Variety (January 1921)

■ H Friday, January 21, 1921 NEW ACTS THIS WEEK ■i J7 JACK BENNY. Monologist. 14 Mmi; On*. $th Ave. Jack Benny has a violin and talk. Mainly talk. He handles himself as though having played small time, though his talk material la new. When Benny said he had stopped smoking as smoking is now too effeminate, he waited for the expect- ed laugh which was not as hearty a* he looked for. so he repeated the gag. Later when nearing the finish and the right exit, he pointed to hiH name on the eard, while playing the violin, and saying. "Jack Benny. That's me. They couldn't get my light name on it." ITls talk is along the lines of bit girl, who Uvea in Philadelphia, with an idle hrother and a father, who died, Benny said, the same evening he was to take his irirl to the thea- tre. On account of the (hath of his girl's father, he added, they were late for the performance. The 5th Ave. audience thought that was fun- nier than the smoking g:«g, which about sums un the 5th Ave. In outline of turn, Benny has been a student of Ben Bernic, it scorns. Ife talks much like Bernie, but has none of Bernie's gags. His violin playing is negligible for results. He holds the instrument in the regular way, under the neck, whereas B or- ate holds it carelessly, often against his body, which Green of Green and Myrm, on the si mo bill, must have intently observed, as he played his \ i din along that style. Tt wasn't vaudevilly to have two viol'nists on the same bill and have both of them recall Bernie. although Bernie nuiy not mind it. It certain- ly did not help Benny. But Benny seems able to helf himself. He has gags, presence and assurance. His only worry just now may be how he is going to follow Bernie if he can make the big t'me. The answer seems to be for Benny to throw away his violin while Bernie Is using one, and try another method of working in his talk, if he doesn't care to become a monologist. out- right. Tha Detain* time can handle Benny, also tho Orpheum Circuit, and the other bookings in between snd below, but while Benny looks good enough to make all the time. he can't make the best as at present If imed up. Here's a gag all talkers may take. It was brought from the Coast by Bill Halligan and released for their benefit just before he sailed. It Is: "An optimist Is a bartender etill pa.\ing dues to his union." 8ime. JUNE ELVIDGE and Co. (6) Melodrama sketch. 21 Mi*,) Full Stage (special set). Orpheum, Memphis. Memphis, Jan. 19. June Elvidge. picture star, opened her Orpheum tour lure in "The Crystal Oazer." by Albert Cowles, under management of Joseph Hart. The turn is set In a tent in the Sahara desert. Miss Klvidge ap- pears as a disguised avenging sis- ter, assuming the role of a crystal* gazing fortune teller to lure on the man who betrayed and murdered her younger sister. For th s pur- pose she wears a red velvet head- dress which hides her sheen dark hair until tunc to whip off the GOV* ering and let It fall loosely about her. Miss Klvidge looked lovely. sinu- ous and alluring, with and without the toque. Her diction is so clean und staccato that the lines of the sketch seemed to make sense when she spoke them, a high compliment to her mesmeric powers. The lines never even teemed to have sanity the rest of the time. The sketch is a disordered and maudlin blood - and -thunder, with no consistency, plausibility or coherency. B ts are dragged in with unmerciful dis- regard for the verities or even probabilities. Surrounding Miss BlvtdgS and bringing her back in the flesh, the ■ketch has* a mission and may be forgiven all its crudities and literary feloniev. Only an Elvidge or a Suratt could survive in such gro- trs<pie. and hollowly bombastic drivel. Miss Klvidge unbosomed dramatic feeling, power, loveliness of manner and delivery as well as of person, and charmed the wide- eyed southerners. At other point*. some of them, the ones apparently aimed to be the most climactic, even HUGHES and NERR-TT. GLADYS MOFFATT. Songs. 13 Mine.; One. Broadway. If Gladys Moffatt were not quito so convent.onal—piano, piano player, colored lamp shade and chair. She opens in a dim light, wearing a hat. Tho turn is about half over before the audience really knows Miss Moffatt as she is, a very good-look- ing girl with auburn hair and a real charming one in appearance when smiling. Miss Moffatt sings a range of numbers, from pop to rube and yiddish, and has a voice to do it wiftt, besides a certain personality that too infrequently asserts itself. She also holds in on the vocal thing, not pressing her voice, to the dis- advantage of the numbers. A ballad and a good one was about the only song for voice extending. The pianist has a moment while the girl is changing, and the mo- ment seems too long. He just plays a couple of pop melodies and starts to bow before the applause starts. Miss Moffatt looked so much bet- ter in her second gown that she might find out what is the matter with her first; also nee the stage in the full light and wear her hats only on the street. The girl seems to be there. If replacing the rube number, the turn will run better, and there's a chance for her on big time, with or without a pianist. When "girl singles" first com- menced to sing character numbers they got along with the orchestra, and advanced. If that be true, why wouldn't the same plan be advis- able for other beginners of today, though Miss Moffatt is no stage beginner. Sime. (6). "NOrfODY HOME Comfcdy Sketch. 23 Mrpa.; Spec. Cyc. and Drop. Harlem O. H. A seml-rcvue with the comedy evolving around some old business and situations. Father and mother are away when son decides to give an improptu banquet to three fe- males. Sen acting as toastmaster is criticizing the old gent. The lat- ter has returned unexpectedly and is getting an earful. He bawls out the youngster. Introductions fol- low and pop becomes interested in one of the girls. Mother returns and the males hide the girls, one of whom has fainted. From hero on the skit sticks to the well beaten traite The girls wander in and out of rooms, and pop places a screen around them at each appearance. A cou- ple of specialties mildly delivered are worked in while the girls are entertaining the old gent prior to mothers arrival. The father is a good Hebrew comedian who does as much as possible. Likewise mother is a good character woman also handling an accent. The youth is an excellent juvenile, the light- weights being the girls. It's a sure fire small time comedy frame up and will entertain that type of audience. Con. ERNIE REAM. Songs and Talk. 13 Mine.; One. Colonial. Doing more or less of a monolog that smacks of England, with varia- tions on the piano, Ernie Ream is offering a "single" that, right now, is guaranteed to slow up any vaude- ville performance. All the "gags" concern a named Irishman. They are delivered in a haltering manner and failed to arouse anything but th*» slightest response. Then there are a quartet of abbreviated songs about on a par w ith the stories and worth as much. Mr. Ream Is in dire need of an en- tire change in material and a short- ening of running time, as 13 min- utes, with his present vehicle, made the Colonial audienco decidedly restless, with an even chance that at tny minute they would cut loose. Mr. Ream's appearance was above reproach, but hi3 routine is what one might term "flatfooted," and there is considerable question as to .lust bow he managed to slip In on the Colonial bill. this yokel ^audience laughed. Henry CJurvey. as a "Mad Mul- lah," contributed abQJtl a minute of fine acting. The rest of the sup- port was either negligible or culp- able. Carlo de Ange'o played an Arab all the way through with an unequivocal Wop accent and patent leather shoes to match. Herbert Delmnre looked great as a man de- tective (also disguised as a desert guy) but fell down in his acting through exaggerated striving after dramatic punch. The villain, played by Oscar Briggs, was as well done as the role- deserved. In one lino he made the house gasp, when, con- fessing that he killed the girl after wronging her. he said, "I found out she was in trouble." The rest of the lines were about equally subtle. With a draw and an electric per- sonality in Miss Elvidge, the sketch will serve its purpose, though it is Talk and Songs. 16 Mini.; One. 58th St. Tho straight man of the o'd time side walk conversational team used to playfully swat the comedian with a folded newspaper, whenever he wanted to insuro a laugh, following the. comic's delivery of a get back. This was. modified in time to push- ing by the straight, the newspaper being dropped, as years went by. Hushes and Nerrett, two men do- ing a comedy singing and talking turn, however, go the more or less vigorous slapping, and newspaper swatting of the old timers several degrees better. When Hughes, the comic of this combination, pulls a get back, gag or nifty, Mr. Nerrett. tho straight, knocks Mr. Hughes fiat on his back. Once or twice Mr. Xerrott failed to reach his partner with the knock down wallop, and a shame she couldn't have had one'Mr. Hughes took the falls himself up to her stellar self. I.ait. an Curo< in baggy PALI DASSI and Co. (2). Anirt.al Act. 12 Mina.; Full Stag*. Jefferson. Pall Dasal is evidently pean. He is costumed troupers and red wig and is assisted by two buxom girls in Dutch bon- nets and knee-length dresses, i. ome juggling of a toy balloon by one- of the gir'p and :>a~<5t, |* fol- lowed by a series of -brick flips" performed by a French bulldog. The comic entera juggling a broom ©n u stick and reveals they are Joined by reversing them. Three Kewple Dolli on an appara- tus are next Utilised by another dog. which leap frog.s over the three. A three-high with the dog doing .a hand stand as top mounter fol- lowed by a boxing match In which a P<nv is included, concludes. B* HO i JI ( M oid i f thaourn nov.lt > or strength to close a big thru- show with an degree of BUG- *< Con Its ho interesting turn for either "nd i t th* "Wmller hills but Jacks the ANGER and ADELON. Songt and Talk. 12 Mint.; One. American Roof. Young man, as well dressed rube, and girl, in sport dress, have an ex- change of talk, varied by some ex- cellent coon shouting by the girl. Otherwise the young woman acts as feeder for her partner. She Is a plump pony in type and rather a too forcible worker. At that she Is the strength of the combination. Their talk is for the most part threadbare and non too dainty, as Witness the gag of new inventions make fingers unnecessary for piano playing and a string of similar changes of the day. with the catch line at the finish "but the stork works the same old way." Even the Eighth avonue crowd didn't find the talk uproarious, but they liked the girl's rinsing. Tfntk. GRACE HUGHES. Songs and Piano. 15 Mmj.; One. Harlem O. H. Orace Hughe? |a probably from musical comedy. :she is a good looking, beautifully formed girl with the carriage of a $3.!>> leading woman, an eye-filling picture. A male pianist is carried. The singer opened with a classic*] number that allowed her colorful soprano plenty of opportu nity f.r tona ahaOing anu tun*. •**••• The second number sounded new through her delivery and was fol- lowed by a blues, delivered with faultless jazz. t-( hnique. The transition from the stately prima donna manner of the opening num- ber to the near-shivery undulations of the saleslady, was a startling contrast, cleverly executed, Miss Hughes' closing number was a specially written conglomeration of the song hit* of the current mu- sical shows. Interwoven Into the main s«»ng theme. Grace Hughei looks like a find (or vaudeville. Con. without any assistance. Mr. Nerrett is a tall robust chap, with blonde hair and the physique of a white hope. Mr. Hughes Is slight of build, with a marked facial resemblance to Charlie Chaplin. Ho wears a battered derby, and Chaplin mustache, but does not imitate the film comic in any way. The talking routine holds qul'.e a few old wheezes. They get laughs out of all of their material however, the knocking down process, al- though a bit rough, producing sure comedy results. Mr. Nerrett sings pleasingly. While Mr. Nerrett Is warbling a ballad, tho comic enters several times, making a change of comedy head gear for each en- trance. This is the type of clowning done by the old time comedy quartets. At one point In the act, the comic is out front, having dived from the stage into the orchestra aisle to escape the straight's knock down pushes. The team landed at the 58th St. Both possess ability to handle a newer line of talk than that now used. The old bits con remain, as most of the present gen- eration never saw them and those that do have forgotten them. The rough stuff holds a lot of comedy possibilities, which tho fam suc- ceeded in realising fully. Right now the act is set for the pop houses, where it can't full down. Bell. SEARLE ALLEN and LYMAN. Comedy Sketch. 14 Mina.; Full Stage. Harlem O. H. Searlc Allen was last with the late Ed Howard. His present vehicle calls for a female partner. Miss Lyman is a personable looking op- posite. The act carries an idea. Allen reports to take a 30-day domestic course to conform with a new law that requires all parties contem- plating matrimony. Miss Lyman is a relative of the professor. Allen, after a comedy song with a reminiscent melody written around topical subjects, is read the rules and the objective of the course. He interrupts the ex- planations with humorous remarks. He Finally proposes and leaves the room to begin the course after her insistence upon same. In the in- terim she phones her relative to ex- cuse him as she is going to marry him. The prof consents, with Al- len returning--in a house apron, carrying a doll upside down for tag line, "How tho deuco do you get this on?' referring to an intimate part of an infant's wardrobe. The act Is well written and clev- erly played. The lines sparkle at times. Both people take full ad- vantage of the comedy opportuni- ties. The idea is an exaggeration, but allows ample opportunity for the comedy that follows. At the Harlem they howled at the dialog and gags. It's sure tire for the in- termediate houses and should go right along without layoffs. Con. GREAT CARMO. Alhambra, Paris. Paris, Jan. 13. The Australian conjurer, Carmo. with a company of 30, has been playing at the Alhambra for the past month. He remain* for an- other fortnight, until the opening of Sarah Bernhardt, after which he probably goes to Brussels. For the latter part of his engage- ment he has put on a new show which is perhaps the best of his aeries, he having given three differ- ent programs since his debut at the Alhambra. He haa booked a violinist, Lueien CSoldy, who enters by tho audi- torium while a change of set* i« being made on tho stage. The troupe of Carmo comprises Arthur Jewltt. Mildred Gordon, Rika Hous- san, Ceo. Tester, Clarence Kd- munds. Wm. Pemberton, David and Wm. Ray. Cessle Barlow and Marg. Coleman. Kendrcw. STENARDOUO- Aylophoniata. 11 Mine.; One. American Roof. Opening the show, this boy and girl made small impression and faded out gently. They have a short routine of duet, solo and sev- • ral duets at the finish. The pair are nice looking, boy in Tuxedo and gtrl**in bright Olitffon debutante frcck. The offering has nothing novel and no variety* It ("■!on«H where it was placed this ■reek and probably win remain there until tho young people deve'op Rom*-thing like showman 1 hip r»*sf f JEAN BOYER. Songs. 8 Mina.; One. 5th Ave. Jean Boycr is a youthful girl, who muggs, does nut-dancing and sings, first appearing as a boy, when she is at her worst. Her best Is the mugg- ing with side kicking. Her work at those times resembles a combination of Charlotte Greenwood and Eddie Foy, suggesting the girl, either nt home or elsewhere, first gained the vaudeville idea from impersonations of both, possibly also Al Jolson. as likewise suggested by her song in the male impersonation. The girl won laughs by her eccen- tricities of working. That is mostly an elaboration of nuttisms in vaude- ville has grown accustomed to that from "eccentric comediennes.'* Miss Beyer used "Bimbo" and 'Jazz Baby" as the best mediums to ex- ploit her conception of stage com- edy. They did well for her with the Fifth avenue audience but she doesn't look strong enough alone for big time. The medium t'me cas use her, single. Miss Boycr should have a part- ner, male or female, someone aha con contrast with. A girl doing straight against her might be tho best. Then she would not have to work so hard and likely accomplish more in a puro fun making manner. At present Miss Boyer is forcing herself, through being alone and making changes for each number. Instead of bctng eccentric or nutty at the 5th Ave., she seemed mora grotesque. Rather nice looking in her proper person. Miss Boyer requires some direction. There's entertainment la her but to m.'ike it vaudeville. It will have to be written, not wrung, out of her. 8lme. THREE WALKER8. Novelty Bar Ac* 9 Mint.; Full Stage. American Roof. The novelty of the Walkers' turn is that they work with the double bars leading to a casting upright and cradle and a trapeze hanging below the cradle. The act has straight worker, clown and trickily dressed woman. Tho woman hangs from the cradle like a catcher, but in reality stalls and throws the trapeze to the workers at tho right time. The feature trick is a giant swing and fly-away from tho outside bar, across the second bar with a twist- ing somersault catching the traps, e/oing back to the second bar and finishing the routine with a fly- away and double to the mat. Aside from this trick the straight und clown do nothing but the familiar stuff, simple, but smoothly handled. It held 'cm In at the American. Rush. THREE FALCONS. Ring Gymnasta. 5 Mina.; Full Staga. 23rd St. Male trio uC gyml - nv l\:'t rirw routine. Two men. Ntra^ht, making neat appearance In white flaunels and Jerseys witi. V shaped necks. The comic sporta an Eton Jack* t and collar. Tho work of the two straight men Lh good, but it is the performance of the comedian that stands out. This ch:ip made his stunts look easy, but most were difficult. Ills tricks on the Upright* also amused Once he mount* 1 .in Upright to tie top of the rigging, like •* ittoukej and about :i • i.< i a n<w opening turn u il <• • •■' • •«, < i1 li i!i" bis Mine t' i/.»<». BURKE and DURKIN Sonqg snd Piano. 2? Mina,; One. Palace. •James Burke and Eleanor DurklB Offer n singing and piano routine, consisting of singles and dnub'e*. The COUpla present a classy ap- pearance. That Is their chief as- set. Miss Durkln wears two spin- ning costumes, one an all red affair and the other black velvet. ^ r - Burke Is in Tuxedo, which he car- ries like a fashion plate. Open'ng with an frisk sr>ng. with Miss Dur- kln accompanying on the baby erand, Mr Burke follows with a kid story. A comedy number about a young man who lnnced for a mus- tache next and then "No»»ndy Knows'* as a double. Then an Imi- tation of Bert William*, sinking "Tou Can't Shake Your Rhlmmv on Tea." by Mr. Burke a f«lr Imper- sonation. "Speak, Speak." n com- edy double with dialog Interpolated, for closing The couple have more the ap- pearance of concert entertainers than vaudeville artists. Plavjng will undoubtedly give them the vaudeville touch and air now lack- Inor. As it stands, the turn Is hard- ly for btpr time. 'A loni? tour In tlH thr-" 1 * a day bourns, with the Invalu* tide ener fence that goes voth *'•*•'. should round nut their entertaining capabilities. No. 2 at the Palace. ♦he act had th<» disadvantage of a blender and arriving house. The act ran too long. H could h* chnoned five minutes to advantage. One bow was taken nt the finish. TJrlt f t/W 't 'nnnl X>n- \rf<i jtnrif" 2«» > IZeqfald Can U«* D. P. H. I