Variety (June 1915)

14 SHOW R E "VIEWS PASSING SHOW OF 1915. \11 the snap, go, vim and vl«or of "The Passing Show of 11115" at the Winter Garden are In the first act. If the two acts of the productions were transposed, auditors would t'urry away a much better impression of the performance than they will have until the sec- ond part has been polished up to compare with its predecessor. Everybody concerned must have worked themselves out on the first part, allowing the last half to take care of itself, which It does very badly. The new piece opened last Saturday night. It Btarts off briskly and continued in that style up to tho "Kagtlmo Overtures" number just before the finale. "Operatic ragtime" was given its death blow when Irving Berlin told all about it in his great "Watch Your Step" number. The ballet, put on by Theodor Kos- loff, closing the first act, did Its work well and prettily. It's so seldom a good looking premier who can dance on her toes reaches here from Europe that Maria Haldlna, in the lead, with Marilynn Miller, an American girl, also dan- cing, developed comeliness In addition to the ballet steps. There was not too much "ballet," and tho effort was worth the try at last, after the Winter Garden had tried so often without success In the same direction. Miss Miller propelled herself Into one of the star positions of tho show. She does a bit of everything, and Is given many chances, many more than Frances Pritchard, for Instance. This Is Miss Prltcbard's debut In a Garden production, but the house warmed right up to this modest little girl who didn't seem to know Decoration Day matinee that the ap- plause which stopped the show after her slight dancing effort was Intended for her. Miss Pritchard Is plentifully supplied with person- ality, of the kind that most strongly appeals. There is quite a little "book" to the first part. It was written, with the lyrics, by Har- old Atterldge, the continuous maker of Win- ter Garden's stories. Mr. Atterldge does re- markably well, considering what he must do, rilease everybody even though be Is not pleas- ng himself. The story Is of "Experience" go- ing through the Broadway theatres. The pass- ing revue doesn't pass any too quickly, and it seems to like "The Song of Songs" best. When "The Song of Songs" got tangled up with "Twin Beds" in a second act scene. It was some tangle. "Polygamy" stopped over on this sceno also, which was the big scream for George W. Monroe, as the fourth wife of Daniel Calkins (Harry Fisher). When Mr. Calkins entered his bed chamber that had four twin beds and a time clock, saw hla four wives whom he thought were asleep, and no- ticed a couple of young men under two of the beds, he remarked that It wouldn't have been so trying on him had all of his wives been unfaithful, but to make It 00-60 was sadden- ing, or something to that effect. But before that Mr. Monroe, while disrobing had trouble removing his corset, after he had looked under the bed, and stuck a sign on the foot of his little twin reposing place, which read "Please Stop Here." But after Mr. Monroe had Anally removed his corset, he rubbed his sides In the good old way and the women around laughed as they always do at this stuff. Nevertheless to those who believe George Monroe Is the funniest man In the world, he is still funny, and so Is Mr. Fisher, who only sea-Honed once. Later on In a travestied scene of Andro- cles and the Lion," Willie Howard did very familiar work with the animal (Arthur Hill). Those were the happy moments of the second part, for those who were seeing these bits for the first time, though no babies In arms are allowed in the Winter Garden. Willie How- ard was himself in character very infre- quently. He was about everything else tnougn he could be, and he. with hla brother, Eugene, did about the best bll of the performance In their "Trilby" number, Eugene surprising with the excellence of his Svcngall impersonation (straight), and Willie Pitting over the t Z u, T humor ho is capable of as Trilby. Also about the musical honors went to "My Trilby Maid here as sung by Eugene. But both brothers blackened the record in the Shakespeare In- cident, which could be thrown out along with "Ragtime Overtures." When Willie Howard Is more Willie Howard and lens of others, he will be funnier. There Is so much of Imitation In his "Broadway Sam" that that might suf- fice for the full performance as far as he is concerned in an impersonating way. John Charles Thomas Is the tenor, taken away from "The Peasant Girl" as was Miss Pritchard. for this engagement. Mr. Thomas often vocalized, alone and in company, put ho left no song hit behind. He was "Youth in "Experience." All the girls were after him, until he went broke in n gambling mene that was something near what 'Fads and Fancies" had but didn't use. Frances Dem- arest, who looked good and sang the Bame, was ono of the women ; Juliet Llppe was an- other. Miss Llppe having tho runway nil to herself for ono entrance on a song number. A little girl up at the Garden for the first time, and she is very tiny. Daphne Pollard, will become a permanent fixture there, after securing hor bearings. Daphne is the little soubret of the, Pollard Opera Company, tne Australian organization. Ginger is best un- derstood by her and when who Is working easily .tho others around will have to step lively. Miss Pollard didn't get her real chance until 5:15. with "Panama-Pacific Rag." but made It compare In applause at that late hour with any previous number. The music was written by I^eo Edwards, W F Peters and J. Leubrlo Hill. Mr. Atter- ldge wrote all of the lyrics excepting for the "Broadway Sam" song. Bobby Jones of Bos- ton composed for "My Trilby Maid," nn-1 ' The Midnight Cakewalk nail" is a Maurice Abra- hams song. Mr. Peters had four songs: ••Springtime In the Country," "I Will Follow Her" "There's Something Missing In the Movies" and "Tho Spon'.sh Fandan^." Mr. Hill had "My Trombone Man and Mv Brother Bill." ..... "Something Wrong in the Movies as lyric- ally written by Atterldge and well delivered by John T. Murray, was one of the first part successes. Mr. Murray took his light role of "Experience" rather nicely throughout, in a semi-straight style that got the points over. He was prominent and in fast company, so the result counts* for so much more for him. From a small time single to a leading role at the Winter Garden is some leap, to catch your footing at the other end, and Mr. Murray did catch on. Boyle and Brazil had their speciality to fill In a wait, and were helped along In it by Miss Pritchard, who made a trio out of the two- act. Sam Hearn and Helen Eley were a couple of others, who did the little they were called upon to do, Mr. Hearn at one time play- ing hlB violin on the opposite aide of the stage from where Rodion Mendelvltch was playing, also on a violin, his own composition, "The Nightingale," as the accompaniment for Bal- dlna's dance. It's a pretty dance piece. Then there were Irene West and Her Royal Hawaiian Sextet, who had a number by them- selves near the finale of the show, with a couple of Hawaiian girls doing a Hula Hula, while some of the choristers dove into the tank behind them. It made an active stage picture. Bos Ides were Eleanor Pendelton, who led the Polo Girls; Rosle Qulnn In front of the Baseball Girls and Leola Lucy, before the Fishing Girls In the "Sports" number, when all of the girls either threw balls or held their ttsh poles over the audience, from the run- way, bare legs being the principal display In this exhibit. A lot of girls in this Winter Garden Bhow. Twenty-four ponies alone, mostly all working In the numbers staged by Jack Mason. J. C. Huffman stages the production, that haa sb a scenic effect an "Aeroplane Invasion," pre- sumably of a Zeppelin-bombarded European town. It is a miniature variation of "Fire and Flame," with electric bolts used for the noise and Illusion. Neither good nor bad, It became merely a diversion. The costuming of "The Passing Show of 1015" Is distinctly different from the usual run of Garden productions. The program Bays Mrs. J. J. Shubert designed them. There were some excellent effect In clothes, and all were sane. . _, Provided the Garden can build up its second act, it is going to have a summer show. But to let it run in its present way will be taking too many chances that those who see It will remember the last act only, forgetting the first. Just now it is a badly balanced show. Bime. PALACE. There is a show at the Palace this week that ranks with the best of the season and that Is saying a lot. It Is a vaudeville show of a standard that could not be beat, com- bining as It does all that goes toward a per- fect program. Whether with malice afore- thought or by accident the bookers have also arranged one of the best travesty performances on record. There is an instance of thla in the first half of the bill and another In the closing portion. Incidentally, the vaudeville "regulars" did much to uphold the laurels of their profession, especially when It is con- sidered they appeared on a bill that was head- lined by Mme. Emma Calve, and the prima donna did not walk away with all the honors of the performance. The famous Diva re- ceived an ovation on her appearance, but it was due to the patriotic spirit of the audience that she scored so tremendously at the close of her act. Tuesday night Calve sang but two of her programed numbers, in- terpolating In place of one of them "The Star Spangled Banner," which she sung to the accompaniment of the orchestra. Not since the days of the Spanish-American War when John Philip Sousa first accustomed the audience to rise while the National anthem was being played, has there been displayed the patriotic enthusiasm In any New York theatre at the sound of this song as was shown at the Palace Tuesday. The house arose with one accord and remained standing throughout the entire song, after which they applauded and shouted, "bravos." The Palace contained an audience that filled all the seats, with the exception of a few In the balcony. The gallery and lower floor seemed to bold capacity, and tho boxes were crowded. The lower floor audience was late in arriving and thla detracted from the chance of the two opening acts to get over to their full value. Taking this into consideration both turns scored successfully. Lucy Gillette opened the bill, following a news weekly. The setting along with the cos- tuming Immediately spelled "class" for the turn. Miss Gillette ran through her routine of Juggling and balancing In a manner that brought frequent applause Interruption. At the finish thero was enough applause to give tho little performer three curtains. Willard, the Man Who Orows, had the "No. 2" Bpot, and although the late comers were walking In on him, he held the attention from the opening speech of his act. His com- edy got over nicely and his growing feats mystified. This was particularly noticeable because of Ure buzz of conversation that ran through the^udlence for fully half a minute Hfter the applause at the finish of his act had subsided. Clifton Webb, assisted by Gloria Goodwin and accompanied by a Russian orchestra of nine musicians, followed Willard. Webb is the first of the male dancers to take it upon himself to seize the starring honors of his act. Tho girl who dances with him Is a good stepper and is entitled to as much on tho program as he Is, even though sho doesn't share 50-50 when It comes to splitting the salary envelope. George Whiting and Sadie nurt, down next to closing the first part, were a riot. Using the "Question" song to open the team makes a distinct impression. Miss Burt's "I Must Learn to Spell." was a comedy bit that was appreciated. "I'm Going to Make You Love Me" made a corking closing double number, and In aplte of the fact that Palace audiences have beard It times Innumerable the man- ner in which Whiting and Burt put It over is a delight. George Howell and Co., In "The Red-Fox Trot," cloaed tns first part, and the act was liked because It was the broadest kind of a travesty on the Webb act which preceded it. In the second half of the show three acts following each other, each brought a riot of applause. The first was George McKay and Ottle Ardine. The team had the audience walking in after Intermission, but once they were underway there was nothing to stop them. McKay had them laughing all the time, and even aft*»r a five-minute encore the audience was asking for more—though Mme. Calve followed them. After the prima donna, Trlxle Friganza took the stage and scored the third successive riot. The comedienne gave a moment's bur- lesque of an opera singer that brought shrieks of laughter. Incidentally Miss Friganza Is doing a sequel to "No Wedding Bells for Me" that is a scream. She Is using It In place or the Suffragette Squaw. Otherwise her act <s the same. Delmore and Lee were the closers and they held the audience In to the last minute. They were one of the thrills of the bill. Fred. AMERICAN. The show at the American, downstairs for the first half of the current week, ran like a well oiled machine Monday afternoon with an occasional burst of speed displayed, cul- minating with the appearance of Jones and Sylvester In next to closing spot, where they eclipsed everything else on the bill and wound up to one of the biggest hits of their young careers. Prior to their appearance the honors were about evenly divided between El Cleve and Princeton and Yale. The latter act captured the comedy prize of the day with little or no competition. El Cleve, In kilts, played pop- ular, operatic and Scotch medleys with the modern numbers featured. El Cleve seems to carry all the requirements, but occasionally slows up for no apparent reason. However, considering the many xylophone turns In com- parison, this fellow has gone out for a little novelty and succeeds easily. Anna Boyd opened the bill, following a line of pictures, offering four songs with three changes. "Jane" used as an opener brought the best results. Miss Boyd Is reasonably pretty and has sufficient "pep" and person- ality to hold up in the "pop" houses. Open- ing the American bill is a poor place for the best act, but Anna Boyd did It and lived right up to expectations. Morris and Parks landed nicely with their dancing. Morris has a rather unique line of eccentricity and can dance. Parks is the same dapper little "straight," feeds well and builds a likeable contrast for the turn. They held the second spot and were followed by Anderson and Burt with their comedy sketch which revolves around the old theme anent the wife teaching her spouse a lesson. The act manages to connect with sufficient laughs. A serial held the position of a regular act as did a Keystone with neither getting above average results. Eadle and Ramsden had a conspicuous spot with a vehicle built around the man's ability to twist The woman takes up valuable time with second choruses that neither earned nor deserved much. The man Is decidedly clever in his particular specialty and will eventually land. Just now the turn is poorly constructed without theme or pos- sibility and although It passes, should be im- proved. Frank Stafford and Co., connected with his novel turn, carrying two people and two dogs. Stafford has the light Idea, carefully dresses It and capably presents It. The Equilll Broth- ers closed. Wynn. ROYAL The Royal's summer policy is almost Iden- tical with that now In vogue at the Harlem opera house and Fifth Avenue ( even to the out- side billing of tbe show. The exhibition of telegrams sent by vaudevillians to the U. B. O. bookers, saying that they are Indebted to them In more ways than one and to repay their kindnesses are willing to stand a cut In salary In order to play the Royal, et cetera, is also played up on boards outside the theatre. With a holiday Monday and the weather great for the ball games, parades, and outdoor attractions the matinee business looked away off amund starting time but about 3:30 the audience had picked up In buncheB and filled up the big house pretty comfortably. Once they started coming they percolated In fast. The show ran to comedy and music and the folks showed keen appreciation. The Royal dished out plenty of photoplay subjects, one being a three-reeled Essanay, "Vengeance" which was well acted and staged. Then there was a Charlie Chaplin reissue by the Key- stone which filled In acceptably. The opening picture, "Light O' Love" (Sellg), was of weak scenario construction. The first act was Helene and Emllon (New Acts) which pleased. The Jewell Comedy Four had no trouble at all with their combined display of comedy and harmony. The boys appeared all slicked up In their evening clothes and silk toppers and they have changed their program considerably. The "Sunday" song was the opener and the boys made it buzz. They'put in a barbershop chord. "Turn Over," between verses that helped immensely. The comedy chap and another member of the quartet did a "cissy" number that got good results. For an encore the Jewell singers offered their nonsensical "Mary Had a Little Mule" bit. The Howard-Chaso Co. of three people, with one man digging up some old, old slang phrases, offered a sketch of small-time pro- portions. The man working "straight" was handed a bigger laugh than tfle audience got l l JJ ny £ lme ? h ** the other boy slammed a good-looking derby down too bard on the hat rack. There's much farcical by-play but of the type that appealed to the holiday crowd. Arter tbe Chaplin film Manager Eagan made some announcements about the new bills. Charles Inness and Maud Ryan were next. ir*®.. 1107 *! *udience couldn't get Miss Ryan's Ridding at first but once the comprehension waa , 8t * r J e d the turn was received most cor- ,y .* Jnness* voice appeared to be in un- usually line fettle and he received considerable applause for his numbers. The changes of dress by Miss Ryan proved better than some of the recent weekly wardrobe displays by the films. ' A n Dream °f the Orient" was stronger vocally than In any other way although a violin number by one of the girls and the Ruslsan legmanla of the young man In the turn ran tne voices of the prima donna and the musical director a close second. Strange to ear the girls of the chorus displayed better voices that heard In the pop revues and tabs of late. The act Is a conglomerated affair, with seven girls working in Oriental costumes, several showing dancing ability when working with the young man who was supposed to have dreamed himself into the midst of that Turkish harem setting. Act sure to get biggest results in the cosmopolitan neighborhoods where they are strong for vocalizing. James Thornton was the same Jim, and he worked to big laughing results with his Irresistible monologue. Thornton sang "Mov- ing Pictures" at the opening and for the closing offered "Standing in tbe Old Bread- line," which J. T. said he had only written the night before. This breadline number has a sentimental lyrical refrain and Is worded In the Thornton style of his old successes. The show closed with a trampoline and tri- horizontal bar turn by Rice, Sully and Scott. The men show an Inclination to stall but for the pop houses the circus antics are bound to score. Jfarfc. FIFTH AVENUE. The Fifth Avenue was Jammed to suffffoca- t'on Monday night. The holiday and an all- women bill were responsible for the business and the show as a whole gave big satisfaction. There was one man on the bill, but he announced his presence there didn't count, but that it was necessary to say a few words about the travel pictures which none of the women around were familiar with, so the pic- tures of the Florida waters were shown with- out conflicting with feminine turns to folluw. Mabel Burke, with a strong voice of pleas- ing proportions, sang the 111. song which was offered In picture form. The audience got in on the chorus and helped Miss Burke's popularity for the moment. The show proper Ftarted when the Three English Girls danced and performed a few acrobatics after the fashion of the old English Rosebuds and other feminine dancing girls from across the waters. Carrie Lille sang, but only one song really got her anything. Miss Lille needs a song program, and one that would do away with much of the sameness noticeable in her pres- ent routine. Ezler and Webb exchanged merry repartee with a lot of It going to waote. These women make themselves heard every second they are on the stage, but the talk Is not of ths beet. A decided novelty was the Injection of foreign women Into the bill. Sumlko (the "Mary Garden of Japan") and Company ap- peared. The lady from the Orient is ac- companied by a chorus of four Japanese wom- en who dance a little and occasionally let loose a note or two during several of the song numbers. Sumlko's voice is sweet and musical and she sings easily, so what does the rest matter? The Fifth Avenue audience thoroughly enjoyed the Sumlko offering and while this Is not her first appearance at this house her act went much better than on the previous trip. While Nonette, who appeared next to clos- ing, was the big hit of the night, the sur- prise hit of the show was that furnished by Weston and Leon, wherein the versatility of the little blonde lady proved wonderfully en- tertaining and amusing. Robbie Gordone's posing act pleased. It was a "sight act" that gave diversion to the bill. Following Nonette's success came "The Pet- ticoat Minstrels," Introducing an act that looked almost like the first one that came out of Philadelphia. This feminine minstrel turn is of the usual routine, solos and cross-fire gags, with two women In burnt cork. One, Margaret Spencer, worked as though she was recovering from a cold, while the other's voice seemed to have been overworked of late. "Petticoat Min- strels" can play any pop house and change Its hilling to suit any neighborhood. Mark. 23D STREET. The best show at this house In a good many weeks was there Monday afternoon, with an audience that filled nearly every seat In the house, with the exception of the boxes, de- spite that It was a holiday and summer weather outside. Six acts, a feature, a Key- stone, and a serial, comprised the show. Falke and Adams (New Acts) opened with a good start, singing and dancing. The ap- plause never ceased for Davit and Duval, fol- lowing with their comedy sketch, concerning two unfortunate vaudevillians out of work. Gordon and Rica next received goodly ap- plause, with their novel cycling turn. The fellow Is an excellent performer on the wheels, while his partner, a petite girl, has a fair voice and plenty of personality. The serial followed. The first real hit came from singing and playing by Four Melodious Chaps, an act far away from the company It belongs In. Lillian Devere (New Act) next to closing the vaudeville portion, ran tho previous turn a close race for hit honors. Barrows, Martin and Mllo, with a newcomer In the act handling the comedy end, concluded the vaudeville. A feature closed the show.