Variety (February 1919)

Co V-"■'•■■; , '. •■ .■■■-■■■'■■■ ■'■■■■■■?: ■ ■■-.-:••-- ;'ji-: ; ;.-•-■- /-<■ ■ ■•.'■•.•-•<.• ■■.- :•■■■■.■■■--•■-. ■*!;■■■■ .\ .;-..- 7 -.. ■:;-. •. . ■ ■..•..-■. .._,....., ...._, ....^__ ..„..,., S *}Q W RE V 1 EWS -■ ~ i »fc ; Iwsr 1 r. su.- ■■. 13* PALACE. ■ The Palace at any time but Monday after- noon le a different Palace. The Monday ma- tlnoo is the first and'worst time the weekly bill there may be seen. After that perform- ance the public comes In, tells what It likes through laughter and applause, and there are not enough "friends" of any act on the bill there tn sufficient numbers to fool anyone. Thus, Tuesday night the Palace show may have sounded like a new bill from the Mon- day matinee. It ran well in an even way, con- tained several hits among Its many well known names, and universally entertained an audi- ence that had crowded the boxes before. the opening turn appeared,' Tho Palace Is now using the Klnograms newB weekly and a special reel of the Presi- dent's arrival at Boston was run at both showB Tuesday, Just after Intermission. The Strand bad it Tuesday also. . In the Palace much comment could be heard about, saying "That's quick work, isn't it?" while the pic- ture ran off. It held about 600 feet After ■ Tuesday the special was likely Inserted, into the regular weekly. The billing seemed to hold four or five . .headllners. It must have needed some head work to get out a 24-sheet on it and have the show open as laid out. Two changes oc- curred after Monday. Lieut Pat O'Brien (New Acts) moved up to No. 4, In which ?osltlon he got over without trouble, and lmmy Hussey replaced Frank Fay. Mr. Fay opened very well with a new act hut lost his voice during Monday, leaving the bill. i The show started with the Oellls Troupe, a new acrobatic turn that could have stood - a better spot, tinder any other arrangement possible, the Oellls would II' sly havenaken the oloslng position. Next was Oeorgle Price, who - somehow showed op better No. 2 at the Palace than he has at any of the other New York houses. He seemed to take his imitations with more seriousness of effort, attesting that he is a faithful imitator if be wishes to be. His Impersonation of Fannie Brlce, in costume, which brought him a hit of no mean dimen- sion, Is one of the best bits of mimicry vaude- ville has seen. Young Mr. Price has a habit of addressing the audience as "Folks." Two other aots on the bill did the same thing dur- ing the evening. Even admitting an artist should address the audience at all, it should never be other than "Ladles and Gentlemen" at the Palace. That "Folks" thing Bounds rural ItIc. (How is that one. Henrietta, <■ better look it up.) Following were Ruth St. Denis and her company in a series of classical dances, sub- divided on the program but no one cared about the specific divisions. The bare legs had some attraction, the settings moreT but somehow, though Miss St. Denis and Lieut Ted Shawn staged the turn, it doesn't seem to be there in the way it should. The St Denis dance display may have a story in It One could suspect as much from the appearance of a couple of Hindoos,(maybe) who sang, talked and played a tom-tom, If that's what India's uke Is called, This broke distastefully - into the general scheme, though needed for - a wait or other reason. But Miss St. Denis left a pleasant impression. If made more positive she would not be In the No. 3 spot, but It should not he overlooked that at the Palace the St. Denis turn Is following after but a short Interval the new act of; the Mor- ■ gan Dancers. After Lieut O'Brien, Louise Dresser and Jack Gardner charmed the house. That's the word, charmed. Not so many charm In vaude- ville—many get over, however. It was not evident to what extent this class couple had captured the audience until they finished. Clos- . lng the first half, the applause was so hearty that Mies Dresser, who delivers the speech, appeared to cut it short, perhaps through em- barrassment. Nor could applause like that have been looked for In the position. Miss Dresser's songs seemed to impress most, her "Our" number being a real laugh, but Mr. Gardner's English rag, that Is really a nut number, brought the right measure of ap- plause. The couple ran through a medley of - 'their old songs to almost not a hand and that, coming at 'the end of the turn, seemed to spell disaster but the applause at the finish settled everything. Medleys of old favorite song numbers hap- pened again, right after Intermission and the picture reel. It brought out Bharply how vaudeville looks upon or recognizes the popu- lar song from the production number, the latter predominating with Dresser-Oardner and the latter only sung by Mehllnger and Meyer. While the two-man act sang the old favorites George Meyer composed the music tor, the bouse often burst into applause. Artie Meh- llnger was one of the "Folks" fellows. But bow that boy did tear after the bunch at the I opening. Taking no chances he slammed over v.- a Prohibition number of one verse but that was enough. It has a line reading (referring to "wild wimmln"): "How are you going to win 'em without any Ilkker in 'em?" (What would have happened to a line like tbat in a Keith house of five years ago? Or maybe it's the "Palace, New York.") Artie had the house all sewed up after that And they liked George, too, because be stood Artie kidding bim, with a smile all the time. Great con- trast In this team, and It helps. The George White dancing turn sort of showed up the St Denis act, inasmuch as White could follow St. Denis, without the ■••■-- MNRnrMiqi■■"S"-'certainty; Mr. WUWtSttrV~ little classical stuff with the four girls, in their Grecian gowns, but you can nevor tell whether George White Is kidding In his dances. For it was George White who introduced the Hhlmmy to Broadway some time ago.'. Mr. White Is at the Palace In his third week. Vaudeville has never had a dance producer' Just llko him,' a producer of quite Indis- putable originality, who stages his own turns and makes them llited, besides of much per- sonal popularity. And that tbe same hard shoe stepper In a two-act not so long ago. Tho Keith management could do no better than place Mr. White under a yearly contract to produce popular dancing for them, for In tbat way they would be certain of always having the latest dance first In vaudeville. Next to' closing, Jimmy Hussey, who Is doubling at an uptown house this week, walked away with the laughing hit of the bill In that spot. Jimmy has acquired the habit of talk- ing sotto-volce to his partner, William Wors- ley, while waiting for tbe laughs to subside, and there were many laughs, several long ones, for Mr. Hussey has a- few r.ew gags. Let's hope they belong to him alone, for they are corkers. One especially, the "chevron," Is a pip. One or two comic songs sounded new. Closing the performance was the Rita Mario Orchestra, all women, who were fortunate In holding in as large a proportion of the house as they did when appearing, at 11. It must have been the sight that caught, the audience and tho music retained them in a generous quantity, but it was no position "for a turn of this character. Consequently the act cut It's time short, for whlch'no one could blame '»• Sime. \ COLONIAL. It's a cincb the great Colonial business spurt is good for the season. The house now has a list of weekly seat subscribers that numbers around 1,800 and that means much slrfce but a few weeks ago there were very tew subscriptions. During one week alone 400 seats were added to that weekly patronage lTst and there are performances when half the lower floor Is filled with such patrons. And the calibre of the shows is being main- tained. The regular Monday night draw- Just about fills the Colonial. Monday of this week saw a capacity plus house, that to be credited in part to the return to ^vaudeville of Wil- liam Rock and Frances White (New Acts). The length of the latter turn made it nec- essary to reduce the bill no eight acts and then there was too much show, for the final act did not go on until after eleven. The Rock and White act took up a round-three- quarters of an hour, but it is really framed to run an hour" and can be marked out for tbat time In houses needing the extra time. Had tbe pair been on earlier than next to closing at the Colonial, they no doubt would have occupied the full time. The bill was a singing and dancing show anchored by at least three strong comedy offerings. The way It lines up too there Is enough novelty to furnish an especial draw from children and heavy matinees were In order. There were some heavy scores, although nothing unusual was developed except the hit pulled down by Jim Toney and Ann Norman who In fourth position annexed the evening's honors (New Acts). For a comedy act In "one" to be able to dally for 25 minutes Is something not often done successfully, but on form, Toney and Morgan ought to stick around Manhattan for quit'" a spell. Another comedy bit came at opening Inter- mission with Kramer and Morton. The black- face boys are due to sail for London In two weeks being about tbe first of a contingent of American turns tbat plan an invasion of Britain this spring and summer. At the matinee there was some discussion between tbe comedians and Cbrls Egnn over a new song number called "Up in Mabel's Room." Kramer and Morton averred they had no other number ready to replace It and offered to stop out of the show. Manager Egan thought there was one or two lines tbat didn't sound well, especially the one about "playing postofflce" all night. The number was tn Monday night and little or no criticism can result for Kramer and Morton use "Mabel's Room" for comedy purposes as with their other songs. Horace Wright and Rene Dlotrlch, fresh from their experiences in France entertaining our boys, were third with what seems practically an entirely now routine. Both had something to say about their work overseas, and it won right smart applause (New Acts). Bert 'Kalmar and Jessie Brown resumed their vaudeville appearances In tbe new song and dance novelty, closing Intermission. In addition to the scenic effects a leader *s car- ried. Kalmar wore an elastic brace on his left knee the bandage being visible only at tbe finish, but at times he appeared to skip in an effort to ease up what may have been a sprain. Kalmar and Brown always offer 1 something original and away from other dancing acts. Ward and King, a two-man comedy and dance turn, pulled out a bit from the No. 2 spot. One does an English fop and makes It very funny with the aid of tho clever straight man. But the boys' long suit was the dances of which there were several and which In- variably brought strong appreciation. Mcintosh and Musical Maids opened the show. The act started off with a smart rat- tle of drums by the three women and then proceeded to slow down too much. The brass finish was a redeemer, but the 100 per cent, appearance (neatness) of the quartet was an even greater asset. One comely girl with long flowing tresses" featured the act Going on at 11.10 De Witt, Bums and Tor- rence bad It anything but soft, They suc- ceeded In holding about 50 per cent of the house, however. fo<g. • RIVERSIDE. A very much mulled bill Tuesday night. Despite the frightful weather the house was jammed a few minutes after eight, and there were a line of standees at the back. Originally eight acta were programed, with Frank Gaby scheduled to open the show. This was later changed so that there was»an opening act added to the bill, tbe roller skating turn of Beeman and Anderson, The rearrangement sept Gaby into second position, and then the balance of the bill was entirely swung around. The Harold Du Kane act, originally slated to close; was moved Into No. 3, and the Nord- strom-Plnkham turn, "The Memory Book," was moved to closing the first part, this neces- sitating the placing of Mabel McCane into the opening position of the second half. After the opening, turn Gaby did but little with the opening ten minutes of his act, but once be hit the little Imaginary bit with the small girl he started to go over. The Du Kane act won applause on the individual num- ber, but the final was rather mildly received. The first applause wallop was that delivered by Harry Breen. His bit of supposedly talk- ing to his mother was laugh after laugh as he progressed with it. His talk about the lower East Side got both applause and laughs. "The Memory Book" followed, closing the section strongly. Every once In a while there comes a real novelty to vaudeville. This Is one of them, and'While it Is not and will never bo a tremendous applause winner, it Is one of those acts tbat wins a silent tribute from the audience. It is so full of simple heart In- terest that when' the final scene is shown it leaves those lit tbe audience with a sob in their throats and a tear film over the' eve. "The Memory Book" Is nothing more or less than a series of small scenes Into the past, but St Is tbe manner of presentation that makes it entirely worth while. With Miss Nordstrom (who wrote the piece) and Mr. Plnkham are two kiddles employed In the second scene, and they are wonders in their manner of delivering, lines. The settings, at least four, are changed with great rapidity. The McCane act built up strongly as it pro- gressed, and the ragtime wedding finish caught the house solid. Grant and Wing won as much applause for individual work as did the star of the offering. For the real hit of the bill the Duncan Sis- ters must be credited. The two girls stopped the show with their final bit of "blues." By this time the audience was tiring, and when Mme. Petrova arrived the house was rather restless. She offered an opening num- ber, her Parrot song, and then a scene of a South African play. At the finish the audi- ence seemed more restless, but there Isn't any doubt she was responsible for a large portion of the business attracted. Mullen and Coogan closed, coming on at eleven exactly. They won laughs from those remaining. Fred. ROYAL A comedy program this week. Business in the past few weeks has been up to tbe required mark. Certainly the programs placed are worth the price of admission—50 cents top— and with such layouts of bill a raise In the ad- mission would even be permissible. Tbe program Tuesday night was peculiarly arranged but carried through nicely. The first two positions held "dumb" acts, Bradna and Derrick and Espe and Dutton, the former opening. Espe and Dutton were applauded at the conclusion when they exited with a hand balance. Lillian Hcrleln secured little.from her first two numbers, thereafter switching to different types, more on the recitative style, end they immediately gained some recognition. Her opening numbers other than giving her the opportunity of displaying her wardrobe serve that purpose only. J. C. Mack and Co. In the well known comedy Bklt, "Mother's Boy," worked before the regu- lation house drop In "one." While it detracts somewhat in comparison to the former special drop carried, nevertheless it proved of little Importance insofar ■ as the returns were con- cerned. Owen McGlveney, closing the first half, went over with a bang. % The second.half was switched somewhat from its original running order. Billed for closing, Larry Rellly and Co. were moved to opening after Intermission, and tbe Irish playlet was highly welcomed. Mr. Rellly showing much animation. Phlna and Co., her ricks tn a some- what rearranged turn, were likewise given a reception. The dancing, as usual, carried them acrosB. Edna Goodrich and Co. in "The Mannequin," a cast of five, consisting of two men and three women, found favor throughout, with . France Bendstein personally responsible for the greater part of the success. He handled the comedy role. Miss Goodrich was most at- tractive In numerous dress creations. Marie and Ann Clark closed. Perhaps the . position was alloted as a surprise, for no billing Is shown, ajid the turn gives tbat Im- pression upon opening. The audience work at first was not quite understood, but when both finally got settled upon the stage a more surefire comedy arrived. Although much com- edy was heard before tbe girls appeared, the house remained Intact for them at a late hour. KEITH'S, PHILADELPHIA. Philadelphia. Feb. 26. The first of tho new musical "tabs" of tho big time variety headed this week's bill, and surrounded by a well varied bill with a couple of big bits nicely placed on the program, the show rounded out a very satisfactory; enter- tainment, despite tbe fact that a couple of singing turns were forced to compete with the headllner for honors. ™ The "tab" was "The Sirens," with Frank Dobson strongly featured, and the fellow de- served It, for he carried the biggest part of the action of the piece and Is the central figure In tbe two big numbers which' do much toward putting the "tab" in the big time class. The first of these is a "jazzy" number led by Dob- son, supported by eight girls, with the musical director of the piece doing a "single" in the pit with his violin. All the big moments of "Tho Sirens" occur in the last ten minutes or so of tbe piece. It starts slowly, with a lot of light talk, and sags badly about the center, when William Lynn overplays a part In reach- ing for laughs. He Is given good support by Madge Darrelt, a hefty lady, and the comedy of this pair could be worked up to better advan- tage. However, as Dobson Is the only member of the cast strongly featured, he is held respon- sible for most of tbe comedy, and does his work well. After his jazz number, it is easy for htm, and his second number, built up with a very elaborate gown display by the girls, tops the piece off with several more good laughs. "The Sirens" Is nicely set, prettily dfessed, and there Is much opportunity, some of which iajwasted, and it registered as a very good applause-winner with a crowded house. * The hits which stood-out strongest, however, went to the credit of Lillian Shaw and Bailey and Cowan. The> former has not been here for Borne time, and she has never made a bigger bit. She is getting a lot more laughs than ever by the manner she has built up her baby-car- riage number. She Is using a wedding song ahead of it and the combination Is tbe best she has ever bad. The old song was a riot the ■ way she handles It this time. Bailey and Cowan had the next to closing spot and were about the only act that could have followed tbe big musical piece. Ooenlng and closing with a saxophone number in which a striking looking girl is used, the boys were a big hit all the way. They have just the right kind of material, and Lynn Cowan Is singing better than eve% Bill Bailey's service at Camp Han- cock hasn't Impaired his banjo tickling one bit, and the house just went wild over the whole act. With so much singing on the bill it was necessary to place Lady Tsen Mel up In an early spot, and she added a nice bit of class to the first half of tbe show. Tbe novelty of' the Chinese girl singing popular songs and ballads caught plenty of favor, and she finished strong with a specialty number in which she Injected several Imitations of birds, etc. At- tired In Oriental robes for the opening num- bers, Lady Tsen Mel dons a magnificent gown for her final song, making a distinctly at- tractive picture, and was very well received. Bud Snyder, Joe Mellno and Co. opened' the show. The boys have some govd comedy work mixed with the trick stuff, but it Is dragged out a little too long and did not get the results an act of this kind should. Edward Marshall, just back from overseas, made quite a hit for himself with his cartoons and comedy sketching. He appears in uniform and adds a bit of patriotic flavor to his work by bits of cbatter during his drawing. An old one-act sketch, "Fagon's Decision," played by Claud and Fannie Usher, slowed. things up after tbe Chinese vocallste. but drew liberal laughs and finished well. The Mlllettes. with their skilful head-balancing on the swinging trapeze, held down the closing spot In good shape. KEITH'S, BOSTON. Boston, Feb. ;2B. If there is one^etrlklng thing about'.the bill this week It Is Its conventionality. Minus a big time star tbe program Is nevertheless a very good one—even as to amusement and from start to finish. The show is opened by a juggling act and It closes with an animal act. Throughout It is a good bill, much bet- ter than one often finds when the bill Is topped by a big name.. -, Tbe house was Jammed at the afternoon and evening performances Monday, a holiday _here because of the visit of- President Wilson. The audience was of the .sort tbat appeared to have discrimination, refusing to get ex- cited about anything. Tbe show started late. It being 2:25 when the pictures were run off and the regular bill started, and during the entire program there wasn't a shift, every act appearing in the place selected for It The show closed about 5 o'clock, a bit tardy. Wilfred Du Bole, Juggler, opened the show. The program announced he was appearing after a world tour. His act started very slow, with the ordinary, perfunctory stunts that jugglers so often use. But he warmed up as he went along and finished strong using new stunts at the finish and going big on a trick of twirling a glass of what looked like grape Juice over tho heads of those In tbe front row on a pool ball frame. Juliette Dlka, billed as the Franco-American comedlettne, reminded of Irene Sordini when she started. She sang her first song in French and finished with a French song. She has four stunning costumes and isn't at all afraid of displaying her .neck and arms. Emma Haig and Lou Lockett were the real hit They slammed right into action. Lock- ett works hard.' Miss Haig dances well, al- though inclining toward the esthetic too much. , J. C. Nugent and Jule York have a very pretty little playlet In "Tho Meal Hound." Mr. Nugent pulls It through the 25 minutes alloted without a drag, and they went over well. Draggy stuff Is noticeable In the act of Sally Fields and Charlie Conway. She opens the act in a coon song number, which she doesn't do at "all" well, and then the act goes on to full stage where a lot of burlesque stuff is usod by her and Conway. Neither show up very well in this part of the act and the house didn't enthuse over them. iY->j«w1 ■ A-