Variety (March 1921)

mi i > Friday, March 18, 1921 Clipping from "Variety," March 11. PLACING SAFES BACKSTAGE FOR ARTISTS' PROTECTION Keith Office Issues Order—Back-Doormen Respon- sible—Required to File Bond of $1,000—Numer- ous Dressing Room Robberies Lately/ Following numerous robberies of Hill I CJl O » dressing rooms, and to prevent a DTD repetition . of^ the same, the Keith office this week ordered the installa- tion of safes, back stage, in all of their houses. The safe Is under the car stage door man, who $1,000, beginning i artists are not signs post door Keith provides protection for your valuables while in the thea- tre. You can secure for your money continuous protection in town, and on the road, by changing your salary and savings into American Express Travelers' Cheques. At all times you are insured against loss by fire, or theft of your savings and travel funds. Near every theatre, in every city and town, there is a Bank or Express Office where, for a very small fee, you can purchase Amer- ican Travelers' Cheques in convenient denominations from $10 to $200 each. Members of the theatrical professional and other travelers have been using American Express Travelers' Cheques for the past thirty years. By this use throughout the world they have made them known and spendable everywhere. A safe way of remitting money by mail in payment for royal- lies, commissions, etc., is by American Express Money Orders, for sale at Express Offices, Stationery Stores and Drug Stores. Mack (new) opened in prescribed "dumb act" fashion, making way for Ryan and Weber, a capable hoofing couple who are employing consid- erable "Royal Vagabond" music in their routine. The boy sports the costume of a French officer similar to that in the Cohanized operaetta, and the girl, a peaches-and-cream miss, was restive on the optics in a couple of chic creations. The team was not in the original "Royal Vagabond" cast, but may have been In one of the road companies. In ; No. 2 they set an exceedingly fast ; pace for the spot. Vic Stone and Moyer Sisters of- fered a passingly interesting song and dance routine, with the sisters bearing the brunt of the terpsichor- ean labors, Stone taking care of the vocalizing with a couple of ballads. On the stepping end, however, he has a tendency to "fake" it, which angle could stand improvement. He was also further handicapped by an inattentive orchestra conductor, who seemed too engrossed in read- ing the music to pay any attention to cues. Mills and Smith and the Melody Festival (New Acts) closed the first half in the order named. Arthur Turelly reopened with his whistling and harmonica work and proved himself adept at both, the "mouth organ" particularly. One wonders whether a variation on his classic ■elections by interpolating a few pop tunes would not help matters •omewhat. Herbert E. Denton and Co. (the latter a young woman who does straight in the sketch) kept 'em •miling with a little domestic come- dietta and bowed off to healthy re- sponse. It remained for Jo Jo Har- ris (two-act), however, to annex the hit, comedy and applause hon- •*■ of the evening (New Acts), judge and Gail closed with their familiar trapeze and ring routine. Photoplays preceded and closed the vaudeville, portion of the routine which in- cluded her performance .» the harp. The other woman's placing: of the trombone rates as good is any feminine specialist with that instrument, and her solo in one later was well appreciated. The con xli- ans still use the "gas houf<i," some- what of a tcade mark with this turn. ' he gas stunt is worked so quickly that it is a real novelty. The "duke" nonsense had them giggling "blue blood-black ink," with the odd noises of one of the men always worth something. Foley and O'Neil presented a neat appearance, as always. It is rather rare for singers of ditties to ^ance as well as they, the tap work fol- lowing the first number giving them a fine start. A singled mother song seemed too slow in tempo, but it landed with a bang. Botl Men tried a few notes of double vo ■» stuff in their dueting of "Broadway Rose." They were out for a demand e ore, a cat bit that too went over strongly. Loring Smith and Dick Arnold were a good fourth (New /.ets). The Three Gennels made a good sight closing turn. Sankus and Syl- vers (New Acts) opened. Ibec. ,. 58TH ST. The commodious Proctor's east •Joe house was very wi filed Tuesday evening, the lower floor being especially well populated. The show for the first half went over nicely, a dash of the Irish early W the going being warmly greeted jnd setting the paco which held to the finale. Emmett's Song » : 3hop only bi jnd Co Neck." jnere was some easy panics *n«t hit tho mark. The turn If ex- cellently adapted for the thrce-a- ■gir houses. The reporter seemed a ■Jjange creature, but Mr. Miles' w" waa t )n>t ty close to th rca\ . * a rrell, Taylor and Co. and Foley »nd O'Neil, running late in the bill, w er« both snn» hifa with thr» nn- "Knts flashed a nifty pair of legs. JJM something of a surprise whe i > act went into full stage for that GREELEY SQ. Topped by Charlie Chaplin in "The Kid," the Greeley Sq. bill packed them in from cellar to gar- ret Monday evening. Lewis Piotti warbling a stock ballad as an eye- opener found the crowd slide-gaz- ing but paying little attention to his vocalizing. The Upside Down Mil- lettes, a corking two-man head-to- head balancing turn, gave an ex- hibition of skill which places them well up in their class and deserving of a featured position with a big top for the summer. Davey Johnson, a hard shoe dancer of the old school, found his stepping of the clog order sulfieient- ly entertaining to gain attention, only interrupted by the single string fiddle bit which carries Insufficient weight to warrant its retention. l£c- Dermott and Vincent, a mixed team, holding forth in "one" with a grand piano, ran through patter and num- bers that should keep them with the always working acts of this order. Wolf and Stewart, hampered by a special set much the worse for wear, carried off one of the hits of the even'...*? with a sketch that could be worked up to much greater returns Should more enthusiasm be shown by the players. The turn has tho ingredients for a three-a-day comedy hit when presented with the necessary snap. Although carrying their act over its rightful running tim<\ Salle and Robles, a male team, made a strong bid for comedy honors. The comie has all of the ner««ssary elementary comedy that produces sure-fire results in houses of the Greeley order. His partner, a straight with no great ability as a feeder, forces the bulk of the work on the come- v i ; r -i i VARIETY • ♦ LOEW BUILDING Including the Loew Circuits new STATE THEATRE at Broadway and 45th Street, New York City The special MARCUS LOEW CIRCUIT NUMBER of VARIETY will be issued about the time the above pictured Loew theatre on Broadway is opened to the public. The Loew Circuit people are co- operating with Variety, which will place before the profession and the dra- matic editors of the country a complete transcript of the magical growth of the Loew Circuit that reads like a fairy tale. The opening of Loew theatres in different cities has brought out certain facts in connection with Marcus Loew and his circuit, but these details have naturally been limited to the localities in which the respective houses may have been located. Peculiarly enough, the show business knows less of the actual workings of the Loew Circuit, its scope and extent, the immense amount of money invested, and the organization required to operate this huge chain of popular price vaudeville and picture theatres than anyone else other than those connected with the Loew Circuit. VARIETY'S SPECIAL LOEW CIRCUIT NUMBER will be the first of its kind to set forth the innermost facts of the Loew chain, its building up and expansion, from the days of the People's Vaudeville Co., the first Loew corporate operator, when Marcu3 Loew remained downtown and no one in Times square knew him, but stiU induced David Warfield to make his most profitable investment in a Loew enterprise. The importance of Loew as a factor in vaudeville and pictures; Loew at a builder and manager; Loew as an exhibitor; what Loew means and has meant to the show business—these are unknown and unsaid asides to the great Loew institution. ^ w .- . ^.. Announcements for Variety's Marcus Loew Circuit Number may be forwarded at once, at legular advertising rates. Advertisements will be given preference in order of their receipt. •