Variety (October 1915)

8 •~» • B XJ R. LESQUE B * FREDERICK M. McCLOY Not since the memorable record- breaking season of 1911-1912 has the Columbia theatre, New York, experi- enced such undeviatinfily large receipts as thus far during the present season. The average gross has exceeded $1,000 a day including the ten days when the thermometer registered above 90. From the $2 viewpoint $1,000 a day does not appear large enough to brag about, but in reality it stands for double that amount in comparison, since the Columbia scale of prices averages really less than half the $2 scale. It is big business from the burlesque standard at any rate, and furnishes support for the contention so fre- quently made in this department that new, clean and capably produced shows intelligently exploited in advance, are all needed to insure steadily large business. Thus far this season every one of the attractions presented at the Columbia has created the sort of favor- able comment that has kept business up to the practically invariable first day's large receipts. The house may be relied upon to secure audiences of almost or wholly capicity size for the opening performances. After that the extent of business depends entirely upon the drawing qualities of the show, making allowances only for extraneous conditions such as weather and un- avoidable happenings. The situation is precisely the same at all points on the Columbia circuits, and herein lies the solution of the one important problem that has confronted burlesque for several seasons. Up to the present time the Columbia has been peculiarly fortunate in its bookings, and the same may be said of the other houses along the route since the same shows follow one another. And the prospects for the ensuing five weeks are encouraging for a continuation of these conditions. From that point on, however, the bookings for the re- mainder of the season include among others all of those attractions that have invariably been the stumbling blocks in the otherwise smooth road to great profits* for the Columbia Amusement Co. as a concrete organization, and for the individual theatres under Its control. Those unattractive produc- tions are now perfectly known to the directors, and it is a duty those of- ficials owe the institution, as well as their clients, to at once undertake the enforcement of those measures that will enable them to discharge their obligations to the stockholders and to the other interests that rely upon them for the safety of their investments. Fortunately there do not appear to be more than 10 or 12 shows that re- quire drastic attention. But in those cases the knife should be applied with- out considerations of personal feeling, influence or individual importance with- in the ranks of the corporation. the one in "purple," together with the oriental "Princesses," and the harem "favorites," have vanished. Moral suasion, diligently exerted for a long time past, proved ineffectual to ac- complish this desirable death-blow to this next to the last remaining degra- dation of burlesque. In Philadelphia the blow was dealt by the newspaper, the North American. In New York, Police Commissioner Arthur Woods strangled it with the iron hand of the law. The offensive, disgusting effeminate male or "fairy" impersonator is now in line for expurgation. And the same influences that banish the "cooch" may be relied upon to kick this odious char- acter through the stage door into the gutter, where it belongs. For the first time in several years the burlesque stage in New York and Phil- adelphia is entirely free from the nauseous "cooch" dancer. All the "girls" of various hues, including the one in "blue" and the one in "red" and ROSELAND GIRLS. Blutch Cooper brought his "Rose- land Girls" to the Columbia Monday and gave two very large audiences an- other example of the strictly up-to- date burlesque production. His reward was the constant interested attention and the manifest enjoyment unmistak- ably shown by the spectators from the beginning to the end of the perform- ance. It was a fortunate moment to this producer when he assigned the construction of this show to Billy K. Wells. For several seasons Mr. Wells has been associated with the extensive operations of the Cooper concern, but not until the present time has he ap- peared as the wholly responsible fac- tor in the presentation of a show. To his credit it may be said he has per- fectly succeeded in steering entirely clear of conventionalities and in de- veloping scenes and situations in a well sustained, humorously told story that bear no resemblance to anything hitherto used either in burlesque or elsewhere. Mr. Wells proves his knowledge of building a show by the adroitness with which he has dove- tailed the various parts. The strong bits and the musical num- bers are so perfectly timed they pre- vent a possibility of tiresome dialog which might easily develop with the desire to maintain interest in the nar- rative. The result is a fast-moving per- formance with an abundance of spon- taneous laughter and with frequent real surprises that cause quick, hearty applause. There are plenty of snappy, genuinely witty lines that form the much coveted "gags" so essential to the vigor of shows of this character, the sum total being as well rounded, perfectly arranged a burlesque perform- ance as has ever been evolved. Mr. Cooper has not been ungen- erous in providing an equipment wholly in accordance with the excellent achievements of the author. The cast in every individual instance is con- spicuously adequate; the chorus is above the average in attractiveness and ability, and the scenery and costumes are rich in harmonious coloring and of strikingly original design. Solly Ward, the featured member of the organization, has frequently been seen at this theatre and always with the most satisfactory results. But in this instance he demonstrates the pos- session of those uncommon abilities which have led many players from the burlesque stage to prominence among the accepteed American stars. Obvi- ously keeping in mind at all times that he is playing burlesque, Mr. Ward never descends from the high altitude of the true artist. His characterization of the German is convincingly finished, while at the same time he never fails to score in a way that pleases all divisions of the audience. Mr. Ward proves it is unnecessary to resort to unkempt make-up and rough methods to effec- tually portray a German comedy part, and in this particular, as well as in many others, his performance stands as an object lesson to others in his line who resort to funny falls, absurd make-up and rough-house methods gen- erally to secure laughs. Virginia Ware, featured with Mr. Ward, is an artiste of real worth. In scenes requiring deft touches Miss Ware proves the possession of a fine sense of humor and of intelligence rarely revealed in any class of stage work. She sings delightfully and dances with uncommon grace and skill and has a fetching personality. Al White, in a Hebrew character part, gives a performance that is praise- worthy aside from its value as a feeder for Mr. Ward. Mr. White disregards all precedents and plays the Hebrew in neat and at the same time distinct- ly characteristic apparel. His dialect is not exaggerated, and he makes his points without resorting to absurdities offensive to the race and that have long since lost their power to amuse. Mur- ray Harris as nearly approaches the ideal straight as has any player who has appeared at the Columbia. Mr. Harris has the necessary "class" in marked degree; he delivers his lines intelligently, and he sings and dances with admirable skill. A well drawn Irish character is ex- cellently played by Tom Nolan, whose performance is entirely away from the ordinary and therefore decidedly help- ful to the generally high standard at- tained in this production. If Lillian English were called upon to do nothing else than make her ap- pearance, she would fully qualify for a place in this organization. But this gifted young woman, in addition to making an excellent impression by her charms of person, reveals pronounced acting abilities and wins admiration by her faultless portrayal of an important ingenue role. Jeane Eames. the prima donna, brings to her work all those charms of vocalism that denote the trained songstress, and her superb presence goes a long way toward in- gratiating this gifted player in the esteem of the spectators. Stella Wood comes forward conspicuously and with wholly agreeable effect in several strong scenes and appears to advantage lead- ing several numbers and in other musi- cal features. A small bit is played by Jos. Ryan with sufficient force to hold up the importance of the strong scene in which it is introduced. "The Roseland Girls" show is a very long step in the direction of present- day burlesque advancement and thor- oughly deserves unreserved commen- dation. GARRICK DOING $3,000? The Garrick, under the management of the Rosenberg brothers, opened with American Circuit burlesque Mon- day, and played to $411 on the day. Tuesday the receipts were $396. Ex- pectations were at that time the house will do $3,000 on the week. It guar- antees the show $1,400 and has a full capacity in money for six days of about $4,500. ' Business at Daly's, where independ- ent burlesque is played, fell off this week, but whether the cause could be assigned to the Garrick opening or the subway accidents that stopped Broad- way cars running below 38th street hasn't been settled. Newark, N. J., Sept. 29. The Orpheum, which opened a short while ago with independent burlesque, (playing on a tentative wheel includ- ing Daly's, New York), will close this Saturday. BURT-HEATH ACT. The success scored last week at the Columbia by Frank Burt and Maudie Heath in their dancing specialty brought a number of offers for vaude- ville. The act was one of the startling hits of "The Girl Trust" performance, stopping the show at a spot ten min- utes before the final curtain , DREW AND CAMPBELL OUT. Drew & Campbell have withdrawn from active participation in the man- agement of the Empire and Star the- atres, Geveland. Hereafter the Star will be managed by Harry Hedges, and the Empire by Phil Isaacs. JUST ITEMS. Jack Reid's "Record Breakers" re- opens at the Empire, Geveland, nex* week. Tom Grady, known as the "Official Doctor" of the American Circuit, is making some changes in the "U. S. Beauties" and "American Belles." Charles Barton has returned from a trip and says all of the Western houses opened to capacity business this week through improved weather conditions. The re-organized "Hello Girls" with Monte Carter re-opened to the largest business of the season at the Engle- wood, Chicago, Sunday. "Zallah" will be the added attraction with "The Revue of 1916" at the Cad- illac, Detroit, next week. Harry (Dutch) Ward is now the principal comedian with this company. Murray Simons has been engaged by Sim Williams as leading comedian with "The Girls from Joyland." Charles Finberg has been appointed manager of the Grand, Trenton, N. J., in place of Frank Livingston, who retires this week. 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