Variety (October 1915)

14 SHOW REVIEWS HIPPODROME. "IIIP-llll'-Hl ItHAH." The Ambitious Actor Joseph Parson* (in love With) The Innocent Ingenue.... Anna May Roberts The Jaunty Juvenile Harry Griffiths (In love with) The Saucy Soubretto Beth Smalley and The Chubby Comedian Arthur Deagon and The Vicious Villain James Reaney (both In love with) The Artful Adventuress Leslie Leigh Happy Hobo Nat Wills The Hero Orvllle Harrold The Heroine Belle Storey Toto (mlHchlef-maker) Uy Himself SYNOt*SIS OF K PIS DDKS. Act I. In sad About Nen York. 1—ON THE ROOFS. "The Kat Kabaret." Flossie (the flirt) Dave Abrahams Thomas Al. Grady Maria (his spouse) Tommy Colton Puck Toto Toby LMppy Dlers Tabby Eddie Russell 2—GRAND CENTRAL STATION. "The Baggage Smashers" Mallla, Bart and Mallla "Some" Detective Charles T. Aldrlch 3—ON FIFTH AVENUE. "How Dye Do, Fifth Avenue?" "Fox Trot Wedding Day" Happy Hobo "My Land, My Flag" The Hero 4—CASCADES AT BILTMORE HOTEL. Dancing carnival participated in by the Glorias, the Amaranths, Roinanos, Soltl Duo, Uentley and Taylor, and other dancing teams. "The Flower Garden Ball" The Heroine "The Land of Love and Rotes" Jaunty Juvenile Diamond Jim The Chubby Comedian During this scene, selections by the Mir- amba Band. Act 2. At the Panama Exposition. 1— TOYLAND IN THE ZONE. "The Wedding of Jack and Jill" Chubby Comedian Specialties by Powers' Elephants, Milton Mooney's Blue Ribbon Horses and Ed. Holder's Mule, Alexander. 2—CHINATOWN. "Some Magic" by "Some" Detective The Boggany Troupe. "Chln-Chln, I Love You"... Hero and Heroine 3—MOViNO PICTURE STREET. Messenger Boy Happy aiodo "The Lamp-Posts of Old Broadway." 4—THE TOWER UF JEWELS. SOUSA'S BAND. John Philip Sousa, Conductor. Finale. "The March of the States" Sousa Intermission. BALLET EXTRAORDINARY. ••FLIRTING AT ST. MOK1TZ." Direct from Admiral's Palace, Berlin. Book by Leo Bartuschek—Music by Julius Elnodshofer. Arranged by Mme. Marictte Lorette. Scene: Lake St. Morltz at Engandine, Switz- erland. Kitty Goldblrd (rich widow).. .Kate Schmidt Maud Wilson (her sister) Hilda Ruckerts Oluf Jacobftcn (sportsman)... .Alfred Naeese Axel RasmusBcn (attache) Ellen Dallerup Lebmann (would-be sportsman) Toto First Dandy Dora Wlscher Other Dandies: Poldy Kollhofa, Margaret Wruch, Rosa Gebauer. Polish Ladies and Gentlemen: Irmgard Mar- ket, Elsa Prenslow, Martha Kollett, Martha Georges, Alice Wcidemann, Elsie Schaefer, Martha Weldemann, Hanny Frick. Tourists: Reta Walter, Johanna Worm, Martha Schmidt, Margaretta Muller, Lotta WerkUBat, Margaret Werkusat, Erna Volgt Ski Jumpers: Slgard Lolten, George Andre- san, Raeder Anderson, Hakon Hansen, Ola Krlstcansan, Andreas Roaneng. Incidental to the ballet skating divertisse- ment by Pope and Kerner, Bassett and He- lalne, the Naesses, Chapelle and lierger, and Steele and Wlnslow, the ice comedians, and CHARLOTTE. For $1.50! The Hippodrome may be crammed at every performance, Charles Dillingham may be lauded by the show people as far as they can laud him, the new Hip production may be pronounced the greatest and best of Its kind ever placed upon a stage, Hlp-Hip- Hurrah" may run for months (as It should) but the public that is to support it will best advertise the Dillingham management of the New York Hippodrome by that Ingenuous move that made the top admission price, $1.50. After seeing the new production Mr. Dill- ingham first presented at the Hippodrome Sept. 30, the thought Is Mr. Dillingham has been cheated, ho has given so much for one- fifty (one dollar at matinees). The initial act more than returns the box office price, and after that comes Sousa and his Band! then the Ice Ballet! Other musical comedies looked to be worth about $30 apiece after the premiere at the Hip had ended. The Hip seating capacity still remains around 5,200 aud at the $1.50 scale It can play to between $50.<>OU and $55,000 weekly. And it will play to that for a long time to come, for Mr. Dillingham accomplished the seemingly im- possible—he put the Hippodrome back In the show business. It's the production that makes tho Hip show, the production and the manner in which It was handled. The program says R. H. iiurnside staged the entire affair. The pro- gram gives Mr. Burnside capital letters for the announcement. Someone ought to give htm an evergreen wreath. The way he has manipulated the enormous chorus (not less than 250 people) comes nearly being miracul- ous, and the smoothness In the running of the performance the first night was little less so. The final curtain came down at 11.35. It is now covering up the proceedings at about 11.20 each night. Several minutes were taken out of the ice ballet after the initial showing, also ends clipped off a couple of • uumb acts" that had been given too much time to go through their full turns. The hrst act ends with a glittering pro- duction liuale. It is the Blltmore Hotel roof scene. A flowered latticed or trellis work is dropped from the files, and the girls then on the apron (the remainder of the chorus Is grouped behind the trellis) march backward, and upon reaching the lattice work, clamber up a iuader arrangement, spaced at short in- tervals over the breadth of the stage. As the picture presents innumerable girls posed in tula way, making a solid phalanx of pretty faces looking at the audience, the rungs of the ladders are electrically lighted, causing the glittering effect. It brought a spontaneous outburst from the packed house that told the whole story of tne Hip at that moment For the final scene of the second act there were Sousa and his Band, occupying the stage by themselves at the opening, going througn a special repertoire of Sousa numbers, con- cluding with *he March of the States," with each state calling for six girls or hoys, ap- propriately costumed, with the atatea alter- nating at either end of the huge stage. While the chorus people were passing between Sousa's stand and the orchestra, both bodies of musicians were playing, the conductors facing each other. Sousa had about 44 men and the orchestra 36. (It Is claimed the orchestra so playing with a band on the Hip stage must run two beats behind). This finale was an impressive picture, and gave a hip hurrah finish that made good on the title. The ending scene of the evening was the much talked about ice ballet, with Its im- ported skaters, mostly from Germany. The story is called "Flirting at St. Morlta," but no one grew wildly enthusiastic over that It was the skaters, 40 or more of them, about 25 from the other side and the re- mainder natives. After group and solo skat- ing came Charlotte, the star, and she la a star on the steels. This girl does ballet work on skates that were not the skates exposed, one could hardly believe It. She is a good looking blonde with long hair, and besides the ballet work, does the most diffi- cult of the fancy skating. There are other solo skaters of unusual ability, and the en- semble skating was expertly directed, at one time the 24 imported (Charlotte was booked alone, the remainder together) skaters skat- ing in formations of eight each, giving a scene much as is created by chariot racers with four horses abreast. Of the foreigners utter the stellar light came Ellen Dallerup, the principal boy of the troupe, who looks as well as she can skate. Steele and Wlnslow furnished the comedy bit of this scene, tak- ing "falls" that quietly amuaed if they did nothing elae. ^ The finale of a singing number brought out a huge American flag spreading (inclined) over the entire stage, formed through the chorus girls crouching beneath it In gradu- ated lines, holding sections of the flag above them. The opening was a "Kat Kabaret" atop the roofs near the Brooklyn Bridge, neatly mani- pulated in its people, the whole chorus finally reaching the stage for it, with the principals doing acrobatics In the midst of the en- semble. . _ . A feature of the chorus work was that whenever they appeared the girls were dressed as for musical comedy, and the Hip pro- duction in reality is a mammoth musical comedy, minus the usual spoken comedy or the continual singing, though both are here In a way. the comedy through "dumb acts' or Nat Wills' monolog and the slngina by Orvllle Harrold, Belle Storey, Arthur Deagon, Anna May Roberts and Harry Griffiths. If there were one distinctly individual hit, It was secured by Toto, an acrobatic clown who threatens to eclipse the popularity and record of Ma reel I ne in the same theatre. Toto came from the Albert Schumann Circus, Berlin. His style of dress and work Is said to be on the order of a couple of foreign teams, but for this side he is all new. Giving the Idea upon his entrance he was deformed, this was dispelled later when he took part in other scenes. He might correct the early make up. its fault consisting of a loosely made overcoat, it permitting him to do con- tortions. J . . The Hippodrome has been improved for talking and singing by the lengthening out of the proscenium. The side boxes now reach the stage, and there is more intimacy be- tween the players and the audience than be- fore, but the Hip still remains a long way from a theatre where the usual stage speak- ing or Blnging voice can be employed. This was probably discovered by Orvllle Harrold, who had difficulty getting over at all in his numbers. Mr. Harrold's fault was attributed to the bis house until Harry Griffiths came along and put over "The Land of Love and Roses" without trouble. Griffiths' robust tenor icuipletely overshadowed Mr. Harrold's high tenor. Belle Storey did quite well by her- self, and In a duet with Mr. Harrold she stole everything away from him, partly through her flute notes and more so because she cnose the side nearest the orchestra. Nat Wills nearly got lost In hla flrat at- tempt, leading "The Fox Trot Wedding Day,' but was redeemed later in a special scene tor himself during the second act, where he put over his "telegrams" while speaking, but again slid downward when following it with a reci- tative number, "The Lamposts of Broadway." That, however, was the fault of the song; Mr. Wills safely landed otherwise. So did Charlea T. Aldrlch, In his lightning changes of clothes, doing several of these (three con- secutive ones in the Fifth Avenue t>uenej, and later In "Chinatown," Mr. Aldrlch aid his srtalght-burlesque magical turn. Arthur Deagon was lightly burdened. He had one number, some conversation and passed along. The Boganny Troupe headed by Joe him- self, consisting of 18 people (the two Boganny troupes having been combined) got the finish- ing end of the "Chinatown" episode for them- selves. Dressed aa Chinamen they went through the full act, even to the boxing finale, which was later cut out. The high chair work did not get a great dea*. and It was badly worked the opening night, but the tumbling and Joe's handling of the midgets were repaid with laughter. Malta, Bart and Malia also had a special scene, the "Grand Central Station" In the first part. They did their full act as well, and while It was a trifle too long, the turn was very effective upon the big stage, and the act looks like a fixture at the Hip through the laughter and applause secured. In "The Cascades of the Blltmore Hotel" came the professional dancers, dozens of them It seemed, foreign and domeatlc. They each had their chance, too much time being given to all of them as one, while Miss Storey came forward afterward to lead "The Flower Garden Ball," a rather old number for a new show, but which seemed to serve its purpose In the scene. The second part opening was a circus ex- hibit in which animals appeared. The longest scene was the Ice Ballet, run- ning 42 minutes: "The Cascades" ran 29; "Moving Picture Street" 8: "Chinatown," 15; "The Tower of Jewels," 17; "The Panama Exposition," 4. Incidental to the Ice ballet the ski jump- ers appear, starting from a high crest In the winter scene, and making a leap of 36 feet across the opening left on the stage. It Is but a moment, but that's enough. The Hip- podrome show has 28 vaudeville acts. Its music Is by Raymond Hubbell, who leads the orchestra, and lyrics by John L. Golden. A couple or more Interpolated numbers are among the few musical pieces. Aa to Charles Dillingham, who is respon- sible for the come-back, there is nothing to be said. His competitors will cover the en- tire Dillingham field. A couple of them were on the ground the opening night. "Hip-Hip Hurrah" is a musical comedy whale. For $1.50. Sime. STOLEN ORDERS. Characters In Act I. Period 1893. John Le Page Charles M. Hallard Ellen Le Page Eva Randolph Ruth Le Page Flora Cocran Mendel Hart Robert Ayrton Bertie Hart Arthur Laceby Monty Bevls A. Loftus Joe Allan Walter D. Greene Bill Corry Oalwey Herbert Harry Symonds Edward Morgan Inspector Geo. McSwenny Characters in Acts II and III. Period 1013. Gaston Fournal (formerly John LePage). Charles M. Hallard Mrs. O'Mara Connie Ediss Lady Felicia Gaveston Ivy Marshall Admiral Lord Hugh Gaveston, G. C. B... C. A. Handyslde Hon. Dennis Wllloughby John Halliday Ruth Fournal Gllda Leary Hannibal K. Calhoun (Cagliostro) Franklyn Ardell Edward Hay, Lieut Denier Warren Cecil Drummond, Lieut W. Lynn Lynton Bertrand Welch, Lieut J. Schrode Lady Violet Faux Gladis Merrick Baron Kurdmann W. L. Abingdon Lady Owthwaite Eva Newton Rt. Hon. Ronald Caversham.. Edward Lewers Bertie Hart Arthur Laceby Joe Allan Walter D. Greene Old Alaf Edward L. Walton Auctioneer Fred Pearse Ned Corry Denier Warren Ginger Edward Morgan Capt. Pomfret Allan Ramsay Admiral St. Evremond A. Loftus Admiral Kelly Al. Cunningham Admiral Prince Vassilovitch. .Fred B. Strong Lady Farnborough Ruth A. Hawthorne Jim Saunders Mort Leavltt Interpreter (Valet to Calhoun)..B. M. Turner Butler to Gaston Fournal Mr. Walters Capt. Trevor-Rawson H. Watson Sprlggs Fortescue Watson Teale Sir John Denshire C. Lawrence Joan Morny 8. Barry Stefan Milton Tames The Boy Scout George Walthers Zorn Flower Girl Miss Russell Chauffeur Carl C. Runyon JosI Drury Mr. Casey The English melodrama, "Stolen Orders" (or as it was called when played at the Theatre Royale, Drury Lane, London, "Secret Orders") is running at the Manhattan Opera House to a $1.50 scale. And speaking of the top admission price recalls that It seldom happens over here candy butchers are al- lowed to circulate through the orchestra of a $1.50 house, as permitted at the Manhattan, although, of course, that may be a part of the Imported show. It might help business also, and doubtlessly the Manhattan Opera House management Is correct in selling the candy privilege under the Impression people who pay $1.50 to see a show are Inclined to purchase five-cent boxes of chocolate aicei every scene. That usually is appreciated by patrons of the nickel picture houses. "Stolen Orders" Is melodramatic straight- away, and a much better one than "The Whip." Both are by the same writers, Cecil Raleigh and Henry Hamilton. Ernest D'Auban, from the Theatre Royale, staged the piece at the Manhattan. There doesn't appear to be any question but It's the same scenery as In the original production. Much of It was painted for a very large house, even larger than the Manhattan. The story concerns a aafe robbery in 1803, then Jumps to 1913, bringing the earlier period characters into the current time. The tale then revolves about the macninatlona ot a German diplomat to secure secret orders issued to an English admiral, the admiral's wife being used as the tool to secure the papers through the German's deviltry in en- meshing her. Mrs. Admiral's brother is ac- cused through his refusal to be searched aboard the admiral's ship, where he is a lieutenant. At the time the lieutenant had in his pocket a compromising letter written his sister by the diplomat. His dive from the top mast of the warship is ou» or the thrills. An American fakir played by Franklyn Ardell is equal In Importance to any of the many roles. Coaohed by his sweetheart, Mrs. O'Mara (Connie Ediss) Hannibal K. Calnoun (Mr. Ardell) (also known as Caglios- tro, a clairvoyant-palmist) seeks to obtain fame as England's savior by taking advantage of his proclaimed mystic power through in- forming the admiral, while disguised aa a Sultan, of the danger the secret orders are In. This leads to complications for Calhoun, and further advised by Mrs. O'Mara, he takes part In the chase to prevent the departure of a phantom airship for Germany, which is carrying the message abroad. These two characters, Calhoun and Mrs. O'Mara, are very much in evidence, also affording ♦*» sole comedy relief. The final scenes of the airship landing at dawn, the arising of it and the ship finally brought to earth through a shot from a naval detachment In wait for it, conclude the piece, with the orders unopened returned to the admiral. ~fo#J A gambling room, the deck of the battle- ship, an auction room and the airship epi- sodes are the spectacular features, the battle- ship deck moment becoming the biggest. W. L. Abingdon aa the crafty German am- bassador, distinguishes himself for villainy. He received the larger number of biases on the curtain call. Miss Ediss is buoyant as becomes her stage name and creates many laughs, ably assisted by Mr. Ardell, who is in a role away from anything previously at- tempted by him. In "The Family Cupboard" Mr. Ardell was an inimitable "hick." in "Secret Orders" he is a Walllngford aort of adventurer, good looking, dressing in the best taste, and forced to heroics as well as light comedy, besides the sober character of the Sultan. But Ardell's touch is naturally light and he effectively lands, although It might be observed that some of the lines, also business of his role (as well as that of the Sultan's interpreter), could have been sug- gested by himself. They added comedy value however. As the only American In fact and in character in an English play of otherwise English players, Mr. Ardell was naturally noted for attention. He stood It well and Is displaying quite somo versatallty. Gllda Leary as the Ingenue is a pretty girl who got herself liked early. Ivy Marshall, the duped Lady Felicia, did well enough, and John Halliday as the young lieutenant was a matinee glrl'B Idea of a hero. Arthur Lace- by, Edward L. Walton and Walter D. Greene capably took care of "bits." Since "The Whip" showed over here there have been many big melodramatic film pro- ductions. What effect they will have upon "Secret Orders" remains to be seen, but "The Whip" was first in the revived meller era and It got the business, much more probably than this show can secure. But to those who like the good old mellow meller embellished as this Is, In 15 scenes running through three acts, "Secret Orders" will satisfy, if not in thrilling incidents, then In the usual humor at the good old antics of the good old days, best brought out here by a couple of Hannibal's speeches, such as "If Briton needs to be saved, then it should be by an American." Sime. PALACE. While the current week's program at the Palace is hardly up to the standard of that house, the average auditor might easily con- sider the bill thoroughly enjoyable as a whole for the few weak spots are comfortably cov- ered up by the balance and the show Bhapea nicely. In the first section four new offerings are Introduced, Julian Rose being the only famil- iar name scheduled before tho intermission period. Rose precedes Clccollnl (New Acts) holding down the fourth spot with the tenor closing intermission. Rose, while gathering a safe hit, was far from expectations, much of his best material preceding him to the eastern vaudeville ho\.,js while some of bis routine has entirely jutllved its usefulness. A new monolog might be suggested, since ex- perience has amply jroven that no routine is sufficiently good f« .* eternal use.