Variety (March 1921)

**r.r mm Friday, March 18, 1981 SHOW REVIEWS t • IT i= -MELODY FESTIVAL." Song* and Violin. 16 Mint.; Three, American Roof. Cantor 4k Yates preaent thla turn, merely a female vocal septet, with one of the girls also attempting a little violin work In ensemble only, which leads one to suspect her de- ficiency on the solo end. The Mrls are excellent singers, earh display- ing a powerful sopra- 3 and a con- tralto to good pur pos in solo, double and ensemble nuirbers, but as for being "lookers," they may be considered the belles of Grai.J street or the Bronx—nothing r.ore. There is no "production" to the act to speak of unless 't carries spe- cial hangings in the downstairs the- atre, and the only attempt it stag- ing a number was wit! "Young Man's Fancy," wherein tht girls make a change to ante-bellum frocks and alternately issue forth from corners of the stage in step to the music. The girls deport themselver in un- seasoned and poorly schooled man- ner and betray they are novitiates. As vocalists, on th* other hand. they qualify amply. They topped the show here and were rather cordiauy received, and should do ditto in the other houses of the same grade. =w DAVE HARRIS, Song*. IS Mine,; One. Colonial. Dave Harris was out last season in a song single. Formerly he wai. In a two act of like classification. Ha now is offering a routine that takes in comedy musical playing as well as singing, and the improve- ment is exceptional. He announced he would give his idea of how popular songs sh u?i be sung and how they were'rendered in a jazs cabaret. Fiist off he sang while strumming a guitar, using "Bright Eyes" to good purpose. "Whispering" was the number with a jazz clarinet interrupting. He was at the piano with a ballad sung- straight, and they as the p.*yer in the cabaret would serve it. The comedy end was better wori.cd up with a bass viol tnan the othei in- strument, Harris using "Margie" for the big fiddle. Trap drums were used for one number and then a mandolin for the demand encore, which was "Mammy." Harris is a .ittk jazz band of his own. He has selected some o£ the most pronounced song hits for his routine. On opening Intcrmissio he was a solid hit. Ibce. AMELIA GENOA and Co. (7). A robats. 7 M ins.j Full Stage. Palace. Amelia Genoa it assisted by seven male acrobat*. The turn gets in the novelty class through all of the tumbling, which is mostly of the lofty type, being done through the use of see-saw springboards. These springboards give the mounters the leverage for some great somersault- ing. Miss Genoa is a brunette, pos- sessing looks and class, and a cork- ing acrobat withal. Among the tricks executed by her is a double back somersault, from the spring- board to a two-high formation. One of the men does a triple from the board to three high. The men wear purple jackets and knickers. These "DOLLY'S DREAM" (6). "Girl Act." 18 Min.: Full Stage. Amorican. The lobby photofnimes show the act in an elaborate toyshop set. On the stage a special setting, much simpler, shows a nursery. The bill- ing does not disclose who the people are, a principal man and girl and four choristers. At the opening the ttlest girl is playing with a big teddy bear. Papa's voice off stage orders her to "go to sleep." The rest is a am in which the four girls impersonate the child's dolls and the man. ap- pearing from a jack-in-the-box, leads several numbers . ad does comedy, reading burlesque rhymes from a Mother Cloose boo" Toward the end. the little girl does a sightly toe dance, out otherwise there Is no stepping worth the name. Neither is the singing particularly pleasing. The tiny prima donna sings several simple numbers in a childish voice, but the man of. the sextet has no voice at all and merely recites his comedy ly-Ics. whlc- are pretty crude in ideas. The frame up will please the youngsters, especially a neat bit to- ward the end when the four glrla appear as grenad.er dolls and go through a ridiculous drill, the come- dian clowning '-out as drill master. This and the bit where the girls ap- pear from a mammoth nursery rhyme book set up at one of the entrances and recite a verse or two in the characters of Jack and Jul. Little Boy Blue and Red Riding Hood were the saving graces of the interlude. The sight features and the appeal to the youngsters are the best ele- ments of the number, which can scarcely advance b yond Its present classification as a passable small timber. Hush. FRANK MANSFIELD. Musical and Songs. 15 Mint.; One. City. Frank Mansfield's forte is xylo- phone playing, a dash of ivory tick- ling, and concluding with a reper- toire of pop and classic songs. The xylophone session consists of the usual pop medley. At the grand he plays "Young Man's Fancy" in pass- able style, while the vocalizing built his turn up to a smashing finale. stopping the show an encore with "Eli Eli." Possibly the popularity of the song had something to do with the insistent recall, but Mr. Mansfield displays a pleasing tenor, both in his "Old Pal" ballad and the routine en- core, a Caruso impression with "Pagliacei." He was No. 2 at the City and can do more than bo-pg Justice to the spot in the pophouse3. ■•■■■■ .-'. - - ■• JO JO HARRIS (2). Piano. Songs and Talk. 15 Mins.; .One. American Roof. Jo Jo Harris 1h a hybrid two-art rnoni<-,t, standing tog Jo Jo Loo (Phil Baker's former plant) and P. illy Harris, formerly Poston manager for tho Harry Von Tilzer Music **ub. Co. Jo Jo still work:* I'rom tho box an before. Mr. Harris Introduc- ing the turn from tho ..tag , pre- siding at the piano. Following a selection, Jo Jo interrupts with his ■hugging business and thereafter gags, hokea and vocalizes from his Parch to a highly attentive and con- vulsed audience. The turn is set for feature book- ings on the big small and small big time. MERCER TRIO. Musicians, Singers and Dancers. 14 Mins.; Ons. American. Two boys and a girl, apparently brothers and sister, all excellent pianists. They take each other's placo at the keyboard while one or the other stags a number, and for the feature of V turn 1 three sit on the wide bench and play piano trios, an elaborate rag arrangement exceedingly easy to li ton to. All three are young, the boys mak- ing a fine, youthful appenrance in their tuxedos and the girl Impressing as an agreeable "homey" person in a pretty party frock. There is noth- ing stagey or forced about the young people. Their efforts are spontaneous as though they were entertaining a party of friends. All three have nice voices, although their trio of "Mammy" near the end seemed to be off somewhat in the harmony. For a finish the two boys do a noisy minstrel first part with much banging of tamborlnos -id clatter of "bones," while the girl plays the piano. It is the poorest bit of the routine, but at that, got them off to substantial applause. The taller of the young men shows, promise of an eccentric knack which ought to be developed. Rasa. PALACE Nine acts at the Palace this week, six in the first end three In the second half. This arrangement proved a trifle top heavy Monday night, the first part holding enter- tainment values that overshadowed the second, causing the show to taper off instead of holding up to the finish. The show ran as pro- grammed, Four Ortons. wire act, opening, and Amelia Genoa and Co. (New Acts), acrobats, closing. Lou and Paul Murdock, youthful eccen- tric dancers, second, were on too early but did very well in view of the incoming house, which filled up later than usual, possibly through the fact of an 8 o'clock overture. Tho Murdock boys are experts in the soft shoe stuff, putting over all styles in a finished way. Yvette (New Acts) was third and i smack too much of Euro- Kramer and Boyle fourth, the latter being tho first to reach 'em with comedy and profiting accordingly. pean tumblers. Evening dress or business suits would give the men the class, now lacking, and which Miss Genoa herself has. The act is reported to have been formerly known as the Picchlani Troupe. A big time silent turn, with speed and feature tricks, its outstanding features. Bell. KILNER and REANEY Comedy Talk and Songs. 14 Mins.i Ons (Special Drop). Columbia (March 13). A special drop of the quarter deck of a passenger ship. Off stage har- mony Is followed by the comic's entrance. He is a blackface come- dian, stowed away aboard the ves- sel, and is discovered by the straight, a lieutenant. The latter interrogates the comic and informs him he is going to put him to work. The former says he is a charter member of "The Order of the Folded Hands." New and old ma- terial cleverly blended, with the straight an excellent foil and of splendid appearance. Comic goes below to change to "whites," while straight solos bal- lads in pleasing voice. Comic re- turns for more dialogue anent his experiences aboard a cattle ship Most of the talk is of nautical subjects, well constructed and de- livered. "Sweet Miramba'* doubled with soft harmonizing with comedian do- ing burlesque Egyptian dances quietly brings them back for an- other song double encore. Likely looking candidates for an early spot on the bigger bills. SMITH and ARNOLD. Comedy and Songs. 12 Mins.; One. 53th St. Loring Smith and Dick Arnold are a "nut" combination. They havo worked up a routine that looked as though out for some time. They started by blowing horns, dash'ng back to the entrances and on again with burlesque lines anent the previous act. The following chatter was of the "nutty" variety, something about treating a girl, with scattered French words in- serted for effect. It finally led them to a nut song number, "Ain't We Got Fun." A rhyme bit, "Where are you go- ing to get a girl like that." got something, and a supposed moving picture synopsis bit was well worked up, though one or two familiar gags were detected. They capered about for a popular song finish and drew a good hand. This team has pep. It needs something of a punch na- ture for the better bookings. Joes. VAN HORN and INEZ. Roller Skaters. 5 Mint.; Full Stage. 23rd St. Man and girl who confine most of the routine to the various spins, in- cluding one of their own. The man opens the turn with a single spin, well done, and after waltzing with his partner immedi- ately goes into a faster spin, follow- ing that with a spin of one foot. After the girl changed they imme- diately went Into an "aeroplane spin," and then announced the finale, claimed to have been originated by them. The girl grasps a harness attached to the man's neck. She is swung clear off the floor, she her- self revolving while spinning around. This couple lose no time In routine roller work. They work fast and furnish a good opener. A try at costume flash might get attention fror.. the bookers for the better houses. Con. STEVENS snd BRUNELLE. Sotrsia and Talk, 12 Min.; One. 58th St. This couple did nicely No. 2 with vocalizing, both possessing voices that carried their quartet of melodies over to approval. Their appear.*ace is neat. The feminine member makes one change. An Irish lyric as sung by the man aided materially in gaining returns, while the high nop s n l his partner Were also of advantage this re- spect. What conversation the n • contains ts Incidental as it Is only used In between the numbers, hut it Rlighl be made more of with a little strengthening. The turn total? m ■• tl entertain* tnent above normal and shout' be sbli to hold an early spot in tho in THE FORTUNE QUEEN (6). Talk, Song and ranee. 15 Min.; Three (Special Hangings). City. A male quartet and a woman com- prise the act. The turn is introduced with a few moments of travesty for- tune-telling, in which the girl and one of the boys frame up three of their male acquaintances. Follow- ing the expose of the hoax, one chap suggests they proceed rehearsing their forthcoming vaudeville act, and tho balance of the routine is merely a repertoire of male quartet vocaliz- ing of pop tunes, solo dancing by the girl and ensemble harmonizing. The men might add something of value to the turn by essaying a little solo or duet work to relieve the monotony of tho quartet vocalizing, although their work In this respect was- pktslugs . .. . Kramer has developed as a comic Monday night he placed his laughs scientifically, making every point a tolling one and handling hir, mute- rial with the ease of a veteran. The "Mamma throw me down the key" lino used by Mr. Kramer at the opening started them off at full speed. Harry Breen has been using this for years. Unless Breen has granted permission for its inter- polation in the Kramer and Boyle routine it looks a clean case of lift- ing. Mr. Boyle's songs brought the usual applause rewards. The ap- plause at the finish was very heavy, and after bowing their heads off the boys were forced to beg off with a speech. Whiting and Burt piled .another terrific hit fight on-top of the Kra- mer and Boyle wow. They did 27 minutes, entertaining artistically every second they were on. The only song of the last season routine retained is "Sleepy Head," and the encore number without music. Mr. Whiting scored Individually with a rube number, costumed with wig and jacket, getting hidden possi- bilities out of the song, through pantomime and delivery. The doubles were inimitably put over. These included one with a dancing finish, disclosing hitherto unknown talents in Whiting as a hoofer. It would take an umpire's indicator to record the bows taken at the con- clusion of the Whiting and Burt turn, two encore numbers being de- manded after the regular routine had been finished. The Four Marx Brothers, closing the first half, are now a production. Ilrrman Timbcrg wroto and staged the act. which is called "The Mezza- nine Floor." It was a riot Monday night. The turn holds 11 people, carries a thread of story, has an outstanding smack of smartness about it which, coupled with the Marx Brothers' low comedy clown- ing, constitutes a combination that's infallible. The act is written partly In prose and partly In rhyme, with the spoken and lyrical portions simply sparkling with brightness. Arthur Marx, the silent comic of the family, hasn't as much to do In a comedy way as in the former Marx turn, the meat being more evenly distributed. Julius, the eldest, shines as usual with a constant flow of "wise cracks." apparently for the most part impromptu, but all dis- tinctly funny. Arthur's harp solos were an ovation Monday night, and a distinctive feature of one of the very best acts that has hit the Palace this or any other season. Even the four choristers are ca- pable of individual work, each scor- ing with an imitation of a popular dancer. The turn also has real values In a production way. It should lift the Marx family right onto Broadway. Kitty Gordon and Co. opening the second half dazzled tho feminine contingent with her costume dis- play, did three songs and made a nice Impression with tho clans of her offering. Lillian Boardman had one opportunity, In a harmonized num- ber with Miss Gordon. Jack Wil- son and Co. next to closing were too far down, and had too much show to follow. The moving pic- ture travesty with Miss Gordon, doing straight got plenty of laughs until near the finish, but three or four orchestra seat, holders started to walk and that settled it, num- erous others following In the re- treat to the exits. Wilson worked hard, but the handicap was too murh for him. Following his own act, Mr. Wilson made a short speech, requesting the house to re- main seated until the. closing act appeared. That speech might nave been included In his own act. Amelia Genoa (now aces) closed. i'll. the house for the honors ot the evening, going on No. 7 (New Acts). Loretta McDcrraott is back with him. with Eddie Cox. and that makes a strong trio. They have been workiug out of town for about ten weeks, according to the Jazz hound in his plenitude of chatter. Frisco is for clowning it to the ef- fect that he and his support!.ig players haven't much sense, but it d csn't work out that way. Cox in making an entrance tripped over the head of a bear skin rug. Frisco hopped to it immediately and later Cox pulled a phony trip on exiting. Mr. Wise in Joseph Hart's pres- entation of Roy Briant's "Tho Old Timor," has a capital comedy. Thero is a laugh and a tear, With a kind- 11.. -s pervading all that makes the star very welcome to vaudeville. The idea of the playlet itself is -- cellent, bringing in the bit of dra- matics from "The Lady of Lyons." That In itself is an admirable chance for Mr. Wise in the role of the sup- posed famous "Thomas Kenyon Blake," who played the lover in the piece for "more than 4c years." The . is one inconsistency. The dialog locales the action in a town and rubes are mentioned several Mmes, yet the back drop pictures a skyscraper. Miss Nila Mac, chief in support (there is one other player) perform .-d agreeably and with a proper realizalton of her role. "The Olvi Timer" la a sketch of rarity in that it pictures actors as regular people instead of satirising or bur- lesquing them. So it must be pleas- ing back stage as well as in the front. Eddie Kane and Jay Herman turned in a solid hit score. Tho booze wagon had a bit of crape hung to it, with no comment In the routine, that was a laugh from start to finish. In outline "The Mid- night Sons" is the same, but a number of bits that looked fresh won the giggles from those who might have been familiar with the act. The match bit and the Greek restaurant business started the houne going, with the comedy and song finishes sending the pair over with a b.-ng. Ona Munson in Clarence Jacob- son's production, "A Manly Revue," closed intermission classily. Miss Munson is a peach from last sea- son's "Scandals," and she looks as though planted In vaudeville per- STOCK OPPOSITION Indianapolis, March 16. Reports that Patricia Collinge, now with "Ju«-t Suppose" at Chi- cago, will play leads for the Stuart Walker Company, which will .spend the summer at the Murat and that Owen Miech, who has support*:d Mrs risks for yars, will be with Gregory Kelly's stock company ?>t English's at the same time added fuel to the flame." of the stock war which is <b veloplng here. Kelly and Walker will open at about the same lime. Walker has had his company at (hi Murat f"r the tummef season for four years. termediate bouses and a few of the j Kelly has played In the company Hush, 'from time to time manently. Like the same producer's "Ladles of the Jury," "A Manly Revue' wus written by Howard Kmmett Rogers. The work of Shean and Phillips, a pair of neat danc- ers, won applause. The balance of the six supporting youths had song specialties, they being programmed Le Roy Duffield, Harry Holbrook. Joseph Miners and Wallace Clark. "ave Harris (New Acts) gave tho second portion of the bill a great shove after the "Topics of the Day * and it was easy going when Frisco vamped on. Harris Is now a whole lass band .n himself. Glenn and Jenkins were a disap- pointment next to closing. The colored boys entered to a reception and started away with a rush. They fizzled to nothing for some reason after the musical portion with mouth organ and guitar. That they were winding up a bill should not have Interfered with them getting over. The comedy talk at the start had the house ringing with laugh- ter. Perhaps the musical bit was too much extended. There was no attempt at reappearance, which the audience probably expected. The finishing chatter and dancing were entirely cut therefore. Frank Mullane was a distinct hit on second. He was in good voice, and that gave him a start. His stories went over with precision and consecutively, so that his first exit was gre-ted with solid applause. Mullane has practically eliminated all his Irish stories and is using a rot tine of Yiddish jokes. They are far better than the former mixed routine. He encored twice, and from the general impression cre- ated ho will be found regularly in the big houses. Van Horn and Inez, a new roller skating turn, opened the show with a. fast exhibition of spins. The girl l.» the act flashed new costumes rrom thoee used when last seen, and it was just the thing needed to bring them into the big houses. Kvelyn Pe Lyon and Co., a three- act, with equlllbrlstlo and aerial ork. closed the show, holding a fairly good percentage of the house seated. lhcCt BROADWAY. It might be interesting to barn Just what percentage of the a trend- anee at the BroaHw a y Is r^KuUr <>r "n™znb<*Yi*tf6< m " "iflttrona^v «jv£ what portion is transient. The imprcjslon is cleaned the greater portion of tho n.ght visitors are transients, most of whom do not know one act /rum another and judge the turns purely on their merits. They may be drawn by the acts or the feature film, one doesn't see any big vaudeville names billed. The picture headlines a corking working bill. After all. h••* much more satisfying it Is to sit through a show 'tevolu of all "fcoHtr* This week's show Starts off with Ameta. who offers her familiar tire dances backed up by minors, 'ler stereoptlcon machine was .-et In the left wing and the mirrors only on the right side of the stage. Tho Kiel s are beautifully coiored, and TliT" w;i-; wide variety present, '* •• a pretty, flashy sight act 10 with a Wealth of comedy rredoml- open a program. Arthur and loah COLONIAL A rattling good show was meted out to the Monday nlghteif who greeted it. in mo.it friendly fashion. Prom the sfurt high scoring started and continued almost to the end. The entire first section counted as hits and after intermission a braes more \\ ere added. The house WED practically 041 parity, with a long line keeping the box office busy before S oclock. No doubt about the re- duction in scale putting the Colonial ba< k on the map. The kind of cn- tertalnment offered this week will keep U tie r. larger ones. nant. AIho there were nines \*;th Tom Wise and Prlsco, Th» latter was the heudhner and he tapped !'.<• I hive the nucleus of a noveltv in a double ventrlloquial act. Hoth ((.'••ntinucd on Page If)