Variety (May 1918)

18 NEW ACTS THIS WEEK Helen Ware. "The Eternal Barrier" (Dramatic). 13 Mini.; Full Stage. Palace. A distinct dramatic novelty at the end of a season—bare of sucli is the presentation of "The Kternal Barrier," which has but a solitary role, that being handled by Helen Ware, under the direction of Joseph Hart. All that is added to the playing of the one character is the automatic opening and closing of two doors on either side of the stage, a "baby" spot and the em- ploying of two side spotlights. Other- wise a house set suffices. "The Eternal Barrier," by Tom Barry, is a war play- let, or rather it has a war background, vividly suggested through the one- sided dialog of the player. Two slides impart the fact that the action from the start until just before the con- clusion takes place in the mind of the player. Thus the whole takes on the complexion of a dream, and yet it isn't that. Miss Ware enters as the widow of an American soldier killed in action. She had been happily married for seven years, but his parents had always been against the match, and she had never seen them. But now she has come to his people, from who she has been separated by the false social barrier, with a message from their son, and while she waits for a message that they will see her she imagines how they will receive her. With the stage darkened and only her face visible a door to the right opens, through which shines a spotlight, and in this spot is supposed to be the sister of the de- parted soldier. Through the door at the left then comes the mother, and finally the father. In turn the young widow talks to each invisible person, telling them of the glorious manner of the boy's fighting; how she had gone overseas too and worked in a base hospital; how he had been carried in mortally wounded, and how he had been decorated with the famous "Croix le Guerre," and then, finally, how he had "gone west." From each invisible figure the girl is supposed to be spurned, and she passionately clutches the war cross and rushes off. The stage is darkened here and when lights are turned up the widow is seated as a^t the start —it has all been imagination. The telephone bell rings and she •obbinply repeats the message that she is to come upstairs and that she is to make her home with his people. The ralace liked this brief, unique playlet without doubt, and Miss Ware was called in front of the curtain after the lights for the next act had been flashed. Perhaps a player less clever than she would never have gotten away with it. There is just one danger, and that is, now that American boys are shoulder to shoulder with the Allies in the front line Miss Ware's vivid tale may strike too realistically. Just the same it is a worthy elTort and a stirring one, and is the only one-person play- let not protean ever shown in vaude- ville over here. Ibee. Maxine's Creole Band (8). Jass Music. Full Stage; 15 Mint. McVicker's, Chicago. Chicago. May 1. Maxine Douglas, remembered as the impressarine of "Maxine's Follies Bcr- gerc," has gathered to her support seven tan ladies and gentlemen who knock the stuffings out of a typical repertoire of rags and blues The band acts as a background for Miss Doug1a<\ who appears several times in astound- ing gowns She has curves and class, and possibly a voice, but the band's accompaniment to her vocal efforts doesn't give the audience much of a chance to hear her singing The mu- sicians do not interfere with Maxine's stepping, however It is of the gin- gery, high voltage type, and is timed to the motif of the act, which, at the very least, may be termed fast A good act on ;my sun!! time bill. Sicinp Rita Mario Orchestra (It). 23 Mins.; Full Stage (Parlor). Fifth Avenue. A very pleasant stage picture is pre- sented by the members of the Rita Mario Orchestra, 10 young women in a parlor setting, each girl in a different make and shade of evening gown They are musicians, some more proficient than others, but all blending nicely, led by Miss Mario probably, although she has blonde hair in spite of her Italian name. The girls are neatly grouped upon the stage, around and in front of a concert grand piano, the player of which is also a drummer; while the regular girl drummer of the orchestra does an xylophone solo. The harpiste sings with a brief little dance, while the piccolo soloiste replaces the pianiste when the latter plays the drums. There are three violins (including Miss Mario as a violiniste), pianiste, drum- mer, piccolo, 'cello, harp, cornet and trombone. They vary their music in theme and tempo, but, withal, present a most pleasing performance musically and as a sight act. The composition in personnel with the "clothes" gives class to the turn, and the air of re- finement connected with it is distinctly apparent. Some of the girls are prettier than others, like the harpiste, for instance; while some of the others attract more attention than their sister* through personality, like the xylophone player, who has a smile she should never forget; while others—the two violinistes as an example—do not relax during their time upon the stage, although both are pretty and of appearance. Miss Mario leads with some animation all the time and with much energy during the march num- ber. It's a turn that will grace any bill. Sime. De Haven and Nice. Dances and Comedy. 9 Mins.; One. Colonial. Charles De Haven and Freddie Nice were teamed several years ago. Last season both were on the road with "Springtime." For their reuniting they have gotten considerably away from straight dancing teams by working in laugh-getting comedy, that largely through Nice's ability as a comic. Open- ing the bovs use "The Sister of the Lily of the Valley" for springing a collec- tion of nonsense, but the close of the number uncovers some new dance busi- ness with the aid of canes. There follows a Svengali-Trilby burlesque, with Nice be-wigged and De Haven made up as a sort of Ophelia. This develops into a jazz dance burlesque when Nice says, "I have lost my power." and the other answers, "Let's do a jazz dance, which is up to the hour." Their final number finds the pair back in tuxedo in a dual dancing bit. It isn't lengthy, but several well- worked new steps and a corking Rus- sian exit step took them off to excel- lent returns. Male dance couples aren't as numerous on the big time as they were a few seasons back, but here is one that is in to stick, for it fades a number of the others. Ibee. Jack George & Co. (1). Comedy and Songs. 16 Mins.; One (Special Drop). A man and woman presenting a comedy act, with the singing in- cidental. The girl is the owner of a manicure parlor and also operates the boot-black stand next door. She advertises for a shoe cleaner, and the comedian in blackface applies. The talk is rather aged, and all of the ques- tion and answer cross-fire variety getting few laughs. A couple of num- bers, one by the girl and a comedy number by the man, finish the act. It <s all small time. "Our Boys" (Playlet, 3). 18 Mins.; Full Stag*. American Roof. Charles H. Smith, who wrote quite a number of playlets for the Loew producing department some seasons ago, is also responsible for "Our Boys," conceived with the idea of a human side of the war. The dialog is set in the office of a "hard-boiled" landlord, the characters being the boss, his stenographer and an elderly janitor, the latter using a slight Ger- man accent to denote his origin. The boss's boy informs his father over the phone that he has enlisted, and just at the same time the janitor asks for a day off as his son is being "sent away." The curtain is lowered for a few seconds to denote the lapse of a year. The landlord has . become suspicious of the janitor, calls him in and tells him he is "through." When the old man asks the reason the boss bluntly explains. This brings forth a declaration from the janitor that, while he might have been born in Germany, his son was an American and right now was fighting in France with the United States expeditionary forces. This develops into the dis- covery that the landlord's son and the janitor's are chums in the trenches. Mr. Smith appears to have hit on a truthful angle of the German-Ameri- can question, and "Our Boy«" should please pop-time audiences, for there is no doubt that native-born sons of German parentage have enlisted and are fighting with as much courage and loyalty as the others. The pro- gram did not hold the cast names. Both male roles were well done, with the janitor standing out as the lead, the character being cleverly drawn by Tohn K. Newman. Ibee. Cantwell, Wright and Martin. Comedy and Songs. 18 Mins.; One (Special Drop). Appearing before a special drop depicting the little country town rail- road station these three men obtain a legitimate reason for their being on the stage. They are drummers selling ladies' wear, and while waiting for their train they tell a few gags and offer four songs. Two are solos and the others sunc with the trio arrange- ment. "Little Good for Nothing—Good for Something" was the opening selec- tion and scored. "Brother of Lily of the Valley" by the trio got laughs, and a bass solo followed. "We're Go- ing to Hang the Kaiser" was their closing number, and it brought the desired finish. DeLite, Ethel and Hardy. Dances, Songs and Talk. 12 Mins.; One. American Roof. A recently formed combination, two men and a girl. The latter has sev- eral song numbers. Dancing in which both the men ficrure singlv features the turn. One of the men (probably De- Lite) displayed several clever "steps" and should develop into a crack "hoofer." since he is of youthful ap- pearance. The act should fare well in pop houses. ' Ibee. Alton and Allen. Songs and Dances. One. Fifth Avenue. Two young men in evening dress of good appearance who have made the mistake of attempting an unannounced imitation of better known dancers for their vaudeville turn, which includes dancincr and singing. The absence of initiative on their part will hold them to the small-time unless they do some- thing distinctive in their line, which is dancing. Rim§ ' 5TH AVENUE. When the fnal accounting Is reached for real effort In the Third Liberty Loan cam- paign In the theatres, don't overlook the 5th Avenue. All the smaller houses put In real hard work for the Loan Drive, but none could work harder than the 5th Avenue staff. Mon- day evening the speaker was Harry Craw- ford, a single from the west, who was not on the vaudeville program. Mr. Crawford, de- spite a hoarseness that was sufficient to keop him indoors for recovery, made a manful at- tempt and succeeded with the help of the house staff led by its manager. Dill Quald. in rolling up a subscription of $'27,000. That was a great big amount for the 5th Avenue, obtained with more effort than a big time house would have secured $100,000 in the same time, and with the same amount of work a big timer could have rolled up nearer $200,- 000. They did everything that could be thought of at the 5th Avenue, even to invok- ing the aid of a cute little girl (the daughter of one of the musicians in the Rita Mario Orchestra). The child sold $1,500. Besides Mr. Crawford, Al Herman aided on the stage, making appropriate remarks at the proper moment and relieving Mr. Crawford, who needed the assistance. Mr. Crawford did one thing many another Liberty Loan speaker has overlooked. When the audience raptur- ously started to applaud him after a glitter- ing remark anent the war, the speaker silenced the house with his hand, then said: "Please don't applaud anything I say. I am out here to sell Bonds, not for applause." Mr. Quald asked all men In uniform In the theatre to come up on the stage. About 60 re- sponded. Among them were a lieutenant- commander of the Navy, several Army cap- tains, one captain in the Marines, a number of lieutenants, a wounded sergeant of the Canadian fores, non-com officer of the British army, a cook in the navy, and the others privates in our service. Each was "6old" for Bonds, the officers standing to the footllghtB, one at a time, and leaving for their seats as a subscription was placed for them. The lieutenant-commander was "sold" for a $1,000 bond, the British officer got two $500 bids from a couple of civilian Englishmen In the audience, the captains "went" for $300 apiece and the privates for from $. r >0 to $100. Nine sailors remained on the stage at the finish, when someone gave $2,000 for them. Mr. Herman said to the house, "Look at these boys who stand ready to light for you. Qlve them a hand. Show them what you think of them." The house gave a "hand" that must have been heard down to Union square. "Now," said Mr. Herman, "buy the Bonds the way you applaud." After the uniforms left the stage, a sort of raffle was proposed. One dollar contributions or donations were asked for to make up $50, when bonds would be sold, each $. r >0 bond se- curing one chance on the free bond for the purchaser. One hundred dollars was donated In one dollar bills, which meant a sale of $5,000 In subscriptions to make up the 100 chances, each subscription blank being crossed by its signer as many times as there were 50's in the amount subscribed for. These numbers were drawn from a hat by the little girl, the fifth and tenth numbers winning the two $50 gift bonds. The Liberty Loan period ran almost an hour. While it practically ruined the re-, malnder of the performance, it was far from being uninteresting, and of course a study In human nature from the small time angle that could be obtained only In a small time house, as, for Instance, a man in the box who would not bid for a bond for any amount even when seeing a second lieutenant standing on the stage waiting for someone to "buy" him. but the same man taking a $100 bond to obtain two chances on the gifts. The 5th Avenue sold $28,800 on the day, Monday bringing Its total to that time, up to $300,000. The house will go over the half million mark. The vaudeville portion opened with Curtis' Animals, followed by Alton and Allen (New Acts) with Fred C. Hagen and Co. In "The Way to Lose Her." a comedy playlet, by Wlll- ard Mack, with three people, next. It's not a good comedy sketch unless there were $750 salary lift to play It. and even then It would be doubtful. The story Is all mother-in-law, with the mother-in-law the "fat" role, the present player losing many opportunities, while the wife Is very weak, leaving Mr. Hagan to hold up the ploee. which, at the most, must stay In the three times dally division. No. 4 had Bailey and Cowan, who got over very big. but. the act Is leaning too henvlly toward Mr. Cowan. He Is sinking too much, or else not allowing Mr. Ballpy to do enough soloing on hi* banjo. The net has a war song as the second number, so the boys don't spem to be taklnsr any chances, but they can get over. A better balanced turn, however, would he more enjoyable. They also appeared dur- ing the Liberty Loan Drive which followed, singing what was announced as one of their own war songs, something about "Huy a Pond." which was a better number than the wpr song In their act. Their act songs could stand replacement to make a better routine. Tt Is not nearly as good a turn as It. wns at the Palace some months a*o. After the 111. song following the LIhnrty T.oan stop, were Pllly and Marie Hart In "The Circus Olrl." amusln* the house moderntely and gettlncr the most lauphs with the bur- lesque mind rendlne. Next was Al Herman, who did lust as well as he could have done hut mltrht have concluded It was no uee after the Loan thin*, for he didn't seem to want to tnke an encore, monkcylnpr around with bows until the applause died down. Herman made his act short and It ran very well. The Rita Mario Orchestra (New Acts) closed. Bime.