Variety (March 1921)

18 NEW ACTS THIS WEEK Friday, March 11, 1921 GRETCHEN EASTMAN and CO. Dances and Songs. 21 Mint.; One, Two, Full Stag* (Special Hangings). Fifth Ava. In standard and merit Miss East- man's new offering is a step for- ward from that of her offering of last season. It's more than a step; It la a leap. "Comedy and Tragedy" la well conceived, $ith novelty a vjbrant factor, an* Miss Eastman has skilletfsuppJrl in jft&i'tm 4*6r- rarl, Dinus McNally and George Cohee. There Is humor in the opening. Miss Eastman steps from the folds of a tableaux curtain as a country lass, singing a lyric to alibi her ap- pearance on the stage, for her father owned the opery house back in the Tillage. T*vo rube boys Join her (McNally and Cohee). The boys remain for an excellent acrobatic dance. Before they got into action one fell and asked his partner to help him up. The reply was he couldn't, but would lie down beside him. That is about the only old bit In the turn. Miss Eastman was out in "two" in Colonial dress, with a number called "Grandmother Days." The wide sides of the dress became ani- mated hiding the two boys, who scampered off, leaving Miss East- man stripped to a modern frock for the second verse, which told of the bunk of grandmother days. There was a dance bit with Ferrari. The latter singled and got a hand with a reverse on one foot. Another change had Miss East- man out with a clever song, "I've Been Saving for a Rainy Day." Mc- Nally and Cohee then had their best Inning with further acrobatic dance routines, which drew down a hearty hand. For the finale Miss Eastman Is retaining the Apache dance, but In this version a story Is told. All three men are concerned, one as the waiter In a Parisian dive and the others as rival roughs for the favor of the smiles of an underworld queen. Miss Eastman announced the bit as "The Dance of Death." One Apache flashes a gun when he finds the girl dancing with the other suitor. Disarmed, he suddenly pro- duces a gun, but shoots the girl, who steps In front of her lover. Police whistles are heard. There Is no avenue of escape. When a gen- darme appears he finds the Apache dancing about with the girl, but he fails to discover that the girl is limp In the arms of the man and that her feet are off the floor. He quaffs a drink and departs; the man stops and the limp form slips to the floor. The entire number is done in pan- tomime. It is an excellent twist to the Apache and distinctly dramatic, bringing four or five curtains. The dancing strength and novelty of the act should assure it big-time book- ings. Ibee. KARA. Juggler. 16 Mine.; Full Stage. Orpheum. Kara has been abroad for the last seven years. To observe his work Monday at the Orpheum, it seems hardly believable but nevertheless true that Kara has been Juggling for 30 years, s more or less. He ap- peared at the Orpheum 20 years ago. He was one of the best Jugglers of th^^day U* en > H*jjs still one of the best of the present day mani^TGlat- ors, time apparently having ripened his art, and at the same time leav- ing him as youthful in appearance as he was a score of years ago. The pool ball rack with the balls falling out of the bottom, the rack being balanced on Kara's forehead on a five-foot pole, remains a star trick. The orange, carving knife and fork bit is also retained. Open- ing with the Juggling of his hat, umbrella, gloves and handkerchief Kara proceeds into a speedy rou- tine of three, four and five object manipulation, using plates, table, oranges and various other objects, sometimes with one hand, some- times with the other, and at other times with both, but always dexter- ously. A male assistant helps in the closing trick, and generally makes himself useful, but not too conspicuous. The act went over splendidly, No. 3. Bell. ROBIN80N snd WILLIAM 8ingers. 13 Mine.; One. American Roof. Two males, colored, one in loose- fitting evening clothes for comedy. Open with song double harmonizing off stage before entrance, showing pleasing voices. Crossfire of old material 'is fol- folowed by another double song, also well harmonized. Next the straight solos a ballad, exhibiting a clear soprano, followed by more crossfire dialog of weak material, with another double song for the finish. An encore Is the old-fashioned ••yodle" by the straight, with the comic harmonizing off stage, later Joining for "Sleep, Baby Sleep," with the comic singing the "blink, blink" variation. The material needs thorough overhauling. The singing is the high light, Just passing the pair as fair early spotters for the smaller bills. Con. BEN MEROFF and Co. (2). Songs, Dance, Piano, Music. 12 Mine.; Full. American Roof. Ben Meroff is a son of Luba Me- roff and was formerly of her act. He is "singling," assisted by a pian- ist, violinist and a "plant" in the orchestra. The act opens with the pianist go- ing to the box while Meroff in tuxe- do sings an introductory song anent what he is going to do. This is fol- lowed by an imitation of Ted Lewis Jazzing on the clarionet; with a Jazz dance following and Lewis' disrepu- table top hat for atmosphere. Next a cello solo preceded by a "request," with the "plant" calling for "Somewhere a Voice Is Calling." A plug is precipitated for a corking ballad by a singer in a box, with Meroff accompanying from the ros- trum on the cello. Another announcement, with Me- roff offering to Imitate dancers re- quested, is next, the plant stealing Rasputin's stuff In calling out "St. Vitus." A skating dance is the com- promise followed by a song about popular hoofers, Meroff illustrating each name mentioned in the lyric by a recognizable trade-marked step. At the conclusion he does a pip of a routine of "hoch," ankle and Russian stuff that puts him away to much acclaim. The last song is misleading, most of the house expecting the dancers mentioned in the preceding lyric, to be imitated. The young chap ex- hibits plenty of versatility, but his present vehicle won't do for the big hurdle. It's all right for the three- a-day and should work, smoothed out, into a candidate for the early spots of the better bills. On the Roof in an early spot he held up the show briefly. Con. -ASILE DE NUIT." Dramatic. AI ham bra, Paris. raris, Feb. 23. The one-act piece by Max Maui ey (now manager of the Theatre des Vazietes) Is well known here, and perhaps the best composition role Slgnoret has undertaken. He cre- ated the part at the Theatre Antolne years ago. It is the story of Haps, an outcast, one of the unlucky atoms of a large \JXy. ill* ehie^oncerji .'s-not^what he will eat tomorrow, but where' he is going to sleep tonight. When it is realized Paris is not too well pro- vided with night shelters this prob- lem is a serious one. The guests of a certain shelter have to be indoors early, but Haps arrives two minutes before 9 P. M. The manager receives him brutally because It Interferes with his de- parture to his favorite cafe. But It happens that a Journalist who had passed a night in another shel- ter to get material for copy had written a sensational article the day before, revealing the abuse of those in charge of these philan- thropic homes. The manager suddenly becomes very polite at this recollection, imagining the late visitor to be an- other interfering newspaper man, and each movement of poor Haps confirms this supposition in his mind. And then the manager be- comes so considerate that Haps firmly believes that he has been drinking. It is a psychological and bitter study of humanity. Although by no means fresh, it is one of the best sketches mounted in a vaude- ville theatre here. Kcndrcxc. ROYE and RUDAC. Dancing and Piano. 11 Mine. Full; Spec. Drapes; Cyc. Fifth Ave. Rosalie Stewart framed this danc- ing combination which has Chas. Em bier at the piano. Harry Roye and Dorothy Rudac are the new dance entries and it Is one of the most graceful duos of' a season where dancing acts were as num- erous as home brew recipes. Miss Rudac is an unusually tall gM»-wlis raeves with ^be graceful - MLLE. CLEO. Songs. 9 Mine.; One. Fifth Ave. Mile. Cleo is a petite blonde girl unlike the popular conception of a prima donna. She has a clear, cul- tured soprano voice and accom- panies herself in one or two num- bers upon the piano. Her opening is "Maid of Dundee," followed by another Scotch song de- livered without musical accompani- ment. Next an "aria'* to orchestra accompaniment, followed by her first popular contribution, a pretty ballad well suited to her voice and personality. Mile. Cleo has looks and a voice but her present song cycle will not advance her. More of the popular songs and a replacement of her pres- ent opening might help. Mile. Cleo Is obviously a newcomer to vaude- ▼*"•• Con. NEWSBOYS SEXTET. Songs. 12 Mins.; One. American Roof. The original newsboys sextet was out of a Gus Edwards revue about ten years ago. The current turn looks like a similar offering, and the use of Edwards' song, "If I Was a Millionaire," strengthens the im- pression. Also the opening crap game quartet is from'the Edwards Kid revue. There is one girl in the turn, she at first being a newsie, too. She is a plump kid. Given a solo try she was fair with "Mammy." For the finish there is a change to white canvas trousers for the boys and a dimity for "Jennie," the sextet working with a medley. The turn was plainly deriscd fcr threera-day bookings. IoC€ "AROUND THE CLOCK" (7). Revue. 19 Mins.; Full Stage; Cyc. American Roof. This turn was built for the pop houses by Victor Hyde and thor- oughly fulfills its mission. On the Roof a noticeable handicap was the absence of the cyc. used downstairs. When the act went to "one" the house drop had to be raised and lowered, detracting from the pro- duction flash of the special hangings carried. Hyde's brother, a blonde violinist, leads the orchestra from the pit and also contributes a solo. A male Juvenile does the vocal soloing and handles the introductory songs, al- lowing the five girls an opportunity for changes and ensemble appear- ances. The latter are well selected, each contributing something in the nature of a specialty in addition to the concerted numbers. These were a Jazz toe dance and shimmy while elevated, a skirt dance, a vocal double in Spanish costumes by two of the girls, a Jazz solo by the soubret, a classical con- tribution, vocal. "Somewhere a Voice Is Calling," by one in an ex- cellent cultured soprano, and the violin solo. The title number Is sung by the leading male, with the girls in cos- tumes representing different periods of the day working back of the male In the "line." The finish is ensemble vocalizing of parodied operatic melodies. The act is a hodge-podge of specialties and cast numbers, lacking comedy and running about four minutes too long. As a flash for. the smaller bills it qualifies. Con. equally as frictionless. Both are kickers par excellence and the cos- tuming is on a par with their in- dividual talents. The act carries considerable pro- duction, the stage being enveloped by a pretty black spider webbed cyc, also special decorations and the other appurtenances. The opening is a double dance featured by Royes acrobatic Jump to a split and the graceful execution of both. Next a graceful waltz, he posing her. A quick change by her precedes this. A brief piano solo and the back cyc. parts, discovering her in fetching evening gown and feathered head dress, holding a hand mirror. The dance follows, being a sort of "Vanity" pantomime superbly constructed. His ankle, hock and eccentric solo follows while she changes to a decollete gown of gold for a double finish, he swinging her to a split and both executing difficult Italian school steps. • The turn is in late and on the Fifth Avenue showing is ready for the Palace or any other big time bill. They are as graceful a pair as vaudeville contains. Con. 8KEETS GALLAGHER and IRENE MARTIN. \ "Smithis* (8k;t). 1ft Mins.; Two (Special Drop). Broadway. Skeets Gallagher interrupts the youngX hotel scrub woman slavey after being attracted by her shapely exposed nether extremity, and "dates her up" for the evening. She responds in unsophisticated fashion, proving excellent foil for Qalla* gher's pithy wise cracks. He gloats on the idea how cheaply he will get abandon of a gazelle, and R6yeI is **> n entire vrvenlng'> meal t-tiekcA considering her admittedly unpre- tentious lineage, which includes a street cleaner father, a livery stable brother and a stockyards mother. Gallagher's expectations are shat- tered when the pseudo-slavey, "Smithle," returns in a fetching get- up. with the confession it was all a wager to win a five-pound box of candy from her dad, who owns the hotel. The duo crosstalks some more and goes into a song and dance for a sweet exit- VINCENT and FRANKLYN/ Songs snd Pisno. 13 Mins.; Ons. American Roof. Vincent and Franklyn have writ- ten a number of popular songs, Miss Franklyn writing the lyrics and Vincent the tunes. This he tells In rhyme, going to the piano after introducing his partner. All of the numbers were duetted with one harmony number. That was "Pretty Little Cinderella," which Miss Franklyn spoke of as "cur masterpiece." Prior to each song there was a little explanation of Home sort, generally in rhyme. "A Band That Needs No Leader" was their opener. Miss Franklyn spoke of something serious, but the number, "Poor Little Boobs," was not. "Always Goes Farther Than Father," another of their numbers, preceded a medley of Vincent dit- ties. The couple opened Intermis- sion nicely. / 0<5C< MOORE, MORTON TRIO. Musical. 11 Mins.; One. American Roof. A woman and twb men, one of the latter looking young enough to be the son of the more matured pair. Their routine consists of saxa- phonea, clarionet, piano and piano accordian. The younger man showed some- thing at the piano after starting out with a saxe, but he specialized mostly with the accordian. He had several numbers alone after the woman single with bells. For the finish the elder man Joined with a saxe. the woman singing. On sec- ond they did well enough. The trio looked as though out for some time EVANS snd PEREZ. Perch Act. 15 Mins.; Full Stage (Special). Orpheum, Brooklyn. Two men In perch work. A 24- foot perch is used for the opening, balanced in the usual way with the mounter going through a difficult routine of gymnastics. The perch is very high, It being necessary to raise the borders considerably. The height makes for thrilling stuff, but has a drawback in that the top man can not be seen by those in the rear of the orchestra or balcony. A spe- cial cyc in two backs up the gym- nastics. Later this parts, disclos- ing a scenic marine view. A ladder follows the perch, with the mounter doing more dangerous looking stuff. Still another perch is used later, a double arrangement, sup- ported on the soles of the feet of the understander. Pedal Juggling with a large football by one of the men serves to vary the perch work. For the concluding trick a prop warship is supported on the feet of the understander, with the mounter performing aloft. This had a red fire finish that makes a good get- away. The top man Is a corking gym- nast, doing headstands and seem- ingly Impossible stunts at the top of the different perches. A well mounted silent turn, fea- tured with WESTON, YOUNG and Co. (3). "What's the Idea" (8kit). 14 Mint.; One. 23d St. Al Weston and. Irene Young ap- peared in this skit a dozen years ago. It was then called "The New Reporter." The turn was originally conceived to bring five persons* out in "one," and is probably along the same lines as once played by Searl Allen. The opening number, "He Walks Like This," is of the vintage brand, but it is doubtful if the younger generation remember it. In the skit are two women, a bellhop and a detective, all mixed up with the reporter and concerned in finding money and changing it- The "bull" is looking for Wilson, and a bottle of extinct liquor of that brand l s flashed. "Mail these let- ters," "lend me ten dollars—here's my roll," and all the old stunts are paraded in rapid fashion. The turn depends on its speed, and Weston » and Young provide that. For the flnnle a laughing number which Weston has long usod as a trade-mark was employed "What's the Idea" will do again for three a day. Ibe ^ EDD snd MAE ERNIE. Song*. Dsnces. Acrobatics. 14 Mins.; Three snd One. Fifth Ave. $ Edd Ernie is a monopede who has- been around for quite a while but he seems to have clicked for the better stuff in his- present vehicle. Mae Ernie is his assistant. She is a strong buxom girl who can dance and in addition is a hard worker and appears to enjoy It. She also possesses an accent similar to Ottie Ardine (McKay and Ardlne), which should be an opportunity for dialog comedy. The turn opens showing a divided drop with the girl's head poked through for the introductory song. She step:, through into "one" for a brief dance, proving a fair kicker. He uses the same entrance, the .drop concealing" his body until his entrance showing him a monopede in evening attire carrying a crutch. He does a buck, showing a corking routine of one-foot taps. Next a wooden shoe waltz clog by her, attired in Dutch costume, fol- lowed by another solo tap dance by him to patriotic airs. After a change to short skirts she does a soft shoe buck routine. The drop parts and the act goes to "three" for some table acrobatics, he doing a hand stand and a hop-off without crutch, followed by some high kicks with the girl holding a cigar box table high and then chair* and-table high. A hand stand by him. supported by her arm and crutch, and back to "one" for an argument finish in which she carries him off under her arm. An encore bit well worked up ls a fox trot doubled, with Ernie ret- ting around remarkably despite his affliction. The act delivers on Its merits without the sympathy appeal and should be busy in the three-a-» day circles. con. HARRY BERRY and Miss. Variety Act 12 Mins.; One. (8pecial). 23d St. DAVIS and McCOY, Comedy. 12 Mins.; One. American Roof. A western couple. The man is of the nut comic school. He entered after a heavy musical introduction getting a laugh with a squeaky- voiced announcement, in which he said he was not good at acting, but knew a lot of dirty stories. The entrance of his partner was a flirtation bit which he referred to as "the call of the wild" (women) The girl's re-entrance showed her Jn a golden frock that is a creation it got a long look from the women and the men as well. The house •Jiked the nut war recitation with the curtain slap-stick finish. A aong bit. "It's Too High," was also Harry Berry and a girl assistant present a pleasing specialty turn, with the specialties given an intro- duction through the means of a slight skit structure, explaining the pair are in the alley outside a vaudeville theatre, from which they have Just been ejected. There-is a special drop of the stage entrance of the vaudeville house for atmosphere. Following some talk of the couple, arranging a new act, etc., the turn resolves itself into a series of spe- cialties by Mr. Berry, with the girl playing piano, uke and singing, in each instance filling In acceptably. Berry's talents include acrobat- ics, music, dancing, singing, balanc- ing and Juggling, with a good show- ing in each department. The spe- cialties will insure the act passing with a wide margin in the pop houses. The better part of the gags now j used are passe and need replace- n.pnt. Act entertained at the 23d St. Hell. *em. it fits the three-a-day. nee. close anywhere. BEULAH PEARL. Songs. 11 Mins.; One. Greeley Sq. Pleasant looking, slightly buxom, clearly enunciating, cleanly dressed woman, who goes through her task in workmanlike manner, but minus spontaneity, which, however, 1* sufficiently simulated to do serv- ice in an early spot on a three-s- day bill. She has an introductory number about • personality; then, "early to bed, early to rise, never made anyone wise"—a few stories. a topical song and a coon "blues" ditty. Dependable single for a not too discriminating audience. Jolo.