Variety (May 1921)

It NEW ACTS THIS WEEK Friday, If ay SO, 1*21 MARION HARRI8 and BAND (6). Songs. 15 Min.J Full Stage (Special Set). Royal. Marlon Harris has appeared in vaudeville before as a single but for some time she has confined her efforts to phonograph record-mak- ing, in which line she has established herself as a singer of "blues" num- bers. For vaudeville, Miss Harris has brought the "blues" with her. The present routine is devoted to numbers of this variety which de- tracts from its effectiveness, the act having a sameness throughout the is not productive. Miss Harris sings each of her numbers in a monotone and with practically the same mannerisms, including much mugging. Lack of variety is the turn's main weakness. Each of the numbers has value as a "blues'* offering, but being sung one after another they lose their effectiveness the singer also suffering. Opening after intermission at the Royal, Miss Harris did but fairly. On the records Marion Harris can continue as a singer of "blues", but for vaudeville she must present numbers of greater variety than in her present offering, one good ''blues" number being retained to top the offering with. Fred Hoff's orchestra is one of the strong features of the turn. LANG and BEE. Songs and Talk. 14 Mine.; One. American. This la a man and woman team possibility. The woman is a good- looking blonde, who knows how to dress and gives *b<* act what it needs, so far as looks go. Her speaking voice is not what it should be, but a little coaching should remedy this and make her a cork- ing straight woman. She does not sing much, and her voice is not a real voice, but she is able to get away with it The male end of the team is using a dialect of some kind. Not heavy. Just a light tint thrown on here and there, and this could easily be dropped because it la not needed. The man seems to have .natural ability and Is funny, with a good idea of what is and what is not humorous. He works in straight makeups, a little mustache, not false, is all the comedy adornment that he carries. He works snappy, and the act carries a bright quick air that is as valuable almost as the comedy. The couple have not found them- selves yet, but this is a very good big-time prospect and, with the pro- per thought and working along the risht lines should land in the big- time ,ief. AGNES KANE. Song and Talk. 10 Mine.; One. H. O. H. It is probably not fair to judge Agnes Kane on her showing Mon- day night. The girl was apparently so nervous she could not begin to do justice to her work. If she was not nervous then there is little to say excepting that her offering will not do for vaudeville. She does all her material without leaving the stage. Most of the time is taken up with a bride song in which sho introduces pictures of her five husbands, delivering a monolog on each one. The pictures are of a comic variety and the ma- terial might not be bad if properly dona For a finish she strips a trick dress appearing in Turkish garb for a burlesque dance which, like the rest, semes forced and awkward, rather than funny. It may all have been due to new- mess and nervousness as before mentioned. Tn that case Miss Kane should go out and work the sticks not for ten days, but for tan weeks until she gets the points and rids herself of the trying to be funny air which is now there. SIX HARLEQUINS Acrobatic. 10 Mina; Full Stage. Fifth Ave. Three men and three youths. With one exception this is a troupe of Arabs, with whitened faces and pierrot costumes. The exception is a youthful colored boy who works in natural "color." This kid is the life of the act There are so few colored acro- bats that this one is all the more exceptional. Another of the kids is clever, too, bnt the chocolate drop is a corker, not alone as a ton- mounter but in aommersault work. The turn drew enoore, Winning ap- plause from the opening Knot, an«l a goodly portion of the credit goes tv this unusual colored acrobat. lb- FLORENCE MOORE and CO. (1). 8ongs and Talk. 22 Mine.; Four (Parlor-16) One (5). Proctor's, Mt. Vernon/ N. Y. Florence Moore's return to vaude- ville is after a considerable absence in the legit, in farce, under the man- agement of A. H. Woods. Miss Moore has appeared in "Breakfast in Bed" and "Parlor, Bedroom and Bath." Comment on Miss Moore a • a cur- rent vaudeville act could almost cover a similar opinion held reg xd- ing another turn on Proctor's, Mt Vernon, first half bill, Ray Ray- mond, also returning after produc- tion engagement.-. Both originated in vaudeville, were vaudevillians, became legits, and are no longer of vaudeville, as vaudeville knew them before. Whether it Is that a period of comparative ease for an applied vaudevilllan before a legit and there- fore an easy audience for them, sui • feita the vaudeville people with a confidence of getting over that les- sens their vaudeville value, of course, Ij unknown, but Miss Moore returns to vaudeville very much as the legits at one time, thinking vaudeville a cinch for them, came into it with their $2 ways *h:.t vaudeville audiences do not care for. Which sums up that a vaudevilllan going into a legit production, Win- ter Garden brand of musical comedy excepted, becomes a legit, in fact and nature, perhaps. However, the Mt. Vernon audi- ence Tuesday evening liked Miss Moore. It's the friendliest sort of a family or neighborhood gathering, rather of nice grade for that sor , but still just small time in its 1'kes. Nevertheless, Miss Moore, to get them right, had to depend upon five minutes in "one" to close, having opened in a parlor with a piano and a pianist, Cliff Friend. The "one" closing was virtually all consumed by what Miss Moore announced as an imitation of a red nose comic singing in a London hall, with dreary expression. It was the "Ha, Ha-He, He, He" number, with gags, such as the singer's father had his arm cut off, and wasn't it for- tunate it wasn't the arm carrying his wages? That number over here is accredited to Sam Mayo, an Eng- lish hall star. The same imitation was previously done on this side by Billy Montgomery. Miss Moore, when first gaining vaudeville fame as a nut comedienne, appeared - ith Mr. Montgomery (Montgomery and Moore), later also with her brother, Frank Moore. Florence was one of the first nuts in vaudeville, one of those in those days who did on the stage what you might have expected of a vivacious girl in a parlor among friends. But the parlor stuff got over in vaude- ville, as peculiar as that was and Is, and the same style of parlor stuff sufficed for 1.000 male nutty boys, more or less, all In vaudeville and all playing the same Lousea As a nut comediennce Miss Moore finally worked herself into a legit farce. But coming back she is restrained, toned down, with the ginger, pep, vivacity and animation reduced to a minimum. Miss Moore started with a little punch line number about "Romeo and Juliet." Then she did a 'Love, Love" number, afterward talked about cigarets and other things, leading up to first wives, and con- cluding with a short verse that ended with "Did your first wife ever do that?" a copy of the song of that title first brought over by Alice Lloyd and now being used by Miss Lloyd, though Miss Moore's lyric is not the same. Perhaps the strength of the laugh she received on it in Mount Vernon means Miss Moore will hang onto the verse regardless, but In the bigger houses she expects to play it will be recognized as be- longing to Miss Lloyd and will not help her in a professional vaudeville way any more than the Mayo thing will. Her next was "Stay Single, Girls." and then another about "Broadway," after which she re- turned in "one" with a short talk, running into the song. During the turn Mr. Friend sang "Devil's Garden." with Miss Moore inserting her only real nut stuff of the session, lolling alongside the singer with comment and joining in the. chorus for harmony that was not. During the turn Miss Moore had several "My Gods," each one winning a laugh. On her past vaudeville rep and the name Florence Moore has won for herself in the legit, she should do for a turn around the big houses with this act, but as a Florence Moore vaudoville act It is far away. Florence Moore with a straight piano player looks too much like too many two-acts built the sa- .e way, Which leaves nothing now other than a couple of aoags in her turn. Sime. GEORGE LANE and ARCH HEN- DRICKS. Songs and Talk. 17 Min.; One. Royal. George Lane (Lane and Moran) and Arch Hendricks (Hendricks and Stone) have a song and talk two- act following the familiar linen of male duos consisting of a comic and straight. Lane handles the comedy through- out with his partner doing an in- telligent straight for all of the business. The main weakness is the lack of gags of value, the greater number of which have seen much service Lane securing his best comedy re- turns with clowning. Down late In the second half at the Royal the men scored a steady stream of laughs, securing one of the comedy hits of the bill. HARRY HAYDEN and CO. (3). "The Love Game." (Comedy). 18 MIN8.; Three. (Special). Prospect, Brooklyn. Harry Hayden authored "The Love Game," which he is assisted in presenting by three others, two women and another man. It's one of the numerous second cousins of that good, old standby "Bibbs and Bibbs," nicely modernised. There is also a dash of "The Taming of the Shrew." A youthful lover has a sweetheart who is inclined to be flirtatious. A friend of the lover advisee him to "treat her rough," announcing that, as his method of handing the la- dles. The recipe also Includes "make her Jealous." The adviser is married. When giving the advice, however, he does not reckon on the henpecked lover utilizing his (the advisor's) wife to make his sweetheart Jealous. Us- ual complications. The act is an excellent comedy of its kind, nicely produced and splen- didly played by Mr Hayden and his company. It went over for a laughing hit at the Prospect. Bell. JIMVIE FOX and CO. (2). Comedy 8ketch. 16 Mine.; Full Stage. 23d St. Three capable people in a poorly written and badly constructed sketch, made almost ridiculous In an effort to evolve a new twist of the old triangle. Jimmie Fox is a light comedian who has been half of a former standard two-act In the effort he is assisted by a male opposite and a pretty girl who handles a thank- less role convincingly. Fox makes the most of the few opportunities the material offers as the young man who is called in by his pal to square the latter's girl and talk her out of her desire to get married immediately. There are a dozen technical faults in the con- struction of the skit, with the di- alog showing but one or two bright flashes. The three people are worthy of a stronger vehicle. Oon. FRANK KAMPLAIN with Lou Bell. Songs. 10 Mina; One. 23rd St. Frank Kamplain has been making records for Edison and Columbia for some time, his forte being yodellng, which, too, is the main idea of the vaudeville routine now offered with Lou Bell, billed as the "Dixie Girl." There were two duets at the open- ing, one called "Please," with "Moonlight" following a bit of chatter. Miss Bell retired to change an unbecoming frock. Kamplain used "Roll On, Silvery Moon- for his solo, the number selected patent- ly for the opportunity to yodel. It won results. There was another dash of yodellng in the next number, partly duetted with Miss Bell. A Spanish number was used for the finale, Miss Bell again changing and looking her best for It. For the split houses*the turn fits nicely, for Kamplain's yodellng gets across. rbee. LYNN CANTOR. Songi. 11 Mina; One. American. Lynn Cantor opens with a song which tells the atory of ner f-tnio From the verso she recured this fame with the Ziegfela 'Follies." and she bores to continue it at the American. She is a big girl, with a powerful rather than a muileal voice. She sang three numbers and closed with an impression of Tetraz- zlnl. The mention of the singer's name seemed to carry weight. Just one of those straight, single women, who find spots more readily on the- Loew bills, where they play eight and nine acts than anywhere else. RAY RAYMOND and the --MEL- ODY CHARMERS" (I). Mueio, Songs and Dances. 30 Mine.) Full Stsge. Proctor's, Mt. Vernon, N. Y, Ray Raymond and the "Melody Charmers" appear to be muchly along the formation of Johnny Ford and the same title of turn, which Mr. Ford opened with several months ago. Only that Ford had five pianos and girl piano players on the stage, whereas Mr. Ford has but three, although In addition he has, and they are featured in the billing, the Foshee Sisters, two of them, cute little girls, neat little girls, one with a personality and bearing that should get her real fame In the show business before she is much older, while otherwise as far as the two Foshees are con- cerned, they hold up Mr. Ray- mond's act. When Ray Raymond, before go- ing into productions, became known in vaudeville as one-half the team of Ray Raymond and Florence Bain and when appeared in eastern vaudeville with "The Four Hus- bands," Raymond was light come- dian, a juvenile who could sing, dance and do comedy. Now he sings and dances only. There is no suggestion of a light comedian of any kind in this vaudeville turn and there isnt much else that Ray- mond does worth noting, other than his final song, a souse number set to a pretty melody. Meanwhile he sings and dances, with the Foshee girls, with the other three girls at the piano, and by himself, without making a count when not coupled with either or both of the sisters, except the clos- ing song. The two uprights and concert grand mean nothing, their players mean less, zo it does leave only the Foshee Sisters as the act. They are programmed referred to as late of "The Velvet Lady" and "Blue Eyes," musical productions Mr. Raymond has also appeared in among others, since he left vaude- ville. The comme : on Florence Moore and her production expe- rience in this New Act department directly applied as well to Ray Raymond. For SO minutes in vaudeville the turn contains little. As a compari- son It was a better turn with Johnny Ford for Ford did his sin- gle dance at the conclusion that sent the act away with a hurrah. There is left though the name of Ray Raymond at the head of the ensemble, for whatever thai name may be worth to vaudeville, Sime. FEBER end BERNET. "Off and On" (Comedy Skit). 21 Mins.; Full Stage. 23rd St. Two young men using the former Flannagan and Edwards comedy, "Off and On," with the action with- in a littered hotel room. Rather strange to see so many empty beer bottles around. It must be a prob- lem to keep up the supply these daya The billing credits Flannagan with the act and for the most part the routine is followed as In the origi- nal. There is a finale bit hx/'one," also along the same lines, with one of the team playing a uke. His partner gets jaxz sounds from an empty tin, resembling the results of a jug. Feber and Bernet are using a new lyric for the closing, !t being called "Topics of the Day" and founded on the film idea. The team has been in the West. They handle "Off and On" with sureness. On fifth they were sure fire, with the same results assured on any split bill. Ibrc. FOX and BARTON. 8ongs and Talk. 15 Mina; One. American. The Fox of this combination was formerly of Gilday and Fox, a Hebrew dialect team. In this spe- cialty Fox la essaying the well- dressed straight man but at times gets back Into the old dialect The comedian tries a hair-lip character at the opening and does a semi- drunk at the finish. The talk con- tains nothing that would be worth remembering. There Is little point to it and at no time does it become funny. The one funny bit Is the short leg incident, done well and repeated for a good laugh. The singing of a ballad by the straight man will gain results in these houses where ballads are about as sure fire as anything that can be secured. Any time two men, straight and comedian, come on It. Is a cinch bet that a ballad will be forthcom- ing. The act may get by In its present 1 surroundings, but it is far from a good act, and next to closing is too much for them. On this half's bill there are at least three acta In "one" ahead of them that have a better licence to the position. ADELE ROWLAND. Piano and Son go. 20 Mine.; One. Palace. Adele Rowland returns to vaude- ville aided by a girl pianist who la also utilized in two numbers to har- monize. The musician possesses a contralto hum that blends effective- ly with Miss Rowland's soprano voice. In her opening song Miss Row- land la allowed opportunity for operatic travesty, handling deftly a prima donna Impression and a Galli- Curci assortment of notes that gets her under way nicely. She gets a laugh here by evading the top note and taking a low at the conclusion. "Jane** is next doubled with the pianist to be followed by impres- sions of a slang girl at the movies and a more refined type trying to beat the ticket line a tone of the local "hits." The bits are labeled "pests" by the singer and properly introduced into the dialog. Both got over as familiar characteriza- tions. "My Madonna/' a beautifully written ballad with an appealing metodj, sung ft>»»-lessly, with "Keep On Humming," one of those opti- mistic things substituted for her former "Pack All Your Troubles," concluded. Miss Rowland was forced to en- core with "Suzanne," a holdover song recitation from her former turn. Miss Howland has a fine knowledge of values for vaudeville and is equipped with her ueual sure fire assortment in her present vehicle. Con. BRYANT and STEWART. Talk, Song, Dance, Musical. 15 Mins.; One. Lincoln Square. The boys are new in the east, al- though out West they popped into the limelight through the kindly graces of Ernie Young as an over- night sensation. Judging from the Chicago review of last year, the routine has been altered somewhat. The duo has discarded the Prince Albert stuff, although they still peddle the same brand of hoke and semi-nut low comedy—and get stiff applause prices therefore. Clean cut, personable youths, they affect an eccentric make-up only as to shelltcx "cheaters," which they maintain until the final bend. The turn is built for comedy, and good comedy means plenty of laughs. They delivered on both ends in full measure. While a portion of the crossfire listens familiar its treat- ment lent it a nascent sound. The Windy City review also makes no mention of the burlesque instru- mentallzation on "kazoo" saxo- phones, and since this consumed some six or seven minutes, it must be something new to the act. The response It earned warrants its re- tention permanently. As to the act's possibilities as far as the bookers are concerned, the impromptu cracky *T think we ought to be at the Colonial (the big time neighboring house) this week" speaks for Itself If carried out In accordance with the team's desires for they cretalnly can deuce it easily In the twice dally. STANLEY and COFFREY. Comedy Acrobatic. 9 Mina; One. Greeley Square. Apparently two acrobats who are trying to get away from a straight tumbling turn and have devised a quantity of "nut" stuff and dancing to serve as a novelty. They are not yet sure of themselves and do their clowning in an uncertain way that leaves the audience at times won- dering If they are kidding them- selves or the customers. One of the men lies prone on the stage and waves his arms while the other displays a sign "imper- sonation of a swimmer." The comic flops abqut the stage when the banner reads "a hooch hound." Both men seize every opportunity to make announcements, with the usual results when an acrobai talks to an audience. They have a bur- lesque lariat manipulating bit tluit might be developed, but most cf the stuff needs remoulding by an expert hand. This is not true of the acrobatic dance which serves as the finale, and which is a first rate perform- ance. It has some neat steps and a quantity of excellent ground turn • bllng such as back somersault' 1 and half back-flips and "kip-un.i". It would take an acrobat to get this dance over and the bit is worth developing. The pair have the raw material for an interesting turn, but it needs a good deal of building. An in- vestment In advice from an ev- perlcnced professional coach might pay the pair many times over. 1 :