Variety (October 1915)

w w 17 SOCIAL MAIDS. Joe Hurtlg's "Social Maids" has been al- ways considered one of the wheel's best at- tractions, particularly since the burlesque debut of Geo. Stone and Etta PUIard, some years back and this season's edition is no exception. It looms so far above the aver- age main wheel show. Including several of the other Hurtig & Seamon productions that a comparison or even an effort at one is as ridiculous as odious. "The Social Maids" combines all the necessities of a great at- traction with a singing chorus and cast that runs second to none and a comedy book, bandied by the male element mostly that Is productive of one continuous laugh. The opener Is called "Busy Little Cupid," with Mr. Stone In the principal comedy role; Will- iam Baker, Martin Seamon and William Fos- ter in chief support. The bulk is shouldered by Stone and Baker, who make a fine com- bination for this particular style of amuse- ment, while Foster carries individual honors with a somewhat different German character- ization. Seamon is best in the burlesque where he essayed the "straight" with excellent results. Miss Pillard, featured in equal prominence with Stone, Is conspicuous In the female di- vision with the Jewell Sisters and Jessie Hyatt taking background position, although the Jewell girls were assigned to consider- able number work for obvious reasons. Miss Pillard Is the perfect combination of soubret and leading woman with a fund of personality and a wealth of versatility, some- thing that in all comprises a rare find and burlesque has but one of Its specie, Etta Pil- lard. She Is the life of the aggregation and with her acrobatic encoring stands out In the cast of women equally as prominent as her partner doeb In the male contingent. The Jewell Sisters may or may not be new *;> burlesque. At least they haven't acquired the flippant manner of the seasoned bur- lesquer and the numbers they handled were accepted on face value. Every single number in the musical division received from four to IS encores, and while this seems incredible it is nevertheless true. "Bom Bom Bay" led the list by virtue of the chorus business, with Owney GTagan taking top honors. Owney Is probably burlesque's best chorister from a vocal standpoint. The book while kept intact is light in theme and heavy In "bits," the majority of the lat- ter running along original lines with Stone's Impromptu comics gathering the desired laughs. The numbers show a trace of novelty in staging, the credit for which Is divided between Stone and Victor Hyde. The cos- tuming is far above the first wheel average of the current t-ia&on, although Hurtig has kept within reasonable economy while getting extreme value for his expenditure. It's a good all around show with plenty of legitimate laughs and a sufficient musical ncore of popular numbers to make a great balance. And with Stone and PUIard In coui- inand of their respective sections, it could hardly be otherwise, for they are, without a doubt, the best mated couple in piesent day rrrlesque. Wynn. THE MERRY BURLESQUERS. Rlchy W. Craig's show, "The Merry Bur- lesquers," is playing Independent time; that is, the houses near the eastern coast unaffili- ated with either of the Columbia Amusement Co. circuits. Among- these independent bur- lesque theatres were Daly's and the Union Square, New York. The Craig troupe was at Daly's last week. It runs In the old style burlesque way; first part, olio and burlesque (or after piece). Not looking for too much In these nonde- script troupes on the same kind of time, Craig's company passes expectations. It's short of costuming and equipment, or rather what it has of both seem very much second- banded. The dressing for the 14 girls be- speak a road show only, while the girls them- selves, or most of them, look as though they accepted the engagement after all other show rosters had been filled. The principals, led by Craig, capture a laugh now and again. The Daly audience could not be called sophisticated, as far as burlesque Is concerned. They want "dirt" and "cooch down there. Craig disappointed in both. Once in a while a principal would put over a double entendre remark that the house greedily caught the wrong way. Toward the finish Louise Pearson led "Pidgeon Walk," with the girls behind her doing a bit of a "cooch" movement. Upon an encore Miss Pearson, who was neatly though lll-flttlngly dressed In a tlghted suit, did a vulgar cooch herself, for an Instant only. She was also concerned In a smutty passage of two-sided words with a couple of the comedians. In a theatre hungry for this off-color stuff there could be no objection to what the Craig outfit used; the only wonder Is that they kept the dirt so well In hand. The olio opened with Craig and his time- worn phonograph, Craig holding on to his "Dutch" make-up even for the vaudeville turn. In fact he went through the show in the same character and disguise. Jack Davis and Marie Elmore were the sec- ond olio act. Theirs Is a sidewalk conver- sation with song. Both are also principals In the skits. Miss Elmore is the soubret, with a peculiar idea of dressing for her figure in that role. Their olio act in Its talk held some "old boys" among the gags, likewise some of McMahon and CnappelT's best husband-and- wlfe talk. The olio was closed by the Berlins, Al and TUlle. Al Berlin is a comedy tramp cyclist, one of the many who have of late liberally borrowed from the Charlie Ahearn cycling turn. The girl helps to dress the stage, and the turn is Just auout placed right where It Is. Dorothy Blodgett is featured with Craig on the billing. Miss Blodgett walks through without commotion attending. Joe E. Dalley and Billy Johnson are among the comedians, Mr. Dalley rambling off with the easy honors of the company, so well balanced on the wrong end. It wouldn't be difficult for any one who could to do it The two big numbers are a red fire finale for the first part and a quarter or quintet of singers (male principals) in the burlesque. Both are funny, though not so intended. Tbe Craig show, with a little money spent on the production end, a couple of changes In principals, and a few young looking chorus girls, could qualify for the Columbia s No. 2 Wheel. At least credit Craig and his "Merry Burlesquers" with giving a better performance without the smut than some of tbe American Wheel "Turkeys" are doing with filth strewn all over the stage. Bime. BLUE RIBBON BELLES. Whatever waB the first Intention of the producers of the Jack Singer "Blue Ribbon Girls," obviously the directors decided the first thing to do before beginning rehearsals was to throw away the original books, or maybe It was decided to play both backward, or, perhaps, to transpose pages from one to the other. No one expects consistency in a burlesque libretto. It is not, however, un- reasonable to expect at least coherence. If this element Is to be found In either of the productions that make up the "Blue Rib- bons' " offering this season. It wasn't obvious from Tuesday night's audience at the Gar- rick that anyone discovered the fact. Lee Hickman, featured, was as blithe as he could be with the lines and characterizations furnished, appearing In the opening pro- duction as a witless echo of Bert Leslie's slang comic, and In the second a laughless Happy Hooligan. He is to be given credit, for If he didn't know his lines and situations were amusing he never let the audience sus- pect It His principal foil was Ruby Grey, who as the soubret stuck gaily to the Hick- man pace, and not Infrequently left it trail- ing. For downright Industry, conscientious delivery of many burdens Imposed upon him by the eccentricities of the productions, Sam Winrow Is worth the attention of any bur- lesque manager, playing as he does three or four characterisations that offered little or nothing to develop. Miss Grey frolicked through two flirtatious roles with real verve whenever her songs or business gave her an open road. She was particularly happy In kisses given with resounding smacks to plants In the audience. The piece was noticeable for a repression of the violent Indecencies peculiar to uncen- sored burlesque. The text, to be sure, never could have passed the purity board of Provi- dence or Boston, but at its worBt It was miles this side of some burlesque degeneracies. There was a tantalizing conundrum for the front row males In a riddle that gleamed out alluringly begging enticingly for an answer. This was: Why were half of the girls bare- limbed, and the remainder betlghted? And Sam Mlcals was in the troupe in the novelty role of a Yld boob—whiskers, loose pants, etcetera. Also, the siphon bottle, rub- ber duck and ear trumpet for a deaf yokel were among old friends present. A young woman named Helen Sommers sang the prima donna numbers entrusted to her with real charm If not a great voice. Moreover she was refined and handsome enough for a worth while role In any of the legitimate musical comedies now dotting two dollar Broadway. The ponies and show girls of the combination never lost a trick to keep the speed set by the principals at a smart edge. If teamwork and courage can win out for a No. 2 Wheel program during the season, the present combination may be relied upon to supply It. Jolo. MANCHESTER'S BURLESQUERS. The Bob Manchester Burlesquers on the Columbia's Main Wheel has Mollle Williams for the big name and card. That's about the most sensible thing Mr. Manchester did, In connection with his show, upon returning to the burlesque field. Without Miss Williams the present Man- chester performance could hardly pass. As it Is the show has ..een doing business com- ing east, and Miss Williams has been about the only Individual In the organization to be especially signaled out by the dally reviewers, excepting the chorus girls (and the Curzon Sisters, who are an olio attraction). Mr. Manchester has revived an awfully old burlesque scheme for chorus girl Identification. It Is to number each girl upon the stage, with corresponding numbers opposite their names on the program. The choristers wear the numbers with every change. It's not the thing at all for the No. 1 Wheel, cheapening the looks of the stage In no uncertain man- ner. The Manchester program has been laid out with vaudeville In the consideration. The olio Is as long, If not longer, than either of the two "arts. Besides the Curzons, who close It with their skillful "butterfly" turn (that should have an adequate setting), adding a great deal of class to the evening, Miss Wil- liams -resents her "Le Dance L'Entlcement," and Billy Hart does his circus turn, using four choristers for number** In the place of Marie Hart, formerly in the act. This works out very well for Mr. Hart, and sort of places a comedy finish on the first pnrt. the H«rt turn immediately following It. Beatrice Harlowe, the prima donna, does a single act In the olio, and after Intermission "Dafrvdllls" Is given as the burlesque, with "The Lawn Dan- nant" covering as the title the onener. Miss Williams' seml-pantomlmic dancing number affords a strong contrast to the usual type of olio act, and through this the bur- lesque audiences take to It very heartily. They like Mollle Williams anyway. She's a prime tavorlte over the burlesque circuits. It's beyond understanding why a girl who had established herself as strongly as Miss Williams did In leading burlesque companies was allowed to wanuer away, in the second part Miss Williams does her Anna Held im- personation specialty and has made a regu- lar miniature production out of it. She Is doing this speclaltv better than ever, looks even nicer than she did when before In bur- lesque and easily walked uway with all the hits of the performance, excepting the Cur- zons' success. A prouuctlon number is muuc of "Little Girl," and If ever a song secured a real "plugging" In costume, Miss Williams Riven it to this one dressed In postman uniform, all the girls* headed by Miss Williams, con- cluding it By going through the audience de- livering "letters." Miss Williams does not appear in the parts, only as her own acts call for her. Among the principals besides Miss Harlowe are Teddy Hums, Eva Malvln, Frankle Burns, Mr. Hart. Francis Reynolds and Georgle Douglas, also Frank Fanning, who is again supporting Miss Williams in the panto. The comedians could be supplied with much better material than they have. The "Suffra- gette" finish of the first part is not well worked up, and the idea Is too familiar about anyway, having been used by innumerable shows and acts. Mr. Manchester has time to work on the show before it reaches the Columbia, New York. It Isn't fair to practically cast the whole burden of carrying this performance upon the pretty shoulders of Mollle Williams. It's quite some time since Bob Manchester dangled around a burlesque troupe. Some sea- sons ago he sold out his burlesque Interests for $30,000 and retired to Palnesvllle, O.. where ue Invested his money in a theatre. The theatre and the $30,000 are still in Palnesvllle, and Bob is again on the road. His knowledge of burlesque should send bis show to the top rungs. This might be com- menced by cutting out those oval numbers on the girls; also telling a comedian or so tc use more judgment In off-color stuff, whether playln* in a three-day stand or a big town. Bime. PALACE. The Palace orchestra had a comparatively easy time of It Monday evening. Three of the acts played their own music, two pianists and a musical acrobatic team. They comprised David Snpirstein, a concert pianist ("New Acts"), Ernest Ball and Arnaut Bros. In ad- dition, Stone and Kallsz retired from the pro- gram after the matinee, when the manage- ment switched the bill in such a fashion that they felt they would not be placed to ad- vantage. This saved the musicians the neces- sity of grinding out half a dozen numbers. Nana, who is an attractive but violent dancer, opened. She should cut her announce- ments, which mean nothing, unless It be to enable her to get her breath. Her male assist- ant might look a bit smarter In short trous- ers. ' Ernest Ball was a big hit with his planalog. Arnaut Brothers' acrobatic stunts would be difficult enough if done straight, but performed while fiddling makes them sensa- tional. Their bird courtship for an encore Is a fine piece of pantomiming. Harry Fox and Yancsl Dolly were well why waste space dwelling upon their offer- ing. You can't criticise Harry, anyway, for he hires a man to come out on the stage and do It. leaving nothing to be told. Harry Green and Co., In Aaron Hoffman's sketch, "The Cherry Tree," is a fine ex- emplification of the value of authorship. Hoffman has given Green Just enough (noth- ing that he couldn't do) short, Incisive com- edy speeches, well led up to. Walter Allen, an excellent legitimate actor, Is first rate support, while Florence Johns is Just the reverse. The sketch is a melodrama of the tertlum quid or triangle situation treated farcically. The whole thing Is quite unique, with the exception of the use of the old Yorkc and Adams line "Jewnlted States." Anna Held Is the big headllner this week. The famous French soubret looks as chorul- ing as ever (New Acts). Maria Lo and company, with her reproductions of Dresden and Delft, was a benutlful cloning act with Its set pieces and pretty poslngs. Jolo. COLONIAL. The current week's program at the Colonlnl is somewhat overburdened with singing spec- ialties and while a general effort has appar- ently been made to minimize the cnnfliction. the fault Is too noticeable to escape without the usual deadly effect, and the performance suffers as a whole. Individually the various numbers would have undoubtedly attained satisfactory results under normal conditions but collectively, as assembled at the Colonial. the handicap makes Itself felt. Lulu Coates and her Picks opened with a reasonably good routine of song and dance numbers, the pedal efforts of the trio In sup- port bringing the applause to Its highest point. Miss Coates has built up a good number for the big time, adding some excellent dnndng to the turn herself, jfa the ^opening spot at the Colonial the Coates act did very well. Harry Glrard and Co. were mov«-d up to third spot, changing Julie Ring nnd Co., evi- dently because of the Frederick Mowers' ring- ing production which held a position In the second half of the bill. Glrard nnd his com- pany offer "The Luck of n Totem" with an Impressive pnnonunlc set of the northwest. It's a long time since n miniature musical story of the w.st has survived the preliminary Journey to Mir time. Qlrard's production lacks the imitation ring of the usual western affair and carries with It a genuinely interesting lit- tle theme, dramatic to a point, but never bor- dering on the margin of mock heroics Marlon Weeks would do well to eliminate her opening number because of Its age. The same publisher carries several equally good num- bers that would register an Improvement. Otherwise her repertoire is evenly balanced and productive of the desired hit Julie Ring and Co. have a unique little com- edy skit in "Twice a Week," in fact is runs some distance ahead of the stereotyped ve- hicles of similar construction. But the action has been badly arranged. The couple never move more than a few feet while the arrangement of the set allows for decidedly more action. This must seem doubly appar- ent to the principals since it assumes the pro- portions of a defect from the front. Despite this the turn held up and the finale which is staged with rain-storm effect earned several recalls. James Norval might try for some additional light and shade In his enunciation. Hut the aforementioned suggestions should not create an impression of inferiority In any particular, for the turn could go along nicely In Its present condition. Frederick Bowers and Co., with his descrip- tive song review took away honors galore, an appropriate scenic background being provided for each number. The trio might be supplied with a uniform style of dress to keep the general appearance in line with Bowers' ex- cellent idea, but this Is of minor Importance. Mr. and Mrs. Barry were the comedy can- didates and did well as usual. Cantor and Lee walked off to a round hit and Whltlhl and Burt, following the several other singing specialties, more than made good. Lubowska In closing position held the entire house seated for the* finale of her excellent dancing production which says sufficient in Itself. Wynn. ALHAMBRA. Evelyn Nesblt, assisted by Jack Clifford, Ih topping the bill at the Alhambra this week, which undoubtedly accounted for the almost capacity house Tuesday night. Incidentally there was a corking bill surrounding Miss Nesblt. Charlotte Parry In "Into the Light" was programmed to close the first part, but in her place there appeared Billy B. Van and the, Beaumont Sisters In a fortune telling skit (New Acts). The show opened with a Pathe Weekly, fol- lowed by Booth and Leander In a cycling turn that earned some applause. Al and Fanny Steadman held down the second spot. MIbb Steadman's comedy got over most ef- fectively. The Sharrocks, with the comedy telepathy offering "Behind the Grand Stand" in the next spot secured a lot of applause on their work. The audience was amused by tbe open- ing and the work In the front of the house mystified as well as earned laughs. There Is one thing about the turn, It is a distinct novely of the type that vaudeville audiences appreciate. Marguerite Farrell, next to closing the first part, had gowns and songs. It was hard to define which the audience thought the most of. An Irish song was her opening effort and It passed to fair return. "Naughty but Nice," her second number, is saved by her confession she only uses dialect on the un- suspecting. A combination of an English number and an American ballad are her third and a comedy number follows. "Young America" Is used to close and It gets over In the manner desired. Van and the Beau- mount Sisters closed the first part. The Kaufman Brothers with their very good voices and poor comedy opened the sec- ond part. The talk the boys are using did a flop and there seems to be ample reason for this because of the age of tbe material. "Come Back Dixie," their opener, went over nicely. "Old BUI Bailey" was also very well done. Miss Nesblt surprised the Alhambraltes when she uncovered her voice, which is a very pretty one and shows that she has had It under cultivation for some time. Her evening wrap brought a gasp of admiration from the audience and from that on to last costume there were constant exclamations of wonderment at the sartorial display. McKay and Ardlne were next to closing and the big hit of the show. Delmore and Lee closed the hill effectively. Fred. 81ST STREET. There could be no complaint about busi- ness st the 81st Street Tuesday. The house held capacity with a fringe of standees. Just what drew the big crowd was not easily seen unless It was the Mike Donlln feature film. Pictures are always a draw here and Mr. Donlln's name evidently brought many well repaid by the likeable feature with the dia- mond star as Its hero. The five-act vsudevllle show started with "Solomon," monk presented by Morris Cronln. The anlmsl created favorable comment. Harry Cutler, the English comedian, proved one of the evening's best. Cutler put over an easy hit, his "Chrysanthemum" number go- ing big. A comedy sketch, "Who Was to Blame?" with Elsie Williams and Co. had laughs In Its favor throughout. It Is a husband and wife affair, but was well liked. After Intermission the Donlln picture, "Right Off the Bat," csme up. Brown and Bristol (New Acts) followed the feature to a house that was walking out, as many had come enrly. It was a decidedly hard task to gain recognition at the start, but the re- turns came better as the two progressed. La Corlo and Dlnus, a dancing team, closed satisfactorily.