Variety (February 1917)

< SHOW RE VI-E W S 13 Mona Hangerford and Co. (2). "What Every Girl Should Know." 14 Mint.; Pull Stage (Interior). Jefferson. A fine little small time sketch, that with the right publicity should prove * strong box office attraction in almost any neighborhood house in the bigger towns and a sure fire draw in the small- er towns. But it needs the proper pub- licity in advance to arouse the interest. It is one of those acts that can be used as a mother's club argument, something the sob sisters of the local papers can gush over, and the man- ager will reap the harvest. The story is simple and the act in its play is rather crude, but a few minutes with a regu- lar stage director could remedy that. The lightings should also be looked after,* and little details such as a lot of green trees staring one in the face to lines such as: "Oh, mother, it's Christ- mas Eve, and look how it is snowing." The story is unwound in three sections. Mother is very much taken up with her philanthropy, especially a home for 'wayward girls. The latter is her hobby. On Christmas Eve she is preparing her annual report as the president of the society and has no time to talk to her daughter, a girl of about 16. The daughter finally leaves to do some shop- ping. The curtain is lowered for a second to denote a lapse. Next it is two in the morning. The girl has not yet returned. The mother awakes at the table and is frantic. The door slams and the girl enters, intoxicated. The' mother upbraids her and the daughter in turn flays the parent for not having told her what it is every girl's right to know from her mother's lips, so that she can protect herself in the world. There is a ring at the phone. The police raided the house where the daughter and her sweetheart kept their assignations, and the boy has been arrested. The police want the girl. With that the daughter com- mits suicide by shooting, and a quick curtain. Then there is the tag; it is a mother's dream. The story is the veriest of melodrama, but it will get the money if handled rightly, and has the feature picture "Enlighten Thy Daughter" for added publicity. Fred. PUSS PUSS. Jean Bedlu: \tx =iade little alteration from laat season in the current "Pubs Pubs" pro- duction, although the wardrobe and musical department ehows the effect of modern atten- tion. The book is practically the same aa carried over the circuit before'with Charlie Mac, the diminutive English comlo, " and Bedlnl shouldering the bulk of comedy re- sponsibilities. Harry Jackson falls in for a rather large share of the work in Hebrew xharacter, working mostly with Mac, who plays the opposite comejly role, providing a healthp contrast for the low comedy efforts of Jack- son. Jackson is gradually improving, and with time may develop Into a capable comic, but at present he is still undergoing the de- velopment process. Pam Lawrence is the leading woman, with Mlnnl Harrison sharing the honors in that section, the two carrying the greater portion of the musical numbers to the inevitable en- cores. Miss Harrison is a sprightly miss, working continually and full of "pep" along with a reasonably good voice for her particu- lar line. Pam Lawrence is a familiar figure in burlesque circles, and stands out promt-' nently In the list of principals, seldom failing to score with the numbers assigned her. The first part is full of action with one comedy "bit" after tbe other suceedlng the numbers, the best scene being handled by Mac, Jackson and Al Ricardo, who essays the role of a lion. This could be stretched out a bit longer If possible, for It ran through to a continuous line of laughs. During the action of this part the Empire Comedy Four, one of the best known of vaude- vlllo's comedy quartets, and incidentally one of the best arranged for semi-low comedy, offered their specialty on the full stage. Aside from the comedy, the harmony of this Com- bination Is a singular asset and earned them a reasonably large portion of their returns. There are several specialties staged during the show, but the best was the Ignatz Bluto Troupe, composed of several of the male prin- cipals, who provided a travesty on the con- ventional acrobatic family. This arrange- ment could be perfected for vaudeville, for It -Uuutt ->ct ao ir/s f) r *he V"tf hnrlrsnne "bits" ever offered by Brrilnl,-anti'Dtdlj*'} Ixvc gfvsri vaudeville some of Its very best travesties. Davis and Stafford (colored) were also In the lineup, offering tbelr dancing turn, with "The Jail House" song practically stopping proceedings. The production is up to the standard, with some good looking costumes In the wardrobe. The combination of costumes offered in the holiday number looked about the bast of the lot. Tbe chorus is good looking, sings wel* and does its share to keep the action going. Bedlni's show should please anyone, auy- wbere. Wjmn. PALACE. The Palace has a very good program this week, held up muchly by the success of the new sketch played by Bailie Fisher and Co. (New Acta). It closed the first part. Monday night the Palace was capacity. Be- sides Miss Fisher, the bill held Mclntyre and Heath in a revival; also Neshlt and Clifford, with the Mrs. Castle picture, "PaUia." to close the performance. If "Patria" draw, it didn't hold, for the walk out* ou It were many when the slide announced the serial, although It was then around 1L Now York takes "Pat/la" so blamed, seriously It doesn't strike one as possible anybody would walk out on the Castle picture without first having a good laugh at It "On Guard" Is the current Mclntyre and Heath sketch, with James Mclntyre as a wench, at the waahtub in an encampment. Tom Heath is the sentry. It has been years since the couple played this skit around New York, and it proved a diversion to those who think they know all the Mclntyre and Heath acts. • The closing vaudeville position was given Evelyn Nesbit and Jack Clifford. It was a hard spot, following all the singing and espe- cially Miss Fisher's vOtoo. The Nesbit-Cllf- fqrd routine doesn't glitter, from the songs to the danoes, although their double "tiger" dance is about the best thing they have done In that line; much better than the familiar fast stepping at the finish, this helped some- what by an under-bold for a neck awing. Miss Nesbit otrueclof with a couple of solos, ens a ballad that doesn't belong. Tn% act is set in sections, one for "Poor Butterfly" (instru- mental), to which strain their best danoa is done. Another la a grove, with Clifford la a monkey skin. This is mostly pantomime, with Miss Nesbit seated berore an easel "sketch- ing" the monkey. There isn't much to the idea or work. However, about the most fetch- ing dancing costume Miss Nesbit has yet worn is displayed by her in the final danoe. It seems though that "Evelyn Nesbit" still remains potent as a box office attraction. If that is so, "the act" doesn't become as import- ant as these two people apparently believe it to be through the attention they have given to the present one. Next to closing and preceding the doable turn was Harry Carroll, alone. He informed the audience in a "speech" his partner (Anna Wheaton) was opening that night (Monday) in "Oh Boy," and aa he was trying to do a single, singing his songs alone for the first time in several years, ha was somewhat nervous. Then Mr. Carroll sang again, after having run through hla own musical composi- tions previously. Mr. Carroll did very nicely in the late position. He seems ever popular in this neighborhood. Another composer on the same bill was Percy Wenrlch, with Dolly Connolly in the No. 3 spot Besides his titles on the program. Mr. Wenrlch played them on the piano and also had them listed on an easel, from which a boy removed the cards one by one to denote to the audience what melody Mr. Wenrlch was then playing. Thla happened between Miss Connolly's songs. She has several, and almost aa many dresses that Miss' ConneHy seems quite fussy about The piano Is decorated with a veiling of some sort she is posing be- fore when the curtain goes up and poses off and again against it later. Her songs are not Btrlklng, but the girl has a rather pleasant way and fitted In the position. The personal song about how she and Mr. Wenrlch met with Its Intended comedy lyrics, is not ex- cruciatingly humorous nor timely. It must have been Tanguay who gave the others the impression an audience is Intensely Interested in them privately as well as professionally. One of the laughing hits was carted away by Clark and Verdi, In the next spot doing their "Wop" turn with some new business and dialog, one of the new "gaga" being the answer, "Hawaii" (How are you?) to the other's question of "How do you do?" Not a great deal of the old matter baa been retained, and the new material was laughingly greeted. Opening the show were the Four Readings with their routine recalling the Bard-Broth- ers' acrobatics. Thla act, which has a Bard also In It, is working a couple of the tricks In a slightly different way, such as the long leap while the two boys In it are doubly blindfolded. A slide used for a finishing trick Is effective. The gym setting with suits re- mains. Llbonati (New Acts) was No. 2. Stone. AMERICAN ROOF. A comedy show the first half brought big attendance to the Roof Tuesday night. The aerial house appears to have struck a gait of late. The house did not fill up early Tues- day night, but by 0 o'clock had a fine gather- ing. De'Armo and Marguerite, a mixed Juggling turn, opened. The man Is a capable Juggler, taking articles of all sizes with which to work. His cup and saucer trick would suggest that dope by Paul Nolan. Aa both acts feature It to a certain extent, It would be advisable to decide upon tbe rightful owner. Taneen Brothers. No. 2, a blackface musical team. BCfifrtpa' ttif **lrlugii»- ftiiu* v. - . «r.i A %. - z'*z.£y Btreara throughout their offering. Tbe men use a good comedy Idea In tbelr xylophone work, which goes over handily. Several laughs were credited Brown and Barrows In "Back Home," a former Mack and Walker bench act The girl la a capable worker, with her partner's voice hla main fault The oouple after going at a suitable clip from the suit finish big with a bit of a ('.anoe. Waits and Bee (formerly known as Cummin and Beaham) brought forth more laughs. The act consists of two men and a young woman. Much work la carried on in t^o au&Uxec, and for tbe Aoof ytlrone. it was amusing. Joe Maxwell's revival of "The Ladles Re- ducing Parlor" was the big act of the bill and closed the first half. The act In lta preaent shape should prove a comedy headline for small time. The cast is well selected for comedy purposes, the two central figures be- ing a fat and a thin woman, who together fur- nish the bulk of the laugha. Muoh of the straight athletlo routine would suggest that done by Will Roehm'a Athletlo Girls. Plelaon and Roae opened after intermission. The Rose name is new to the turn, Plelson's former partner having been named Ooldte. The little chap Is a clever Hebrew comedian and took down an easy hit The sketch of the evening was furnished by Maude Leone and Co. in Wlllard Mack'a "Inside Stuff." It proved a corking addition, holding the attention completely. It has a graft theme which cannot help but Interest three-a-day audiences. Eva Shirley, next to closing, disclosed a trick voloe with which she was fairly success- ful. "Poor Butterfly," although a great In- strumental number, proved little vocally for this young woman. Miss Shirley found the audlenoe waiting for some elnglng, and fared accordingly. Artols Brothers, on the triple bar, closed to a seated house. COLONIAL, The excellent Colonial bill this week has two distinct hits, neither of the acts securing them headlined or even featured and both real vsriety turns. It happened in a bill that had a dramatlo sketch, a large musical comedy production and a doable voiced alnger, but all the rest had to be oontant with third or worse. The hitting acts are Bennett and Richards (New Acts), who in a blackface act with a brand new idea walked away with the entire ahow after closing their turn second after intermission. The other had Cooper and Rl- cordo, in the No. 4 spot who got their mark solely through the comedy efforts of Irene Rlcordo, although Max O. Cooper, besides doing a fair straight made an individual score with his first song, "Me and My Girl." The Cooper-Rloordo act is named "An, Olm- me the Ring," probably chosen after a dis- pute as to which of several titles submitted might be the best one. Miss Rlcordo at times suggests Fannie Brlos In her work as well as looks, but she seams to be aiming for In- dividuality and securing It Many of her Ideas of oomedy are funny and they do get over, for the act nearly stopped the performance, after their funny bit with aa uke and a small tin horn, playing "Yaka Hula" on them, breaking In now and then to slag the first Unas of the chorus. If this team remain to- gether until next season they should have new talking material written for them. What they have now sounds too much small time, with that "Gimme the Ring" stuff, both on the program sad In the act from the old daya. But even so it made the act so much harder for the girl to Tout across which sug- gests what she might do with a regular act either single or double. Mr. Cooper Is now singing and doing the straight better than he did. if that means anything. Ethel Clifton and Co. (New Acts) In the dramatlo sketch were Just ahead of the two- act with James B. Carson and Co. (New Acts) following them In a vaudeville pro- duction that recalled the Jesse Leaky days, although Mr. Laaky was wont to spend more money than the producer of this act did. Oordon and Rlcordo made It easier for the Carson act through livening up the house than It would otherwise have been and the turn did quite well, although there Is hardly anything that could bo called merit connected with it. Opening the second part was Claire Roches- ter. Her picture drop came In handy for the position, but she omitted her description about motoring to the Coast. Miss Rochester got a flying start with "Indiana." Miss Rochester made rather a atrong bid for popu- lar approval near the end with a ballad. Commencing Thursday. Miss Rochester started playing two ahowa thla week, the Colonial and the Bernhardt ahow over In Brooklyn, she leaving with that troupe for the road next week. Dainty Marie was the final vaudeville act, with "Patria" closing the show. Opening were the Lelands, with their rapid oil sketching that did well enough, but seems somewhat quiet for a big time opener in these daya. Second waa Frank Westphal, who has changed about his "nut" matter some, with tbe result It didn't get across, Westphal car- rying himself over the best he could with rag piano playing that should direct his attention to the possibilities of the piano altogether and the danger of nut stuff, which might be cold now, for It certainly has had a long run be- fore Intelligent audiences. Bime. CITY. The bill at the City for the first half was about evenly divided between three-a-day turns and those from tbe two-a-day circuits. After a splendid overture, made up of excerpts from "The Chimes of Normandy," it opened with The Oeorgettys, who have played tbe beet houses with their excellont hand-to-hand and toisf'ur. /"^jBr'altv. Next came Billy Olason, followed by Dorothy Uurtoh and 'Jo 'both'uft-" der New Acts. The fourth position was given to Mason and Murray, man and woman in singing, crossfire and stepping. They are a classy small time couple and are constantly Improving. With a ' bit smarter "talk" they would be contendere for big time. The man seems a bit too legiti- mate for vaudeville, while the woman has a lot of spontaneity. Dr. Cook of North Pole fame, or notoriety, talked for about 20 minutes on his arctic trip, aided by a series of slides and inapt, showing the progress he claims to have made In his dutm to the Pole. The audience wasn't espe- cially interested In "Do<J," though they listen- ed respectfully. Charles Ahearn, direct from the Keith Cir- cuit, presented effectively his comedy cycling act with seven assistants, followed by the Two Leightons, with their special drop In "one" and uaing "You Done Me Wrong" from the former Thro Leightons act. Haywood and Clayton, man and woman dancers, closed the show—that is, closed the vaudeville entertain- ment, and waa followed by the Fox feature. "A Child of the Wilds." They do a routine of excellent atepplng, with special scenery, that would do credit to any two-a-day program. The man la especially artistic in his terpsl- chorean efforts. Their beautiful costumes aid materially to the generally fine presentation. ALHAMBRA. Thla week will be a gala week for the Al- hambra from the box office standpoint, because Eva Tanguay is the headliner. The program stated "Welcome! Welcome!" It didn't have to. The capacity audience waa all that waa needed to assure Tanguay she was Indeed wel- come. They applauded her continually, and then "I Don't Care" raised another storm. Seven other acta on the bill, opened with the usual film Weekly. Loahe and Sterling, aerial, started the show well, replacing Lucie Valmont, billed for the apot. Jack Ryan and Blllie Joyce with songs that were strong favorites had the second spot. Alf Loyal'a dogs were third, and the comedy effects worked out as laugh winners. Lydell and Hlgglns, assisted by an unnamed young girl, have an act a little too lengthy, running 27 minutes, with several spots that drag. Hlggina might cut the recitative por- tion of his "Lonesome" song. The dancing finish sent the act over. Dorla Wilson and Co. (New Acts) closed the first part. "Oklahoma" Bob Albright, assisted by a lady pianist, opened the second section with songs and stories, playing up his song imi- tations of others for the greater part. Blllie Reeves, with Dolly Lewis and GPeorge Lynch, in "The Right Key But the Wrong Flat" were a laugh from the moment Reevee appeared. Then came Miss Tanguay, "Patria" closing. FIFTH AVENUE. The Fifth Avenue ran Its usual ahow thla week. Monday night the house had lta cus- tomary capacity. The elimination of a oouple of turna this week noticeably Improved the grade of the bill. Reddington and Grant opened, with their trampoline turn, which scored laughs In abundance. The bounding team followed Mabel Burke, who offered an 111. aong to good returns. Roder and Ingraham, No. 2, passed nicely. <. v Be88 . Ie an< *. Harriet Rempel and Co., in ..A 0U .L. * satire muchly reaembling an idea ■ Overtones," got but a mild reception. The piece is not specially well played and what comedy la attempted falls decidedly flat. Winona Winter, who followed, braced the show up noticeably. Miss Winter finished de- cidedly strong, with her ventriloqulal bit. Few women ventriloquists can outdo Miss Winter in voice throwing. Much comedy of the old school was fur- nished by Linton and Lawrence, a mixed team, the girl of which is an eccentric comedienne. This couple was credited with several laughs but their real returns came with the danclnx finish. The big flash was Ruth Thomas and Co., in the same act as at the Palace last week. The Thomas turn Is a decidedly flashy one, and much more pretentious than anything seen at the Fifth Avenue in some tint*. It has aome good ldeaa, la artistic and exceptionally well staged. Val and Ernie Stanton took down the real comedy hit of the bill next to closing. The two boys lumped in at the start and had the audience laughing continually. Major Doeo, known as "The Man That Qrows," closed the show Inausplclously. JEFFERSON. A mighty speedy little small time show at this house the first half for the audience. The show opened with an L-KO comedy that put the house In high fettle for the balance of the bill, which comprised the usual eight acta r.nd a five-reel feature. The latter wae the third of the McClure "Seven Deadly Bins," with Nance O'Nell as the star. The show got under way at 8.15, and the feature was on at 10.02. That Is some speed for eight acts and a news weekly. The Landry Brothers opened, doing only four mlnutea, but their routine was so good it won aplause all the way. Raye and Byron (New Acts), second, suffered a little from lack of material. Saona, the Impersonator, was sure fire with his American hero. Eleven characters in 12 minutes was the record he hung up, and there were Just eleven rounds of applause. The Hearst-Pathe Weekly followed. "Crusoe's Isle," Whitney and Wilson, Mona Hunjccrford and Co. (New Acts). Murray Rennet, next to closing, complained '*iT,txA:fi'.Ay l^ -~Jcje>.c£» ♦ho manner J» wWch the audience was treating biin,- although ho - had no cause for It. 'The Monkey Hippodrome" was the laugh- ing hit of the bill. It was a corking cloelng act for this bill.