a monotonous suc- cession of situations that never approached the requirements of standard "tab" comedy. A number of principals stood out In con- spicuous xpots registering points of ability (the absence of programs making individual comment impossible), but as a whole the per- formance was hardly up to expectations, the one noticeable redeeming feature being the ensemble work of the girls whoso efforts re- flected credit on the stage manager. The equipment suggested a moderate ex- penditure with no pretense at "flash," al- though a neat set of costumes was displayed. "The Elopers" found things at the Square a bit different than the road, the 14th street audience having accumulated an early educa- tion on tabloid possibilities and by the quiet reception tendered this troupe, It was evident things were not running up to expectation. As a one-nlgbt-stand affair, liberally billed and properly exploited "The Elopers" carry good financial possibilities, but coming Into New York as a contender for tabloid honors there doesn't seem a possible chance. Wynn. REGENT. The Regent, 110th street and Tth avenue, formerly playing pictures, now presents pop vaudeville. B. 8. Moss recently leased the house and finds little trouble In keeping It going at a fast clip. The attendance Tuoaday night would satisfy anyone. The Harlemltes, however, have not lost their liking for fea- tures. This was demonstrated at the finish of the new five-reel release of the Metro, "The Middleman," closing the show no one walked out and the film received as much applause as any act on the bill. It was deserving of all It got, for the feature Is there with the big finish and the work of Albert Chevalier throughout Is finished. Ryan and Maybelle opened after a Hearst- Sellg Weekly, and passed quietly. The solo dance by the girl could be replaced by a song, for that Is a bad spot In the turn. Kalma and Co. followed with magical enter- tainment which bewildered the entire house. The floating ball lo the best trick attempted besides a case Illusion for a finish. They were well received. Dolll D'Anert displayed an elaborate gown and a fair voice In straight songs. After tbe weekly serial, Wal- ter St James and Co. scored one of the hits. The act cannot hope for any better time, for the oast Is not any too good. The little com- edy tried for appears to land at the proper time, breaking the dull spots. Joe Whitehead with his "nut" talk and songs put over" tbe hit of the show. His little ditties and Jokes were funny and consequently laughed at. Do Peron Trio closed and held them. The lift- ing brought the boys applause returns. FIFTH AVENUE. THE ELOPERS. The producers of this "tab" playing the current wcrk at the Union Square havo shot conslderahly wide of the enmeily mark, the greater part of the responsibility r»--tln« upon the musical repertoire, whleh fails to reveal anything beyond the ordinary program of popular numbers without a semblance of nov- pltv to help A succession of comedy "hit*." Outside of the Fifth Avenue there Is a paint- ed eight-sheet board that announces "Eight Acts and Eight Pictures." That Is splitting It 50-80. For those who like vaudeville and also for those who like pictures, nothing could be fairer. However, there are really seven acts of vaudeville, a travelog and theee, coupled with some pictures, frame a show that runs from a few minutes after eight until al- most eleven o'clock. The electric sign which formerly bore the names of the headline acts is missing from the front of the house, and at present there Is a makeshift In Its place. Monday night It bore the names of Marshall Montgomery and Oeorge Felix and the Barry Girls. These acts shared the headline honors for the first half of the , week. Business was very good In spite of tbe damp evening, the entire lower floor being well filled at 8.18. After the Initial reels Frank Houghton and Co., In their comedy cycling specialty, opened the bill. The motor cycle feats put the act very big, although considerable Improvement could be made If the machine's exhaust was muffled without detracting a bit from the value of the turn. Raymond and Helder held the second spot and passed nicely. There are spots In the turn that bespeak class, but against this Is much small time material that detracts from the general value. Billy Tulte's Collegians held the third spot and pulled down a nice little hit. A Chaplin comedy followed. Solly Ward and Lillian Fitzgerald (New Arts) preceded the Para- mount Travel Talk, the latter carried on the program as a regular net The travel reels, which are being Issued by the Paramount Service, are supplemented by a number of slides and a lecturer. The latter has a pleas- ing delivery and aeorc* his points. The fea- ture Is one that will attract and bring return business, as It Is to he continued Indefinitely as part of the program tho first hnlf of each week. Oeorge Felix and the Bnrry Olrls filled In the next position and scored nicely. One of the girls Is singing "Carolina" and putting It over. The finish with the waiter bit got a number of laugh**. Marshall Montgomery, who follow- ed, did not seem to tnke his work at all seri- ously, but, nevertheless, was one of the big lilt-; of the show. 7oh|o O'Meers, assisted by two girls and two men with a combination singing and wire act, elosed tbe vaudeville portion. "coring an ap- plause hit Fred.