Variety (July 1915)

SHOW REVIEWS M PALACE. The current program at the Palace is a very familiar one. In lta separate aeta, to continu- ous vaudeville goers, but It didn't make much difference la the framing, as the holiday had to be considered. That the weather turned for the theatres Monday was but a part of the gamble, and the big business the Palace drew twice that day was offset by the atten- dance Tuesday. The features of the bill ss placed In favor by the audience were Mason and Keeler, Emma Carus, Orvllle Harrold and the Arnaut Brothers In the order named. Had Ho- mer Mason and Margurlte Keeler played anything but a sketch that ends when It ends, they would haTo "stopped the show." As It was the applauae was Insistent even after the annunciator called for the next turn, Mr. Harrold, who placed his line tenor Tolce In four selections, grand and light operatic, be- sides an Irish melody. Emll Polak accom- panied the singer, with a sane solo for him- self. Notwithstanding the other successes, the real enjoyable event of the evening was Emma Carus, for It is now Emma Carus alone prac- tically. Her best friends will not admit Miss Carus' newest assistant, Noel Stuart (who replaced Carl Randall) Is of material aid, ex- cepting that he Is there, for Miss Carus to talk to, dance with and to sing and dance by himself. In an eccentric style that contains no steps of marked originality. Mr. Stuart is a tall fellow, singularly thin, of little per- sonality, but for Miss Carus' purposes, a marked asset, because It permits her to offer in evidence that after all, an act with Emma Carus Is In reality Emma Carus only. Miss Carus would make a mistake to change Stu- art for any -one. He throws her Into dis- tinct relief as a comedienne, and Just now Mlas Carus is distinctly a comedienne. She has grown thin, very thin (for Emma Carus), and as she remarked early in the turn, "It's not so hard to get thin, but to stay funny !" Miss Carus offers the recipe for re- ducing to any one wishing to know it, but It would seem the exercise of the turn is her secret, she having but recently completed a long tour In the west. It maybe, however, that physical exercise had something to do with it, for Miss Carus easily touoned the tips of her lingers to the floor, while divulging other practices when taking bows. She claimed to be a perfect 88, reduced down from 44, and she looked it. In each of her three gowns, with the first, an evening dress, quite becoming, while the second, a light tailored suit of natty design, she wore for her Irish number that she did extremely well. Miss Oarus opened with "Down In Bom-Bom- bay," a new rag with a pretty melody. A male quartet stationed In the balcony got In on it It has a double clap in the chorus that will be of some use. Another rag was her third, while Mr. Stuart, who also changed his clothes, sang something that may have been called 'Tm Open" (which has no T 'At Liberty" meaning). A coupie of kerflunk finishes for the antl-flnale and finale did quite some for Miss Carus, and her finishing remark also won a laugh, the act going through to the enjoyment previously mentioned. "No. 3," the Arnaut Brothers, with their acrobatic violin playing and "bird" finish In "one" had the audience feeling In the best of nature, the "bird" finish especially getting to the house. They followed Charles Olcott, who did very well In the early spot for his "Comic Opera In Ten Minutes." The first part was closed bv Amelia Bing- ham In "Big Moments From Great Plays," giving two excerpts Tuesday night, "Joan of Arc" and "Sans Gene." The "Arc" thing is unsulted for vaudeville. It Is heavy, almost a monolog in Its first section, and the "New Sensational Fire Scene" Is not sensational at all, unless one may believe a wobbly darkened stake placed closely against the back drop will give the Illusion of a devouring flame from an ordinary blower. "Sans Gene" of oourse was better adapted for the act, but Mlas Bingham, who was among the top liners of the bill, should prepare another repertoire if she has concluded to take vaudeville as a regular thing or even as a substitute. What she has done in this line she has done too often, perhaps proven by the light crowd of Tuesday, with no other big time house open within a radius of over five miles from the Palace. After the Intermission Winsor McCay ex- hibited his "Gertie" of the screen that was as numerous as ever to those who had not before seen it. A hand-made turn like this one, which cannot be changed in its subject matter, should be changed more often in the idea, if McCay wants to often tour the vaude- ville houses. The Mason-Keeler sketch came next, Its first return date at the Palace. The breeslness of the playlet, and its delicate handling in a comedy vein amidst a daring situation, together with Mr. Mason's excellent light humor and Miss Keeler's prettiness in the background, sent the piece over strongly enough to cause wonderment, when it is re- called how many comedy acts In vaudeville that laugh the house out during their run- ning, receive but little at the close.* The Bell Family ended the show; Mazle King and Tyler Brooke opened It, the pro- gram this week starting at 7.58. 8imc. BRIGHTON. The Brighton Is coming into its own for {;ood business. The beach house is now pack- ng them In. Tuesday night following the holiday found the Brighton well filled, the crowd evidently being attracted by a bill that rivaled any the Palace has played, for snap and vim that go to make a good sum- mer entertainment. Dancing Is the predominating feature of thin week's «hnw of nine acts. Five contain duuring with o;wi almoin entliv-y «o. Cecil Lean and Cleo Mayfleld, together with John Hyams and Leila Mclntyre, ahared the head- line honors, both acts scoring complete hits. The Lean turn closed the first half with the audience loath to see them depart. Hyams and Mclntyre second after Intermission, fol- lowing the Empire Comedy Four who went about their work In the usual style and gained a well earned hit for themselves. After the good showing of the quartet the couple Jumped in and kept things on the move. When it comes to the hit column Sam and Kitty Morton are prominent. This couple worked like beavers and the audience was with them every minute, i/own next to clos- ing, they figured most conspicuously, receiv- ing the plaudits of the house to a man. The George Howell vehicle, "The Red Fox Trot," an act full of humor, brought laugh after laugh in a first half spot. Ernest Wood has succeeded Peter Paige as the dancing hug and his work Is satisfactory although there was little room for improvement on the orig- inal. It's a satire the beach patrons surely enjoyed. The show opened with Schreck and Perclval, who do various acrobatics ana a bit of dancing. For an opening turn this couple brought a well earned lot of applause. Jean Challon (New Acts) secured good returns with her voice. Ned Monroe and Keller Mack (New Acts) were one of the evening's laughing hits, giving the bill pep in this division. A dancing finish was given by Gene Hodg- kins and Mile. Deatress. AMERICAN ROOF. It was a pretty wobbly and light show the first half on the American Roof, with but ordinary attendance there the night of the holiday. The first four acta were in "one," with a two-people sketch closing the first part. It was not until Bedini and Arthur happened second after Intermission the aud- ience really laughed. Bedini and Arthur, after doing their Juggling (with Arthur in white face but not getting as much out of the comedy as when dark- ened), started on a rewritten version of "Irish Justice," calling it a travesty of "On Trial," and the house howled at them all the way. Mr. Bedini In his announcement of the travesty stated It was incomplete and It waa, but still funny enough to go over all of the small time Just as It is. Ben Schaeffer had a speaking part of one line, but waa made up grotesquely enough to play an entire show himself. He got a laugh on his appearance. In the "No. 2" spot were Howard and Chase who commence well with their first two bits, wherein It looks as though the team were attempting to become a second Ward and Curran turn, but after that they fall off sadly. The cello number that la preceded by a poor verse, sung by the player, would get more Just as an Instrumental number, and the same person might Improve on his Italian character. The "fly" Joke should be thrown right out. That's a bad boy for family audiences, and it's an awfully old boy besides. If this couple could maintain their start to the finish, the act should make big time, but to do that they would probably need a writer. The comedian gets over, but appears to give everything he has got In very quick time, something that Is also true of his partner, both finding it necessary to stall through for a full turn. The sketch, "The Master Move," played by Mr. and Mrs. Ernest W. Cortls, closing the first part, got to the women in the' audience, but the men could not see It. It's the wife turning upon a domineering husband. A great deal that Is familiar in one way or another has been bunched in, with the playlet taking a sudden turn toward the finish, without good reason, to permit the wife to put over some- thing In a business way upon her hubby. But women surely do like to see their sisters on the stage get the best of the men In any sort of a scrap, so this piece may be reason- ably certain of feminine favor in the smaller houses, though too much has been gone after in the writing construction of it. Jerome and Carson, "No. 3," Harry Le Van and Claire DeVine, "No. 4" and Claudia Tra- cey, opening after intermission (New Acts). Edward Marshall opened the show with his cartoons, getting many laughs for his aud- ience work and drawing a very fine Washing- ton head that appears to have been modeled after Rembrandt's. Marshall secures unusu- ally good flesh coloring for a chalk artist. The Four Readings closed the show proper, to be followed by a serial. An act called Ed- wards and Helena was next to closing. Sitae. ROYAL. The family brand of vaudeville as supplied by the Keith interests to their Bronx patrons has made a quirk and decisive connection in the uptown borough, the holiday shows bring- ing out an overflowing attendance with a capacity house on hand for the so-called "supper show," something unusual under any circumstances. The Royal Is offering some corking good bills for the small time ad- mission fee, the one scheduled for the current week's first portion being no exception to the rule. Six acts with pictures and novelty con- tests make up the program, the headllner being Hardecn with his familiar handcuff specialty. Hardeen Is doing the milk can stunt for a finale and gettrng the usual re- sults. It seems remarkable that this brand of amusement has held up Interest for so long. Hardeen was handed a reception at both ends of his turn, although the initial greeting was undoubtedly prompted by his assistants. The Frldkowsky troupe of Russian *lng<>n« an<* 'lancers, a big time number In regular season, took away one of the hlta of the day, the dancing section going excep- tionally well with the Bronx natives. The costuming is both attractive and elaborate and the harmony is strong enough to hold up that end. Measured In contrast to the many other similar acts the Frldkowsky aggre- gation look decidedly good. The sketch for the first half was Ernest Carrs "The Grafter" with Carr playing the title role, supported by another man and woman. Carrs dialog runs second to mighty few and his portrayal of the political char- acter was perfect In detail. Some of the material went a bit high for those present, but the general theme caught on and the finale brought solid applause. Bernard and Scarth have a unique novelty for "one," an excellent routine of crossfire talk and a novel finish that rounds the spec- ialty out in great shape. They too corralled a big hit. Moore, Gardner and Rose were next to clos- ing with a rather classy rathskeller specialty. A dialect comedian gives the turn a hefty boost with his delivery and material. The harmony is well blended and the repertoire constructed along a sensible basis. The boys not only held down the spot, but landed the big hit of the bill. The Wilton Sisters are two versatile young- sters, but should dispense with the spotlight occasionally, the continual dark stage de- teriorating to some extent. A combination of violin, piano and vocal work runs Into a first class specialty for the Wiltons and in an early spot at the Royal they did quite well. The Hamilton Brothers opened with a rough and tumble knockabout act In which a number of slapsticks and bladders were overworked. The men are exceptionally clever In their particular line and could build up a much better turn with the ability avail- able. They pleased. wynn. FIFTH AVENUE. It was the rain early Monday morning that proved helpful to the managers of the houses in town, for the downpour kept people in town. At the Fifth Avenue the house filled up during the afternoon until there wasn't a seat to be had about four oclock. The pro- gram was made up of seven acts with Fred- erick V. Bowers as the headllner. It Included also an ill. aong, a travel talk and several reels of pictures. Mable Burke opened the show singing "Don't Blame Me For What Happens In The Moonlight," the new Waterson, Berlin A Snyder number, to the accompaniment of picture illustrations. Nelson and Nelson, comedy acrobats, got over very well In the next spot. Steffy Burke A Co. following, fitted nicely. Shrode and Mulvey In their well known comedy skit in which the once famed beer keg still plays Its part were the early laugh- ing hit. The act will still be able to go the rounds of the pop houses and get over with lta comedy. A film comedy followed and kept the laughter coming from the audience. Some three or four years ago there appeared In vaudeville The Old Homeatead Octet. At the time Mose Gumble waa accused of being responsible for the eight singers because they sang nothing but Remlck numbers. At the Fifth Avenue this week there are eight men *ho are billed as The Old Homestead Double Quartet. The octet managed very nicely but tbey could use a little comedy among the songs. "Sweet Kentucky Lady" Is In the singing list, also a very good vocal arrange- ment of "The Rosary-" Down nesr the closing the boys swung Into "I'm On My Way To Dublin Bay." Walter Murray with a few minutes of the Paramount Travel Series fol- lowed the singers. He slowed up the show a little and Manager Quald salu that he would switch the travel talk to an earlier spot for the night show. Dorothy DeSchelle and Co. In her "crook" sketch filled in nicely in the following spot. The hit of the show , appeared in Kramer and Morton, two boys in blackface, next to closing. The opening brings them on singing "Night Time in Dixieland." Then, even though they were UBlng "When you know you're not forgotten by the girl you got for nottin". and "goesinto,** the audience could not get enough of them. Frederick V. Bowers and Co. closed the hill. The act is much the same as before It started over the Orpheum Circuit. Nothing extraordinary with the exception of the danc- ing of the colored boy as the one big hit of the turn. Fred NATIONAL. Perhaps nowhere along the entire Loew route has the introduction of Keith pop vaudeville affected business to such an ex- tent as It has in the Bronx where Loew's National and Keith's Royal stand but a few feet apart A holiday comparison brought the attendance figures for the Loew house decidedly behind that of the opposition al- though a reasonably goou small time bill was progrsmmed at the National. With those present the enthusiasm ran high and the various numbers went through nicely with- out disappointment. The McGulnness Brothers opened the show, although a better spot could have been pro- vided for the McGulnness pair. Their dancing portion carried them through to a big hit and what comedy is utilized went over well. A few of the "gags" might be eliminated because of their age. This pair deserve credit for progreBslveness. Properly bandied there seems no reason why they could not find a berth on the big time. In second spot was little Lillian Watson with a routine of character numbers that brought over a solid hit. Her Yiddish con- tribution 1* particularly well done and with her excellent dialect In this respect she looms up as an applicant for production work. With iplenty of "pep" and personality, a good singing voice and her general ability, Miss Watson runs along with the best in her line and will bear watching. A number of pictures were added to the program running between the acts which helped somewhst, the reels being divided in character between comedy and tragedy. A dramatic sketch held a prominent spot on the bill, the title being "Wrong or Right." The Idea waa right, but the genersl playing was wrong. The supporting male character gave a rather weak demonstration of his role. For those who like their melodrama with a liberal dash of scarlet coloring, this will suffice however, and the Bronxites present seemed sufficiently interested to demand a few curtain cans. Brown and Jackson were a legitimate hit in the favored spot with a fast routine of patter and comedy that qualified them for the big show. The woman la abundantly supplied with the proper brand of atage charm, a nitty prop laugh and a sure fire style of delivery while the male member has a good comio system which guarantees their safe passage anywhere, particularly when ac- companied by the present material. They looked like the top choice of the program. The Harashlma Brothers who occasionally call themaelvea the Mori Trio had things their own way In closing spot with Juggling featured. The comedian *ent the laughs coming in a continuous stria? and comedy in a Jap turn Is a bit unusual. Because of this and their general ability they walked in with a liberal portion of the honors. Wynn. JEFFERSON. Heavy holiday business did not prevail at the Jefferson Monday night The most success- ful user of patriotlo numbers was "Songs Of All Nations" with three singers, two men and a woman. This turn may nave been framed only for the Jefferson, where there is a cos- mopolitan audience, and than again it may have been framed for other small time houaes as well. It will do, If the cosmo* polltan Jeffersonlans know what Is what. The aot consists of the anthems of all nations. A screen Is used and a slide with the pioture of the ruler and the flag of the country shown. They sing the songs In the native tongues so a slide states which also says the idea Is neutral. It Is a good novelty for a house like this. Les Montforts opened the show and secured many exclamations of surprise for their work. Barrows and Dupree, colored, went along rather quietly until the mans clog dance on skates at the finish. A trio with a sketch of the wife, husband and butler type with the latter the most Important actor In a lot of horseplay scored one of the laughing hits of the bill. It Is an awful old sort of a vehicle but If there art other houses like the Jefferson It will do. Psrlse with his aocordlan brought out some tuneful melodies and worked decidedly fast Goodness knows how many shows they do down here on a holiday so It Is no wonder that they go through the list speedily. This man goes In for - straight playing not paying much attention to anything but his Instrument snd getting good resalts from that. A well selected routine of selections taking In all kinds. Parise uses "Paradise" and "Dublin Bay" for two of his popular numbers. Paths pictures were used at this point together with some war pictures mads by the French Union of Cinematograph Manufactur- ers. They looked as It taken last winter. Snow was flying In most of the scenes. Wslter James gave numerous character lm- poraonatlona ending with a recitation supposed to be drsmatlo but lacking the punch. The character work did not get far down here owing to make up with each and talk Is one of the easiest things lost at the Jefferson. A cabaret trio, Smltn, Keefe and Shaw, aang and played the piano. The turn Is evidently the outgrowth of the Smith and Keefe two act. In real songs they have nothing now worth while. The Voldos mystified in the closing spot. 58TH STREET. Plenty of "slapstick" comedy is the slogan at this house. The result wss capacity Mon- day night. Tbey were standing against the back wall as early as 7.80, Theodore Bambery and Co. opened to the large; gathering and amused them with msgic and shadowgraphlcs. The young woman got a song number right In toe midst of tbs turn, no place for It. Though she possesses a fair voice, it adds to the running time and hurts as shown by the light applause. Frankle James (New Act) No. 2. After a comedy two-reeler Dorothy Rogers and Co. came In for big applause through their comedy efforts. Her sketch "The P.cauty Doctor" was built for laughing pur- poses only. The good work continued with Pearl Brothers ana Burns, whose "hokum" nnd tom-foolery proved one of the big hits. The song carnival was next, with most of the Hongs from the one publisher. A film comedy dropped In at this Juncture, snd stopped pro- ceedings for a few minutes through the lack of comedy In it. The hit of the show was scored by the "Six Little Song Birds," a juvenile musical (omedy. For good singing and behavior this art Is going to be hard to beat. A fast Texas Tommy and a piano specialty have replaced a couple of song numbers. The show was closed with a bang by Rose flchmetter and Mrotber. They are doing a few tricks not attempted by others, and should bo sharing better company. (Continued on Page 1&)