Variety (January 1917)

20 VARIETY AMERICAN ROOr. The show the ft ret half set a pace which outdid any of the hills at that house In months. It was a crackerjack program that sent the audlenoe home In a happy frame of mind. Jimmy Flynn opened with Bongs without the cuwioiuary slides. He did so well ihe slides wqre. . pq,t,. mjsied... tonclbftr?.. swJ. BvKew, danciug team, were next. It was the one dull spot in the program. The couple have little In their dancing that is exceptional, their work being very stereotyped. Three Syncopators (New Acts). Cummin and Seaham, acrobats, No. 3, took down one of the applause hits. The men are exceptional ground tumblers with one a hat juggler of the first order. This team could have put over a hit In any spot. Chase and La Tour (New Acts). Marietta Craig and Co. In "I. O. U.," a comedy sketch, closed the first half. The Idea Involved is largely fashioned after the plot of "Turn to the Right," with a few different twists and a different character here and there. For the small time the sketch is pre- tentious. The audlenoe took te it most en- thusiastically. Miss Craig and her support- ing cast put the piece over handily. Florence Rayfleld, a blonde girlish single, opened after intermission. Miss Rayfleld has a good routine of songs. She had little diffi- culty in scoring, the audience being just In the mood for popular numbers. Storm and Marston In "The Alibi," a talky sketch, amused to a certain extent. The Idea Is original, its most commendable feature. The young woman's steady has several bright spots, but there Is a great quantity of it. The audience appeared entirely satisfied with the offering. Nat Carr paid the Roof a return visit this week. Carr appeared there but a few weeks ago. His present act is the same as used before. Reno, a tramp cyclist, closed the show. Reno sings off the stage in a falsetto before making his appearance. her Hula at the flnfsta enough to startle many. Demarest and Doll (New Acts) and Oscar Lowandle and Co., a circus riding act, rounded out the bill. JEFFERSON. Anniversary Week, with all the attendant bunting and flags, a ten act show and the other features that go with the usual An- niversary Week splurge. Result was busi- ness very good Tueaday evening and the house seemed to enjoy every minute of the performance. • The headllner was the girl act, "From Coney Island To The North Pole", but the audience got the greatest enjoyment out of Burke A burke (New Acts). In addition to the ten acts was B. 8. Moss' own five reel feature production "The Qirl Who Doesn't Know" with Marie Empress starred and the current Hearst-Paths Weekly. Esmeralda and Alvlna, two women who play xylophones, were the openers. They did three selections, the first, operatic, second, patriotic and a rag for the finish. It was to the liking of the audience, although they seemed very much to the small time effect generally. The Parlor Car Trio (New Acts) colored boys managed a few laughs and some applause In the second spot. "The Scoop" with Its surprise finish held the audience and with the arrival of the twist there was applause. The "grafter" character la badly played at present, unless the actor Is trying for comedy all the while. Lyrica, with her agreeable soprano pleased with four selections. Hers Is a straight singing turn, that wins out on the strength of the singer's top notes. Hill and Rogers (New Acts) received something. Burke and Burke followed. Boyle and Brown (New Acts) with songs held the house nicely. The girl act followed and Can field and Barnes were next to closing. Barnes is very funny in a way, sure to appeal In this neighborhood and the team scored accordingly. The Six Cornelias closed the show with a fast routine, getting applause on several tricks. Fred. CITY. The bill at the City the first half was spotty, in parts it was very good and in others the opposite. Notwithstanding, the audience appeared well satisfied. The Three MelvIn Brothers, hand balancers, opened the show. The main work rests on the flyer, who is a nimble chap. The O'Nell Sisters, of whom there are but two now, were "No. 2." The girls have some new clothes as well as songs and are going along nicely. Their hair has also grown some, which Is to their advantage. "Between Trains," a comedy sketch with three people, which has been seen frequently at this house before, seems to have lost lit- tle of its interest for the 14th streeters. The piece tells a homely story laid In a working man's palace that just about reaches the point. An uninteresting news weekly wasted 15 minutes more. Will Stanton and Co., with the featured one doing his "drunk," Rccured several laughs, although Stanton docs some exceed- ingly messy business. The act should be re- arranged, the women at present being little more than ornaments. George F. Hall, one of the old school of monologlsts, overdid himself by remaining too long. Hall has some good stories and recitations which he puts over In capital fashion. Of the two dramatic recitations the Australian one is the better, the other lacking rythm. Ed F. P.ynard. with a vcr.trllooulal. ofTer- ln* v*l;h sevi-ritj .tn'anrifcVr,",' was d.-^crvl;^ of the biggest hit of the show. Katherine Mc- Connell has been added to tho Reynard act, she doing three dances and a bit of none. Her dancing 1b decidedly worth while with 125TH STREET. It was "Store Night" at Proctor's 125th ..9t/wt. ■♦bontrt- Tue/Eday ev<euhig, u«d' cA in* conclusion of the vaudeville section of the program the stage was filled with commod- ities. Groceries, rocking chairs, trunks, etc., were carried across the footlights by the holders of lucky numbers. Tho variety turns began about 8.15 and con- sumed approximately two hours, the first be- ing the Three Arleys, equilibrists, two men and a woman. They go through a neat head- to-head routine and finish with some perch work, using the American flag for the pic- ture. Morris and Beasley, man and woman, In "one," singing, dancing, crossfire. Pleas- ing personalities and harmonise well. They have an original way of putting over old gags, frankly Indicating the vintage of the ancient wheezes, thereby making them just as laughable as If they were new. The team scored a big hit. Charles Rogers and Co., two men and a woman, in a comedy sketch, "The Movie Re- hearsal." Scene Is laid In a picture studio, comedian and soubret applying respectively for the positions of leading man and leading lady to the director, who acts as feeder to their burlesque attempts to act. The come- dian is genuinely funny, the soubret does very well, but the feeder Is a trifle weak. It is a funny small time act and the house fairly rocked with laughter. "Jackie" and "Billlo," trained cockatoos, New Acts. Mcintosh and his Musical Maids, three girls In kilts and Mr. Mcintosh similarly clad. Very neatly dressed and clean looking. The girls play drums, one does the sword dance to es- pecially neat stepping, they sing, play the piano and violin, all harcuuulze for * quartet number and they finish with brass. Looks like a happy family group and certain to earn ap- plause. Colonel Jack George, blackface, does a bit of singing, the major portion of his act con- sisting of a political speech, making laugh- able references to national celebrities from the president down. Every time he wishes to bring home a point he emphasizes It by striking his rostrum with what appears t* be a long piece of rubber, and the "thwack" seems to bring the laughter more spontane- ously and more forcibly. He works hard and gets results. "Cheyenne Days" closed the variety contributions with Its roping, rid In" end bucking horse. It Is a flash for small time. The 125th Street was lately burnished over and a new business with the present bills is being built up. Jolo. L0ND0N-N0W! By ROBERT EMMETT KEANE HARLEM 0. H. The bill for the first half fell down, as so many small time offerings do, on the sketch. The comedy playlet of Helen Ray and Co. took nearly 20 minutes to get across, and then Its four people couldn't make it In- teresting. The show perked up a bit after the mid- bill picture, but before that the going had been rough and uncertain. In the second half "Fascination" (New Acts), a dancing act with a big flash of color and accessories, somehow missed fire in spite of many very pleasing details and this left It up to the two final numbers. Van Bros., and Lady Alice's Pets, to hold up the evening, together with Ora and DeCosta along about oentre of the bill. Gasoh Sisters, women hand-to-hand and head-to-head acrobats, made a neat, quiet opening number. The girls are big and fine looking and dress in smart short skirted frocks of black. The routine Is varied and the feats of strength handled with splendid acrobatic style. Elklns, Fay and Elklns, three men In even- ing clothes, apparently put their routine to- gether many years ago and have not changed it since. The dancing is of a bygone day and the whole framcup of the turn Is old- fashioned. The solos were the best and the tambourine finish got them some mild at- tention. Then cames the Helen Ray sketch, In which three men, father, brother and sweetheart, talked in {urn in an effort to get the sister to give her newly Inherited wealth to them to invest, and her final disclosure that she had given it away in order that she might be loved for herself alone. The idea was silly and the handling bad. Ora and De Costa were the first live act on the bill. Miss Ora looked well, wore a million dollars worth of stunning clothes and put her songs over with a snap. Her young man ac- companist Is a capital pianist, but his comedy missed. Thanks to the woman, however, the turn was a bright spot where some liveliness whs sadly needed. Tho picture was one of those Ella Wheeler Wilcox things, and then the show was per- mitted to go on. The Van Bros, were by long odds the hit of the bill. They had a monopoly of the comedy and the clowning of the silly kid comedian kept the laughter bubbling. The pair work easily and manage to get their stuff over without any forcing. They have JutU a bit of music to give their sketch a specialty touch (It's a zither solo) and the exchange of talk, all amusing, does the work. Lady Alice's Pets Is a real novelty. Women audiences probably find much to ob- ject to in the presence of a troupe of trained rnfs. but tho little creatures hnve a certain f-KMivi-m r>nd they ar« cleverly \viflfiY&* t Th>- nrrwr hnd Woman trainers" are models of neat eppearance and showmanllke bearing and the varied routine with Its cats and rats and birds moves swiftly and has a wealth of Interest. The "rtieAftiricaf conditions in London now as compared with New York are indeed wonderful when we consider the appalling difficulties under which the English managers are producing. First, the shortage of money and men, the Zepp raids, the petrol (gasolene) restrictions of taxicabs, the fog and rain, the heavy additional war tax on every seat, the lack of good plays, in fact, every possible obstacle is placed in the way of the Londoner to keep him from the theatre and yet the West End theatres are packed. Why? The splendid loyalty of the British public to the theatre. Their personal admiration of the men and women of the stage. There are very few street car lines in London. In fact, all London travels by taxicabs and busses. The London gentleman won't ride in a bus, hence the entire West End section of production thea- tres must be reached by taxicab or pri- vate car. It is considered unpatriotic to have a private car, so they must de- pend on taxicabs. Picture 11 o'clock at night—raining, thousands of men and women in evening clothes—waiting sometimes for two hours for return- ing taxis, and while they are waiting they may be "entertained" by the un- welcome visitors in the sky, dropping sixty-pound bombs of high explosive— only to be set on fire by an aeroplane gun. It is almost impossible to under- stand why the Britisher leaves his warm, comfortable home to brave terrible inconveniences and positive hardships to see Ms or her favorite player. Two Tommies home on leave from the frightful bombardment and siege of Guillem«ac. They had been under shell fire for six weeks, but through miraculous luck had escaped unharmed. They had just arrived from France and one of them had a bad at- tack of hiccoughs and had difficulty in explaining something to his pal. Final- ly between gasps of the hiccoughs he said, "Hi, Bill, I've got the hiccoughs Say somethink to frighten me." Joe Coyne, the biggest American favorite in London for a decade, relates a grim but humorous tale. Al- fred Butt starred him in a play called "The Clock Goes Round," and the premiere took place at Blackpool, a seaside resort. On the opening night "Zeps" were reported near Blackpool and finally were over Blackpool just as the third act ended and of course all lights in the town were ordered out and the fourth act Mr. Coyne and his company played in inky, absolute dark- ness and hardly a soul left the theatre. I shall never forget the first time I heard them in London. I was in the midst of a comedy love scene in "Mr. Manhattan." The young lady playing opposite to me whispered under her breath in the most nonchalant, smiling manner that one short, ugly word— Zeps! I've heard American actors say: Try and be funny in Hoboken or at the Colonial or on second, but I say: Try and be funny in a "Zep" raid. But the absolute calmness and indif- ference of London audiences to "Zeps" make you ashamed of your own fears, and it is wonderful the conditions one can be accustomed to and that are con- sidered normal. The idea we have that English people have no enthu- siasm or sense of humor is entirely wrong. For instance, Lieutenant Rob- inson V. C, the 21-year-old boy of the Royal Flying Corps"who brought down the first "Zep" in an aeroplane, hap- ■.pcntil.'t* be sifi'ir/ft jrt riie.nr.st row c.f the Gaiety when the comedian whis- pered his name to the audience and pointed to him. The applause and cheering was simply great and he took ,, ^ .. . .» i < . i ■ i • ■ i »• »•>•"•* ■ • • • ' ■■■■■ "three bows" and sat down. They called for a speech. He hesitated and for a minute I was afraid he was going into Gunga Din, but he thanked them very modestly and said he didn't de- serve the demonstration, that he sim- ply did his duty as he was told. One might think the London audience more or less gloomy. I want to state right here they are the best laughers I have ever played to (not even excepting Syracuse and Pitts- burgh). Of course the greatest thing for an artist is advertising. But can you imagine a prominent New York news- paper calling you on the phone asking you for your photograhpers' name and of giving him $15 or $20 to insert a picture of you in the paper? All pictures of actors and actresses that appear in London newspapers cost the players nothing and the newspapers pay your photographer. So naturally your photographer charges you noth- ing for any quantity of photos you de- sire, as he sells them to the/ papers and is very grateful to you for posing. Everything is done to make the player in London happy. The managing pro- ducer realizes that no matter how much money he spends on production and authors and theatre, he still has to send the player out to prove his claim to good judgment and he knows he cannot send out an anarchist and expect good returns. As far as I can glean in a few days home the situation lere between actor and manager is -itical and I do hope they can get together. Through constant social in- tercourse with the manager in London I learned for the first time that the manager wants to like the actor per- sonally but the actor must realize that the manager is ajso a highly strung individual of great temperament. His end of the game is a bigger gamble than the player's and therefore he has powerful likes and dislikes. The the- atrical manager is not a prosaic busi- ness man but a "creature of circum- stance" and if the actor is unreason- able it makes the manager more so. The actor who studiously folds up his part at rehearsal before the company, .alks to the manager, bows, hands him the part and says: "Good morning," is just as wrong as the manager who rehearses a man for six weeks and then discovers he won't do and lets him out. The London manager treats the actor splendidly and it's a paying investment. In "Mr. Manhattan" all my clothes, my shoes, stockings, shirts, col- lars, hats, canes were furnished by the management, also a valet to dress me. In fact all the company are furnished valets and clothes, down to those play- ing small parts, who may have to share a valet. Every producing firm has a special press department to boom American artists, thereby saving the actor money by not needing a private press agent. Each individual has an un- derstudy, and if you feel slightly indis- posed, you may stay at home and not incur everybody's displeasure and no- body demands his money back. They come to see you again another night, and if you make one decided hit you are "fixed for life." If you are badly cast in your next play, the public say the play was poor. But Mr. So and So was good. In other words, "once clever, always clever." It is needless to say how different the opinions are here. A play or revue may be all wrong the first time and voted a failure, yet many instances have occurred of turn- ing a failure into success by fixing the show. In New York, if it's wrong the first night, it's "cold" forever. The same people come over and over again to sec a London h'f, and their persona! adcertisiiig go to make Ion?: runs. In fact, everything considered, it's really extraordinary the business the London theatres do. The English audience fear nothing. Vjf