Variety (September 1915)

SHOW REVIEWS PALACE. At the Palace besides free lemonade In warm weather, KIiiht F. Rogers, the man- ager, has <l ir«^t«-«I a palm leuf fun be placed upon each seat. Ami they were Tuesday eve- ning, one count of the waving fans In the orchestra totaled .*»!'. anothur in.ule it 4H, In fart about the bent entertainment at the Palace Tuesday night was In count InK the fanH. There weren't many more people than fans around. The house was the poorest the Pal- ace has had In ever ho long. Tuesday wuh one of the hottest days of thin summer. All the theatres were hard hit, but the Palace drew capacity at times during the extremes! heat of July and August. The program, headlined by Norah Hayes, did not run any too well, especially In the first half, which was quite quiet, as far as applause from the over-heated nudltors was concerned. When Van and Scbenck in the "No. l» • spot, following the lively Weekly film review and a classical dancing production can get nothing in a clear spot, something must be wrong with the audience or the songs the boys sing. Harry Gllfoll touched them up a little with his familiar matter, and Wil- liam A. Ilrady's "The Honeymooners" got a laugh now and then. Hoshanara closed the hrst part, returning to America with a couple of dances new to this side, but without the general formation of her Fast Indian dance repertoire showing material change. The second part got along much better, closing well from Miss Hayes onward, finish- ing big with the Al Golem Troupe in an acrobatic production termed "The Slave Deal- ers," that starts too slowly and ends the same way. In between are some first-rate acro- batics, excellent "rlsley" work, and a dis- play of Persian costumes and rugs that should be worth something. Laddie Cliff, assisted by his wife. Maybelle Parker, came next to clos- ing. Laddie singing and dancing, also chang- ing costumes while Miss Parker dallied on the piano with a couple of solos that involved technique to a greater or lesser extent, ac- cording to what one thought. She also ac- companied Mr. Cliff, who has left It open to debate whether his former single turn has been Improved through becoming a two-act, piano and everything else considered. Miss Hayes hag a couple of numbers she can depend upon. Another that she appar- ently feels must be depended upon Is "When Mother Was a Girl," sung by "request," Miss Hayes says. It was all right In Its day as Norah mentions In her brilliantly written medley of her old songs, that !s one of the other sure ilres of the turn. Tuesday eve- ning the heat may have gotten to Miss Hayes as well as any one else. It should have reached them all behind the footlights. Hut she failed to take her first number in the proper tempo, or secure the proper sense from It, did little with an Irish song follow- ing, and Anally went away out of her class to fool around with a nonsensical (for her) song about a red robin or something like. She did put over, however. "We'll Celebrate the End or War in Ragtime" that has a kick In Its final line that will not fall down any- where while Germany is keeping Wood row on the pan. The second part was opened by McDevltt. Kelly and Lucey, who need to change their turn if they are to continually reappear about as they have done. The Metropolitan Danc- ing Girls opened the show, and at least looked cool in their Grecian dancing costumes (con- sisting of a piece of cloth and tights). The girls dance In the customary fairy-ln-the- woods style and deserve credit for having been rehearsed so they don't bump Into one another while revoluting. The pianist of the Van and Schenck turn did remarkably well with "World Behind," delivering It distinctly, in an aesthetic style that could not fall, and they had "Cakewalk Hall" to close with, but their start was against them. If it is so that the songs are so important, all singers should be on edge nowadays to land numbers that will land them. "The Honeymooners," as a sketch has been rebuilt for the setting used when this piece or act was first put on at the Princess. Then It had somebody, perhaps too lively In Idea for a staid vaudeville house, but the revision with a comedy leaning falls as far the other way. And the Idea of a father spanking his IM-year-old daughter on the end of an ob- servation car (though he did also spank on the right place) Is going too far for a Joke, and in Its wny Is Just as risque or coarse (as between two people playing the charac- ters) as anything that could have been so dubbed In the original. The rocking end of the train Is the foundation for a good act 01 some sort. If It can be written - for vaude- ville. This wholly talky skit hnsn't enough In It to warrant the setting, but It may make the matinee girls giggle. Simr. COLONIAL. The Colonial was severely handicapped by a bad stnrt this season with mid-summer weather following close on the heels of the Labor Day opening, consequently one might proffer this ns a reasonable alibi for the pres- ent business. "Woman Proposes" shnred the topllne honors with Fannie Hrlce, being moved around after the Monday matinee to appear In the second section of the program, chang- ing places with Taylor Grnnvllle's latest pro- duction, which closed the Intermission period. Of the two full stage offerings, the Paul Arm- strong piece easily gathered the best results, the clever playing of George Kelly and Ar- llne Fredericks, ns usual holding th<> Inter- est at the proper tension while the sextet of supporters gave the piece the required touch of comedy to round out a thoroughly enjoyable portion of the bill. The Granville piece, "The Yellow Streak" and has developed into a staple vaudeville property. The audience showed Interest throughout and rewarded the company with a solid hand at the finale. The La Vara opened the show with one of the best modern danc- ing routines extant. The La Vara have the proper Idea in point of speed and in open- ing with the cakewalk, they give the turn a good start. Their spins evoked consider- able applause and eventually earned them one of the few big hits of the evening, something unusual at this late day for a modern dancing specialty. The girl makes an attractive appearance, her kneelet of rhinestones with a watch encased in the cen- ter startling some of the natives. Leo Heers was immediately recognized, ten- dered a reception and scored nicely with his reconstructed pianolog. His medley la well pieced together and wisely kept up to the modern song market. Following Beers, Alf Loyal captured considerable applause with his canine turn, one dog in particular be- ing especially clever. Loyal has something away from the stereotyped animal act and his position on the bill carries its own signi- ficance as to value. Kobert Emmett Keane completed a rou- tine of English stories with one of those Kobert Service recitations and encored with a comedy version of "Gunga Din." Keane could consistently revamp his string of yarns to eliminate the old boys, and while his reading of the Service composition was ac- ceptable, it's a bit commonplace nowadays and Service has done sufficient for singles. Keane registers his points well and very kindly distinguishes the new tales. He tells them so well, he should gather several more. Hut Keane is clever, deucedly so, and was well appreciated and equally well rewarded. Dooley and Sales were a helpful addition opening the second period and went the limit in encores, while the Orange Packers who closed held the entire house seated. It's a rather unique offering and the novel pro- portions make It doubly valuable. Wynn. CITY. There was really too much show at the City the first half of the week with an eight-act vaudeville program, a six-reel feature, a Pathe Weekly and a Vltagraph comedy. The show ran from eight o'clock until almost mid- night. The house was not particularly strong on business Tuesday night, for the lower floor was less than one-third full at any time dur- ing the evening. The Exlo Trio opened the bill with music and were followed by Pollard. Howard and Co. were the third act. The comedy got over In fairly good shape. A current Weekly followed and held the interest through the military scenes taken in this country. Frances and Holland (New Acta), offering a double female impersonation, passed after they removed their wigs. Lillian Watson, who followed the team of boys, had things her own way from the start. Her repertoire of numbers is not as effective as when she first showed In the east last May. Dressed In a white silk Goddess gown the little come- dienne is offering four songs, the opening one not particularly suited to her, but It gets over after a fashion. A comedy number anent a love affair comes next and answers simply because of the clever work done by Miss Wat- son. Her two closing numbers are her for- mer successes, 'Yiddlsher Society Ball" and To Whom You Spik." She was one of the two distinct hits of the bill. "Everybody," an allegorical morality sketch which followed, was one of draggy spots. There were many in the audience who knew more about the pool room scene than any of the actors on the stage. The act received but perfunctory applause. The Vita comedy split the hill here. Al. Wohlman. assisted by Willie White at the piano (New Acts), was the real hit of the show. Les Casados with their acrobatic offering finished the bill and scored with the few that remained to witness their efforts. The Essanay six-reel feature, "The Man Trail," finished the program, the run starting at almost lO-.'JO and continuing until about 11 :4. r >. Incidentally the operator at the City seems to run his pictures with whatever speed he pleases at the last show. Many of the scenes were spoiled because of the swiftness with which the picture was put through the projecting machine. The titles were run so quickly It was impossible to read half of them. Fred. AMERICAN ROOF. The American Hoof bill the first half was a good one. largely because much of it was new to the stage up there. That Avellng and Lloyd next to closing walked away with the hit of the program did not belittle any of the other turns. If the two boys were as anxious to steal bows as many another act does that Is entitled much less t.n do so, Avellng and Lloyd would have stopped the show for as long as they wanted to. The young men who appear without make- up In civilian clothes, each smoking a cigar, Just talked for their laughs, with good fresh dialog, so fresh as a whole that one or two familiar remarks were so small a mite they are not even to be considered. And these boys can handle the talk. They sing and they don't sing. The opening song is drowned out by the orchestra, while the closing one is about the best travestied singing number yet heard about. It Is a burlesque on the "yodel" with a laugh a note. Mr. Avellng might use an atomizer for It. Each speaking with a nat- urnl southern dialect adds something to the value of the lines. For an encore they did a funny little bit on the modern dance, and the "Three Dusty Rhodes" (New Acts), who closed the show in a turn that contained something about everything that could be Introduces several new characters |a the cast given In their time limit, also did a dance. as well aa played a piano while one of the acrobats sang "My Gal Sal." Only three acts on the bill the first half uaed a piano. The other two were the Melody Trio and Elisa- beth Otto (both under Jew Acta). Another In the same department la the Three Cox Sisters, and still another Is the Charles Mason sketch. The Mason farce was placed too far down for the American Roof, second after Inter- mission. The Roof held a fair crowd Mon- day night. It was warm that evening, too warm for the theatre anywhere, Inside or In the open. Opening the show were the Gagnoux. Open- ing the second half were the Brown-Fletcher Trio, before a special drop, one of the mem- bers playing a bum, the other a cop, and the third In evening dress. It's a singing turn. Framed for the small time It should suit It. Gravette, La Vondre and Co. closed the first part. The turn has two impersonators, man and woman. Franklyn Ardell saya the woman does a great Bryan because he played with them on the same bill In the west and saw It every day, but Franklyn neglected to mention whether he had ever seen Bryan. But as some one else remarked you know the impersona- tions by the names, and aa the war is on. besides which the G-LV Co. has a very highly colored curtained enclosure, It did the trick, which is making the audience applaud without the use of the American flag. Some one guessed General Grant for President Poin- caire, but as President Polncalre came after- ward, he then knew he was wrong. 8ime. JEFFERSON. That B. S. Moss Intends giving the patrons of his Jefferson theatre on 14th street new atmosphere this season seems assured through new boxes on both sides of the house, and the attractive bills he Is running of late. The show the first half made as Interesting an evening as one would care to have In pop vau- deville amusement. The weekly "Country Store" was again In evidence Monday night, and the biggest crowd In some time turned out for the occasion. The show got Its customary start after the usual run of pictures throughout suppertime with "The Electrical Spook," a posing turn, aided by a stereoptlcon. Two girls figure In the posing, though one walks out of the frame for a dance, In a "novel" Idea of dress, which is weak, due to the member knowing very little In this line. The girl doing most of the posing is of goodly proportions, and looks real well In her different positions. Lillian Devere, an Irish comedienne, sang her way to favorable results in "No. 2." She has corralled about the best lot of Irish songs Imaginable for her repertoire, though at least one change would go a long way toward help- ing her succeed. A slight cold somewhat handicapped her, but she made the best of things. Rolland and Holland, two men, pleased. The show proper started at this juncture In Mott and Maxfleld, a mixed team, with talk a little elevated for this audience. May Max- fleld possesses a style of her own, and got a number of laughs on her "bits" and mimicry, despite that she has no voice to apeak of. Her partner looked real natty In evening dress, and "feeded" acceptably. A Keystone held the next position. From here on the Inevitable happened with every turn. Cardo and Noll (billed as Car- Hale and Nevins) banged over a big hit with their singing. Both voices were in splendid form. Continually plugging and rearranging their songs, for the best securable, will make this team a welcomed visitor on any bill. Five numbers were sung. An amiable turn was the "Society Girls." a miniature musical comedy, bubbling over with youthfulness and ability. Good Judgment is displayed in the songs backed by a chorus of seven girls who are deliberate workers and know how to sing. The comedian Is using one or more artist's "doings." The "hat bit' of Harry Breen, and a trifle of Henry Lewis' routine, but aside from that he Is a good entertainer, who should not try to sing. Harman, Zarnes and Dunn, a three-man sidewalk turn, pulled down the big hit of the evening, due to the two comedians. The taller fellow should depend upon his own comedy methods, for he Is sufficiently qualified, with- out having to look to a Chaplin imitation. The boys harmonise fairly well, but most Is gotten from good comedy talk. A "bur- lesqued" tango for a finish sent them high over the hit column. Reddlngton and Grant (one of the men Is new to the turn and billed as the Bounding Tramps) closed the evening's entertainment with their trampoline act. Afterward came the Country Store, and a weekly serial picture. FIFTH AVENUE. The Fifth Avenue Monday night was top heavy. The balcony and gallery seemed to be comfortably filled, while the orchestra and boxes held but half capacity. The reason given by Manager Billy McQuaid was that the falling off in business was but a reaction from the holiday spirit of the week previous. The show ran by fits and starts, with the average favoring the "flops." Out of the eight acts which constituted the bill there were three hits that were solid, the balance or the bill not getting over as It should, mak- ing the show a rather draggy one for a hot night. Swan and Swan were the openers with their combined juggling and dancing. The team Is offering a specialty In about "one and a half" that seems to be a pretty offering for an early spot on the smaller big time shows. Lowe and DeVere, who followed, opened with "Pigeon Walk as a double. This was .ol- io wed by the man offering "She Lives Down In Our Alley," a comedy number which brought but little return. The girl sang "If We Can't Be the Same Old Sweetheartp," get- ting It over with little effect because of the fact that her voice la not particularly well aulted to the number. "Yum, Yum," and "Trinidad" are two doubles uaed to close the act. The latter of the two with a dancing finish got the act some alight applause. Julia Blanc and Co. in "Mammy Lou" filled In the third spot. The act has been playing around New York on the small time under another name. This is a try-out for the turn with a view to spearing the big time. It Is doubtful If the act will answer in the bet- ter houses, for Its story la of the pure melo- dramatic type that one expects to see In small time sketches. The comedy has been strength- ened since the act was last seen, but the turn Is far from big time shape at preaent, There are at least two changea that could be made In the cast which would Improve the chances. The offering la entirely too mechan- ical In construction, and this detracts from the playing possibilities. The first real hit of the show came with the appearance of the Three Dufor Boys, who stopped the show. There Isn't another dancing act of Its kind that haa been here- abouts for some time. The boys open with a song and do a routine of stepping that la so fast that the orchestra could not keep the pace. After the opening the double and sin- gle numbers followed with a three-number closing to big applause. The boys could have held the stage for another encore If they cared to. A Keystone comedy followed. It Is one of the Gussel series and the roughest picture shown in some time. Withal It brought laughs. The Virginia Three (New Acts) did but fairly well following. Frankle Heath and George Perry In their offering In "one" were another of the hits. Their routine at present will have to be slight- ly revised before they manage to get the full return due for their efforts. This act also had trouble with the orchestra In their med- ley. Hoey and Lee (New Acts) were next to closing. "The Girl in the Moon" finished the bill as far as the vaudeville was concerned. Fred. HARLEM OPERA HOUSE. The first of the evening was devoted to a two-part Bison picture. Of the comedy pic- tures a Keystone fell short. The Harlem orchestra fooled them with Its overture and a classical composition was nicely applauded. Beatrice Diamond, billed as a "clarlnetti8te," received the most ap- plause on her medley. Later numbers would make a better impression. After the Florence Erne and Co. (New Acts) appeared the Clip- per Comedy Four. Some of these days the eighth wonder of the world will appear when a comedy singing four will make its debut without a "nance" in its make-up. All the old jokes and bits of the good old days gone beyond recall are used by the Clippers. Pierce, Fromme and Co. (New Acts) were followed by Sol Levoy, who sang. "The Danc- ing Follies" is just another musical tablof/d. This one held Interest, but suffered because of the act ahead, Wood, Melville and Phillips (New Acts) cleaning up. "The Follies" haa two men principals and one woman lead. Six chorus girls make sev- eral changes of costume. Compared with other acts of this type the Follies held its own, al- though there is nothing exceptionally good about the entire turn. Horn and Farrlsh have changed their "Tene- ment House Flirtation" for the better, al- though there is nothing to the turn but the voices. The Agoust Family closed nicely. Mark. PROCTOR'S 5STH ST. Festival Week at Proctor's 58th Street, the 20th Anniversary of that house. The bill the first half was about the best small time show one could expect. The weather Tuesday hurt business. Kurtis Roosters opened, after a Biograph drama. As the turn is more of a novelty than anything else it Is bound to please. "Oxylo Maids" (New Acts) were appreciated. A Kalem drama was followed by Maidle De- Long, "the baseball bug," who had no trouble in securing applause. Miss DeLong works with plenty of assurance and an easy going style that gets over. Another number would do no harm, for during her Swedish song too much stalling Is noticeable and the little dancing she does In this warrants her doing just a trifle more. But Miss DeLong Is an acceptable small time single and was liked according to the applause she received. The 3 Juggling Bannons gave an exhibi- tion of club Juggling that held some breath- less with the fast throwing. A little of that unnecessary talk used as comedy could be done away with. That line "Let's Go" Is heard so often during the turn It soon be- comes monotonous. The boys scored one oi the big hits of the show. The weekly song festival and a split-reel Pathe came In here. Von Hampton and Shrlner, two men, with the comedian trying for comedy with "nut" material that has alread" passed, held the boards entirely too long. It Is a good sman time turn, but when It comes down to that "pushing to the front" bit and getting hit from behind the drop, it is time for these two wide awake looking young men to get something that will send them ahead Insteau of holding them back. The act runs too long, and although they landed easily with the comedy (always welcome at this house) quite a bit of the unnecessary talk could be omit- ted. Singing a patriotic number at the close of their turn, the boys passed off to good applause. "The Dream Pirates" shows what may be done with a "girl act" when handled right. This one Is above the average. The girls not only slni? and harmonize well, but they also speak lines that can be understood. Flo Pert Is featured, playing the lead, and hand- ling It well. The comedian, although an ex- traordinary eccentric dancer, could brush up some of his comedy bits.