Variety (December 1916)

NEW McWalters tod Mehrln. •ketch. 12 Mini.; Full 8tage. Harlem O. H. This team, apparently stock players, have t reconstructed version of 'It Can Be Done/* ft sketch originally in- troduced at the Princess theatre and later shown in vaudeville by Charles Evans and Co. The original Ideft dates back to a story printed in the Saturday Evening Post some years ago and deals with the effort off an Ad- venturess who dresses the stage sug- gesting an attack, threatening her, vic- tim with such a charge unless he ac- cedes to her demands. With the ar- rival of the solicited help, the victim coolly outwits the woman by display- ing the ash of his cigar which is con- vincing evidence of his inactivity dur- ing the "attack." McWalter and Mel- vin give the finish an added turn, but by all sketch rights, the climax P»Mee with the cigar ash "bit" and this team's version suffers thereby. The man is a secret service operator, the woman originally inferring she is en- deavoring to relieve him of some val- uable documents. She threatens the "attack" scene, prepares the room and declares her intentions, and after realizing the impossibility of success, reveals her identity as one of his co- workers, sent particularly to test his courage. The adjustment is hardly practical. The principals are capable, but should look for something that doesn't bear the stamp of familiarity. Wpn*. Jean Adair and Co. (4). "Maggie Taylor—Waitress" (Comedy). 28 Mint.; PuU Stage (Special Set). Qvshwick. Jean Adair, for several seasons in the title role of "Mother,* and also in "Sin- ners," is making her vaudeville debut as a character star in "Maggie Taylor— Waitress," a-comedy by John B. Hv- mer, produced by Lewis & Gordon. Al Lewis staged the sketch. The scene Is in an automobile salesroom in a small town. The proprietress of the local hotel has purchased a second-hand ma- chine. She visits the store to make the final payment, bringing with her her head waitress, Maggie Taylor (Miss Adair). Maggie once owned the hotel, but due te the death of her husband and the running away of her son IS years before lost everything and became a waitress at $3 per. While her mistress Is attending to business matters Maggie goes for the mail returning with it to the store. Maggie is then informed by the proprietress she is going to be dis- charged, owing to the wish of the drum- mers for "chickens" in the dining room. This breaks the old lady all up, as she will be forced to become a domestic ser- vant or go to the poor house. A stranger puts in his appearance and pur- chases a new car for cash. He is the long lost son. There is the fond meet- ing between mother and son with the two riding away in the new machine. Although a comedy this sketch has a dramatic punch. Miss Adair in the mother role .is immense. Her character work is the act's big asset. There is not s moment her work does not hold. Margaret Hoffmann as the proprietress Slaved a grouch to perfection. Daniel foyles, the auto salesman, does well, and the son as played by Robert Bar- rat is satisfactory' Lewis & Gordon have staged the piece well. In addition to a special set the act has a regula- tion automobile on the stage with nu- merous accessories which add atmos- phere. "Maggie Taylor—Waitress" is one of the best vaudeville sketches of the season. Gallagher, Lewis and Co. (S). Comedy Sketch with Songs. 22 Mina.; One and PuU Stage. Harlem O. H. This new combination (Ed Gallagher and Andy Lewis) have made a com- mendable effort to create something in the line of a vaudeville production that will sustain their registered profes- sional reputations and successfully challenge comparisons.by virtue of the novel proportions of their turn. While they have not been entirely successful, they have, in a rather limited time, ac- complished just enough to guarantee the ultimate success of their produc- tion, for it needs nothing? right *now beyond a strengthened finish, and con- sidering the individual capabilities and experience of the couple and the small weakness of the vehicle, there is every reason to believe they will complete the doctoring and take the skit out of the convalescent stage immediately they come to a full realization of its minor shortcomings. Lewis is portray- ing a crepeless-Hebrew, With none of the characteristic comedy implements beyond a dialect He is clean through- out in dress, mannerisms, speech and "business." Gallagher, as a "straight," has few equals in the vaudeville ranks, his general appearance, enunciation, carriage and ability having long since landed him snugly at the front of his field. Their support includes two women and a third man, the latter merely completing the picture while handling a role of minor importance. The women are* thoroughly capable, {>articularty the taller, who has her nning with a solo which permits the principals an opportunity to change from street to dress clothes.. The smaller girl fits, but runs a distant sec- ond to the other in every department. The vehicle revolves around a politi- cal theme introducing Gallagher as a {political "boss" and Lewis as a recent- v elected judge. The boss is showing the judge the white lights. They meet two women, a Miss Bustonaby and a Miss Manhattan, the former an ac- quaintance of the "boss." A trip to the "Giltmore" follows with the body of the turn being shown In the interior. A table scene provides a large auant- ity of healthy laughs, but this "bit" escapes the classification of the con- ventional table scene since it is made up solely of light comedy badinage with no rough or low aim for laughs. A marriage ceremony follows with Gallagher and Miss Bustonaby as the principals, the judge officiating, the Quartet exiting to an appropriate chorus. The first section and main body of the production are secure in their present state, but the finale hard- ly maintains the speed and favorable impression created by the preceding portion. A reconstruction of the mar- riage "bit" is suggested, with a singing finish. Then Gallagher and Lewis can qualify without question. Wpim. Will Oakland and Co. (3). "Danny O'Gill. U. 8. A." (Singing). 22 Mina.; Pull 8tage (Special Sat). Colonial. In "Danny O'Gill. U. S. A." (by Henry J. Savers), Will Oakland has se- lected an ideal successor to his "Night at the Club," the new arrangement be- ing constructed around an episode in the life of an Americanized Irishman who returns to his home in Ireland for a visit and a bride. The scene is typi- cal of the Emerald Isle and shows a panoramic view of the hills background- ing the home of his youth. John Car- mody essays the role of Danny's (Mr. Oakland) father, opens the turn with an introductory speech explaining the expected visit the news being given to Peggy O'Shea (Ruth Parry), the child- hood sweetheart of Danny. He ar-« rives shortly singing in his usual splen- did voice "Rocky Aoad to Dublin" and the succeeding time is devoted to a choice repertoire of Irish ditties and some corking good. Itaht badinage be- tween Danny and Peggy. The latter is particularly good in her portrayal of the colleen role and Carmody's act- ing of the elder Irishman suggests an ability inherited rather than acquired. Oakland is the ideal juvenile, a bit over that particular classification, but effective nevertheless. The songs all Scored in turn as did the dialog. It's a nice little affair, tight In theme, but well strengthened by the accompany- ing atmosphere and nourished with an eaual portion of sentiment and com- edy. A good Irish playlet can general- ly carrv itself in any company and this is really a good one. Wfnn. Marie ArdeHe. Soprano. ^ 8 ?5!ns.; One. Jefferson. Possessed of a high spprano which she' uses effectively for small time in four numbers. Frpd, Lewis and White. Songs, 14 Mine.; One. Hsrlem O. H. Two girls who can harmonize rather sweetly, but whose real forte Is a repertoire of exclusive numbers with an explanatory introductory and lyrical prolog that brings them without the vale of the sterotyped "sister act." In build they suggest the Courtney Sis- ters, but neither aims at comedy. The opening Song explains their presence, followed by a Broadway number and an Irish ditty, suggesting an Irish- man's dream of Broadway. They closed with a "Good Bye" song and encored with a popular composition. Lewis and White show blur time possi- bilities, but should consult a modiste and spend some of their Income on dresj creations. This is their weakest point at present. They may deem the cotI-d«es—worn as pretty,-■ attractive, etc.. b«t with a act that stands out be- cause of its orisrinality, they should strive to accomplish the same results in dress. . W y**. HsJHgan and 8ykea. "Somewhere In Jersey" (Comedy). 12 Mlns.; One and PuU Stage. Colonial. Billy Halligan,* the cnild Adonis of the profession, and the exceedingly at- tractive Dama Svkes have finally pro- cured a vehicle that at least approaches something worthy of their ability, and since it has long been an estab- lished fact that guaranteed ability and perfected material combine the sole re- quirements of vaudeville success, this, combination can be aafely crowned with all the honors of a vaudeville hit. "Somewhere in Jersey" is the title. It opens in "one," concludes In full stage, and revolves around the experiences of a dealer in "wet lots* who eventually sells an interest in his business to the inexperienced miss with more money thsn business ability. The dialog Is particularly bright, full of good points and constitutes a continuous list of real laughs, all carefully weighed by the principals and delivered with just the required force to register. In exit- ing, however. Miss S vices might adopt the usual method of retiring through the door, since a practical door Is pro- vided and one might suggest that she remove her hat in order to give her audience a view of that Justly famous blonde hair. An appropriate song ends the turn and at the Colonial it closed with a reassuring round of applause. The couple show t general improve- ment that will carry them along in any company. Because of the woeful lack' of oriorinal material the Halligan-Sykes specialty should receive speedy action. It's sure-fire for the big time. Wgaa. Kanasawa Brothers (3). Jap Pedal Juggling. 8 Mina.; Full Stage. Palace. Three Japanese acrobats who do the pedal juggling with the barrel, for com- edy, in a simitar manner to other Jap turns. It's always good for more or less entertainment though pretty well known by the public. For the finish one of ih%. !?i,y-s juffgfcs «.:-ofher f:om a -feat balance and this gives the turn a strong ending, leaving it a nice enough opening act. The Jap bovs look like clean-cut acrobats and work well. 8ime. Dorian. Comedy and Songa. 18 Mina.; One. Royal "A Comedy Novelty" is the program description. "Novelty"—save the mark —is right. It consists in this: a black- face comedian spends eight minutes on the stage using most of the material first done by Henry Lewis, to intro- duce an ordinary operatic singer. The blackface person makes his appearance In "one" quite as though he were going to do a monolog. He recites the lines used by Lewis, descriptive of what he is going to do and then goes into an ordinary/bit of dance, using the "Stop!" and "Go Ahead," as Lewis did. Before singing another number he calls for his "assistants," off stage. The drop is raised and the Royal stage crew is dis- closed working on the bare stage. The four (Dorian in overalls among them) men are summoned to the front and the drop in "one" again is lowered. There is some joshing of the stage hands. One attempts to do a specialty and then Dorian (still in stage hand guise) sings his operatic number. Of course, there is applause for his finish with a high note and he returns for more opera. Meanwhile the other three stage hands and the blackface person have disappeared and they never again come into view. The blackface man's, name does not appear on the program and there was a good deal of uncer- tainty In the minds of the audience as to which was Dorian, the comedian or the singing stage hand, each having had about half the running time of the turn, ft looks tike a Henry Lewis act since Dorian, the singer, is the same who anneared with Lewis himself in vaudeville* early this season. FIFTH AVENUE. The Fifth Avenue theatre of late has been doing a very lmpreralve bualr.saa. That meant big business, although the house hasn't muoh capacity for a vaudeville performance, hut It's Impressive because It shows what may be done with a policy steadily plugged at. The Fifth Avenue has been giving good big shows for the money. They have contained plenty of new material. It being one of the u. B. O.'s "show" houses for New York, and the new matter has been breaking rather well. But the house has built up a patronage mean- while that It can hold apparently. It's half between a big and small time gathering, hut of a much better calibre than any small time audience. Tt seems to have the small time ld#*a of vaudeville through visiting only the Fifth Avenue. So It looks as though the house bad an exclusive clientele besides. It's a very well managed theatre, with an agree sble staff everywhere one turns, and ts one of the few vaudeville theatres made pleasant In atmosphere. That may account for Its present flourishing condition. The show the first half held nothing extra In attractions. It wasn't nearly as good as some of the past few weeks. Well balanced bills In the house are probably most difficult to obtain. The feature was a return date for "Finders' Keepers." with ths original oast headed by George Kelly. Tt was liked as muoh as on ftp first visit. Bines then, though, Mr. Kelly has sccentusted what seems like stage sffeotatfons In speech and mannerisms, until he doesn't glva the role the same value he formerly did. Two mixed two-acts, both singing, were on the bill. The first was Brennan and Powell, with a piano played by the woman. The act haa changed Its numbers about some, but hsve left themselvee open to the suspicion they prefer money songs to others that would be better suited to their vaudeville turn. It'i pretty dangerona for a couple like thle to) attempt that, for they have little beyond a stage presence. That seems enough, however, to stand them Inatead when they are singing what they should be singing—light, operatic melodies. The other singing two-set was Newhoff and Phelps, who are now alnglng only, hav- ing dropped their "talking opening." It hat- ter becomes the team, for they handle songs very well, especially double numbers capable of being brought out. They have two or three of these In the act at present. The enunciation Is another point In their favor. A re Inst them 1s that they took an encore with "Yaka Hula" when they should have been tickled to death to have left that song *ion« If It could not hsve been used earlier. They earned the final encore with applause that would have done them much good If they had walked out on It. Newhoff and Phelps sre essentially singers. If they will tske only the numbers they know they should sing, thst's going to help them. The "baby" song Is not one of those for them, not for variety, contrast, versatility or anything else. Mane! Burke didn't sing the moving 111. son* Tuesday night, The Flying P,»eee!1« closed ths show. Lllyan and Boggs, Boh Tosco. "Motor Boat- ing," Harry Lester Mason (New Acta).