Variety (August 1917)

. SHOW REVIE WS 19 DARLINGS OF PARIS. Prom tout ensemble to general numbers and work of the principals as a whole "The Dar- lings of Paris," which Charles Taylor has given a brand new equipment for the American Circuit whirl, passes muster. At the Olympic this week up to Tuesday night the company ap- peared to rough It up a little more for the neighborhood perhaps, with each of the male principals running rampant with "hells" and "damns." The cameratlon of the musical numbers goes four ways practically, with some old fashioned burlesque dished up amusingly. There Is a Slightly chorus, 16 girls, and they make some attractive changes, Taylor having loosened the pocketbook springs, Judging from the apparent newness of the wardrobe. Matt Kolb is featured and there Is no comedy when he Is off stage. He has called Into play some traditional farcical "bits" that seemed to serve well their purpose. Kolb skidded Into palpable roughness at times, but did It rather adroitly, and may get away with bag and bag- 6age In the out-of-town theatres. Working at oth elbows Is Jlmmle Parelle, dressed through- out In the familiar Hebrew comedy makeup. Parelle seems lost at times through lack of speedy comedy material, but seems well fitted to work alongside a comedian of the type of V Alt) At the Olympic soldiers and sailors In uniform were In evidence upstairs and down, and they appeared enthusiastic over catching the choris- ter's skip In and out, but it remained for one number near the close to have them rooting long end loud with their hands. That came when Mae Barle, one of the principal women, sang •Tne Honolulu Hickey Boola Boo." Miss Karl was dressed In a shimmering black outfit, with black tights and bloomers underneath, and on the chorus of the song raised her skirts In front and did a tortuous movement a la "walkln the dog," a knee and leg twisting that was sure- fire to the snappy musical accompaniment. The chorus was with her and doing a little routine of Its own. but It was Mae's way of doing the Boola Boo that captured the house. The other leading women are Josle Taylor and Dolly Webb. Miss Taylor's wardrobe Is worth especial comment and she goes In for complete raiment on every change, 1. e., the completeness lies In the general design and makes her look attractive throughout. She did well with her different numbers and while her voice Isn t overly strong nor lustrous, It sufficeth for what she must do In the show. Her dressing of the Scottish number In the closing section was fault- less and the combined chorus effect with her work was a feature. Miss Webb Is a big woman, prepossessing in appearance, with the best voice of the feminine contingent. She has several numbers alone and also works In a duet with Loroy Boomer that proved more enervating than anything else, as the pair did not hit the harmony expected of such an important spot. Boomer and William Doyle have minor roles that carry no weight aside from the tough character "bit" and makeup that Boomer does In the department store period at the close. The boys dress like Carroll Johnson did In his minstrel days, with the white flannel outfits and the purple coat linings, had a singing specialty that was applauded, the boys striking some barbershop chords that helped their average. As to the dressing, there Is little fault to find and It may be a safe guess that Taylor's show will be about the best dressed of any on the wheel. The girls, however, ran out of silk stockings apparently, for lisle wsb conspicuous for the closing number. Taylor believes In keeping his chorus work- ing and the girls are in on nearly every num- ber. Barring a little stiffness In one or two places of the lines and the apparent unfamll- iarlty of some of the girls with the words of all the numbers, they got along real well. Some of the cuss words must go. The cen- sors may also tighten up on a few sections that are pretty rough, but no matter the restrictions the Taylor show should travel on the right side of the ledger. Mark. THE BON TONS. The Burlesque Operating • Co. will not have to watch "The Bon Tons" this season. John O. Jermon finished up his Job when he re- leased this production for the burlesque market. It is at the Columbia, New York, this week, its second on travel, and when finally running smoothly will likely range alongside of any for even entertainment along the route In the burlesque way. Mr. Jermon and Joe Opp, the straight man of the company, wrote the book for the two- act piece that Is in six scenes. The "book" up to Tuesday night seemed .to be rigidly adhered to, which speaks very well for it, since the story carries along logically, be- sides giving the necessary moments for fun- making and numbers. Some of the music was specially written by Cowan and Strauss. Special mention is deserved the Columbia theatre orchestra, under Its own leader (each company carries a traveling leader, who conducts for the performance, while the house director leads for the overtures). The Columbia orchestra, which can play for bur- lesque (no matter what the Sunday vaude- ville artists in that hous6 may think about the music) has been doing some little novelty •for the Intermission period each season. ThlB has passed the time pleasantly to those re- maining inside for the interval. Now the orchestra during the -intermission is giving all the bugle calls, the leader (Ed. Morbach, Jr.) calling them out as the bugler sounds them. It Ih quite timely and of much greater Inter est at prrsont than fn tho peace days 'MTiA"! n !?iTfS;Trrir"rnr:is r 'oTf7n*"3firu ' Yho r>uinc'"iBTKgT" "The Bon Ton* Is a very weil set show. It's equipped right for the big circuit, carries a full choral complement and numerous prin- cipals, the latter being easily headed by Les- ter Allen, a young fellow, who, as principal comedian, has an easy way of fooling In tramp regalia, that, with his magnetism, makes his versatility or nerve quite a like- able commodity. Allen tries msny things, does many things, besides assuming responsibility for the chief laugh-making. In one chorus number where the girls reciting verse are worth the admission alone. Allen clowns about to the full enjoyment of the audience. In an- other number, "Honolulu," made somewhat of a chorus bit and bringing out one voice from the ranks that could be used for prin- cipal straight songs. Mr. Allen let go to his utmost, doing a variety of stunts. Opposite Allen is John Barry, as another tramp, who would shine more brightly were he not dimmed by the continuous and persistent Allen. Babe Clark of the women has the best chance to secure attention. Miss Clark does fairly. She could do better by watching her- self more closely. Irene Chesleigh breaks In now and then, looking well, although the best looking girl In the company is a blonde chorister who Isn't In the aged class. Bmma Kobler Is the prima donna. The principal women change gowns often, as do the cholr- sters. Other principals are Ed. Miller, who sings, snd Anthony Cortelll, the latter taking an Italian character nicely, and owning, a pleas- ing tenor voice. Another principal or "act" Is called 'The Great Rodero," playing a violin In the latter part of the performance, pre- sumably to cover a stage setting wait Rodero Is only Oreat on the program, and should have been higher up in the show, with the spot way down filled In more acceptably. His violin playing chiefly depends upon "The Courting of Mary," as often done on the piano and by some one In vaudeville on the violin as well. It Is the speaking of a story, Interrupted by the playing of a few bars to Indicate happenings, Including the "souse" returning home and the three-word exclama- tion at the finish. Mr. Opp takes care of his straight role very well. He looks a bit heavy but picturesquely, and the story Is of pic- tures, with the characters named after film stars. Several numbers sre given, with the novelty try In a "Prohibition" song that Is set for some reason In "one" at the opening of the second act. Miss Chesleigh leads a patriotic number. The first part goes to a weak finale that calls for building up at once. "The Bon Tons" has movement all the time. Just a wee spice, and Allen, who can stand watching. If he sticks to burlesque long enough he will be starred, for Allen looks to be a natural comedian who only needs de- velopment. He has that remarkable faculty, found only now and then upon the stage, of often being before the audience without tiring them. Bime. produced a corking weird jass effect by placing his derby hat in front of his Instrument. At the finish he rose and showed how it was done, thereby exposing the mechanics of the clever trick. The value of revealing the trick Is questionable. Lew Dockstader opened the second half with Ms political boss roonolog by Aaron Hoffman, with a corking make-up. Dockstader plants his points impressively snd Incisively, and there are sufficient brilliant quips on timely topics that It can't fall. Collins and Hart closed the show with their travesty strong act. Jolo. PALACE. The second half of the show at the Palace Monday night was so heavy with "class" It made the first part look like another program This was caused by taking Lucille Cavanagh out of closing the first half position and put- ting the Dolly Sisters there. Miss Cavanagh declined to open the second part Instead of the Dollys, which necessitated sending Lew Dockstader out in that spot, which placed the Cavanagh and Blossom Seeley turns together and caused a couple of minutes' stage wait and the playing of a number by the orchestra. Jack LaVIer, trapezlst, now bills himself as "the flying nomologist," and Is entitled to It. His main stunt still Is the balancing on a rocker, bnt throughout the turn he keeps up a running fire of clever chatter, delivered with a breezy personality and employing good Eng- lish. Marlon Weeks, No. 2, the diminutive coloratura soprano, wan on too early to get much in the way of applause. Dugan and Raymond, with their prop automobile, ham- mered out a few laughs and were In turn suc- ceeded by Leo Beers. One of his best num- bers is "In the Usual Way," a very old recita- tion which he has had set to appropriate music. He has also added to his piano story told In popular melodies, by adding to it a recruiting finish. Beers Is constantly Im- proving in his work. < Dolly Sisters, In their fourth and last week, have made one or two changes In their routine. One of the numbers the girls dance is "Here Comes the Bride," but they neglect to change their pink little socks and pink slippers for it, though going to the trouble of donning white satin dresses, veils, etc. Miss Cavsnagh has easy sailing right from the start with her kaleidoscope of dance, color and song. It Is one of the best things In the way of a dancing act that has been seen here- abouts in many a day. The program announces the "decorations" by Livingston Piatt. If by "decorations" Is meant the scenery, just a bit of credit should be given to Kay Nellsen, the Norwegian artist, from whose work the scenic effect appears to have been adapted. All of which Is equivalent to saying It Is of the finest. Miss Cavanagh seems to have been most for- tunate, not only In the matter of scenic en- vironment, but In the selection of the two young men who act as her support, Paul Prawley and Ted Doner, but also In the choice of a leader, Ernest O. Grooney, who Is cer- tainly entitled to a Distinguished Service medal for the earnestness with which he at- tends to his job. Grooney never once removed his eyes from Miss Cavanagh when she sang or danced, and applied the same attention to the boys when they performed. He never had to look once at his music. As a result of thin exceptional team work the act was greeted with riotous applause and Miss Cavanagh had to make a little speech. Seeley, assisted by 3ve men on the stage and one In the orchestra, followed this bunch of clean-ups and at the finish had to apologize for having to also address the audience to quell their clamoring. Her syncopated act Is full of ginger. Her own cornetlst In the orchestra RIVERSIDE. The bill this week is a very much mixed up affair, and Belle Storey, whose name Is topping the billing, gave an example of how hard It is for even the headliner to hold an audience in the closing spot. There was a general walk- out throughout her act. Originally she was pro- grammed to open the second part, but the gen- eral rearrangement of the bill put her In posi- tion first 'assigned to Toney and Norman, who scored the hit of the bill next to closing the first part. The show In its revised order bad the Garci- nettl Brothers with their novelty hat juggling opening the bill, following the Hearst-Pathe Weekly. The bulldog in the act walking away with all the comedy that there was. Fritz and Lucie Bruch, with violin and 'cello, scored rather nicely In the second spot, with a reper- toire of classical selections, and were forcod to play an encore, "Mighty Lak a Rose," which proved by far the biggest number In their of- fering from a popular standpoint. The Original Seven Honey Boys had two outstanding successes to their credit in the turn they offered. They were the yoedltng by Paul Van Dyke and the "Mason Dixon Line" num- ber. Then Toney and Norman walked out on the stage and proceeded to start the audience laughing in such manner that they hold them to the finish to applause that showed what they were doing to the bill was appreciated. Winston's Water Lions and Diving Nymphs closed the first part. This would have been the Ideal closing act for the show. The Arnaut Brothers opened the second sec- tion, their acrobatic playing and comedy bring- ing them a good applause return. The restau- rant work that this team has been doing In New York has evidently won something of a reputation for them, judging from the reception they received on their appearance. Bert Leslie and Co., presenting "Hogan in Mexico," was good for a number of laughs In the late sec- tion. His slang phrases struck home and he only fell down on the final curtain. Miss Storey offered three numbers. A Keystone comedy finished. /vwd. PEOPLE'S BOWERY. The People's theatre on the Bowery Is run- ning a vaudeville show undsr the management of Impress Slrtgnano-Scoppa. The charge for orchestra seats Is 25 cents, with box seats 86 cents. The headliner Is Teresa De Matlenao, a groat favorite, who refuses to work for less thsn $60 a day, and is only engaged for Saturdays and Sundays. She bears a strong resemblance to the late Lottie Gllson snd her methods also suggest the once favorite metropolitan soubret. She sings a number of songs without Changing her costume, with a considerable stage wait between each. For each "vamp" between the verses of her numbers she walks about In a circle and this old-fashioned style of working prevails with the others. Bach song begins with s "vamp," then the artist announces the name of the ditty and the orchestra "vamps" once more. An essel on the side of the stage bears the names of the respective artists snd when Teresa concluded her turn a man seated In a stage box close to the easel refused to permit the stage manager, who was attired In a pair of trousers snd s B. V. D. shirt, to remove It until she had rendered another number. The next Important artist last Saturday night was a much younger soubret billed as "Lilly Fuller. Macchlettista." Inquiry revealed that "macchlettlsta" Is comedienne. She essayed principally boy characters and although chang- ing to trousers, sweater and cap, adhered to her white sstln slippers and wore no wig to conceal her woman's hair. There was a dramatlo sketch, very crudely acted, with some of the speeches fully two minutes long, a "tenore" with very mechanical gestures, a "tenore llrlco" equally as bad, and a man and woman crossfire team who did three different turns on as many occasions In the program. Two or three minute stage waits prevailed throughout. The show conoluded with something that resembled an afterpiece In which the entire company appeared. During the performance a man peddled bot- tles of "pop" which after being used were dropped to the floor and rolled down to the orchestra, where a small barefooted boy picked them off with about as much clatter as he could possibly make. proctor^sTyonkers. Yonkers is just above Van Cortlandt Park, where there are at present 8.000 or 10,000 sol- diers encamped. While they are there Proc- tor's, Yonkers, will be a very busy place, for the soldiers are freely patronizing this vaule- ville house, although at the night perform- ances many of the boys have to leave before the show ends to report back at camp. The Yonkers house is managed just now by Charles Anderson, who has It in Al order, while the box office Is presided over by Harry McCormlck. The Proctor out of town theatres should be the graduating: school for IT. B. O. "—.v.frrr. iv vy ^r>rr*rjT,f '~rrr ->■--rr/r.-. ', r, .:. < - Vr* < tty vaudeville thrutrtx. It lr> a matter of fact that the Proctor house staffs hold some of the best managerial and box office ability around New York, and Yonkers Is no excep- tion to this Proctor rule. The bill the first half in the town of hide- aways was headed by Dorothy Regel and Co. (Now Acts), who played a return date there with her latest sketch. It was In tho middle of the bill and the women in the audience especially enjoyed it. Selma Braatz opened the show. She is doing her usual juggling* dressing somewhat differently from former days and while looking quite neat. Miss tireals retains a Continental atmosphere to her ap- pearance. If she could lose that It would not harm her bearing or work. Eruie and Ernie were No. 2, the male monopede of the turn securing plenty of spplause for the unusual work on his lone leg. The young woman Is qnlte a performer In her own way. The act did very well. It couldn't do otherwise In this class of theatre where they must oonslder as quite remarkable the dancing and kicking of the single-legged man. After the Regel act was Lew Hawkins, with some new current matter and other stories, besides a couple of songs. He did fairly, followed by Rlggs and Wltchle, who closed the vsudeville proper, a feature pic- ture ending the show. Rlggs and Wltchle are still dancing, with Mr. Rlggs obliged to sing a couple of songs to cover waits. For an Eng- lishman, Rlggs' enunciation Is very cloudy and he should attempt to clear that up. Ths two young people are the same excellent danc- ers in their olsss and were much liked. 8ime. AMERICAN ROOF. Peg Rafferty and Williams opened the show. Dancing act. Girl holds up the turn. Young man in his solo dance seemed to perceptibly tire out. Should practice more. Turn appears patterned for the small time. Larlne and Crawford (New Acts) were fol- lowed by the Renallas, acrobats. These boys have one section of their routine that Is a corker. Other sections only a filler. Helped bill at opportune moment. Magee and Kerry long ago served their stage apprenticeship, but managed to hold attention in the fourth spot. Their crossfire and style of funmaklng was very well received. The Maxwell Quintet (New Acts) closed the first part and were on too long to help their average. After intermission appeared Flor- ence Rayflefa. This little light-haired ladr may have had her doubts about hitting the bill at this juncture, but she cleared up about all the applause around loose. Miss Ray field has Improved In the past year, and. being In her teens still, stands a chance of further Im- provement. She worked 17 minutes and the comely miss wasn't a bit stingy with her num- bers. She has gone in for a varied routine and does real well, all things considered. Howard Chase and Co. got laughter with the familiar skit. "When Ignorance Is Bliss." Farcical, hut the only sketch on the bill, and the result was never In doubt. His support isn't the best imaginable, but suffices In the pop houses. Frank Farron was next to closing and held the spot easily. Farron has tried about every- thing from a trio to a "single," and, judging from his success Monday night, will likely stick to the single harness. Farron was a member of the Renalr, Ward and Farron trio. He has s good dialect, with the use of negro stories seemingly best suited to his delivery. He goes in strongly for Irish stories and songs, mixing in a Jewish number for good luck. At the American his imitation of Frank Buah doing the "drunken bit" of the girl returning from Coney Island, drew the most laughter and applause. Techow's Oats closed. Inter- ring. Mark. JEFFERSON. One thing apparent at the Jefferson is the evident improvement that there Is about the stage. It Is brighter and the new scenery Is a great help to the full stage acts, and the most noteworthy feature is that the prop tele- phone, which has been without a mouthpiece for more than a year, has at last been fixed up. What seemed to be a show to the liking of the audience was run off in two sections of four acts each, with the Hearst-Pathe Weekly splitting the bill In two, and a flve-reel Amer- ican feature, with Gail Kane as the star and entitled "Souls in Pawn," completed the list of entertainment offered. The Paulis, acrobatic, opened, followed by Sam Harris with songs and patter, who, In the early spot, scored the hit of the bill with ease. Harris started off with "Every Day Is Sunday," which got a laugh here and there but wasn't any too strong at this house, but the parody on "Back Home In Tennessee" hit them right, and from then on it was easy going. His closing number, another parody with a number of topical verses and some pointed locals, was the one thing needed to send him over. Appearing under the title of Carl snd Henry was the act reviewed some weeks ago as Car- llta and Howland at the 23d Street, the latter being their right name. A big laugh hit was scored on appearance by Alexander and Fields, the box-cur tramn comedians, presenting a combination of talk songs and parodies and putting them all over in a manner that pleased. Bessie Mack and Co. (New Acts) with a sketch followed tho news weekly without proving anything ex- cept that hokum will make the Jeffersonlans laugh. Nora Allen (billed as Nora White) ran through a neat repertoire, starting with a se- lection from "Madame Butterfly'' and closing with an Imitation of Tetraszlnl. In between which she sang something that sounded much like that rag- finale In "Wstch Your Step." T! r! •'■'■'•■ ; "' >Kr.r■■.'."„ .-, J:u) ..••.y-*v7i-.-.•..ii-elr.' Dare Raphael in hi* ventrlloquls? specialty was next to closing, with fair results. The Duquesne Comedy Four, closing, pulled a lot of real rough slapstick comedy that was liked and laugh followed lauch as the two comics walloped each other about the stage, fred.