Variety (May 1921)

> JACK HENRY—EDYTHE MAYE. •Two Little Pals." (12). Miniature Musical Comady. 82 Mint; Ona and Full 8tage. (Special). Colonial. George Choos Is the producer of •Two Little Pals.'* Darl MacBoyle wrote the book and lyrics and Wal- ter Rosemont the music. Jack Hen- ry and Edythe Maye are featured above the title on the program. Others of the cast of twelve who ijct 4tap!ar typ*./.b/*aea4K4))» ti|!<?V are Harry Meyers and Estelle Mc- Meal, and Marie Cliff and Harry Pierce. Jack Henry has a light comedy Tola. Misa Maye play a an eccen- tric comedy maid; Mr. Meyers is the juvenile; Miss McMeal Is the prima donna, and Cliff and Pierce a dancing team. "Two Little Pals' " best asset ie Its songs. The lyrics are bright and well constructed and the musio better than many a Broadway musical show. The act la also strong on sight values, two apcclal drops In one. a yellow and lavender changeable silk drape, an •z tenor of a cake, aner a full stage futuristic set comprising the scenic complement. The book, while pleasing, is a bit too talky and could stand more comedy. The running time of 32 minutes might also be chopped about five minutes with the advan- tages of added speed that that might bring. Opening with an oc- tet, four boys and four girls, in a number that may have been sug- gested by the old "Tell Me Pretty Maiden." "Florodora Sextet," but In no wise trespassing on the latter In lyrics or music, the act gets off to a good start. This Is in one, where Mr. Meyers, Mr. Henry and Miss McMeal are en following for a bit of dialog to plant the thread of story, which is later used as a means of introducing a aeries of single, double and en- semble songs and dances. To full stage next where Miss Maye, a limber dancing comedienne, and Mr. Henry figure in several light comedy scenes, with Mr. Meyers and other of the company feeding. Miss McMeal, who owns a high soprano, tuneful and full of color, and Mr. Meyers have a double topped off with a brief ball room waltz, which is travestied In turn by Henry and Maye, and followed by another society waltz double by Cliff and Pierce. This third of the waltzing trio Is very well done, go- ing over for applause on Its merits. Miss Maye also has an odd little eccentric dance in a "Juliette of the Kitchenette" number. "Child- h ,°°~ ^Sri?*."-?* foiio^y files i-nuGM*eal and Mr. Meyers, is backed up with living picture tableaux in a frame on a platform in the center upstage. A pretty number, well conceived and staged. The whole company on for the finish In a potpouri of the numbers that had gone before. The finish got but little in the way of applause and might make way for something stronger. ANN 8UTER. 8ongs. 12 Mini.; One. Riverside. Ann Suter, youthful and blonde, is from the west. She was reviewed in one of the split week houses re- cently. On her first big time Broad- way appearance in several seasons, she performed with assurance and success. The comedienne bowed in well prepared with exclusive numbers. There was an'old fashioned number for the opening, "Days of Old Lang Syne," rather nicely done. She changed for a widow number, quite a change of pace. Miss Suter was vivacious, handling the lyric clever- ly. So convincing was the query "How would you like to have and hug me," that a loud sigh escaped from a man down front and the house giggled. Miss Suter is liberal. Her exits all were worth while, for she flirted her skirts upward. That went for the lirst three numbers, the third one being a Frenchy song that car- ried with at a distinct wiggling at several points. For the finale she appeared in soubret costume for a roadway number handled akin to the Tanguay manner. The program billed her as "sweet sixteen," but Miss Suter appeared to have bettered that mark. She is a bit plump, kidding about that. Though the billing, too, mentioned her southern personality. Miss Suter has a Frenchy dash to her eccen- tric way. Showing throughout a willingness to amuse, there is little doubt that Miss Suter will rate as a standard single. Ibcr. AL ESPE and CO. (2). Variety Act. 12 Mins. Ono and Three. 23d St. Al Espc Is formerly of Espe and Dutton, a comedy, variety turn. The 'present three-act has Alan Francis and Egarda Saisha in sup- port of Espe, whose "cannon ball" work remains the feature. At the opening Miss Saisha in- troduces the men, both entering with violins. Espe's is a phoney, Francis getting down to a dancing single with the fiddle. Espe reappeared with a tiny violin for a comedy bit linlshed off by a song from the girl. The men duetted in an ec- centric dance, nft^r which the act went into "••Jute." Espe brought gasps from the wo- men by hi.j catching of the heavy Iron spheres on the back of his .no k and shoulders. • Kidding be- FORD, 8HEEHAN and FORD. Danes Revue. 15 Mine.; Three. (Special Hangings) City. Bthel Ford and Lester Shoehan formerly did a two-act. Marlon Ford now completes the trio. The act carries no pianist aa in the Ford-Sheehan combination, but Is a straight dance turn to orchestral accompaniment. While dance re- vues with pianos and lampshades are abundant these days, there Is sometimes method in such madness as "can be'pruveYT With * tire pYeseivt frame-up. A good pianist accom- plishes a very necessary mission in keeping the orchestra In proper tempo and the act needed such as- sistance in a couple of spots Tues- day. The fact that a similar de- fect was noticeable when the turn showed at Fox's Jamaica last week with similar hitches, leads one to suggest that a pianist might prove of tangible value here. Both in the Spanish number and in the jazz double,, the accompaniments went amiss to the evident displeasure of the performers. Sheehan (formerly with Pearl Regay), opens in cutaway frock, silk topper and very moviesque ex- pression for a double number with Ethel Ford, who affects old- fashioned get-up for this number. Marion Ford, Indeed a charming nymph, showed a Grecian classical solo and considerably exposed an- atomy In keeping with the dance. A Spanish double number by Ethel Ford and Sheehan was followed by the concluding jazz ensemble in which the sisters displayed very fetching blue frocks. A noticeable feature about all the solo dances is their lack of a strong finish sufficient to raise a spontaneous applause barrage, the acknowledgement being scattering and uninspired, not so much because of the entertainers' shortcomings, but because of the abrupt dance conclusions. Otherwise a pleasing feature act for the big small and small big time. LILLIAN HERLEIN and CO. (2). Songs. 1* Mins.; Three (2); One (3); Two (4). Special Drapes and Drops. Palace, New Orleans. Lillian Herlein has put her best foot forward In her new vehicle, and in so doing has admirably sensed the vaudeville demands for speed, novelty and dressing. In the latter she is contributing almost a costume revue for she employs no less than 10 separate and distinct costumes. In the singing of one number;''"Cldtlfc*! '•" tfto^Ttfiafetir fa** different changes. The interlude begins In "three" with a pianist and a male assistant (Frank Shea and Jack Kennedy), first indulging in an Introduction to the final bars of which Miss Her- lein enters singing a ballad which admits of a display of vocalizing. Mr. Kennedy then kills a wait for the changes in the "Clothes" song which follows "A Wild Qlrl from Tonkers," with a comic trend is next, after which the curtain is lowered and Kennedy does an eccentric dance in "one," after which comes a novelty bathing number called "Swim," with a seashore drop, special curtain for effects and a neat disrobing moment that reveals ths splendid proportions of Miss Herlein, proving that she has been holding out or hiding out on vaude- ville these many years. The bathing bit makes a nifty closing, flash to an act that is re- plete with the essentials of a. pro- gressive "single." It is almost safe to assume Miss Herlein will find a welcome pathway for* her latest turn. Samuel. .. WANDA LUDLOW and CO. (1) "The Baby Vamp." 15 Mins. Full Stage (Bedroom) 23d Street. This sketch is refreshingly orig- inal in theme with a surprise finish and capably played by Miss Ludlow and her male opposite. The story tells of a brainy female insurance solicitor who tricks a famous di- vorce lawyer into signing an appli- cation for $50,000 worth of insur- ance, at the same time winning a wager of $1,000 from the lawygj-'g ween the, ^f^.^ j fr | Efr-flftft -; y 1 ('Tffi 0 V t - 1 i e -J e - st the work which included the tor- pedo stunt as in the former two act. For a finale, a flock of cannon balls are planted on a see-saw, Espe throwing them into tbe air by Jumping on the other end of the device and permitting them to land on his back. The comedy portions of the turn can be strengthened. No danger about the cannon ball stunt. That will always be won- derful to an audience. lbcc. On third, "Two Little Pals* pleased during its running, although falling at the finish. With con- densation and a heavier closing it will do for that spot in the big houses. Bell. BURTON and HENDRY. ' Comedy Talk and Songs. 16 Mins.; One. 68th St. Old school blackface comedian assisted by girl in 'high jailer" makeup. The opening is the male toting a pair of grips with the girl following. They are to be married. Considerable dialog about the mar- riage license. He obtained naturali- sation papers by mistake. Crossfire about being a cheap skate with the comic taking out and counting a large roll which she endeavors to secure but Is repulsed. He exits while she solos on a cor- net which she has . been carrying concealed in a hand bag. He re- turns and Is swindled out of his roll after which she makes a declar- ation of independence, telling him what she expects after they are married. He retaliates in kind. They kiss and make up with the comic frisking her hand bag during the osculation, but getting* her powder puff instead of the hills. A reference to Uncle Tom's Cabin and a rehearsal for same is made and followed by the lowering of a small drop representing a cabin for a brief Uncle Tom and Little Eva travesty. The girl plays the bfftsl again for Tom with the latter sud- denly shedding his aged dom^anor and erupting into a Frisco dance. aided by a pearl grey derby. The act !o a fair small time reme- dy entrant. It will smooth with use, at present being badly se ns trued in spots. Von. REYNOLDS and GERALDINE. Dancing. 12 Mins.; Full Stage. American. Pretty girl toe dancer aided by partner and accompanist at the pi- ano. The dance routine is presented simply and in straightaway manner on its merits without any pretense to sketch. Has neat costuming, the girl making several sightly changes. Young man dancer is rather crude in his solo offering, but docs well enough for the duets. The girl's lively interpretation of a "Yama Yama" dance was the best of the routine, although the "Apache" number made a fast finish. Fairly interesting act although having nothing to recommend it particularly as -distinct from the run of simi- lar turns. The accompanist sings a ballad mid-way of the act to per- mit a costume change by the girl, doing "Mammy" in a pale way. Hush: The tale is developed logically with the girl managing to compro- mise the attorney in a hotel room which he has heen tricked inio registering for, the impester repre- senting herself as the defendant in a noted divorce suit in which the lawyer has been retained by the husband. To carry out the scheme the girl doffs an enveloping opera cloak, standing revealed In pretty lingerie pajamas. She climbs into bed and threatens to remain there until the man of law who is expecting his wife's arrival any minute, In des- peration signs a paper which he believes is a promise not to aid the husband's suit. Her announcement following that she is not the lady of the divorce proceedings and her illustration of the dangers of cir- cumstantial evidence,, arc a complete surprise to the audience. The skit holds many laughs through the dialog and situations and ia constructed cleverly. The turn, while a comedy offering, nevertheless contains a moral and is a convincing arraignment of the possibilities of perjured evidence in divorce cases. Coming at this time with the dallies devoting columns of marital difficulties, it strikes a pop- ular chord. The turn la big time throughout. Con. McGRATH and DEEDS. Singing. 16 Mins.; One. 58th St. Two young chaps in song doubles. The voices are tenor and baritone, the shorter member handling the comedy. A popular published num- ber suffices for the opening„ followed by a ballad sung seated upon a bench. A "blues" double nut with the comic using a flask to acquire a prop jag that starts mildly, gradu- ally increases and ends with maud- lin tears. It is well handled but a trifle long. The next number, a pop song, gives the comic an opportunity to do a shrewish house wife. Wearing a mangy looking fur piece and a woman's dilapidated hat, he up- braids bis supposed husband, using about everything that has ever been heard in a controversy of this na- ture. The bit is much overdone and minutes too long. The straight should avoid over- acting and lower his speaking and singing voice. With the proper ma- terial these boys could advance. A 1 present they will do nicely for spots on the three-a-day bills, but not so far down. They had nothing on ahead of them at the 68th street. • Con. BERGMAN, MURRAY and NICOLA. Songs and Dances. 14 Mins.; Two. (Special). Greeley Sq. Two girls and a young fellow in a flash singing and dancing turn of average merit. A special drape In "two'' and a variety of attractive costuming for the girls give the art an element of class. The man is a good dancer and sings pleas- antly. One of the girls pianologs- a numlici that serves to vary the routine. Usual singles*, doubles and tr^os constitute the specialties. A Chinese number with another special drape showing a glimpse of Oriental pagodas and landscape, done by the girls, stands out. Pleasing act of its kind, capable of holding its own in the pop houses. lit 11. MOORE and FIELDS. Comedy and Dances. 12 Mins. One. Fifth Ave. A colored team using material that sounded as though they chose from whatever talking turn they saw. They use an insurance bit about speed in paying the premium Just as the boy, who fell off the roof. was passing the fifth floor. Also they have the C. O. D. line and the bottle of milk, now In the routine of a standard colored team. The men show something In danc- ing. One especially is a good tap dancer. He started something with a soft shoe waltz clog, then a fast eccentric tap number. The same boy delivered at the close with a tap dance which drew an earned encore, his partner "Jazzing" on a phoney trombone. The men ap- peared so second. Jbee. HUGHES and DEBROW. "Chickenology." 13 Mins. One. Anthony Hughes and Ollie De- brow, both in blackface. The men have a bit of business that looks to be their own. What precedes it Bounded as though lifted from other turns. The straight was followed on by the skinny comic who entranced to the sound of pistol shots. His shaky legs won laughter, the man explaining he understood the wo- man to say her husband was out of town. Talk changed to insurance with the "old boy" about a man falling off the twentieth story and being handed his insurance money as he passed the second floor. Their chicken bit was used at the last. It took them into two, where a hen house holding half a dozen hens reposed. The comic Anally entered and started handing out the birds which were placed in 8 seek. An officer -interrupted the proceedings, the magical cry "coo coo, I'm a buzzard" having no effect. Both, however, manage to make a getaway. This provided an abrupt close to the turn which spotted next to closing. The chick- en bit is the main idea. Three a day only. Ibec. 8TEAD'8 8YNCOPATED •EPTET. 8inging f Dancing, Music. 15 Mine.; Full Stage. (Special 8et). American. On the roof the act does not show a set, but it is safe to say one Is down stairs in the American The- atre. The set la not of great impor- tance in this act. At least, seeing the act on the roof, is not placing it at a disadvantage, as the case in many instances. - dftt£d*s fltetftf-ptarted- m Was 2tfia." die. West, where it has played a season, including Pantages' tour. This is the act's first New York showing, and it should find book- Ings la the East. A five-men jazz band is carried, with a male dancer and a girl who sings and dances. The girl is Maybelle. who did a single, and was prominent in girl acts In the West. She is* a tall, statuesque brunet, with a good voice for a dancer. She is not doing as much dancing as formerly, an eccentric dance being eliminated. This is missed. There could be a little more of her without "hurting any. The boy also should have more to do. He does a single number and a short dance that is a solid hit, and more of it would be welcomed. It may be the producers decided the jazz thing is passe, but, as this is purely a jazz combination, it would be well to put In a little more of the dancing, and this boy seems capable of doing it. The band, aside from an Inclina- tion to be a bit noijy, is very good. They play one or two straight num- bers that carry over fine, and show that they can make real mualc. The drummer comes In .for a little bit of his own in the male dancer's number. This «s the line they should string out on and cut at least one of the noisy numbers. The septet should find a place In the East, although they are trav- eling a little heavy at this time of the year for the small time. In season the small time should wel- come the act with open arms, and the smaller big-time circuits could safely book the act. The audience at the American enjoyed both the music and the dancing. v»«> BL0880M 8ISTERS and CO. (5) Dances. Jazz R?n^, 19 Minf. Full Stage. (Special Set). 23d Street. A cyclorama with side and back openings, backed by a black drop are the stage dressings. A Jazz band conventionally grouped about the piano at the rise of the curtain, with the sisters entering through the center opening. In pretty black and white short dresses the girls do a "waltz ec- centrlque," featuring forward and back kicking executed gracefully. A similar dance follows with cart- wheels to splits for the finish. The band solo selections from musical shows while the girls change to cute bare kneed knickers, cut low above and backless, for an "essence" double. One of the girls follows with a soft shoe buck rou- tine substituting kicks for the usual "breaks." Another number by the musicians with the sisters returning In gypsy costumes of attractive panties and bodices fringed with black lace for a fast double of kicking steps. The girls are neat workers but the turn will have hard work fol- lowing the various leg-a-mainla offerings. Nothing punchy is in- cluded and the musicians are the average jazz aggregation minus specialists. It qualifies as just another pleas- ing dancing act. Con. ALVIA Musical. 8 Mint.; One (Special Drop). Grand Opera House. Alvia is a young Miss wearing a blue soubret costume, with straight playing on a xylophone. Her numbers range from band to rags with the latter used at the finish for satisfying results. The turn runs through rapidly, the girl using the orchestra with each num- ber. For an opening turn in the three-a-day Alvia has the goods. GRACE AYRES and BRO. Comedy Skating. 9 Mins.; Full Stage. Well appearing woman does straight with dwajf providing com- edy falls and knockabout for laughs. Excellent number for opening, but scarcely a satisfactory turn further along In the show as it was placed at the American. Pair have a good opening, the dwarf being concealed behind tho newspaper he is reading and mak- ing his appearance as a surprise. The combination of the rather tall woman and the miniature partner —he Is well under four feet—gives opportunity for odd maneuvers in their duet skating. Woman dresses neatly in black and white frock of soubret length and is graceful on the rollers. For a finish the dwarf take* an apparatus in his teeth and with that hold is whirled around by the woman, an acrobatic performance which gets them satisfactory e* lt .applause. Ruth ■