Variety (September 1917)

NEW ACTS THIS WEEK 25 •'Sberman Wm Rigbf ' (9). Musical Comedy. 27 Mine.; One, Four and One (Special). City. •'Sherman Was Right," billed as "Red Cross Gins," is Herman becKer's new act at the City the first half. Featured are Watkins and Lavan. The act carries seven girls, one in a light prin- cipal role, leading several numbers and making some pleasing changes of cos- tume. The act, while in need of work, made a good impression. It is prettily dressed, the outfits for the closing numbers being especially attractive. A "girl act" has been built around Browning and Lewis' old recruiting act with changes made in some of the patter and the turn elaborated so that it runs thorugh 27 minutes, taking in a hospital scene that needs strengthen- ing. Al Lavan handles the comedy and does very well with it, while Billy Watkins not only looked the ideal part of a soldier, but also used his voice ad- vantageously. He also worked his lines effectively. The act needs a rousing song hit. Could stand two surefire number% the "In the Army of Great Men" proving all right, but the other numbers don't stand out as well. Wat- kins did exceptionally well with his first song. Becker has spent money on the act and should be encouraged.. It made an impressive flash. Mark. Manning and HalL "Always Late" (Comedy). 11 Mins.; Two and One. Manning and Hall are evidently ex- perimenting with new talk and comedy, and the last half of last week at the American Roof it sounded as though they were rather unfamiliar with it. The combination was intended for comedy, with the talk revolving about their respective dfferences in size. Man- ning is somewhat smaller than Miss Hall. Opening in "two" she is seated in the center, complaining her partner is always late, and finally rises, where- upon Manning is noticeable in a condi- tion almost too late to be saved. After some brief comedy talk Manning does a corking soft-shoe dance that would probably fare better in the positon now being utilized for Miss Hall's solo. That does not carry much weight even with Manning singing off stage. The final bit of business should be re- arranged, and might prove more suc- cessful were Miss Hall to refrain from indulging in any comedy tactics what- soever, and instead carry her straight idea throughout. Manning appears capable enough, and does not have to overwork for results. They should prove a good comedy turn for the small big time programs. All they need right now is plei>ty of work. Green and Parker. Blackface. 16 Mins.; Two (Special Drop). City. ! ^ Green and Parker appear to have a solid comedy vehicle. The man is a porter at a railway station, with the woman, dressed as a light-colored wench, doing the show girl. There is some talk about the girl going away with a troupe. The greater part of the dialog is of a humorous vein and new vintage. A song is used at the close that helped. Act voted a hit at the Citv. Mark. Barry and Layton. Comedy Skating. 13 Mins.; One. City. Barry and Layton, in from the west, struck the City bill this first half and in full truth of the stage vernacular, "cleaned up." They do more than offer fun with the rollers, as they open with some "nutticism," talk a little and then do a comedy "boxing bit" to a I'ttle dancing routine that put thrm into good shape for the skating finish. Mark. Yyette-Sarajiolf* Musical, Singing and Dancing. 18 Min.; One (Special Drops). Royal. Yvette and Saranoff, previously "sin- gles," are now a novelty musical turn, entirely different from anything in that particular line in some time. Herman Timberg supplied the material which will undoubtedly firmly establish the couple in the bigger houses as a stand- ard act when it is sufficiently worked and properly timed. Its only defect now is that the opening appears to drag. The closing number is a valuable piece of business. This assured a proper standing at the Royal Tuesday night, where the audience seemingly was in favor of everything they did. Yvette is interpolating bits from her former act, while Saranoff is probably doing likewise. They should do exceedingly well in any spot on any bill. Portia Sisters (4). Contortionists. 12 Mins.; Full Stage. Columbia (September 16). The Portia Sisters, evidently right from the circuses, have one of the best bending specialties in modern vaude- ville, the sisters opening with three working atop pedestals, while the fourth essays comedy from the ground. They offer a string of contortion stunts in unison, one of the girls, on the center pedestal, being particularly clever. "Three red plush parted drops are hung in the background, the girls working in blue tights, completing a pleasant contrast in colors. Every in- dividual feat gathered something at the Columbia Sunday, where the turn closed the show and kept the entire house seated. The free use of Ameri- can flags calls for condemnation. They should be eliminated entirely. It's a cheap bid for kind applause, and this act doesn't need it. It's becomine monotonous to every one but the flag manufacturers. As a vaudeville act the Portia girls can fill the closing spot on any big-time bill, minus the flags. Wynn. Exposition Four. Songs. 16 Mins.; One. The Exposition Four are colored singers, who have been playing throughout the Middle West. Dressed in white trousers and blue coats, they made a nice appearance, but somewhat harmed the impression by attempting uncalled for comedy in a number to- wards closing. While it was not suffi- ciently harmful to detract heavily, it nevertheless did not look very well, for none possesses the slightest idea of comedy, and they should remain a straight singing quartet. They depend solely upon their harmony, utilizing a few old numbers. In the next-to-clos- ing position they scored substantially. "Mrs. Ritter Appears" (5). Comedy Sketch. 25 Min.; Full Stage. Royal. "Mrs. Ritter Appears" is a comedy sketch by George Kellv. A husband (Charles Wyngate) eoes almost insane after seeing his wife (Virginia Edwards) act in an amateur performance, but it needs 25 minutes in plain ordinary d'a- loc: to explain this, with a dash of comedy only placed here and there. Tf th^ performance supposed to have been seen by the husband corresponded with that of this sketch, his sudden chancre surely was permissible. The playlet is poorlv constructed. Its dia- loq: cannot possibly pain more anywhere than it did at the Roval Tuesdav nieht. The act uns movod up after Monday, to keep the house seated durinir it. The sketch and cast are on a par. The sl<e»ch in its present form cannot possibly re- ceive much consideration for bif? time hooking. It may survive in the smaller houses. Belle and Mayo. Songs and Talk. 10 Mins.; Ont. Belle and Mayo, man and woman, with songs and chatter. The act opens with the woman popping out of the wmgs, saying "Greetmgs," then telling the audience what they would like to do, principally to make a hit. She re- tires and from the other side jumps out a Hebrew comedian, who shouts, "Hello, Peoples," and then they ^o on with the turn. Some of it in talk hmges on the girl saying she will never marry any but an Irishman, with the Hebrew starting to sing Irish songs. One or two remarks, perhaps more, sound orig- inal with this couple, but they don't happen often enough, although maybe all of the material was specially or home written. That may be true also of the patriotic sdng they used, a sort of "History of the U. S.," mentioning names only, starting with Columbus and closing with Wilson. It may have been suggested by Jean Havez' "His- tory of the U. S. A.," a peer among lyrical patriotic numbers for story writing. This one and that of Havez' could be employed to denote the dif- ference to all budding scng writers, Havez with his finished product and this song, of crude construction and words. There's many a lyricist hid- den away and there are many others who won't go into hiding, the more fhe pity. The Hebrew comedian of the turn appears to have a comedy idea or two. The young woman has some looks and does well enough for her partner. Sim€. Janet of France. Piano Act. 18 Mins.; One. Janet of France has a French accent, and sings songs. The turn opens with her male pianist, unnamed, in a lower stage box. The girl inveigles him upon the stage, where he becomes the star of the turn through a chicken imper- sonation while the young woman is changing gowns. The chicken imita- tion has been done to death on the variety stage, but this pianist (who is the nearest thins in that line to Jimmy Tate, Clarice Mayne and "That," we have had over here since Jimmy left) makes an altogether different bit of fun with the chick, chick stuff. The act is the now usual lamp-and-piano-in- "one." Janet starts off with a French ditty about a "Naughty Fifi," then do- ing a French Apache, afterward sing- ing "Making Eyes" in the American way, and closing, dressed as a French peasant boy, with "Joan of Arc." It was the latter that saved Janet. - With the "Joan" song now so well known in melody through its popularity Janet might have sung the song in French, if she is French. That would at least have been a diversion, something not furnished otherwise, excepting by the pianist. As framed just now Janet can- not make the biggest time. She can, however, the small time if clinging to the accompanist, and doubtfully may be able to secure small big-time bookings. Sime. Barnes and McGuire. Talk, Songs and Dances. 21 Mins.; One. 23d Street. A two-man talking act, with Mr. Mc- Guire as the straight (formerly of An- thony and McGuire) and Mr. FJarnes, Hebrew comedian (formerly of Barnes and Barren). The act opens with Mr. McGuire walkin>^ upon the stage in a bathrobe, inquirim;? if his trousers have been returned. Mr. Barnes enters with them. It's an excellent introduction to pet them on the stage. With McGuire's straight work and Barnes' comedy, this team should develop into a first rate comedy act. Barnes is tall and lanky, with a funny way that is helped by his natural appeirance and manner, neither of which he attempts to dispuise. Barnes' dancing can always be worked up to an applause point. Sime. Ed. Lee Wrothe and Co. (5). "The JaAitor (Cdmcdy); 23 Mins.; Five (Parlor). Ed Lee Wrothe,. quite well known throughout the profession, and lately featured in burlesque, is now in vaude- vill'*, with his standard character, the janitor. Mr. Wrothe's act likely bears that title, not announced at the Fifth Avenue last half last week. It's the same story previously used, of the jani- tor of an apartment house impersonat- ing the husband of one of the tenants, to assist the wife in securing a $25,000 legacy, her husband being in the naval service and away from home at the time. Mr. Wrothe's present company has five people, two quite voung. Thejr fit in nicely. His own drollery as the janitor is almost always sure for laughs. The finish drags out. A couple of times the proper moment for the finale arrived, but was passed over. It will make entertainment for big time in the comedy line for an average turn of that description. tiime. Amanda Gray and Boys (2). Songs. 15 Mins.; One (Curtain). A three-singing turn. Amanda Gray is the title bearer, with two unnamed young men singing with her when she is not sol oing. They opeio as a trio with "Hello, I'm Looking for You," then Miss Gray sings alone, with the boys doing a duet, after which the three use Berlin's "Ragtime 'Lucca'" for a finish, encoring with "Little Italy." The most marked feature is the large collection of fur worn by Miss Gray on her striped dress, not changed dur- ing the act. It's a turn that can get along on the small big or big small time, but there is nothing striking in connection.* It suggests Miss Gray had ideas that have not been realized, although she selected a couple of veryt good voices in the young men with her. JSime, Johnson and Crane. Talk, Songs and Dances. 14 Mins.; One. 23d Street. A boy and girl, with the young man owning a pleasing baritone voice. He displays it in a solo. Before and after there is little else to the present turn, which may be the fault of the turn itself. It starts off with the boy looking at the girl's leg and seems to believe stuff like that is best liked. The girl is a blonde, fairly ^ood looking. In a change made accordmg to the story where the young man reappears in evening dress, the gin is a Red Cross nurse. During the act is something about "The Old Tin Liz- zie." Unless they wish to try once again with something better they will be held to the small time with this turn, and there is nothing done in it here to indicate they can go beyond with any other matter. Sime. The Kervilles. Jugglers. 7 Mins.; Full Stage. 23rd Street. The Kervilles, man and woman, give most attention to billiard ball jugglin|; off a prop table, much the same as W C. Fields has done, only the Kervilles neg- lect the comedy Fields tried for and secured. The woman is pretty and well formed. She rides a cycle in tights to- ward the ending of the turn. Where this sort of juggling is unknown the act will do nicely, but rather in the opening position. Sime. The Zanaras. Athletic. 8 Mins.; Full Stage. American. Man and woman in full blue tights, open in semi-light for a few poses. He somersatilts a few times, then a rather elaborate looking perch act. with the man understanding to the woman's tra- peze and other work above which looks more effective than it actually is. Jolo.