Variety (March 1921)

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20 NEW ACTS THIS WEEK Friday, March 25, 1921 EDWARDS, ORNSBY and WOLFF. Special Songs and Piano. 7 Mint. Three. (Special Drop.) 23rd Street. Two female singers and male pi- anist. A special drop with centre and side apertures which are boxed are used for tho opening song idea which sounds restricted. The drop divided disclosing the elder of the two girls seated at a baby's crib. The icTea is she is the rich and pam- -rpor^ nvib'* ,rS».,the >flfeiH*+ Sby, sings "Every Mother's Luraby"' in a sweet deep voice. 'Die pianist is visible in a box set through the centre opening. The other division follows and re- veals the "poor" mother rocking a broken-down crib soloing the same song which both harmonize on the repeat. The voices are exceptional. The pianist's specialty is next sung and played acceptably. The bass singer sings an Indian ballad in costume. The song is admirably suited to her personality and leaves the impression that . ie h: s been in similar role around. Another piano solo, the musician using a ballad for various variations. followed by younger girl after change to becoming low dress, in violin and voice solo, "My Dream Melody." With all three In the centre box set the women double a medley of musical comedy and popu- lar song hits. The act needs a lot of fixing and trimming, particularly thj latter numbers. The pianist should use a lighter make-up back of the pink hangings. He looked almost red at this house. With a strong finishing number and a few adjustments this trio should vault into big time cir- cles. They have the ability. A good producer could 1 accomplish the rest. At this house they took down one o the hits of the bill in fourth positon. Con. VERNON STILES. Tenor. 18 Mine.; One. Riverside. Vernon Stiles was formerly of the Metropolitan and Chicago opera companies. He possesses a tenor partaking of both lyric and robust qualities. Monday night Mr. Stiles was suf- fering from a noticeable congestion of the vocal organs, but despite the .1'iWli*■'• v#^U'» N *jaJ ' !e J?.** s a voles of range end sweetness, with high tones that somewhat bring to mind thoso of John McCormack. Tom Hughes plays Mr. Stiles* accom- paniments. The repertoire included an introductory song, "I Love You," "Don't Know What You're Miss- ing," "Donna K Mobile" (this in Italian); "Eyes Told Me So," and a Hebraic chant, on the order of "Eli Eli," but without the musical charm of that number. Brought back for a speech at the conclusion, Mr. Stipes, who is six foot, and correspondingly built, said he was a combination song leader and boxing instructor at Camp Ayre during the war. He has the requisite qualities to have done full justice to both tasks. In addition to being a first rate showman. Mr. Stiles has the per-*, sonality and type of voice that should make him a standard turn in vaudeville as long as he cares to stay. Bell HEALY, PETRIE and SCOTT. Comedy Singing Trio. 12 Mins. One. 23rd Street. Stout male's solo is interrupted by partner at opposite entrance de- manding the spotlight. The latter starts a song and Is slap-sticked through the curtain which he is up against. The trio sing a few bars of a song and interrupt themselves with dia- log. Next two of the trio do an extemporaneous song using an old melody and lyric. The baritone sola is another old timer, formerly used by Eddie Parks and Jock MacKak. The fat member appears in "dame" attire, dressed grotesquely and is joined? by the other pair similarly attired, one with teeth blacked out in front and other in lamp shade dress, to go into trio song and comedy dance with much v riggling of the abdomen for come- ly. Small time purveyors of hokum and fit only for the most lenient audiences Com. MULCAHEY and BUCKLEY. Songs and Piano. * 15 Mint.; One. American Roof. Edmond Mulcahey, an Irish tenor, was formerly with Charlie (lillen under the team name of Gillen and Mulcahey. With the securing of his present partner as a pianist, Mulcahey has placed his name to the fore and framed a routine of numbers that should carry the* turn along for some time to come. Mulcahey has a pleasing voice and with his surefire selection ot numbers, including an impersona- tion of John McCormaek. there should be little trouble for this com- bination to keep progressing steadily. The pianist, although not con - splcuous in his work, handles his end with credit and should feei satisfied in allowing his partner to handle the bulk of the work with his surefire voice. FRANK E. LYNCH A. CO. (7) "The Doll House." 16 Min.; Full Stage, Special Set. 58th Street. Four choristers, two female prin- cipals, a juvenile male and Frank E. Lynch as a rube sheriff are the east. The act takes Its title from a scene In the piece, where four of the girls In overalls act as "shift- ers" and erect a neat looking bunga- low with porch and roof, as done in a musical number in the "Frolics" last roof show. Previous to this the sheriff is dis- covered at the curtain in a rural set, directing Imaginary traffic. A city chap (Juvenile) with a rich Scotch accent enters. He # ls re- turning home. The rest of action is blamed on a magic bottle which grants the holder's every wish. The townle wished for a girl, a bungalow and a wedding, getting a great break on each with the sheriff tieing the knot in an unfunny comedy marriage ceremony. There is a mistaken identity bit also, with the groom mistaking the wrong girl .for his intended, through similarity I of costume. The dialog and com.dy scenes are all familiars. The choristers make two appearances, each widely separated, the rest of the time being consumed by crossfire among the principals, and vocalizing. The Juvenile does a specialty in a Scotch song requiring very little accentua- tion of his previous dialect fo ■ the characterization. Lynch has a rube comedy song. The sUjiging of the principals is above the average, and the costuming appropriate. The turn will "flash" around the intermediate houses,, but doesn't qualify as a big timer, which may be blamed on the book. Con. -LITTLE MISS SUNSHINE" (6). Girl Act. 25 Mine.; Full Stage (Special Set). American. Meyer North - sponsors this pro- duction ( turn with four girls -nd two male principals, two of the girls also having specialties with the male members. The set represents the exterior of a Parisian boulevard cafe with a table and settee the stage proper- ties. A Greenwich Village number .e*l Ly*W5 s*lfa*gh(TmtfTi a^mr, wit* some flirtation business between the comedian, straight and two of the girls following. This business is carried a «bit over time, and the "Sunshine" number could be started earlier, it proving one of the best moments of the turn, the boy and girl topping it off with a well exe- cuted dance. The comedian follows with a number and dance with one of the other girls. Some rearrangement should be made at this point in order that the comedian's number and dance should not follow directly after the "Sunshine" number, which is difficult for him, and as both are strong points in the turn they should not be sandwiched so closely together. The talk regarding the ordering of a meal*is well handled by the men. bringing out a steady stream of laughs. Mr. North has done well 1 with the general layout of his act and se- cured four neat appearing girls, two of whom share equally with the two male principals as number leaders. The straight man affects a certain ataginess when reading lines, The comedian "oes well, al- though limited with material. The costuming of the girls is neat, with eajclr change a credit to the pro- ducer. t "Little Miss Sunshine" should prove a standard turn for the Loew circuit, as it furnishes the necessary flash for a feature attraction. LEIGH DE LACEY and CO. (3). "One Born Every Minute" (Faroe). 15 Mins.: Four (Parlor). Harlem O. H. The company is showing a new vehicle titled "One Born Every Minute" in which two women frame a man to relieve him of $500. The denouement is a surprise to the audience. The action opens with the wife pleading for $300 to satisfy some poker debts she had incurred. He 8HRINER and FITZSIMMONS '•At the Newsstand" (Skit). 15 Mins.; One. Fifth Ave. Character skit which has been out for about a season. Shrlner is listed as the straight, playing an actor whose purpose In coming to the newsstand is to purchase a trade publication to seek a Job. The stand is presided over by Billy Fitzsimmons as an old man—he admits 93 years but has had a rapid refuseriTand immediately theifSfter t^ast^ahd was* a fe'w telephone num- an overbearing and commandeering lady enters and apprises the hus- band of the time they had met in Atlantic City at a hoochfest; that he had insisted she affectionately address him as "gumdrop" which accordingly she proceeds to do; that, of course, considering their Inebriated condition he doesn't probably recall her but that they are old friends nevertheless, etc. This farce situation is subsequently played up with appropriate lines and business, including a couple rather broad cracks. The casi. is excellent, making the most of lines and situations, Mr. De Lacey scoring neatly with some exaggerated farce hokum and busi- ness. LLOYD and GOODE. Blackface Comedrans. 14 Mins. One. 23rd Sreet. Lloyd is C. Balfour Lloyd, for- merly of Lloyd and Wells. Goode has been around in some other com- bination. The present act is almost a replica of the former turn, "Gen- tlemen from Dixie," which played around the big local time, except that Lloyds wife is not present. The house drop rising discovers the two darkies reclining on a trunk. Lloyd can't wake his partner until he throws out a pair of "Mississippi marbles," which starts the "crap" game dialog. After Lloyd makes a few passes the other spade demands the dice and discovers they are tops. A soft shoe waltz double is fol- lowed by some crossfire about "re- incarnation." This material should be replaced. A song is doubled and* very well handled. A burlesque fox trot doubled made a fairly strong finish. The act as now constituted is not big time, but should find easy sailing m the other houses. Con. GOLD and RUBENS. Piano, Talk, Dancing. , 16 Min.; One. Columbia (March 20). A male trio, including a pianist, straight man and Hebrew comedian, who makes an audience entrance, interrupting Gold's solo by arguing with usher. Gold was formerly partners with Babe La Tour in vaudeville. Pre- vious to that he was with a bur- lesque show. Any histrionic ability he possesses is lost through over- confidence. He Is at all times much too sure of himself. The comic uses legitimate meth- ods and released material intact, the whole turn doesn't contain an original line or gag. The pianist, an excellent musician, delivers his solo contribution with the cabaret man- ner and pays altogether too much attention to his audience, conduct- ing himself like an amateur Between long stretches of cross- fire the piano player sits Immovable at the box with nothing to do but focus on the other two or let his gaze wander about the house, which he does on sundry occasions. . A whirlwind dancing finish, with Gold doing "hoch" steps, followed by the comic's travesty on same, put them away solidly before a dis- criminating audience. The turn will sail past in the smaller houses, but lacks the class for anything higher. Con. bers left. When the old boy totters on the actor tells him he can't make money by not attending to business. For answer the ancient ."paper boy" takes out a purse, extracts a nickel and flips it away. This provides an encore bit, with the old boy search- ing for the coin by the light of a match. Current events selected from the headlines for comment, the "gags" touching on Congress, the League of Nations and the like. When the orchestra starts playing softly tho straight alludes to the supposed tunes of a hurdy-gurdy grinding out old sor.gs and is the excuse for tho old boy singing "Just One Girl," "Sidewalks of New York," "Rosie OGrady" and "Sweet Sixteen," tho straight duetting for some. The skit is a bit slow in tempo. The straight overdoes a prop laugh to a degree. In total, however, tho pair are entertaining and take an important spot for three a day. Something in the way of a punch would out them in line for the big* ger houses. lbee. LITTLE BIG GIRL. Talk. 9 Mins: One. Greeley Square. ' Opening with a short explanation and billed as "The Little Big Girl." this young woman goes Into a series of kid stories, two or three of Which scored, the others failing to attract. Leading off the show the imma- ture dialog should prove of enough interest to keep its deliverer in that position in the pop houses, though the recitation used for an encore, on a very .slight pretext, could be eliminated, An audience isn't es- p e ci ally intA4^s4<»4 4ft b*4ng-teWh-how- to leave the world a little better than When entering it and the reci- tation might do more good if it W*re to be offered as an ode to some of those who are booking the smaller houses. BART DOYLE. Songs and Talk. 15 Mins.; One. Lincoln Square. An Irish monologlst employing three songs, a poem and several stories. Personality brings returns with material that is SomewhtM ■hopworn. The opening number la the weakest in the present layout, with some of the stories, especis the Robert Emmctt Keane "King divlr.g" story, heard often before. A sentimental Irish number ha a certain appeal as well as a poem. "My Latch Key" used as an »n- core tops the turn off acceptably. Doyle Interested the Lincoln Sq audience and should do so Ir. other houses of that type. LA TEMPLE and CO. (2). Magician. 15 Mins: Three (Special). Greeley Square. A fair finisher for the smaller houses, Two girls are assistants, one makes her entrance through a glass Cabinet Illusion and takes part In two other fanciful happenings. the Other doing nothing more than to move the furniture around. La Temple supplies a steady flow of talk meant to gain laughter A better sense of showmanship would improve the routine materially, as its present running order stamps it for what it is—an average clos- ing act tor bills that split the per fortnance with a feature picture. VIOLA DUVAL. Songs. 10 Mins.; One. 23d St. Viola Duval Is assisted in a sing- ing specialty by a male accompanl- est. Miss Duval owns a soprano that has been thoroughly trained, cultivation showing not only in her two operatic numbers, but aiding hnr materially in a pop medley for the linish. Spoken verses precede and follow each of the operatic se- lections, the rhymes welding the routine smoothly together. Pianist plans a number, while Miss Duval makes costume change. The act went over No. 2 at the 33d St. It can get away with that spot handily in any of the pop heuses from its 23d St. showing. Bell. TODESCA and TODESCA. Mixe«MNwMft Bicycle Riding. 12 Mins. Full Stage. 23rd Street. • Girl in white tights and male in tuxedo in bicycle and unicyele rid- ing.- With the male^ handling the wheel she is top mounter in some two high evolutions. Next he does solo stunts, riding the wheel turned upright. Next some balancing stunts, he climbing through the frame 9f the wheel which is balanced on two pedestals. The girl, seated in a i hair, is next elevated by him in a teeth" hold and carried around on his wheel. She lies prostrate following and he jumps both wheels over her body. The finishing trick is the car- rying of her Mated in a chair by the "teeth" grip willi the man rid - .ng a unicyele. K. O. small time openers. Con. THE KAHAMAS (3) Mind Reading. 15 Mins: One (Special) and Audi- ence. Harlem O. H. The man and woman and a bal- cony assistant profess to be Hindus, garbed in native dress. The man introduces "Princess Kahama" whom he alternately addresses as Princess Mysteria. They proceed with the usual naming the articles requested by the audience, and then employ the whispering tube where- in the patron -asks Kahama a ques- tion by means of a telescope tube and Princess K. repeating the ques- tion and answering it with a prophecy. Toward the end the gallery as- sistant brought down a series of slips with questions written out by the upstairs patrons which the Princess Kahama deciphered and answered. The act may have been seen round before under a different name, the girl appearing familiar. It's of (he usual calibre, meeting with favor in pop houses. CHINESE JAZZ TRIO. Piano, Songs, Dancing. 14 Min.; Full Stage (Special Set). Columbia (March 20). This act has been around for a couple of seasons. It includes two Orientals and a girl, evidently a Caucasian, disguised. The act opens in a special set of Oriental at- mosphere with one male singing, to piano accompaniment, with the girl rising from a dias to interpolate a brief dance. * Men and the girl are in silk.rOrl- ental costumes. The vocalist sjiowe a splendid baritone voice and per- fect enunciation. A piano solo of classical and jazz melodies is nicely handled. The pianist sings an American song in "pidgeon," follow- ing with an announcement about the Chinese republic learning jazz and shimmy from the U. S. A. Their own conception of the lat- ter follows, with the pianist pulling a near shim, wearing a derby hat and cigar a la Frisdo, the girl doing a real shimmy, the other man carrying the lyric. It's a novelty for once around, and will last In the three-a-day houses until the shimmy becomes a memory. Con. CELLO. Musical Clown. ?2 Minrrf Fu»f (Special Props.'*. 58th St. This single is an European eccen- tric musical clown with exaggerated red wig, wide mouth, baggy trousers, illuminated nose, etc. He uses me- chanical effects and pantomime for most of his laughs, getting results with each, though showing nothing extremely novel., A Drop cat, likewise a spider, Which descends from the flics and captures the j^op of his wig, and other laugh geiters were familiar through prior use on this side of the pond. A 'cello so'o of an operatic excerpt and an xylo offering played on a bellows contrivance disguised ns a (lower box proved him an ezcelh nt mush Ian, Opening at this house hn qualified as a BOOd bill I tarter for the three- a-day. Con. BOYLE and BENNETT. Songs, Dancing. 12 Min.; One. Columbia (M«"-h 20). Mixed dancing team. Boyle was of Boyle and Brazil. Miss Bennett is a good looking girl who can dance. Opening song anent what they do with tag line, "We won't do any- thing at all," followed by waltz soft shoe clog double, splendidly executed. A double eccentric s«--'t shoe dance next, also above par, followed by a song double, "Musical Comedy," blending into an original routine of eccentric and essence steps. For an encore an original version of a stop-time war dance or something similar. They landed strongly at this house. The singing is the weakest inter- lude, but the dancing counteracts and puts them away as sure fire early spotters for the best of the bills. Con. DE PAGE and YORKOV SISTERS. Songs and Music. 10 Mins.; Two. % ■■■ '■ ■ -6fc< - — ■ Three girls, vocalist, panisto and viohaiste in a straight singing and musical offering. Op%n with con- certed number by trio. Vocalist solos operatic number next, followed by pianisie ai.d violiniste, singing In order named. Vocalist back with changed costume, and another trio number for ilnish. Each are tal- e ted, the vocalist no* ssing a sweet so.rano, tha ak0j the high ones without straining and with a noticeable tonal softness in the high register. Evening gowns are worn, the girls presenting an attractive appearance, which is enhanced by the refinement that characterises their performance. A likeable numhei for the small time houses, wit.h possibilities of de- velopment. Suitable now for the earlier section of tbe pop bills. Hrll