Variety (November 1917)

—. ,— VARIITY 17 AMONG THE WOMEN ^BY '•PATBY" SMITH AMONG THE WOMEN BY THE SKIRT If there is a sure-fire act in vaude- ville, it's Phina and her Picks, at the Palace, this week. Miss Gassman, who can still put over a ra$ as well as anyone, is standing aside for her clever grown up proteges and it is well she should, as she has devoted years of care and training to these same apparently grateful Ethiopians. Phina has gone back to a brown make-up. The baby "pick" appears in a lace ruffled bridal gown and does an "impression" of Nan Halpern. Blanche Dayne in blue net and sequins and the other woman in the Cressy act, in rose and gray taffeta, looked as provincial as the New Hampshire law- yer himself. Miss Dayne should visit a smart dressmaker and hairdresser if she wants to look the part she is trying to play—a newly rich New York woman, formerly a stage celebrity. Carmela Ponillo is still wearing the velvet gown with the shockingly bad lines for her figure—a full tunic chopped off just below the knees, and sister Rosa is wearing her dresses shorter. Blossom Scelcy's creations improve on acquaintance. Helen Cle- ment in the Marquard and Dooley act first appears as a nurse, then in an oddity in cylamen taffeta and mellow sequins. It has a separate high col- lar or ruff that is quaintly effective. Florence Walton, always the idealiza- tion of all that is smart in dancing frocks, wore two glorious real French adaptations. Adaptations, as they still retain the outlines that have for a few seasons been identified with her—the tight girdle bodice and full circular skirt. The fir:t is of the new "wire- less" blue, which is a tone lighter than Copenhagen, and has many os- trich feathers in the exact shade as the faille gown, sewed flatly on imag- inary" horizontal panels. Silver de- signs trim the skirt, running down in narrow points between the rows of feathers. The bodice is of flesh pink, as well as the slippers, which have blue toes and heels, making them look like "mules" from the front. Two feather ends fastened with a rose di- rectly in front and a narrow shaped sash of the silver, starts at the nar- row jeweled neckband or suspender at back. The other silver lacy gown has huge bunches of berries and leaves fastened on the skirt like flounces, at waist and half way down the skirt. A small dark tarn is worn. Maurice seemed so happy at his reception that he told the audience what a dear wife Miss Walton had been to him while he was at the front. At the Riverside on dull, rainy Tues- day afternoon, the Mankichi Company's bi.lliant scarlet drop cheered one up. Mrs. Mankichi's cheery, friendly smile also helped. Two sister acts were on the bill, the pretty Cameron Sisters, happily minus the awful jazz band they had at the Fifth Ave. last week, and the clever Campbell Sisters. Honey Camp- bell looked doll-like in a gold net. and gold lace frock—made with the new bustle drapery and just about the shade of her hair. Her talking feet were en- cased in spic and span gold shoes and stockings. Georgia wore peacock blue net with sequin panels let in the skirt in blue, violet, green, gold, red, and brown sequins. Nora Bayes, in her china blue tucked voile, bespoke smart simplicity and did the cleverest thing she has done for weeks—cut her act, giving her audience "just enough." Clare Rummers' "Choir Rehearsal" has lost none of its sweet appeal, nor has daintv Sallie Fisher. Gertrude Cogut, billed at the Ameri- can the first half as the "dainty magnet of song," looked too young to have dug up that old time appellation, so blame it on the press agent. Miss Cogut opened in a coat trimmed with white fur (who don't, these days, if they listen to their dressmaker?) and wore a puffed bustle dress that looked well with her fair curls. The women in the Gordon Eldrid act were dressed for small time. The Beaumont Sisters might discard that old "props." They are good look- ing women, who, with unusual gowns and an unusual sketch, might come back." Regular burlesque, with comedians making good on material that had not been used in every previous show this season, men who can entertain, and really pretty girls, describes Jack Reid's "Record Breakers" at the Olympic last week. The youthful, pretty chorus back of exceptionally good looking principals only enhanced their attractiveness and the costumes throughout the show were fresh, up-to- date and becoming. Mildred Howell is a round-faced blonde whom Broadway or at least vaudeville, will hear from next season. In her specialty she wore a doll of a coat that deserves special mention. It's a sleeveless gold cloth belted model, just to the knees. A ten- inch band ot black fox trims the bot- tom, forms cuffs <on the bare arms, and a straight sailor collar of the fur al- most twice as deep falls down the back. A gold tight fitted cap with a pompom of fox and gold shoes and stockings made a tout en semble, plus the girl, worth the price of admission alone. In a number called "Exercise" the chorus dressed in rompers, de- serves judicious praise, for real "romp- . ing" and no attempt at "rowdyism." Luciiie Ames, who undoubtedly has the show figure of the production, leads the finale of the first act, in a stripped one-piece jersey union suit with bands of brilliants running the full length of each black stripe. For the "Fashion Show" number the Misses Ames, Howell, Jerome, Medart and Bell showed up well in tights, each advertised a necessary article of ladies' finery, garters, parasol, shoes, etc. The company as a whole, and as individu- als, display a genuine look of illum- inating intelligence. Half the show was over before any- thing really happened at the Fifth Avenue last half last week—which made it easy for Warren and Temple- ton to break through; then came Wil- ling and Jordan 1 The woman of this team is good to look at, knows how to dress and is clever. An apricot satin coat worn at the opening was trimmed with white fur. A wild rose and silver stripped bodice and polo- naise over a net petticoat sparkling with tiny brilliants showed a smart color contrast in a strip of beryl blue velvet under one arm. Gertrude Gravet sang and dressed like the average con- cert singer. Fresh, good gowns lacked chic and her fresh, good voice lacked that appealing quality. She was ani- mation with no depth. Whipple and Huston are not keepng abreast of the times. Their old act had as good a background as this new one, both being full of good material and situations, but they will insist on draggy music without pep. A little exertion might give the audience the impression they were trying to entertain them. Miss Huston's clothes were unbecoming without being stylish. A tall, pointed, rolled brim hat lacked the touch of a smart milliner, and a gray belted-in Russian blouse type coat trimmed with brown marabout just missed fire. The shoes displayed were the smartest part of the act. In "The Dawn of Power" Ethel Clay- ton jumps from the environment of her unhappy western prairie life to a Fifth avenue h me, elaborate gowns and negligees with a mental elastacity commendable to say the least. A. H. Woods is about two years too late with "On With the Dance" at the Republic A couple of seasons ago this new play might have brought comment along the way, but the "lounge lizard" has passed away, for want of the sup- port he once enjoyed among the female attendance at the restaurant "dansant," otherwise the dancing matinees. And while women may be still enthusiastic on the dance thing in public, where are the native men who will stand for the restaurant checks it is necessary to pay, if escorting a woman to a cabaret restaurant? I don't know any. The certain kind of "man" the dancing cabaret elevated from the slums to evening clothes no longer has an opportunity to partially hide his sneaky, sneering look above a clean collar, and the women who could have been his prey are now dancing among their own circles. It's best for them and best for their circles. The play is so admirably acted it will undoubtedly go into a nice run. The matinee girl and women will enjoy every minute. In the first act Eileen Huban arises from bed In a pink satin nightie trimmed with two face flounces of ecru lace at the hem. Miss Huban daringly dances all over the stage without troubling to throw a robe around her- self. A negligee of pink satin combined with lace and mauve ribbons was soon donned, however. A dinner dress was of pink velvet made with a crystaled topped bodice and a huge bow of the velvet forming the bustle. Julia Dean was the bright particular star of the evening. Miss Dean made a disagree- able role intensely interesting. Her first costume, a sort of combination suit and dress, shrieked extravagance. The material was cloth of silver with black threads interwoven. It was made in one long line and belted. The bot- tom of the skirt was edged with a wide band of baby lamb slashed to show a plain underskirt. Cuffs and collar were also of fur and a black velvet turban was trimmed with two sprays of para- dise. In a restaurant scene Miss Dean wore a handsome costume of gold and red brocade. The narrow petticoats were of gold lace made quite short. The skirt was draped to form a bustle. Corinne Barker dressed better than she acted. Her one gown was of purple velvet made in lines clinging to the figure. It was elaborately jeweled in purple stones and had a mantle of mauve chiffon. A wrap worn over this gown was of black and silver brocade trimmed deeply in beaver. The set- tings and costuming were sumptuous. One thing was missing in the dance Elace, however. Not one of the girls rought forth powder or lipstick. Winifred Allen, a good looking girl of the brunet type, evidently a new picture heroine, • does very well in a film play called "The Man Hater." The role calls for little or no dressing, the girl rising from the depths to the wife of the village blacksmith. As the wife, Miss Allen wears several house dresses of the gingham variety. Three o'clock Monday afternoon found the Rialto packed to the roof. Geraldine Farrar's newest picture, "The Woman God Forgot," will un- doubtedly do the same business wher- ever shown. Miss Farrar has lost con- siderable weight, looking all the better for it. The costuming is very much the same as worn in the "Cleopatra" picture. Theda Bara would do well to watch Farrar. She could learn much. Miss Farrar was at all times bare of waist with the inevitable breasplates. The skitts all made full were trans parent. Head dresses were mostly of uncurled plumes. One white costume of pearls proved the most becoming. Billie Burke in her newest picture, "Arms and the Girl," is oddly dressed for a motor trip in bloomers, jacket and aeroplane helmit. The picture doesn't call for many changes of cos- tume, inasmuch as Miss Burke wears but one simple dress and a fur trim- med coat. On a steamer a most un- becoming hat is worn. The picture proved too short. Another half hour would have been greatly enjoyed. Marguerite Clark is winning an en- viable place in the hearts of film fans with her "Bab's" series. For real legiti- mate laughs Miss Clark has it on Chaplin and Fairbanks. "Bab's" as a picture is much more interesting than the book. The book grew tiresome towards the ending, and I have yet to meet one who finished it. The dressing of the women in the cast is right up to the minute. In fact the "Bab's" film version spells class. I wonder what the idea of the Strand management is giving the one hour of concert. The Frogram is of the heaviest music and noticed several women and men fast asleep. A lighter program would prove more enjoyable and might evoke some enthusiasm. At the 23rd Street theatre the woman of Green and Parker in brown makeup was the best dressed woman on the bill. Her one-piece dress was of white cloth trimmed with buttons. Miss Crutchfield (The Crutchfields) wore a raspberry tunic over a white skirt A large black velvet sailor was oddly in- serted with lace. The woman of Nor- wood and White was in cherry red chif- fon and hat to match. Dagmar Dal- green did some aesthetic dancing in the conventional scanty robes. Dressed as a Grecian youth in cloth of silver and mantel of purple chiffon, she did a dance to patriotic airs. Herbert's Review brought forth two misses in indifferent dancing frocks. Mae Murray, in the picture called "Princess Virtue," now at the Broad- way theatre, does too much posing. Her role is a frivolous girl, but Miss Murray's actions aren't human. In a crying spell the tears are allowed to remain on the cheeks until they dry. Miss Murray's clothes are extreme and all daringly cut. One velvet evening gown had the faintes excuse for a bodice. A sequin dress made Miss Murray appear elderly. There was a tiny sailor hat in which this young woman couldn't have taken a good look at herself. "OVER THE TOP" DISSENSION. Internal dissension in the cast of "Over the Top" threatened to leave that Shubert production without a comedian early this week, T. Rov Barnes abruptly leaving the show af- ter announcing his decision to perma- nently retire from the ranks of Shubert employees. At the same time Leo Beers also left the show. Barnes was induced to return Wed- nesday morning and adjusted his dif- ferences with the management, but Beers will not be among those present when the production opens. His part was given to Craig Campbell. "Over the Top" has given the Shu- berts more trouble than any production they have sponsored in years, the re- hearsals being held up temporarily several times. During the periodical delays several of the principals have taken short vaudeville routes, which further inconvenienced the producers when they endeavored to resume re- hearsals. The show is now officially an- nounced to open Nov. 15, but report says it will not be ready hefore Dec. 11. "Over the Top" has at present about the record for long rehearsals and the people engaged for it are perplexed re- garding the outcome. A travesty on "Peter Ibbetson" is in rehearsal for the piece, which is in- tended for the 44th Street theatre root