Variety (January 1916)

VAUDEVILLE ARTISTS' FORUM Coafln* tetUra t« lit words and wrlU on on* aid* of p*p«r only. Amoajmooa communication* will not bo prlntod. Nam* of wrltor must bo alffBOd and will bo bold m otrtot oonddoaoo. If doolrod. ^_^ I*tt«ra to bo pabllabed In tbis oolumn moat bo writton excluslY«ly to YARIBTT. Daplleatod lottora will not bo prlntod. Tbo wrltor wbo duplicates * Utter to tbo Foram, oltnor before or after It appears bero, will not be again permitted tbo priv- llecea of It New York, Jan. 12. Editor Vabibit: I must for the sake of my conferes take exception to an article printed on page 13 of VxRiBTr, issue of Jan. 7, re- garding the music most played in New York for dancing. The list of numbers is very incomplete, and as for the names of the publishers, the writer must be a stranger to New York. He has "Some Sort of Somebody" credited to Remick, when it's published by Harms; "Ragtime Pipes of Pan" is published by Schirmer; "Memphis Blues/' published by Joe Morris; "Chin- Chin," Fox Trot, published by Remick; "Auf Wiedersehn," published by Schir- mer; "Sphinx" published by Chappell; "Valse Poudre," published by Jungni- chel. I enclose a list of one-steps, fox trots and waltzes which are being used by the really only prominent orchestras in New York. (List in Cabaret Depart- ment this week). Personally, I think you are not treat- ing the musicians fairly. You neglect the union musician entirely. Remember, we are 76,000 strong in the U. S. A-, and it is our work which makes or mars the success of the peo- ple you primarily cater to in your weekly. Give us the same just consid- eration you hand the actors and you'll benefit your actors and actresses be- yond any conception you have of our influence. Ask to demand better, larger and union orchestras in their theatres. Preach and start an agitation for music in all legitimate theatres and youll see the ultimate result—prosperity for everybody in the profession. With best wishes for a paper which has uniformly been for justice all the time, I am, Very truly yours, Oscar Lifshfiy. Editor Variety: New York, Jan. 18. In the Jan. 14 issue of Variety, our act was reviewed by Fred, at the Fifth Ave. theatre. He said we are five years behind the times with the act we are presenting. Let me enlighten the young man. It might help him in future. He says the woman could get away with the prima donna part in a burfesque show. Well, Miss Montague was with Joe Howard, in the "Goddess of Lib- erty," as prima donna, and also with Frank Daniels in "The Pink Lady," also with Lombardi Opera Company for three years, and I do not think that Fred is aware of this. Now, about myself. I have been in vaudeville for nineteen years, and it is the first time any one has said any- thing about my work as a vaudevillian. I have played all the Locw circuit, the United time, also the W. V. M. A. cir- cuit, the S. C. circuit, and for him to say that I might help as a supporting comedian in burlesque is ridiculous. I think he was very much out of his mind when he wrote us up the way that he did. In that issue you also have an article about Concentration of Thought. I think if Fred would Concentrate his thoughts he might come to the conclusion he has insulted the intelligence of the United Booking staff that has seen it to their advantage to book our act in their thea- tres, as we have played the Moss cir- cuit, the Proctor circuit, the Loew cir- cuit, and it seems funny your so-called critics never caught our act before we played at the Fifth Ave. theatre, so I just want to tell you that you have done us an injustice. Duffy and Montague. Memphis, Jan. 17. Editor Variety: I enjoyed last week's Variety edi- torial on Concentration. I think actors in general would enjoy more serious talks than they are privileged to re- ceive. Fun being their business, most people think it their duty to try to be funny with them. In listing the things which the stage managers hear, and the musicians hear, and the artists say, one might mention some of the things which the artists hear, and hear so regularly that a little sense now and then is a real treat to them. Among the regularly reoccurring lists of things listened to weekly, are such intellectual caramels as "If your act goes here, it will go anywhere." "We have the coldest audience in the United States." "There are not many out there, are there?" "I had a friend with a show, but it busted." "Thit must be a hard life, I wouldn't care for it." But mostly and with a not well concealed note of satisfaction, "Why do most big actors die in povert} " I think there is a good deal in what Variety said about concentration of thought helping actors become better money makers, but I also believe that actors—successful ones, I mean—do make as much or more money than any other class who have no capital invested, but their time. Therefore, ad- vancing a little along this line of thought, I am moved to say that a much greater trouble with ac- tors lies in the fact that most of them do not know what to do with money when they get it. In this they are not particularly alone, as insurance companies' statistics show us that only one man out of a hundred is self sustaining at the age of 65. A much larger percentage possessed im- (Continued on page 28.) WITH THE WOMEN By Tk# SUrt Good-looking clothes and good-look- ing girls are the order at the Colonial this week. The girl of Schooler and Dickinson is a pronounced brunette, who needs more care in the uses of makeup. A dress of blue and pink chiffon had a bodice of crystal. Her second change was a crystal founda- tion with hangings of gray and cerise tulle. The final costume was very handsome. Over a silver lace petti- coat, panels of red irridescent trim- ming hung loose from the skirt. The bodice was of brilliants. Dolly Hackett (Morrissey and Hackett), an exceed- ingly pretty blonde, appeared first in a cloak of rose velvet with a flat hat. A change was made to an exquisite blue and pink chiffon frock. The skirt was made double, using one color for each flounce. Bandings of the chiffon shirred and trimmed on different col- ored flowers were effectively used. A silver hat of the no crown style was also worn. Edna Courtney with Marshall Mont- gomery looked well in a green evening dress. Adelaide (with J. J. Hughes) for her first dancing costume chose white skirts with a bodice of jet. A high ruche around the throat was very becoming. The "canary" number has a pale yellow ballet costume. Claire Vincent (Claire Vincent and Co.) is a stunning red head and was clad in a green evening frock of the apple shade. There were three flounces to the skirt, two of satin and one of tulle edged in silver. The waist had a wide girdle of brocade and was trimmed in crystal and narrow bands of fui. Josie Heather was sweetly pretty in a silver lace frock over green. A coat ef- fect was in chiffon of the pansy shades. Another pretty frock was of apricot charmeuse with a jacket of pale blue velvet trimmed in fox. Josephine Kernell, dancing with Jack Jarrott) was smart in a silver lace dancing frock. The flounces were wir- ed at the sides with panels of flowered satin. A handsome blue coat trimmed in brown maribeau was discarded early. Eva Tanguay's costumes become more difficult to describe each season. Miss Tanguay, at the Palace this week, appears first in a dark blue and silver dress over silver bloomers. The head dress is an inverted lamp shade hung with silver balls. A second dress was a marvel. The skirt reached to the knees and seemed to be of green leaves. Over this was a layer of red leaves protruding in points at the side The bodice was yellow satin and over the hips a crystal cloth closely fits th<- figure. A huge fan of green and rd leaves adorned the head. Another striking costume was of white, fitting the figure snugly. A fringe of jet was around the short skirt, while the entire dress was studded in jet buttons. A white clown hat had a shower of jet. Miss Tanguay finishes her act in a white Italian silk union suit, embroid- ered in crystal. The Farber arirls. ml- ways good dressers, are going them- selves one better this week. The small- est Farber wears a three-flounce dress in the new metalic lace. There arc touches of blue. Her sister's gown was a gorgeous affair, in silver cloth and lace. The costuming of "The Rosey Posey Girls" at the Columbia is below the average. The principals, as well as the chorus, show little in the way of up-to-date clothes. (Miss) Billy Davis is uncomfortably stout and in a shawl draped around her figure she fairly bulged. Madeline Whitney displays the best taste of the women. Her clothes at least are neat Marie Gates looked well in a red chiffon danc- ing frock. LUCIER FOUND DEAD IN BED. Chicago, Jan. 19. Paul Lucier, age 45, was found dead in bed yesterday morning in hit room at the Hotel Grant by a maid. Leon- ard Hicks, manager of the hotel, sum- moned Dr. H. S. Fletcher, who said death had been immediate from heart trouble. The deceased was a member of the Haines Montgomery Trio in vaudeville, that act opening at the Lincoln theatre, Chicago, Monday. A widow, Ivy Lancton Lucier, sur- vives. MORAN ON LOEW TIME. This week Goldberg & Epstin have been acting as the intermediaries be- tween the Loew Circuit and Frank Moran, looking toward an engagement over that time by the heavyweight who twice knocked out Jim Coffey and is matched to fight Willard. Moran, rated in sporting circles as highly intelligent, will do a monolog If agreeing upon terms for the stage. NONETTE MARRYING. To prepare for her wedding in April to Supreme Court Justice William Mor- rison of Los Angeles, Nonette, the violinist, has thrown up her vaudeville engagements, repairing to her home in Brooklyn where she will remain until leaving for Los Angeles as Mrs. Mor- rison. Noncttc's name in private life is Nonotte Lyle. Opera at Cleveland's Hippodrome. Cleveland, Jan. 19. The Hippodrome will temporarily suspend its straight vaudeville policy next week when the Boston Grand Opera Co. will be the sole attraction during the first three days. The regu- lar vaudeville program will play the Inst half of the week only. While this is unusual at the Hip, there is no intention of making the split-week plan a permanent affair, the opera company being booked for the engagement because of the appropriate opening and accepting because of the H in c lororA Mnarlfv