Variety (November 1921)

y, November 25, 1M1 \H AfctS TMiS IVtfiK 21 HARRY TIQHE CO, (2). ££. ana Talk. Mint.; One. SifeAiftl- ^flth the tame abrupt laugh and familiar cough, Harry Tlgtae -vpgsentinu a new turn which is lastly Tlghe. Toward the and two £1 walk on, or dissimilar physical (portions, to combine on a couple aombers with him which leade pp to the finish. Entirely in "one," and the piano. the act opens with a song on the gamdva nt ages of allowing your ustline to increase; sung by Tlghe, otter which he goes to the keyboard or a number which la spaced by "talk on the •'gals," prompted a miniature memo book of BILLII SHAWS RIVUI (f) ftdngsi Dane*) Revue 30 Mine.) Otis and Full Stage ( t peoi al Settings) jtMIss) BUlle Shaw has been pay. ing around In this new vehicle for several weeks, but it is far from being in shape. Hal Hlxon is out of the turn, also Herb Hoey. In their plana Miss Shaw is experi- menting with a youthful singing and dancing Juvenile. The kid shows promise, stopping the act on two occasions, once with a corking buck FLORENCE WALTON Danesa A4 Mine.; One end Full Stage Palace Florence Walton has again re- turned to vaudeville. She has made her usual trip abroad, come back and fixed up for her hotel appear- ances in New Tork and, having a little odd time on her hands after- noons and evenings, she has decided vaudeville patrons must have a chance to see her. Therefore this Palace engagement. I In advance of her appearance an and wing routine and the otherlavaunt courier of the dancer let It phone numbers. The two girls anter to co-operate on a slang lyric that has Tlghe delivering the "cracks" with the feminine duo un- able to comprehend. Then a parody oo opera, done In* ragtime by the Uo. used by untold .numbers of g^ts, witii an encore in the form of a recitation by Tlghe concerning "A Vaudeville Piano."- that held suf- fletsnt comedy value to connect. The act could stand some cu* lng and especially should the ragtime opera bit be passed up. Too many recollections connected with it. Tlghe appears neither to more.ad- vantage nor disadvantage than pre- viously, but continues to remain the same iu his work, which is ques- tionably enhanced by the presence of his two feminine partners. The comedy is sufficient to push the turn over to acceptable returns and as it stands will pass as an average "standard" act, which doesn't lessen the fact that there should be M>me needed revampi:- : done if added value is to be Rained. ttlrifl. LYNDALL, LAURELL and CO <4) Girl Athletes 12 Mint.; Full Stsge auts Three stocky, husky girls in short- skirted bathing suits are disclosed instance a Jaxz acrobatic Russian solo. The act Is sumptously produced, but hicks pep or punch until within about 10 minutes of the final curtain when the specialty dancers assist- ing Miss Shaw get down to the meat of their hoofing. Previously the act allowed ample opportunity for Miss Shaw to flash on and off in various bare-legged costumes, all in good taste and classy. Between the many changes the dancers soloed or doubled and the male piano player sang to different results. The act tells a story in rhyme about the three youths trying to woo the damsel. Dancing solos by the three dancing youths and a fast trio routine put the- act over at the finish. A novel effect was Obtained by an entrance of Miss Shaw from beneath a huge Tureen. This was prefaced by a few rhymed remarks by a memlKT who may have been the stage manager or electrleian of the act. The toy soldier, Iceland, jazz ! restaurant and bridal numbers all trailed for special drops. The cos- ] turning of the principal was lavish, but the turn attempts too much. In an effort to depict versatility Miss Shaw or the author riddled the dancing: members with too many lyrics. As specially dancers they qualify, but the brief appearances in the preliminary dances take the edge off their specialties and ex- hausts their repertoires. The turn could cut 1A minutes at the rising of the curtain, a special ] . . . „ . .. _ i#M fl „ a «_!_*, 7 - , .. ... . . - , and get down to the sure-fire finish drop furnishing the background of ... b . k™«* th* n i. n i.» a bathing beach. They talk about the absence of men, beginning a conversation that goes through most of the act. All of It Is de- livered in the labored style common ts acrobats, men and women, the World over. Presently one of the girls unveils g decorative awning and reveals a punching bag upon which she goes Jto work A man suddenly appears and the girls quarrel over him. They decide to settle the dispute with the boxing gloves. There Is a two- round comedy bout ending in a comedy knockout Two girls arc off, while the man returns ;nd en- gages the third in meaningless talk. When the absentees return, in union suits, they take up the chit-chat While No. 8 gets Into a man's two- piece swimming suit and a wrestling bout follows. For the finish the heaviest of the girls undertakes to throw the man and toss* him lightly about the stage, although- he Is tall and looks to weigh around 1(0 pounds. ■ Tho turn lacks showmanship. The rough stuff, both in Its at- tempts at comedy and in the straight athletic exhibition, spoils the old appeal of undraped fem- ininity. Closing the show at the State the turn got very little. IU Place is in burlesque rather than a •mall time vaudeville catering to mixed family audiences. The rowdy atmosphere probably is objection- able to women. Rush. with much benefit. The pianist should stick to the piano for his vocal numbers. His solo with the orchestra flopped due to flatness on the final top note. At the Broadway the act built up after a phlegmatic start and was. good for several curtains. Con. WILLIAM HALLEN Sengs and Stories IB Mins.; One bSth SL William Ilallen is an eccentric nut comic, with a style that is no- ticeably away from the general run of nut singles of the present day. Beginning with a rambling nut ditty, he follows with a routine of stories, some that wilhaound famil- iar to those who know vaudeville of a couple of decades ago, and others j j e y that are up to the minute. Hut it isn't what Mr. Ilallen does; It's how he does it. Instead of unreel- ing his yarns, whether old or new, in the usual cut and dried manner. he characterises all of them, some with a funny hesitant, explosive, stuttering delivery, others with an •cid-proof brogue. And while he hi a nut comic, he never makes himself ridiculous. Thai is to say. the audience laughs with him. iuV at him. Incidentally, he breaks no straw luits nor electric bulbs. Mr. 1 fallen. mUIi his compete' * ty.uy oi handling material, and dis- tinctive style should step right into the bigg< .%t I '.lis a,id make more l «* -, n good. Bell. BETTY MARTIN and PHILIP MOORE Aerial Gymnasts and Acrobats 10 Mine.; Full Stags (Special) Orphewm Opening in Tuxedo and black eve- ning dress, Moore goes to the flying rings .'or some aerial acrobatics while Miss Martin changes to white gym suit She is a nicely formed girl, smooth and girlish in figure. Mounting the rings she does a series of swings with a slide to a knee hold featured. Moore solos a routine in which is featured the "Windup." It consists of gripping the rings and winding the ropes about the arms. At each forward somersault the ropes make an additional loop, lifting the ath- lete up a notch. It's flashy and a novelty. After some double balancing stunts on the Romans the pair go to the floor for some acrobatics and lifts. The feature 1 the "Seal Roll," which is a lift by Moore r f a hand- to-foot and a roll across the stage while In a reclining position and holding Miss Martin aloft. It's a Pip. This pair have the goods and are u rsal novelty for either end or a be known that she was going to give the public something new. She was going to give vaudeville two acts—one in which she intended to act and the other in which she would dance. That was the plan Miss Walton tried in the suburbs, but when she came to Broadway Monday she danced. She also sang a song, or rather talked a song that was entitled ''For No Reason at All," which was just about what it was. But when it came to dancing, that ir. dahclng of the ballroom type. Miss Walton again proved she is about as good as there Is in that line. Assisting her are two young men. Alexandra Vlad and Leon Leitrum, the former her partner in a tango and the latter in a waits and one-step. Two musicians, a pianist and violinist, play during the dances and while the star is making her change;;. Maxlmilan Dolin Is the violinist and his two solos between dances well deserved the applause. He Is m finished musician with enough showmanship to please vaudeville. After having sung 'Tor No .Rea- son at ATP In one. Miss Wallor. ap- peared for the tango in full stage. Vlad, assisting her. was dressed in a costume that suggested Valentino in the "Four Horsemen"; very ef- fective for stage purjK>stts. Hi dances well and Miss Walton showed a new step or two in the number .that earned applause. It is by far the showiest number of the three offered. In the waltz with Leitrum there was some pretty figure work, and the one-step was all exhibition stuff that even none of the sharpest of the sharpshooters in the old days would h ve at- tempted. There was one consola- tion and that was that Miss Wal- ton did not attempt to ''Chicago.** although she undoubtedly could stage a "cean** number of this sort. Miss Walton is still the class of the ballroom dancers In vaudeville and if anything her appearance improves with years. Monday night she looked as beautiful as Gcraldlne Farrar, her appearance, in fact, bringing the comparison to mind. Fred, pot on any of the bills. Con. SHEA and SHIRLEY Piano, Comedy and Soros 21 Mint.; One City. Jimmy Shea and Mamie Shirley, the latter formerly one of the Shir- ley Sisters, presenting a corking variety act running to laughs for the strength of the. turn. Miss Shir- handles a couple of numbers while Shea feeds talk and handles the piano for her. In one number topieal in type he managed to con vulse the lUKilfiic" at the City. It is Jimmy Shea'.s inimitable manner of fun-muking lhat gets the aei it* applause, although Mbs Shirl-.v looks pieaslnc '.l'<l 1:iO(IIis le r numbers nic»l\. Tic; n oftlr jazzy order. Aft'-i" l !>• iiju-i'iii:: pil : <v and double, the number with Sb<a «l the pin fin gol to t le :i inli'-iiee 1 'f a. wallop Hid from thai puinl on there was no slopping (he r.el. The; V alkc d away with I'm- <omhiif '» .})pl;iii. " anil laugh honor:- of U f- HARRY LANQDON and CO. (S) •After the Ball" 23 Mine.; One (•); Full (•); Two (t) Palace Harry Langdon is ussisted by a company of three people in present- lng his new comedy offering. It is in three scenes, the scenes being entitled "In the Ruff.'* "Treated Ruff" and "Ruff Riding.** It Is a combination of golf and motoring and judging from the applause and laughs it Is going to develop into a standard offering that will even eclipse "Johnny's New Car." It was noticeable that Langdon a-id his company were not at all sure of themselves as to the laughs. The first scene Is on a golf course with Rose and Cecil clad In striking golf costumes, doing more gabbing than golfing, and Harry caddylng along behind them. There are chances here that will work out. The second scene, in full stage, at the front of the club house will build up to be as funny as the front of the road house in time. As It stands now It has a lot of laughs, but they are not of the "wow" quality. Finally the auto bit Is use.I for the closing scene. It Is different than the old car stuff. This time it Is a smart looking roadster with the girls in the front scat and Harry riding in the rear. Some of the copper stuff Is Used and still gets laugas. The prop tin cans In the hood an 1 the bio at torch backfire bit from the old act is still present and lands with the usual effect. The three scenes make pretty stage pictures and the two girls show to advantage in the smartly cut golf clothes with knicker and hose. Harry is i he same boob ehar» actcr as of yore and quite as funny i in bis inimitable way. JYcd*. GALLARINI S4STCR3 Musical 10 Mint.; One 444ft St. The Gallarini Sisters, two young girls of nice appearance, have been an act for three or feu* reasons, but this seems to bo their first week in the metropolis. The girls are musical, one quite widely accom- plished. She plays a variety of Instruments, opening with a violin as her sister plays the accordeon. The accordeon-playing young woman clings to that instrument whilst the other takes to the brasses, muted and otherwise, for the lively pop numbers or the Jawing strains. The girls look rather striking hi their Venetian or Neapolitan cos- tuming, a bright stage picture all the while. Their music goes toward a substantial success, as they please all portions of the audience. Theirs Is not the rollicking, hip swinging, feet rocking cabaret musical per- formance, but a classy and clean- cut specialty, such as genuinely entertains and pleases as much with the appearance af the girls as with their music. It's different, that's why, to the composition of the per- sonnel, and the playing. The -girls could have received the benefit of a better position for them than opening after Intermission, In "oner but still they didn't appear to mind it and assuredly the audi* ence did not. It's a very placeable turn for the Shubert c! -cult, dis- playing good booking judgment. 8imr. FRANCE8 BELLE AND BOY8 Singing and Dancing 12 Mine.; Full Stsge (Special) 68th SL Conventional singing and dancing trio, woman and two dancing boys. T T *ual singles, doubles arid trios. Two boys start act before scrim drop in one. with brief dlalbg, which brings Miss Belle on in full stage set, pretty eye. with effective lighting. All three dance well; singing on par with regulation dancing acts. Dialog should be eliminated, aa It means nothing. Dancing will carry turn In early spot In pop houses. Miss Dells shows two costumes, one a dress, other abbreviated soubret cabaret crea- tion, both tasteful. Boy wear Tux outfits. Five or six weeks of prac- tice spins in the outlying houses will do much to give the boys the presen-o now lacking when they are doing anything outside of danc- ing. Samp applies to her. Hell. FOUR BELLHOPS Acrobatic 7 Mins.; Full Stave State Four lively young nnn dressed in bright red jackets like the Hi itish Army »loss jacket rind dark trou- pers. Yhoy go in for straight luni- bjing for the most part, with sonic hand-to-hand feat pyramid build- ing aid make a f.. f finish in a rou- tine m««del<'d r»n tl>(- Arabian sM.lt; of work. Two ol the m< ii ha\e .ipj au-nlly conio | com nilv *•{" lb" Arab troupes. f«i th»-> giv«- a fast and si «*ik 111:4 sampl-- .if the IijM' !<»r\vi»'d, hall .«'d:\vb ■• > oin«'f A-ulf ■ and the leap* into tiu air and I"IV.;imI drop to McCORMACK and WALLACE Ventriloquists 17 Mins.; Full Stage (Special) One Fifth Avenue Hugh McCormack and Grace Wal lace huvo backeu up their ventrilo quial abilities with a full sta;e pro- duction holding a number of clever- ly conceived scenic effects. The scene is that of a summer resort with a miniature dasclng pavilion, bath house, etc., showing In the dis- tance p »d located oa the shores of a sheet of water. The figure of a man rowing in a tiny boat and an- other chap diving Into the water for a swim are likewise shown in min- iature, but with surprising fidelity. The dancing pavilion Is electrically* lighted and other details are equally well handled. Before the couple make their en- trance the auJlence is given a chance to look the set and effects over. Mr. McCormack uses an old sailor dummy and Miss Wallace a little girl. Mr. McCormack is a ventriloquist whose voice-throwing compares with the best, and he un- covers a line of wise conversational patter with the old salt that is plentifully featured with laughs. - Miss Wallace offers a neat bit of dancing In a bathing ?t'!t in addi- tion to her ventrfloqulal contribu- tions. A bit which has the old sailor dummy apparently sobbing called for some expert vcntriloqulaliam by Mr. McCormack. a difficult as- signment which be got away with perfectly. The turn should fit snug- gly into the best of bills. It's dif- ferent from the others. BeB. COULSON and SINGER GIRLS S engs and Comedy 16 Mine.; Three (Special Drops) 145th SL (Nov. 1S) Harry Coulson wears Tuxedo and works straight. The Singer Girls are, a familiar sister combination, the brunette playing the piano and the blonde* furnishing eccentric eosnedy. The trio stick consistently to jasz numbers from the publish- ers' catalogues, and get their best effects in this direction. Coulson does several solos, and tends assist- ance In doubles and trios. There is no danetng worth speaking of, and this rather slows the turn down. Coulson appears alone before a purple drop In "one** and delivers an Introductory number lending to the entrance of the straight slater. The two go into a ""baby vamp- number with the girl at the piano— one of those conversational ex- change numbers. The piano Is in a sort of alcove made by a shallow rye. bsck to ••three/' Comedy girl joins sister for a Berlin number wjth incidental clowning. Coulson is back with a "mother*' ballad, to which he adds a sentimental reci- tation. Girl i return after a change of costume and go Into another double which merges Into a medley of pop numbers, mostly of the ra£ variety, which makes the finish. On early at the East Harlem house they took three bows and passed fairly well. Neatly dressed trio, but they have nothing out of the ordinary to offer, although they, do the song routine satisfactorily, the harmony of an extreme sort be- ing the best liked feature. ninth. Clli's v. r.< k b'. f>', Tin 1;" 11: ;. r< i' Id. 1;' (In- li.M'd 4 wlili h b. iu^r Tl|fy a !.-■«> I M lltrtlM'Tl. 1 -. The f|i:ari« , f mii'iar. I'H J !•<•»'tin "• \v!i ii ! an ini v« s.l' " i-i.:. eii«li»: tb» n 11" 11 <• 1:1 n backlteiid h> t'.K- r.-.-t npain. in tb< |«> r.imiil • (J*i little- llu'l ix not bundb.- tb *ir Hininif- s-'taj» and style. Mule ; <>; ' ib s ft- ,: -* Tit. /: <■••■. COOPER and RICARDO Comedy Talk and Songs 16 Mins.; One H. O. H. (Nov. 17) This pair have been around for Heasons. but arc showing a new idea and a new line of talk. Opening in "one" carrying a suit case. Cooper attempts a ballad. Miss Rlcardo in policewoman uniform, carrying a stuffed club, parades her beat across stage behind him. They go into convocation in which Bhe ,is anxious to learn "What he baa in the grip." Her Hebrew dialect and manner of working are reminiscent of Fannie Itrice without any infringement. He explains that he has a wed- ding dn-Hfl therein and that it is for the firHt woman who consents to marry him. The cop|»cres.s applies for the assignment and exits in make eban^*«. Cooihm- insists that .she rot urn the nriP- When nhe l«Mrn« that il i.s pigskin y.hc says "it'll eome bark." He solos a ballad, aftf-r wbieh Fhe returns for (J»t Married." a £<x»d eoinedy nttr.i'»ei. A bil ol eroKFtlre. followed b..' 'j rionble l-YonHiy son^,', lot them ;i\ .(v iiiei-l\. !'<>r ;»n en- core roin< <f.i'i<d> biiMifi' :■■* with n toy born .'1 ltd like, lull.">w«-d by h<r voralt/inp ol 'IdiHs" to born and uke nreompaniment topped o'Y a good entertaining eome»K- <1« »i 11 .)«- rr.r :i'i .• *. r f m» l»ilb . f'o-i. "CHIC SUPREME" (5) Revue It Mine.; Qn% snd Four (Special* 58th St. A man in "one" announces in rhymed talk wliat the audience will see with the usual expression 01 hope the audience will be pleased, which, as later develops, is an ex- traneous detail and could well bo eliminated. The man presents a foreign though mposlng appearance and his diction is none too strong. The parted curtains in full stage discloses four women, one being the prima and ensemble leader, tin other three girls executing typical dances illustrative of the son*: themes. Four such numbers are ol fered. Oriental, Frenchy, Dutch and a military send-off. including a well executed drill. The prlma's voice, though well pitched, doe* not convey one well pronounced lyri<- line arid therefore means nothing Cdreful pronunciation would en- hance the value of each number tenfold. The "chorus," though they are more than that, ifc a fast, hard uorkiti£ tiio that was responsible lor the act acoring the hit it did. The coHtumhu,' is superb, really a sartorial *tlasb" in itself. Tin- Dutch number in performed will; the usual wood shor t lo^s and the millt try dance carries with it four wlul • muskets for props with whit 1 the manual of anus h performed a* an incidental bit. Although the man i* pint of tl • compai.y, bo doea n(*t tak<» any bows witb tht^ four women. The act is .» "lla^h"* for (no bettor three~a-da mid can IU In nle<.H\- earlv on tbt l \ lee daily. Abel