Variety (April 1920)

fev 20 NEW ACTS THIS WEEK HARRY CARROLL and CO. (12). Ravue. 46 Mini.; Full Stage (Spicial). P»lao*. Th« outstanding feature of Harry Carroll's new act is smartnesa. This to evJdent first in the lyrics of the aongs, written by Ballard MacDon- ald; secondly, in the class and abil- ity of the surrounding company, and third. In the Broadway production standard which the act attains in the matter of mounting. Carroll Bits at the baby grand throughout the act, singing, and counts largely in putting over his own turn. The act opens with an introductory song by Carroll. This, as the rest of the lyrical stuff that follows, is written in the vein of the old Gilbert and Sullivan operettas, but brought strictly up to the minute as regards topical allusions, etc. Six of the classiest "chicks" seen in vaudeville for many a season step out after Carroll's Introduction and go into a number. The lyrics carry, a story by the way, the "chicks" having ar- rived In answer to an "ad" by Car- lolL Removing their skirts, the six "chicks" are revealed in grey knick- erbockers,- that are the last word in cuteness, and a short dancing en- semble follows. Continuing Carroll pianologs ariother bit of the lyrical •core, which leads to a double num- ber by Carroll and Grace Fisher. Two additional choristers get into the proceedings next with a dance costumed after the manner of "Chuiticler." Harry Miller, a male dancer, next. He's an expert when it comes to the long-legged eccen- tric stuff. HIggins and Bates, a sis- ter team, recently with "Vanity Fair," have a short dancing special- ty and then another ensemble num- ber, and a corker, with the six "chicks" appearing in gorgeous-cos- tumes, each different, and putting over a raggy patter number, led by Carroll. Miss Fisher Alls in with a cuckoo song here founded on a very old gag, but the clever writing of the lyric all but disguises its an- tiquated theme. Just before the fin- ish a ouija board nuinber, with the girls placed in the folds of the set- tings, and answering Carroll's queries for some excellent and well placed comedy. This gradually de- velops into an ensemble, which takes the form of a review or re- sume of parts of all of the preced- ing numbers, with all of the com- pany on. A drapery set with a beautifully blended color scheme in which some pretty lighting adds to the general effectiveness backs up the numbers. The act was the hit of the show at the Palace Monday night. Carroll, called upon for a ■pecch, responded modestly, giving unstinted credit to MacDonald, Leon Brrol, who produced the turn and his company for the success achieved. As a big time feature act, Harry Carroll's new revue is quite In a class by itself. Del). I ELFREOA WYNNE. 8onga. 14 Mine.; Two. 9th Ave. It must be exasperating at times, this vaudeville experience, where someone who has spent years In studying vocal culture, has acquired a voice and may be of high-grade technically, goes on the variety stage, sings, and bears others sing, with many of the others believing a conservatory of music to be some new kind of a lolnt and wondering why anyone should pay to find out how to put a song over. They may be right, Mary? Who can tell? If there is anyone who can teach any- one how to put a song over on the stage, that should put the correspond- ence school how to become a vaude- ville actor by mail right out of busi- ness. That guy lives in Michigan somewhere. He teaches how to get into vaudeville, he says, and has a series of six books to follow. It's quite a scheme for a MIchigander to think up. He wanted to advertise his school in VARIETY and sent on his books for inspection, probably thinking VARIETY had some read- ers. But his opposition got to the show business first. That James Madison. You wouldn't think, look- ing at Mr. Madison as he slips into the Putnam Building when he's in town that he put more acts on the small time than the small did. He did though. Or Madison's Budget did it. It isn't necessary to be taught acting by mail. Just read Madison's Budget if you have a good memory. Traveling men do. That's why traveling men always patronize the big time housea They are small time themselves for parlor entertainment. Miss Wynne has a new Idea in her act It's set in "two" with a concert gratid, a sofa and a lamp. Instead of the lamp being near the piano, it's near the sofa, and the sofa Is quite a ways from the lamp. The piano, the bench, the sofa and the lamp had had an awful vaudeville play of late years. Lucky they are not perish- able props. At least they seem not at the 6th Avenue. Why doesn't the Joint Complaint Committee get to- gether on that? Must It be always the manager and the artist. Isn't there a public? Miss Wynne has a nice voice, cultured, and she can wear clothes, which she does. The Fifth Avenue liked her No. 2, but she Isn't big time. Perhaps her voice Is too good or her vaudeville cxperlDnce too bad. It's really too bad. But still it's vaudeville, the same that goes wild over a cabaret shouting songster and a monologlst who says "I done it," after paying probably $1,000 for his monolog. Did James M.adlnon hear that? $1,000 for a monolog, all down and not so much when I work. Btme. PALO and PALET. Novelty Musicians. 12 Mine.; One. (Special Drop). Columbia (April 25). Formerly Gallerlnl and Son, this team have increased the value of their ac^ 100 per cent by the new dressing scheme and special drop. They are attired in silk Harlequin auits with ruffed necks and white faces, backed by a pretty blue and gold hanging. Both open playing a medley of popular numbers on white piano accordions. Next one wields the baton while the other plays an operatic selection on the P. A. Next a double one playing thcaccordlon and the other doubling on a tuba horn. For an encore one sticks to the tuba while the other ■witches from a flfe to a small clarionette to a piccolo, playing a routine of popular numbers. Each are masterly musicians, and the act Quallfles as one of the strongest of the straight musical acts. They •topped the show next to closing. Con. KOMEDY TRIO. Comedy Talk and Songi. 11 Mint.; One. 126th St. Two blonde females and a male. Harmony singing and comedy are attempted, the male dressing in "simpiah" style, using a college boy hat and white suit for comedy. The girls feed him in the dialog and have solo vocal numbers in addi- tion to the triple harmonizing. The talk consists of a motley assem- blage of veteran gags, and the en-, eemble singing is ruined through the consistent flatness of the slen- derer of the two girls. The latter has a solo which is sung in an off key voice and delivered amateur- ishly. All the comedy is absorbed fcgr the title. Con. BURNS, KISSEN and CO. (2). "A Hungarian Rhapsody" (Comedy) 18 MinB.1 Full and One (Spec Dye). Columbia (April 26). .. This is the former Avon Comedy Four vehicle with a slightly differ- ent finish. The act goes into "one" coming out of the restaurant set and an "At the Movies/' with the quartet seated on stools, supposed- ly looking at the pictures, gives an opportunity for some excellent comedy comments by Kissen and his partners. The latter is the near- est approach to a successor to Joe Smith that the vaudeville ranks contain, and gets almost as much out of the original lines. Bums, as a waiter with a Thomashefsky dialect, also shows to advantage, but the other two members are not up to the standards set by the original four. The songs featured are "Pittsburgh, Pa.." a solo of KIssen's which he sings in slow tempo: "Was There Ever a Pal Like You?" soloed by Burns, and the quartet songs, "Take Your Girlie to the Movies" and "My Baby's Arms." The comedy imitations out of the former Burns-KIsscn act stopped the show at the finish. Con. LIZZIE B. RAYMOND and CO. 'Waledmo Hem** <Cem«dy)/ 15 Mina.i Poor (Kitehtn). 23d Street A htimoroualy written latlre en the returned boy from the A. EL F. It is set in a kitchen scene with a widow and ber only son. He has been at home for two weeks and bis mother wants to kno« why be doesn't get a job. The son says the mayor promised all the boys Jobs when they returned, and If they have a Job for him they will have to bring it around to the house; he's not going to look'for It. There Is no money In the family. When scolded by his mother, he says she was well satisfied when he was over there, drawing an allotment of |26 monthly. The mother replies It was just her luck the war had to end. The son'starts to tell of his valiant deeds at the front and repeats what he did toward saving the world for democracy. He bemoans her atti-) tude toward a "hero." He Informs his mother what the mayor said to him when the boys returned to the town because he made the world safe for democracy. Mother answers the mayor must be a hypocrite, as he ran on the Republican ticket. After listening to ber son's references to his war record, she told him he talked as though he huA been the only one over there. The cross fire has sure laughs. As a satire It's biting for those who have practiced what this boy preaches. The S3d Street audience went to It and seemed to recognize many of the points made. The son, saying he had written to Cincinnati for a job in the hope he would not find one, receives a letter Informing him a Job is waiting. When he wants to go, with the fare'M, and not that much money around, he offers to take his mother, who refuses, using a hell tag line about Cincinnati. Daniel Kusell presents the playlet. LlzEle Raymond plays the mother, Irish. The boy character player is unknown. The third member Is a young woman of the Mayor's Com- mittee. The mother and the boy are done very well. This skit, keenly satirical and pertinent even now, can fit in anywhere, for it will gain laughs everywhere. It's an alto- gether different Idea in a war play- let, comedy or otherwise, arid wHI be evergreen through its dialog. EMILE and JOHN NATHANE. Body Balancers and Ground Tumblers. 8 Mine.; One. Colonial. Two well appearing youths in tuxedos who have a sterling assort- ment of handstands, body lifts and ground acrobatics. One of the flashes Is a series of back cart- wheels to a balance on the out- stretched hand of the understander. It Is repeated several times, the supporter following the acrobat across the stage to catch liim at the finish. This act was probably known as the Nathono Bros, and thoy have wisely discarded the navy uniforms. They held in a large por- tion of the audience In the closing position. Con- DALTON and CRAIQ. Singing and Dancing Ravut. • (Special Songa.) 18 Mina.; Three (Special Drop). Columbia (April 26). Two clever people, male and female, who have a consistent offer- ing, lyrically framed around the "Lamp of Aladdin." The male. In Tuxedo, Introduces the girl partner via lyrio and a song which runs all through "I Would Wish For," the girl appearing as the consummation of his wishes at the end of each vocally expressed wish. This enables her to appear as a modern girl; then as the heroine of a travestied melo- drama, where he wears an ex- aggerated mustache and stalls for comedy. This is followed by her Idea of the sponsor for the shimmie developing the idea In song and dance that a cook named Annie, who was afflicted with a nervous twitching of the shoulders. Intro- duced it unconsciously while trying to become a classical dancer. She does the-dances to match in clever fashion. The next Is the girl as an old-fashioned bride, followed by the "Bride of 1980" In extreme panta- ietted costume. The pair sing "Wedding Bliles" and have a tag line asking the audience 'If We Pleased You.". At the present the act could stand a little pruning. It runs a trifle too long. The melo is the least important and could stand shortening. In spots the lyrics are faultily constructed and need im- mediate revision. The prop laugh should go out also, for it fools no one. With the proper revision this pair are big leaguers, and the ve hide, though a trifle squeaky in spots, can be overhauled into a 1920 model. Con. ETHEL FORDE and LESTER 8HEEHAN. Danoea. J- 18 Mine.; Full Stage. (Special Hangings.) Riverside. Miss Forde has been In several legitimate shows, and latterly handled small parts through her dancing cleverness. Sheehan, after he left the Bessie Clayton turn, was with Pearl Regay, and since that combination dissolved was ab- sent from big time until. teaming with Miss Forde. Sheehan entered first from a back stage tableau, opening singing "Peggy." the lyric being changed to "Ethel" (Miss Forde) who Joined him for a few steps. The pianist, Oliver W. Scott, continued, the melody while the couple changed to old fashioned costumes, then dancing to the tunes of "Glow Worm" and. "Shadows." A Spanish number followed, "Dar- danella" being used. Scott then had his chance, during a somewhat long wait, probably especially de- signed to give the pianist a "spot." He played "Mighty Like a Rose" and a new Oriental number, the house responding with apprecia- tion. Scott's playing, as a matter, of fact, made it almost a ti-io act, which was shown when he took a bow with the dancers at the finish. For their final numbers Sheehan in tuxedo and Miss Forde In a pretty blue frock offered a number In which high kicking was fea- tured, which was followed by faster stepping, a shoulder spin and a skip off. Miss Forde is a beautiful dancer, moving with natural grace that makes everything she does pretty. She has a way of moving her arms and lifting her shoulders which may be natural, but looks to be in imitation of Dorothy Dickson, whom she resembles. Aside from that the act is pretty, clever and well lighted, though it can stand speeding. Jbec. CATALANO and WILLIAMS (1). Song Skit. 17 Mina; Full Stage. . 23rd Street. Henry Catalano and Irene Wil- liams are Western act. ^ Catalano was formerly of Catalano and Denny and Miss Williams was in several girl acts, including "Quukertown to Broadway." With the assistance of a pianist they have worked out a song act with a sort of plot that lifting it above singing turns with a straight routine. With the opening curtain Catalano and the pianist arp composing a number fur Miss Dur- yea, a young star. The entrance of the latter (Miss Williams) carries the plot idea out, she saying, she wants a song with cute words, for she hasn't got much in the way of a voice. This Is a cue for her giving, "I Want a Song With a Kick in It," a clever lyric number. "Miss Dur- yea" then says she Is going Into the "Passing Show," Catalano replying he was writing several numbers for Al Jolson and demonstrating with "She's Like a Bouquet," with which he showed he knew how to handle numbers. He followed with "Melo- dies," with "wop" and Jewish luita- bys, both with comedy lyrics. After mutual admissions as to their right names and the discovery that they are old playmates Catalano and Miss Williams, the pair offer an old fash- ioned number In costume, "Don't You Remember the Time," a waltz number which was pitched too high for the girl. A piano solo allowed for another costume change with the principals out in wedding dress. Miss Williams showing a gown elab- orated with many strings of pearls. The number was, "Tell the World of Our Wedding Day." Miss Williams Is a "looker." She is best at lyric numbers. Catalano is clever and gets the most out of his numbers. The music is exclusive, having been written by Gus Kahn. The act seems to need speed more than anything else, and It looks like big time ma- terial, potential if not present. Jbcc. EMMA and AL FRABELLE. Song and Wire Walking. 9 Mins.; Oha (3), Full Stage (6). Colonial. A good tooklng. well figured girl in jazzy costume opens in one sing- ing a popular jazz type of song, using a few jazz shim movements in conjunction. Then the act goes to full stage, where she is joined by a slender tuxedoed youth for some nifty wire work. The stunts run to slides, jumps, runs and danoing, Both are experts at this kind. The flash stunt Is a Jump over a large umbrella by the man, and a dance with side slides by the girl. It's an entertaining opener and big time. Con. McKESSICK and KELLY, Colored Singing and Dancing Comedians. 10 Mine.; One. Columbia (April 25). Two men with a routine of dull opening talk, which Is followed by a. soft shoe eccentric dance by one while the other accompanies on a zobo horn instrument. Next a solo song, "That Ain't No Job for Me," by the stouter member, supposedly the comedian of the turn. It's the old graveyard lyric so familiar and popular with colored acts. A double song, "Dancing Down In Dixie Land," followed by a good double eccentric dance, got them oft to fair returns. The talk and singing are weak and the hoofing alone makes them passable small-timers. .Con, HARTLEY and EASTMAN. "A Touch of Muaical Comedy." (Songa and Dances). 17 Mina.; One. Fifth Avenue. Rather a nice two-act, ready for big time, even If subject to a bit of mprovement. The billing above was on the boards in the Firth Avenue'^ lobby. They also mentioned the full names of the couple as Arthur Hart* ley and Vlrghiia Eastman. Some one.said there had been a Hartley and Eastman act tha'b recently "broke In" at Staten Island, but the young woman of this turn was not the same one across the bay. Some' one else remarked that Virginia Eastman is a sister to Greichen Eastman. Miss Gretchen appeared in vaudeville a short while ago. The two young people have class with Mr. Hartley, a neat juvenile who seems to know the art of sing. Ing a popular number. Miss East- man is a brunet with a baby voice and bobbed hair. But she has looks. Oh, boy! Her singing voice was. bad but her looks-«'ere great. The nearer the stage the better fOokIng . she is, 80 what does the volce^count, In vaudeville, though if Miss East- man would cling to the baby stuff, whether speaking or singing, she could get away with it ever so much better. In the double numbers she did very well. For her single song, with her singing against her, the song was not worth singing. An Oriental double number, maybe called "My Kamkina Girl," was well done by both and ended with a dance as did their eiicore song. Miss East- man's single number was "Ain't It Funny What a Little Girl Can Do," and may have been written around the dining room table. Mr. Hartley put over something exhibiting, he has quite a range of work when singing how be thought the recitation ot "Dan McGrew" should be done to jazz time, slipping in bits of a' jazz- ing dance at Intervals. While Hart- ley Is by far the better performer of the two, the girl's looks leave noth- ing for her to worry over. They can make the big time and could do in a production, although Miss Eastman would be more sensible not to at- tempt pro<liy:tion work alone just, yet. Sime. I MIDDLETON, SPELLMEYER and Co. (1.) "Lonesome Land." (Dramatic.) 18 Mine.; Full Stage. (Special Set- ting.) 23d Street. This couple has specialized in playlets of Western atmosphere. Most of the predecessors hadn't quite the dramatic punch that "Lonesome Land" possesses, yet there are light sections for con- trast, led by the love story of a . bashful ranch overseer and the beautiful heroine. Larabee, played by the assisting player. Is a ranch ' hand of villainous purpose. He gets the brother of the girl owner of tho outfit into a Jam that results In the lad being killed, and then shows notes, won at phoney gambling, to make claim for part ownership in the ranch. All of this "Cherokee," played by Mlddleton, tries to keep from the girl, whom he loves. ' The girl in teasing Cherokee to the point of "popping the question." supplies the fun of the playlet, and terminates in Mld- dleton singing "Dreaming." The finish takes up the dramatic fea- ture promised at the opening. Lara- bee springs forth as a two gun . man, saying something about com- ing from a State where they carry a card up their sleeve. The girl overturns the lamp, there Is a shot in the dark, and tbe curtain finds Larabee "plugged," Cherokee dis- closing that he had a gun hidden under his vest, explained by bis saying he came from the some State. Miss Spellmeyer is vivacious and handsome, making a fine pic- ture of the out of doors Western girl. Mr. Middleton Is good as the bashful lover. "Lonesome Land" is as good or better than the other offerings by this team. Tho set- tings are light, probably designed for trunk transit. For feature in the three a day the act can stand up, and It ought to get some better bookln^rs. lb€C. CRAEMER, BARTON and SPARLING, Song and Talk. 15 Mine.; One. Jefferson. Two men in Tuxs enter for vocal nuihber. Interruption by abbrcvl- , ated A. D. T. crossfire. "When You're Alone" by telegram cfiaser to extra encores. Tho balance of the routine la a series of published numbers, with tho short fellcw, who also has changed to formal dre.ss by now, as the central focus. The act Is a corking three-a-day feature, with chances for an early spot on . ' the big time. ,1 ■■■i i