Variety (March 1921)

Friday. March 11, 1M1 SHOW REVIEWS Con. ■ RIVERSIDE. Practically a sold out house was Present halfway through thcopen- « f, Ct of a rat "c»' uneven bill, short on diversity of vaudeville material. £?"} apa the Chaplin picture "The 515 contributotl to the demand, although the Riverside was only one •L V r thoa tres on upper Broadway •nowlng the feature. The Sym- 8JJJJ' °. n tne m>xt block, and the f^|ndard and Adelphl, four blocks ^2*' a ' y o advertised "The Kid." «ii»? e r e wa8 no nu est ion of d i til- th i , "1 h,);,1 i"Kr tiie audience in for ir^ aS v act of th « vaudeville pro •ram, because scarcely ££ved until the final aim comedy at 11 and Va riety Va!,.^*! 101 * 8hort on «oTia comedy on M« j u W a Hi,,on and Ned NorUn at tim il . tn,J ,i,st aggressive go "••.laughs. They were not espe- a member flash of the 0 p. m. portion was spotty PALACE. Charles "Chic" Sale doubled from Ike Colonial to hold down the next Coloring spot on this week's bill at Ib» Palace. He walked off with the ipplauie and comedy hit and in- cidentally packed a punch that could Qtve been utilized mightily up in the first half had he been able to make the proper connections. Sales With the same characters he built Ills reputation around la getting just SS many laughs as ever and never becomes tiresome. He is an artist from bell to bell. The *tmrt?r' co*uedy: -cont-ri buttons were Toto, third. Bronson and Bald- win, following, and Sylvia Clark next Toto entertained hugely with pis clever pantomiming and contor- tioning and mechanical props, get- ting most with his Petrova travesty on the "skees." He has a new en- core, doing a fast acrobatic eccen- tric dance in lingerie after the sol- dier number. Later Toto took a couple of bends at the conclusion of Sylvia Clarks' "single," and fell all dver her for comedy effect, Im- mensely building up her finish. Sylvia found the Palace customers rather chilly and didn't hook them until well past the center of her of- fering. Her "cabaret ginger" char- acter number usually sure fire, Just managed to lam., and she took down most with "Feather Vour Nest." Bronson and Baldwin on just ahead did nicely in Jack Lait's "Visions of 1071." Bronson's effimi- nate male of the future has im- proved immeasurably. He landed laughs whenever sought for and was Intelligently and artistically aided by Miss Baldwin's mannish opposite. A corking comedy song sung by Bronson while acquiring a jag was One of the pleasantest moments. Parish and Peru were deucing it with their noveliy dance and acro- batic conceptions. The back flip o ft split and the difficult barrel tricks coupled with the novelty concertina double put them across with plenty to spare. • • "Trip to Hitland" closed the first naif. The song writers are still composing a song in full view of the house. It is the same song they have been composing all season, but they believed them at the Palace just as trustingly as they did at Proctor's, Yonkers. One or two hew members are noticeable with Billy Tracey standing out, of the Added starters. The calling of the popular songs and the pinning of a boutonerre upon the author was as •ure fire as Harding's picture. . Gus Edwards making his annual revue tour Opened the second half after Topics. The Edwards turn holds the usual number of young- sters and upholds the Edwards' prestige as a "kid scout." He has unearthed a youngster who 'is a dancing phenom. This kid stopped the act every time he appeared, get- ting his "hoofing" over with a snap. During the encore number which he helps build up. he flashed a buck and wing that registered strongly. The big punch is the "Side Walks of New York" scene with the kiddies dancing to the tune of a hurdy gurdy. The old song favorites were good for individual applause with the kids helping the general effect Edwards should take his work seri- ously. He is never so uninteresting as when s.raining for comedy. The turn took down one of the hits of the bill Nati Bilbainita. the Spanish danseuse, held them remarkably well, getting on after 11 p. m. The Spanish girl showed plenty of ward- robe and has developed the finger rolling of the castinet to a mar- velous point of perfection. Her dances resembled the Spanish dances ••en in the main, but the purity of origin was recognizable in all the native movements. Johannes Josefsson and Co. opened, showing Iceland method of self-defense. The bill was all •witched around after the Monday matinee. Toto was moved up from •losing to third, switching places with the Spanish dancer. Bronson •ad Baldwin up from opening after intermission to fourth. Sylvia Clark gown from fourth to fifth and the Jwwards Revue up to opening after intermission from the next to clos- ?? 8pot * Tne switching was prob- ably necessary to allow Sales to play both houses. The lower floor was capacity Mon- « L n, * ht With the "1'Per boxes Hgnt. The show started promptly at • p. m. through the program. However, the dialect stuff of Hilton got them started after they had made rather tough going at the beginning. The Harry Lauder imitation at the finish got the n ost. and the close brought them forward for three or four bows. They might have pushed their ad- vantage as far as a little speech perhaps, because the house and cli- entele are made to order for the Hilton brand of comedy, but they refrained. „_ Another turn that was handi- capped by Its surroundings was the offering of Pearl Regay and Co. Miss Rega> i«j Jrspffited'StyiC'Of duffc- ing and the miniature song and musical production has speed and ginger, but the fact that they were preceded by a singing and dancing couple. Jay Dillon and Betty barker, who also worked in a colorful full stage set. operated against them. Miss Regay's dancing is the strong feature of the little jazz revue, and the contributions of the Rialto Five, jazz musicians ,and Roy Sheldon, her partner, filled in the intervals between her song numbers and dances satisfactorily. Miss Regay makes a mistake in attempting a pretentious singing effort. She has an agreeable enough voice, but it is scarcely up to the test of a semi- classical solo, and such a selection has no place in the swiftly moving routine. The Riverside audience was manifestly impatient until she had finished, but the acrobatic dancing at the end, with its contortion, proved an arresting novelty and gave the act a capital climax. Closing the intermission, Miss Regay took five bows, after holding the stage more than 20 minutes. The Dillon and Parker act was worthy of a better position. It has many attractive -points. Miss Par- ker is an exceedingly pretty girl and can dance more than a little. Indeed, more stepping wo Id have been welcome. They have m espe- cially pleasing number done in an unusual arrangement of syncopated duet, with Mr. Dillon singing snatches of old plantation songs while Miss Parker warbles "Sam- my." The two melodies work out into some strikingly pleasin- har- monies. The act besides has a pretty silken background of drapes and sightly lighting. Julius Tannen was the last num- ber of the vaudeville part, a pretty severe test for a talking comedian of his nimble-witted style to hold a crowd at the end of a seven-act bill, coming on after 10 o'clock. It takes a pretty alert audience to get the full returns from Tannen's talk, with its quick slants and zippy side comments. Much of the sparkle In the monolog comes from these swift digressions. He starts to talk of one thing and gets the real laugh- ing point in, apparently as an af- terthought, like the observation that the British Johnny wears only one eyeglass so that he cannot see more than his mind can absorb at one time. This glitter of amusing asides is more entertaining than the »p*.« triotic recitation with which he has elected to end his effort. Mason and Keeler were next to closing with the farce called "Oh." It's a rather labored, boisterous bit of nonsense, depending upon a quick succession of far-fetched complications in the vein of ex- treme farce. There is no situation to back up the humor of the dialog; just a rolic of confusion and mis- understanding over two people who enter a house where a burglar is concealed and which is supposed to be under smallpox quarantine; all of It exceedingly laborious horse- play. However, the Riverside audi- ence accepted it In the spirit of buf- foonery and laughed without re- straint, even to the climax where the burglar loses his trousers in a bomb explosion and escapes in his B. V. D's. The others were Howard's Ponies, the brightest, cleverest kind of a clean cut trained animal act, and Frank Mullane, a first rate single number, with his mixture of senti- mental ballads and dialect stories. Rush. *^= 19 COLONIAL bad , L h , 10Ky ,n tho i*»»ticm, forthev l0 weak the ice nearly lialfway I added bit that could have bci n Ivfl The Chaplin picture is being given the credit for a draw at all the Keith houses this week. The Colo- nial Tuesday night held practically capacity, with only one or two va- cancies in the boxes. Those who i tuck for the picture Monday night didn't leave the theatre 'till lL'.lO. though the booking office claims all jhe houses running the Qlm as an addition to the program arc getting out between 11.SO and quarter of twelve. The title of the six-rceler was flashed at 10.15 Tuesday even- ing. Bight nets were Scheduled, with two dividing the honors of the even- ing—Chic Sale ;i i t*l Lew Hilton. Outside of thai duo the audience remained cool throughout the per- formance, though Riggs nnd Witchie vanned em Up a bit. next to clos- ing, with their dancing. The equilibrist Rekoma got away nicely in the first position, but courted disaster by coming back and stealing a duet of hows thai were unnecessary. The gang out front early showed their willingness to hop on ahj one who exhibited o tendency to take liberties with Vm Wilbur Sweat man and his clarinets held the deuce spot, succeeding in making it Worth while, but also b»-ing guilty of returning for an out. The Jaxz musician has left most of his accompanists behind, retain- ing only the pianist and a drummer to assist with the melodies. Frawley and Louise followed, ob- taining many a laugh through Bill's fast chatter. Miss Louise looked ex- ceptionally well and scored with her voice. It might be of advantage to the couple to emphasize the har- monizing, now limited to ths num- ber with the girl singing off stage. Both possess the vocal assets to make it worth while. Chic Sale was responsible for a shorty stop in the running order alter he "hail finished' in the IsTo. 4 spot. The rural character artist has evidently added a few new incidents in his Impersonation of the elderly horn player, and they have enriched the comedy value which the char- acter contains. The film stars, Virginia Pearson and Sheldon Lewis, closed the first half with their dramatic playlet, stalling along for numerous cur- tains at the finish, which allowed Miss Pearson to come down to the lights for a short "heart to heart" speech that was accepted as skep- tically by those in front as the act itself was. The Colonial audience Tuesday night was no mob to pull dramatic moments on. The sketch lacked sincerity and brought forth titters and giggling in its serious moments. Lew Hilton closed the vaudeville portion of the evening and ran even with Saie for honors. Ned Norton as the "straight" fed his partner acceptably, but his imitation of Lauder might go. If a Highland ditty must be used in order to pro- vide an excuse for Hilton's comedy makeup which follows, the an- nouncement of the imitation would be better out than in. Preceding the Hilton turn was Jack Inglis, opening after "Topics." The "nut" comedian got by well enough. Riggs and Witchie fol- lowed and scored with their dance interpretations interspersed with selections by the violinist in the pit. Mack Ponch. The act is above the average, with its special scenery, while the couple dress neatly throughout. The footwork is a strong element in the appeal. man and always "sells" himself to good advantage, albeit a tendency to do something, vulgar. He ran true to form Tuesday evening by "accidentally" kicking his partner on the lower end of her spine while he was dancing and she playing the piano. While playing the flute he paused to utter, the remark em- ployed for so many years by the blackfaced man of the old Water- bury Bros, and Tenny act—"I blow It so sweet and it comes out so rotten." As done by Tenny it has gone down into variety history as a classic and Burt gets little out of it. The . Boa tack . Riding Hfhqol closed the first part and generated laughter. After "Topics of the Day" Watts and Hawley scored a hit of good proportions. Watts is a huge, port- ly man, very funny to look at and singing a number of specially writ- ten comedy ditties. Miss Hawley is a fine accompanist for him, never removing her eyes from his face for an instant and tapping the ivories to a nicety. She also sings a ballad with feeling and with a pathetic note in her voice that won her a volume of applause. They almost stopped the show. Pressler and Klaiss really did stop the performance for a few mo- ments, holding up Mang and Sny- der, hand-to-hand gymnasts, who closed. Pressler is an eccentric burlesque piano player with a wealth of comedy bits, cleverly exe- cuted. Miss Klaiss sings songs strenuously and vociferously in an ironclad, sure-fire vaudeville voice, and. with an apparent feeling of complacency that admitted of no argument as to her value. They were a small-sized riot. The news weekly went on about 10.45 and the audience departed with every Indication they had en- joyed themselves. . Jolo. JEFFERSON. Taking it from the audience angle the bill at the Jefferson this week is a satisfying one. it has plenty of noise, a goodly allotment of sing- ing and dancing and, last, but not least, and of the utmost importance, comedy. It runs smoothly from start to finish and has the requisite amount of "class"—not too much to make it highbrow, but enough to give the impression they are seeing the very best to be offered in the way of vaudeville entertainment. The headliners are Leo Carrlllo, fourth, and Frisco, second after in- termission. Of the two, Frisco was better known to Tuesday night's attendance, for-i^recelved applause directly his card was flashed. It was JusU as well for Carrillo. teried intently to what for they list appeared to them to be an im- promptu introductory announce- ment before going into his monolog. consisting of his former Chinese and Italian dialect stories and imita- tions. A large percentage of this artist's success is his pleasing, in- fectious personality. He was the real "class" of the bill. His Chin- ese and "wop" stories sounded bet- ter than ever and both dialects bear the earmarks of careful study. He finished In fine style and for an en- core offered a recitation In French dialect, in the form of a plea for the American Legion. For a serious effort it proved to be the most atro- cious piece of non-preparation in the matter of the study of the French dialect ever perpetrated upon an audience by a performer who makes any claim to legitimacy. It was accentuated through follow- ing the excellent Chink and "wop" characterizations preceding It a few moments before. It was supposed to be the story of the bravery of the Americans in France in defending the onslaughts of the Germans in the late war, told by a French soldier in broken English, replete with native words. To make it worse. Carrillo at times abandoned the French dialect entirely. Frisco is assisted by Loretta Me- Dermott and Eddie Cox. and de- pends more on his ability a« a comedian than as a tei psichorean- ist— thing he is hired to do. His comedy efforts were prolonged be- yond, all reason and a noodiy section of that portion might he advantag- eously deleted. A little of it i< funny because of its crudity. Daly and Berlew, whirlwind dancers, gave the entertainment a classy start. Miss Berlew changes hi r clothes for- each number and the couple look well. The excellent time they keep for - their ballroom step- ping and their fast twirling f<>r the finish, csrried them through to good results. El Cola, gytoiihonlst, has :i lot of comedy bits <»t buMness thai did materially in lifting him out of the cstegory of straight instrumental* isi.. Ill scored s big hit. lie was followed by more instrumentaliz- ing inten persed with amusing com- edy, this tittle consisting of singing, dam Ing nnd crosstalk, It i* done by Frank Burt and Myrtle Roscdule, an exceedingly capable couple, flho i !< gii (mate f"ii tut Burl h ecceji tiir i >medy and Incidentally i good' pot a* t as musi< an. Burt is a seas* [red • low o- s. ORPHEUM, BKLYN. Brooklyn was batting 300 In the first night league Monday. Fulton street, the main alley In the baby borough, gave a colorable imitation of Broadway on a busy day. There were two causes for the unusual ac- tivity, Pat Rooney was having a premier with his new show "Love- birds," at the Majestic, an.' Ethel Levy was playing her first engage- ment in 14 years at the Orpheum. That Brooklyn is loyal to old faVofites was attested by the ca- pacity house that greeted Miss Levey. She did 33 minutes, pre- senting practically the same song repertoire as at the. Palace several weeks ago and entertained consist- ently throughout. As a surprise feature Ceorgetto Cohan got into the final number, "Mary Rose," for a brief bit of vocalizing and a more extended bit of shimmying. In addition to stating that her "mother thanked 'em and her father thanked 'em" Miss Cohan included her newly acquired husband Monday night. Previous to this Miss Levey had responded with a speech, cli- maxing a hit that started with a reception and ended with an ova- tion. The snow itself was not partic- ularly well blended, with three si- lent turns out of nine. Franklyn, Charles and Co. just escaped the I silent class, through a couple of songs, the best and most Important work of the turn falling In the dumb classification. Programed second after intermission they were placed to close the first half, ex- changing spots with Donald Kerr and Lady Friends." Position seems to make no difference to the Frank- lyn, Charles turn, however. They cleaned up over here just as they have been doing in the other metro- politan Keith houses, the Apache dance and gymnastics making the Brooklynites gasp and applaud un- til they were arm weary. The Kerr turn was one of the substantial hits of the show, and deservedly so. It's a production act with four girl solo dancers, a male pianist, who sings well, and a cork- ing dancing juvenile In Us princi- pal, Mr. Kerr. Scenlcally the act is splendidly mounted and its cos- tume array is comparable with the best that musical comedy has to offer. The number Introducing Rus- sian, Hawaiian, Spanish and Ameri- can dancing stood out among a number of artistic specialties. Sylvia Loyal opened with her trained poodle and pigeons. Miss Loval caught a well settled house and landed applause for everything she did. The hat catching of the poodle went especially big. Trans- fleld Sisters, second, did unusually well for that spot. The gtrtS play saxophones, xlophones, and stringed instruments, besides singing and dancing. A nicely varied (urn put over with lois of pep, and backed up with a tasteful Scenic and cos- tume display. Wilson I ho«. fourth, made 'em lliter when they started, laugh when they got under way and yell when they got in their full stride. The comic's 'go ouidt" and the yod ling never Went better, Sydney Grant making a reap* pea ranee in vaudeville, and his first time: at the Orpheum in 1 :\ years did nicely With about the same routine of .songs, stories and riddles h*- has i»*<>ii doing for several years. Mr. (Irani mentioned Jack Lail In con- nection with one <»f his yarns, Jim Thornton in another, and Gertrude Hoffman in still another. The Chfrese theatre bit for closing did much a* it has on past This through most of the audience being over familiar with it, although r.ot done for years at this house by Mr. Grant. The same reason may be advanced for several of Mr. Grant's stories catching so mild a giggle. Kara and Evans and Peres (NVvr Acts). BeJl ALHAMBRA. A 100 per cent, comedy arrange* ITo n , * and *,. the new Chaplin film tilled the Alhambra to the third tiei boxes Tuesday night and sent hom# a thoroughly -satisfied'audience Tt was straight-away top-side vaude- ville with a happy distribution of laughing features, culminating in as fine a bit of high class sponta- neous fun as comes to mind with Jim Corbett and Billy B. Van as the closer of the vaudeville section, just before the screen feature. The word must have spread among the Alhambra clientele swiftly that this week's entertain- ment was the goods, for the box office rack was clean at 8:15, the aerial boxes Included. The show warranted the patronage. It was vaudeville at its best. w 11 probably Four Ortons, comedy wire work- ers, opened nicely, followed by Ryan and Bronsou. a pair of dinner-jack- eted young men who sang popular* numbers and exchanged mild pleas- antries between times. Both satis- factory acts for the preliminaries. Schlchtl's Royal Marionettes woke up the house. This remark* able mechanical doll display out- doea everything in its class by a lap. The little puppets are aston- ishingly lifelike in their maneuvres and some of the breakaway effects are startling. Variety commented upon the turn when it showed at Hammersteln's over 10 years ago, and since then It has undergone many improvements. One of tho dolls actually smokes a real lighted cigarette, puffing clouds of smoke. Some of the trick breakaways are complicated beyond description, as, for example, a clown with a trained ostrich, which lays a huge egg and then disappears, giving place to an- other doll which breaks the egg and hatches a fire-spitting dragon which carries him off. The -disjointing skeleton Is still present. Altogether It Is a whale of an exhibit for chil- dren and Interesting to grown-ups, too. Ed Pressler and Blanche Klaiss have their amusing number, with the eccentric nonsense of the wild- haired string bean comedian draw- ing hearty laughs. The pair have a curious opening, the girl coming on cold with two songs before the comic gets into action. This may be a safe arrangement for the team because Pressler gets a laugh on his appearance, but It would be a hazardous scheme for any come- dian who had to work for his in- troductory giggle. This comic gets 'em at the jump and his pantomimic clowning carries him safely along for a couple of minutes when he and the act are well over. After that they're set. Wood and Wyde have a bewilder- ing assortment of capital laughing material, among which they have allowed some really fearsome gags to creep in. That solemn-faced tenor who warbles conscientiously between shifts is an epic of ab- surdity and a mine of fun. but beside this deft comedy twist the travesty pair turn loose a lot of released stuff like the one be- ginning "A woman waits without"— "Without what?" etc.. to the bitter end. The travesties are In the same vein—some clever matter ajid a good deal that Is unspeakably crude and stale. They closed the first half, made up of a happy com- bination of fast, varied entertain- ment warranted to keep any audi- ence on tip-toe of Interest. With the show going at third speed forward, It was made to or- der for Miller and Lyles with "Forty Below," as laughable a sam- ple of blackface humor as there is. This pair do real character work. In its way, as complete and satis- fying as the art of the best of the old-timers. Miller and Lyles have the rich, mellow dialect that goes with their race and it adds a lot that is beyond the reach of burnt cork. Emma Ilalg, with Richard W. Keene, were next to closing, fur- nishing a dainty bit of color and a wealth of youthful good spirits to break the too continuous suc- cession of laughing turns. It was placed at exactly the right spot. It contrasted with the ridiculous dusky pair nnd gave a breathing, space before the storm of cackles that accompanied Van and Corbett following. Miss Halg is the per- sonification of young feminine grace, a cheerful little sprite, while youi g K«'ene is a happy boyish selection for her partner. They simply rol- licked away with nearly 20 min- utes, ably assisted by a modest young woman at the piano, who won an enthusiastic burst of ap- plause on th,? strength of a i .nark- ably pretty melody, not sung, but just hummed In a peculiarly sweet, wordless refrain. Then came the climax of the eve- ning in Van and Corbett. They have fattened up their "Eighteenth Amendment" affair to a degree of unctuous richness. It's a scream from start to finish with a big, s«»mi- hysterica 1 shriek at the finish. Ths pair closed the show and carried off tie' bacon. ItMxh. (Continued cmi page 24.)