Variety (October 1915)

NEW ACTS THIS WEEK 13 Craig Campbell. Songa. 21 Mina.; One. Orpheum. Craig Campbell is a tenor, the pro- gram says a distinguished tenor, and he is presented in vaudeville by Pay- son Graham. The program also con- tains an ad stating Kate Rolla, of Paris (who now has a studio in New York) was Mr. Campbell's teacher. There was also a pianist on the stage to accompany Mr. Campbell in his numbers and incidentally the entire act was one grand piece of advertising. The piano used carried the name of its maker in foot-high letters on the side facing the audience, and the manner in which Mr. Campbell rendered his first numbers speaks well for the Vic- trola as a medium of vocal teaching. The two numbers were "The Gelida Manana," from Boheme, and "I Hear You Calling Me." The former has been done very well for the Victor people by Caruso, the latter by Mc- Cormack and Mr. Campbell's style in putting the numbers over shows he has been a close observer or an attentive listener to both of these artists, for he has each of their tricks down perfectly. "Bonnie Sweet Bessie" is his third se- lection, and it is programed as Old Scotch (brand not mentioned). A piano selection divided the act and the two closing numbers were "There'll Never Be One Like You" and "The Eyes of Irish Blue." The former was by far Mr. Campbell's best effort, but he spoiled it by hitting one or two flat nqtes. As a feature or headliner Mr. Campbell can never expect to create a stir in vaudeville, but if he is satisfied to take his chances and just trail he will please in the earlier spots on big bills. It is rather hard to forget Kate Rolla had that Paris in her ad for she was in this country as far back as the time that Reggie de Veulle was ap- pearing in "The Queen of the Moulin Rouge" at the Circle theatre. Perhaps the little shoulder shrug Mr. Campbell affects is a relic of those days. Fred, Raymond Wiley. Songa. 13 Mina.; One. American Roof. Raymond Wiley, according to his billing, possesses a double voice. Dur- ing his three numbers he displays it quite frequently, but not taking any credit away that is due him, that is about all he can lay claim to. A little lisp detracts somewhat from his sing- ing, but this could be easily overlooked. The routine is so poorly selected it really was a mystery why he received the applause. "America, I Love You" was his only popular selection, and could easily be put over in better way. No style or originality to help him along will prove itself a handicap. Mr. Wiley is carrying a violin player to lead the orchestra besides playing solos fol- lowing each song number. The violin player should brush up his appearance. Wiley will do much better when he attempts a straight singing turn, wit', another song repertoire. Julie Ring and Co. (2). "Twice a Week." 20 Mina.; Full Stage (Special). Orpheum. , "Twice a Week" is a little comedy skit by John B. Hymer, billed as an oddity, and Julie Ring, assisted by James Norval and B. J. Murphy, is presenting it in vaudeville for the first time in Brooklyn this week. The three characters are a widow (Miss Ring), widower (Mr. Norval), and a sexton (Mr. Murphy). The scene is the gate at the entrance to the bury- ing ground in a small town. The widow and widower have been in the habit of visiting the cemetery twice a week for three years and keeping the memory of their departed loved ones green. Unfortunately the widow went on Sunday and Wednesday each week while the widower chose Monday and Thursday. At the opening it is about sundown on a Thursday afternoon. It rained the day previous and the widow had to change her schedule. When the two met at the gate of the graveyard they found the door was locked. Widow and widower are forced to wait, and in discussing their mutual sorrows they discover both the deceased ones had double-crossed them and had been sweethearts, though each was married, the man to the widow and the woman to the widower. Therefore the two remaining behind decide they have something in common and start off to a gay cafe for a dinner and a dance. A rain effect at the finish of the dialogue helps the turn out to a great extent. There is a lot of "meat" to the offering, and some of the lines are particularly good. There is some- thing lacking at the opening which makes it drag, but once this is taken care of there will be no question re- garding time for the piece. Miss Ring with this vehicle has once more es- tablished herself for the big time. Fred. Novelty ftio. Songs and Talk. 15 Mina.; Full Stage, One. Halsey, Brooklyn. Two girls and man in songs and dancing, with an illusionary opening, the three appearing before a black drop with only white hats, shoes and gloves showing. This idea (not new) gives the turn a good start. The song num- bers should be replaced. They are not exactly old, but will never become popular. The boy is a nimble dancer who should be careful not to allow his dancing to drag while doing the solo stepping. A three-a-day trio that will do. Two Malays. Songa and Talk. 12 Mina.; Full Stage. Halsey, Brooklyn. A mixed two-act away from the con- ventional. The man works in grotesque costume with a red wig. His partner is a pleasing little miss. Crossfire talk is indulged in, with a song here and there, together with the man showing some good use of his limbs. A novelty two-act for the small time. Kuy Kendall and (Hrllea. Dances and Songa. 16 Mint.; One (2); Full (14). Fifth Avenue. Kuy Kendall and three dancing girls have something a little different from the usual dancing acts. Kendall is featured all the time, also three pretty girls, all of whom dance well in all of the numbers. Kendall also sings a couple of numbers without displaying any great vocal ability. It is the danc- ing that makes it get over, together with the ~1>oy's personality. He can dance, and he seems to be so earnest about everything that he attempts his audience appears to catch the spirit of his work. The opening is with Ken- dall alone. The girls are shown with the cakewalk tango, the first of the full stage bits. Later Kendall sings "Midnight Cakewalk Ball" and puts it over fairly well. A Rose waltz by two of the girls comes next and a Grecian number closes. The latter is a very pretty effect and brings applause. The boy makes a mistake in his dressing in the early part which gets him in all wrong with the audience at the start. The act will, after a little more work, fit in nicely on bigger bills in an early spot Fred. J. E. Fredericks and Co. (2). 17 Mina.; Full Stage. Fifth Avenue. The sketch played by J. E. Fredericks and company (the latter consisting of a man and woman) is about as im- possible a bit of dramatic writing as has been placed behind the footlights in some time. The story had possi- bilities, but the manner in which it was told makes it entirely wrong from start to finish. It is quite as badly acted. Fredericks is a cynical author, and the character is named Fredericks. He has been stung by a girl, or at least he thinks so. His friend is willing to bet him that it was not the girl's fault but rather that of Fredericks himself. The laundry woman comes in to clear up the story. The girl is ill and she has been nursing her. In an effort to get some comedy, all sorts of liberties are taken with the characters, and dialog that hasn't a chance of fitting the laun- dry woman is placed in her mouth. The act did a flop at the Fifth Avenue Tuesday night. Fred. Misses Lightner and Alexander (3). Songa. 15 Mins.; One. Palace. The conventional three act with one of the two girls leaning toward com- edy, measures with a limited degree of success, although the singing portion coralled the expected results. A piano is utilized for accompaniment, played by one of the girls. One number is introduced with "straight," English and Italian versions while "Tennessee," with an excellent double version, brings the trio off to a round hit. They held the second spot at the Palace and through a combination of appearance, harmony and the efforts of the come- dienne, did satisfactorily. The big- time should find room for this trio, es- pecially since similar acts that can pass the big-time test are decidedly scarce. Wynn. Manchurian Troupe (6) Chinese. 15 Mins.; Full Stage, Palace. Nothing extraordinary about the specialty offered by this sextet of queued orientals to contrast with the programs shown by the several similar productions that have preceded them in the eastern vaudeville houses. They spin plates, juggle and balance heavy ornamental articles, wield the revolving spheres in reckless fashion and exhibit unusual strength in a trapeze bit, but the turn lacks that unexplainable some- thing to make it convincing. A neck drop is utilized for an encore, the an- nouncer, who speaks excellent English, explaining that the principal risks the possibility of a broken neck, but it is not showy enough to work up the de- sired enthusiasm. The men demon- strate their wrist strength in long drops on a loose trapeze, resting the body weight on the wrist rather than the hand, but the importance is hidden in its delivery. The finale is crudely staged and prohibits, rather than en- courages, applause, since it is merely a hasty resume of the preceding feats, all worked fast and simultaneously. Ver- satility is naturally expected, but little u forthcoming in the routine of this troupe, who rate a distant second to Long Tack Sam's aggregation, select- ing that progressive individual because of the familiarity of his name and his success in American vaudeville. The Manchurians opened the Palace show. Wynn. Jennings and Evers. Singing and Talking. 11 Mina.; One. American Roof. Two men (blackface) relying upon parodies. Originality is evident in all of their songs, but a few could stand reconstruction, for they sound a bit off color. The talk is old, and many of the jokes have passed, but as long as the men continue to bring out paro- dies that are enjoyed (and written to be enjoyed by every audience without offending any), they will no doubt con- tinue to travel the small time. This new combination is composed of the Jennings, formerly of Jennings and Renfrew and "Pork Chop" Evers. TOMMY IS NORMAL. Tommy Gray is normal again. The show he wrote, "Town Topics," is running itself at the Century, follow- ing the attention given it at rehearsal by Mr. Gray and others, including Ned Wayburn. The writing of big production kept Tommy busy and he fell away back in his rag dancing, for he called so often at the Century the front doors com- menced to shrink as he approached. Otherwise though young Mr. Gray (to distinguish him from Old Doctor Grey) says the experience was worth it, and that he is now going to settle down to write a few vaudeville acts once more, having nothing much else to do (excepting to visit his mother) until the Century calls him for the next show. Thus far they haven't called him for the present one, so Tommy's knock- ing wood.