Variety (May 1921)

20 • NEW ACTS THIS WEEK Friday, May 6, 1921 t >• ,\- ,* 1, ■. ■ ■ ~, ERNESTINE MYERS and Co. (5) "Dance Creations." 16 Mins.; One and Three (Special Sets and Hangings). 81st Street. Miss Myers formerly had Paisley Noon as her partner in a dance review. This new production of hers far outshines, outdistances— and outstrips her former efforts, the word "outstrips'., ftp. bp interpreted as one chooses. The curtain rises on special hang- ings in "one" which discloses cor- geous hangings-set in "three" and which in turn contains a elevated platform whereupon M ss Myers and her chief supporting cast member, Charles Forsythe Adams, exhibit a Colonial song and dance number in appropriate costumes. powdered wigs and all. George Clifford fol- lowed with a jazz solo that won considerable reward on Its merits. Mr. Adams then introduced a number in which the Darling Twins show Oriental and Spanish crea- tions—the verb "show" also being used advisedly as far as the Orien- tal thing is concerned. Both were very fetching and novel. Clifford and one of the twins did a double dance number following which the leader of the resrular house orchestra (the act carries a director also) performed a viol n solo In "one" and won considerable both on merits and home talent pop- ularity. The solo fills in a stage wait effectively and may be a regular part of the act with the various house leaders performing similarly. For the finish, an Egyptian dance number which presumably was some sort of an interpretative dance, was shown. Suffice it, no one was inter- ested in Interpreting it, other than watching Miss Myers go through the gyrations of her dance. She appears barefooted and stockingless well up to her thighs, the upper portion of her anatomy also being similarly spared of coverings. Except for breastplates, it was a nude inter- mission unto the waist. Even be- low that a diaphonous arrangement of the costume imparted an effect that brought gasps from the audi- ence. In the course of her dance. Miss Myers has occasion to doff an outer portion of her costume as well as her breastplates, the act of re- moving the latter raising another nervous giggle barrage from the frails present. However, It only disclosed her anatomy tightly bound by a white bandage. The rest of the picture was filled in by both men in the act attired in Oriental pantaleVms and raising their hands aloft ever and ano in seeming impli- cation of the dancer with the latter falling prone on this short flight of steps for a finish. It is an effective, well-staged dance revue a little different from the rather abundant flock of dance revues extant in present day vaude- ville. BARONESS ROUSKAYA & Co. (1) Dances and Songs. 18 Mine.; Full Stage. 5th Ave. While the Impression is left by the enunciators that this is a single turn, it's a double, with (Jrattan Waltz billed in the lobby as the man at the piano, who also sings, doing much of both. The Baroness does character dances, plays a violin now and then while doing them, and also Joins in with Mr. Waltz when he is singing "All By Myself" at the piano. There is class to the turn In its composition, also in the numbers. The Baroness plays the violin better than she dances a French Gavotte or the castanetted Spanish bit, and perhaps the playing was interjected for that reason. Mr. Waltz as a pianologist strikes a fair avernge. He has ranged his musical Interlude* from classical to pop .The act seems to run a trifle too long. That may be corrected with usage if It's new. The Barotteftl is a brunet; piubn* bly of statuesque proportions in regular clothes, although her gowns In this act are exceptional, particu- larly a white dress with plenty of plumes. If there's publicity to be begotten from the "Baroness" end or the ancestry, that would add. Just now while it's a big time act, It would seem to be big time only for the Orpheum Circuit and should nicely fit in there. Simr. LILLIAN and ANNA ROTH. "The Night of the Party." (Kid Act). 18 Mina. Full Stage (Special Hang- ings). 23d Street. Lillian Both drew attention as a kid player in "Shavings," from which she went in vaudeville last season with her much smaller sister Anna. There was another tot in the act then, the routine being largely one of imitations. •••••■ The present act is considerable improvement over the first effort. It was written by Jamea Madison who has the kids in cute little blue twin beds at the rise of the cur- tain. There is mention of a wed- ding anniversary celebration down- stairs, for which several actresses have been engaged to entertain. Lillian says she can imitate some and starts off with an Ethel Barry- more bit. She has one more, it being the "Pollyana" bit used last season. Anna then has a try as Frances White, reciting "What's the Use." That's about as far as they go with the Imitations. In a cute change Lillian reappears, dons shell rimmed specs and gives her impression of a politician de- livering an after-dinner speech. It is really a monolog well done and well received. Anna then appears as a tiny vamp, simulating the ac- cepted stage type. She has been proposed to by "Handsome Harry," who writes her to meet him at Grand Central Station and to be sure and bring a bankroll along. Enter Lil- lian as a boy in swallow-tails. There is a drama bit. Anna, the vamp, runs true to film form, tapping her soft sweetie on the bean at the close and grabbing his bankroll. The Roth Kids show a good deal more all around than on their first try. They needed a routine written that fitted them and this one an- swers the purpose well. Both chil- dren are clever. They should win a spot on the b'gger bills. lbcc. LAWRENCE and LYONC. Accordions. 10 Mina.; One. American. Man and woman going In straight accordion playing fa Ing popular numbers. The Bjl sprightly, wearing two at tin costumes that help materially the playing has the necessary to hold audiences in the house which the turn is framed. "WHO'S MY WIFE"? Musical Comedy. 18 Mina.; Full Stage. (Special Set). Riverside. William B. Friedlander's produc- tion, with book by Will Hough, and music and lyrics by the producer. That combination formerly held forth in the West writing and pro- ducing. The present production is elab- orate with the set a good looking interior, bachelor's quarters. The book is altogether Houghish. A young man, hurt in an aeroplane accident, loses- his memory. This phase comes on at unexpected and inopportune times. At the opening it has happened on his honeymoon. He has lost all track of his bride and can't remem- ber who he married. The story in- volves a burglar, pressed into serv- ice to find the wife and three young women invited to the house for dinner, in an effort to see if one of the trio is not the missing wife. The burglar Is introduced as a doctor or, at least, one of those mas- sage fellows, and there is quite a bit of talk about a knee. Hough leans to knees. However, the com- edy is kept clean and there isn't anything to offend. The g'rls are mixed in a couple of musical num- bers that fit the situations, and there is also a little dancing. The names of the principals are not carried or. the program. The comedian handles the light lines nicely, placing many good laughs without straining for them. He leads one number and does a little dance with the girls that gets re- sults. The straight man also does well with the dialog and a couple of songs. The girls are good look- er* and sins: better than the aver- age. The finish comes rather suddenly. but a laugh in gained through the burglar going back It; h;fi Trade, after the young man finds his wife and strips the apartment of all the furniture while the young couple are cooing in song. "Who's My Wife"? is a good vaudeville act. It has young people, catchy music, laughs and appear- ance. It will do well on the big time, though not a feature attrac- tion. FOUR U3HER8. Female Quartet. 12 Mina.; One. American. a Four girla in appropriate girl- usher uniforms of gray silk with tiny aprons. They might have stepped upon the stage from their jobs, and are agreeable looking young women. They sing a nicely varied routine, running mostly to rag TiUTkibfcrs of-the f 'blu£s" variety. The female baritone has an espe- cially strong, mellow voice and this is a valuable element in the har- mony effects of the quartet num- bers. The quiet, simple dressing of the four and their unpretentious appearance and style of offering give the turn a likeable atmosphere of genuineness. The American au- dience liked them. Rush. CHIEF BLUE CLOUD and Co. (1). Roping, Songs, Talk and Music. 12 Mina.; Full Stage (Special Set). Albermarle, Brooklyn. Chief Blue Cloud is an Indian, from appearances a full blooded one, although speaking flawless English. He is assisted by a slender young woman, who like the chief, wears Indian garb throughout the act. A special landscape set, con- sisting of several hanging pieces, with a full-fledged tepee set to the right, makes an atmospheric back- ground for the specialties offered. Following a song by the woman, the chief does a routine with the lariat, handling it dexterously. Brief cross fire, leading up to another vocal number by woman, in which she introduces several extremely high notes, with the tones coming out clear and round. Chief solos with trombone next, playing a slow tempo number and a jazzy selection. He's a good musician. For finish, woman sink- ing and chief playing counter mel- ody on trombone, producing simple but effective harmony. Intelligent lighting adds value to the pretty stage setting. The short session of conversational patter should *>e replaced with brighter material. This is a trivial matter, however, that can be easily corrected. The chiefs roping and music, and the woman's tuneful soprano make a combina- tion of entertainment that certifies the turn for the pop houses, with the fact of the man being an In- dian giving an added novelty value to the act. Opening the show at the Albermarle, they went over very well. Bell. ilur- rl is ctlve and l for BELL and BANN. Songs and Talk. 14 Mins.; One. City. A male team, elosely following (he lines of Savoy and Brennan, one •hap doing a female Impersonation closely resembling the Bert Bavoy characterisation, Routine of cross- fire talk with I number by the male character art the Mgredlents of the turn. Too near a copy to be of in- terest to the average booker. DALLAS WALKER. Rope Spinning. 10 Mine.; Open One. Close Full Stage. (Special Drop, Set). Broadway. Dallas Walker is probably of the former team of Texas and Walker. In attempting a single she has gone in for scenery and costumes to quite an extent. The opening is in "One," with a special drop with cutout just large enough for the girl's head. Through this she makes a couple of announcements before go- ing into her work. The cowgirl, as she calls herself, opens with a song and dance all right, because the girl is pleasing to look at and, because too much in the singing and danc- ing line is not to be expected from a rope spinner. The full stage set is used for the rope spinning, and here she does the oaua] routine with a little chatter. The finish is another song and dance, using the rope in the dance. Miss Walker makes three costume changes and is a pretty picture in the velvet and gold comic opera cowboy costumes. It is all Dallas Walker and neither the singing, dancing or roping that counts. A nice little turn that will get away opening shows. KAUFMAN and BESSL. Comedy Sketch. Full Stage (Special). Harlem O. H. A man and woman iu "Artmr amounts to a two people sketch with an exterior setting. A married eouple out for a picnic. The set is a spot in the country with a field background ahd a set tree in the foreground. The wife is super- stitious and all of the talk hinges on "signs." Tho man goes through several mishaps, such as sitting un- der a ladder with something falling on the head, the breakaway ham- mock and one or two other similar hits also show up. The talk is the usual "I would have been better off if I wasn't married" stuff, without anything new or bright to recommend it. The finish is built for the big Scream* The woman's 'dress g«ts caught on the tree and die makes her exit without a skirt. These man and wife Squabble acts Stem to appeal to small time audiences. so there will probably always be ■ market for them. GRAVES and DEMONDE. "I Got to Have Meat" (Farce). 18 Mm.; Full Stage. 58th St. This couple may have come from the West for a showing. With the farce comedy, *T Got to Have Meat," they have an excellent chance. It's an actors' playlet, very human In spots and cleverly played, espe- cially by the woman, who in the act is not supposed to be much of an actress. The scene ' is"'the hrheiior of a one-room "flat." A bed reposes in the back. One side has its the- atre trunk and close by a gas stove. Opposite is a bureau and nearby a chair holds a wash tub—all evi- dences of the hard going the man and wife have been hitting. The man is a player of parts in a fly by night. The woman has been given but one or two bits at a time and then did them badly. He has been out through bad theatre conditions and had taken to driving a truck that they might exist. No pay until the 15th and just one egg for dinner. They plan a celebra- tion when pay day comes—they'll have meat. Complaints and rejoinders fly back from one to the other. It is tho wife who sneers at his wish for a real Job. She tells him he'll never get the place he wants, now that the breweries are shut down. Her brandishing of a frying pan tickled the house. There followed one of the changes of pace which cleverly carried the turn so interest- ingly along. He mentioned disap- pointment over the failure of their pre-nuptial plans for two children. She" snapped back it wasn't her fault. Anyhow, the lease says there must be no children. Perhaps the best bit came when she declared she was going to quft him and fixed about her neck the scrawniest of fur pieces. He be- sought her to stick it out. If only he could raise three or foi.r hu .dred dollars everything would turn out all right. With downcast eyes, she said: "I know what you are think- ing of, Dave. But I can't do it." After a pause to emphasize the im- plication, she added: "I just can't pawn my furs; a woman has to have something." It was a great laugh. But the house roared when they wrestled, she fell on the b,ed and it collapsed. When she ex- plained it was all acting to prove she could play parts, he say an offer to head the cast in a one- nighter of "The Ragged Hero" is off unless she is given a eontract. Graves and Demonde look surely headed for the big time. Just a few touches in direction is all "I Got to Have Meat" needs to place it as a standard comedy offering. I bee. JOE VELIE and Co. (4) "Mignonette'* (Songs and Dances). Full Stage (Special Hangings). 5th Ave. Joe Velie has an entertaining turn, written by Arthur Swanstrom and' Carey Morgan. It carries four girls, Paula Chambers, Elinor McCune and Randall Sisters./ The act's name, "Mignonette" is also the title of the song that Mr. Velie said was the only rumberc his author sup- plied him with, -though* there ar* other numbers. The opening is an Introductory lytic, with Mr. Velie calling forth the girla. Each of the young women demands a salary, starting at $100, until Mr. Velie in despair, while the number continues, comes forth with a blackboard, on which he chalks up several items necessary to run the act, as against the $1,000 salary (on the board) received with the result if he pays all, there will be nothing left for him. The black- board list was complete in Its ex- penses, including commission and transpcrtation. The turn is nicely arranged. Velie besides singing and dancing goes to the piano a couple of times. The girls have individual opportunity and do fairly, though one (all are brunets) she with the grey dress, has quite some personality. For a finish Velie plays leap-frog over the four girls and then leaps over the entire four together. The settings are pleasant, the dressing pretty, Velie does well and tho idea of the skit being kidded along as building up a vaudeville act on the way helps it, but the best bit the motor car number, done by Velie and the personality girl, has been done before by another couple in vaudeville. Sime. MARY and AL ROYCE. Comedy Talk. Songs. Boxing. 14 Mins.; One (special drop). 58th St. The drop shows the exterior of a restaurant. The male in tuxedo and brown cap is bounced from the eat- ing establishment to be followed by the girl, a blonde bobbed hair plump female attired as a waitress. This is the excuse for the opening salvo of crossfire of "light" comedy talk. The first diaphram laugh comes when she left hooks him into the drop, upsetting him. While she changes, he monologs, missing with delivery and material. She returns in black iridescent short skirted costume. He solos while she makes another change to male attire simi- lar to his and they Doth pull a good dancing routine of eccentric and buck steps. A return for some more crossfire and real funny burlesque boxing bout is made. Tho finish is the strongest portion. The talk is weak throughout with the low comedy efforts getting most. More of the i>»t.r HT..1 ios« of tbe former would help. The act with the same people was formerly Known ns Rolls and rteyve; ...... . f . rnv CY and CY. Songs and Talk. 15 Mins.; One. American Roof. Two men appearing in comedy Tommy Atkins costumes opening with an English comedy number with an argument ensuing over the proper wording. Equipped with wide sole shoes, comedy is derived from a bit of stepping, the two going into sailor suits for a burlesque horn-pipe with the taller chap do- ing some good bugle calls with a pieee of garden hose. The turn is draggy in spot*, main- ly due to the talk. More stepping would speed it up. th<- talk and busl : nest with the orchestra doing little to round out a strong vehicle. No. 3 on the Roof found the sjoinac a hit Steep for the two. Although tli- laughs were coming; for tin m in \olume at times. NICK ADAMS and Co. (3). "The Elopement.'* (Comedy). 18 Mine.; Full Stage. Albermarle, Brooklyn. Nick Adams was of Yorke end Adams,.one of the earliest Hebraic double comedy turns. He has been abroad for the past few years. In "The, Elopement" Mr. Adams faith- fully assumes the character of a modernized Hebraic type, similar to that of Perlmutter. He is assisted by a company of three, character woman, juvenile and ingenue. There are several good situations in the sketch, but in the main it is inclined to be a bit too talky. The story concerns a middle-aged man and woman living as next door neighbors for 15 years, who have long cherished a desire to see the son of the man married to the daughter of the woman. The boy and girl, while good friends, are not particularly anx- ious to hurry the matrimonial af- fair. The old couple decide to spring a little scheme that will have, the effect of bringing matters to a head. They frame a phoney quar- rel and involve the children in it with the idea of having the young folks believe 'they (father and mother) are really opposed to the marriage. It works capitally, the children contrariwise, when they suppose their parents do not want them wed, deciding to elope. The older couple, following the elope- ment, also decide to take a chance on the wedding bells themselves. Mr. Adams gets a lot out of an amusing description of "Romeo and Juliet," which he has seen in pic- tures, and which he utilizes to il- lustrate his plan of action, which is to bring about the elopement. The supporting company are indi- vidually well cast and give capable performances. Elimination of some of the surplus dialog would make for continuous speed, now lacking. The sketch holds an average num- ber of laughs. It will serve its purpose for small or big small time, but Mr. Adams' ability as a charac- ter comedian deserves something better. Btttt. HORDES TRIO, D»rites srnii Songs. 7 Mins.; Full Stage (Spec.al Drop). Greeley Sq. Looks like a foreign turn in work and lay-out. Man and two women, one a singer, the other a dancer and a good looker. The act opened with one of the women offering an operatic snaek, with the daneing pair on next. The work looked graceful, but not ex- ceptional. After*a change the song- stress returned for a classical num- ber, during which the girl dancer worked a specialty, The man re- appeared with a curious looking mandol n. While he I ,ived it he smiled broadly and ton ed bis long curly hair about. < Join.Lj into ;i ' ill \ dan • the man got somethi....;, the Ural returns to that |i i nt. He in.i;. !>«• Kussian. showing some good rtcpH of that nchool. it o\h ix'ii tii* show an un- usual spot put perhaps I ho one it lits best. ILtc. \