Variety (December 1921)

Friday, December 23, 1921 NEW SHOWS THIS WEEK SI PALACE Judaing from the business both »*SU and nU£t ^tho Palace.on wonday, there wu every indication Sit it wu a mistake to hold otot IK Singer Midget act as th* head- iinir^at that house, especially for ♦STweek before Christmas. There I. no questioning that the act la a mirtty one, both as a box office Sr?w and a stage entertainment, but not for the Palace. One week at ♦hit house is about all that it could •tand up as in the headline position from the box office standpoint. At JSJer houses and out of town the two-week stand is the trick with the turn and it bullda up as it goes ■.ions, but the Palace is not "local" £ "neighborhood." and the Midgets played everything else in town be- fore going there. Undoubtedly, from a booking otandpoint, it was figured that Mr. Ind Mrs. Coburn (New Acts) and Trixle Frlganza would draw enough to gloss over whatever deficiency there might be through holding over the Singer act. This, however, was not the case with the two Monday performances. At the matinee there were about Ave rows empty, and at the evening performance it is pos- sible that the box office chopped, for. while the last four rows were solid, the next six were scattered with big Vacant gaps at either side, gtlll this is the week before Xmas. However, capacity is so continuous at the Palace that when it is not there the reason is looked for. At the matinee the show ran late, and for the evening performance there was a switch In the running order of the bill, with Mr. and Mrs. Coburn going to closing the first part and the Singer act opening the second halt. This, with cutting, managed to get the final certain down at 11:20 Monday night. The Eight Blue Demons opened fast. The Browne Sisters with ac- cordions managed to get enough ap- plause to warrant the two bows that they took with their neat spe- cialty. Anatol Friedland with his com- pany was on at about 8:20, and made two or three references to the fact that he was on too early in the show during his act. That fact didn't' interest the public at all. The turn developed into a plug for a new song which Friedland has written. The title is displayed on the drop in "one," a verse and a chorus are . done by the leader of the act, then there is a violin solo of the* chorus, followed toy another chorus sung by the leader; and then the orchestra plays it as dance music, and Just to prove that* that wasn't enough of it the number serves to bring down the final curtain. A little bit of too much. It was forced, and noticeably so, by Friedland with his talk. In- cidentally, he or his lyric writer has managed to work out a new wrinkle In handling rhymes. There is a number early in the act regarding "Nona of Barcelona." Somewhere after the first verse It was neces- sary to dig up a rhyme for tune, so Nona became Noona And tune was toona; by that same stretching of poetic license Barcelona must have become Bar-saloona, and in these prohibition days that seems to be a matter for Mr. Volstead to take up. The six girl* that Friedland Is using for his chorus are not quite up to those that he had with the offering a year ago. Fair results were ob- tained by the offering despite the Plugging. The first laugh of the show, and incidentally, the hit of the first part, developed with the appearance of Johnny Burke in his "Drafted" mon- olog. He had the audience laughing all the way, and his piano playing at the close had them asking foe more. Applause stopped the show until a speech was made. Closing the first part the Coburns presented a novelty in "Loneliness." Singer's Midgets opened the sec- ond half and the efforts of the diminutive players were rewarded with frequent applause, with laughs being plentiful at several points through the act. To those that hadn't seen the act it was a com- bination of a Uarnum & Baily Circus and the "Follies." Trixle Frlganza, following the big act, proved a "big" act in herself. She got a number of laughs with the allusions she made to the pre- ceding turn. Her numbers were re- ceived with open arms by those in front, especially the "You Never Know" iyri C( y.hlch was used to open. Next to closing the Swor Brothers, making their first reappearance in two years around New York, were a laugh clean-up from the panto poker game at the opening of the act to the comedy light and stepping at the finish. Thoy have dug up a couple of new similes in their gags and these were laugh wallops. Beth Berl (New Acts) closed the snow. The act was cut considerably and did not follow the program, but >t showed up as an offering of merit n nd not of the typo that should be practically wasted in the closing *Pot of the bill. Fred. WINTER GARDEN next-to-closing act (in "ene"). The reault in this instance, at least, was perfect attention for the advanced closer, whereas It would probably have played to receding backs and half the house helping the other half on with wraps, and the retarded pre-flnal b*»ld every- body in and got close attention, rem calls and everything that went witff its merits. It chanced that the Howard brothers were slated to close. They are very strong and very well known. However, mightn't the audience, have remained in for any Important olio double in that spot? Reversing the two last acts has this advantage: It lets the show off with a bang. One famous and successful booker has frequently said that if he has a great next-to- closer he has a great show, because the audience walks out (probably on the closing act) satisfied. This way he can get in any value the closer may have and still send his houso opt cheering. The main reason for walkouts on final acts is that they are uninteresting; it isn't the running time. The same people don't walk out before the last of legit shows or pictures. They re- main as long as they are held. The closing act has no value at all, or it has some value; if it has none, It should die out; if it has some, that should be utilised. The Flemings, a white-art posing male double, turning into a neat hand- balancing and turnabout lifting rou- tine, was placed ahead of the How- ards. It drew applause and scrutiny and concentration such as, it may be safely stated, it or no other silent act could attain one position later. Thus it goes in as an additional item of weight on the bill. Other- wise it would be "just one of those acts." a tragedy to the performers, a bagatelle to audiences. And the Howards (New Acts) didn't lose a soul, either. There was another element in this show: Ryan and Lee, a durable and standard next-to-closer, pre- ceded the Flemings. It would have been a regular running show had the Howards not been there at all, but short one act. Isn't that a hiyich to take the hcadliner or "name" act, with established draw and hold, and set it, instead of a weak and quiet number, to keep the crowd at the last? The Flemings worked easily and with that studied dignity which artists of this field lean to when they get half a chance to exercise it, in place of that feverish "action" when they are buzzing away in a scurry against the odds to stop the stampede. This helped them im- measurably toward getting home the impression they piled up. There are probably many other "dumb" acts' that could do it if given the same break. Ryan and Lee had laid it down pat for whoever followed if the audi- ence remained, which it did, for this pair of wow-'em little character comics turned In the first dialog comedy of a long bill, and, except for the Howards' few minutes of gagging, the only legitimate comedy in the show. They proved that the Winter Garden isn't a hard house for laugh stuff, as has been alibied; it's all right for all right material punched home) by the right people. Not a giggle was lost in the familiar Ryan-Lee routine, and it hit for a wallop. One of the perfect acts in "one," this. Ciccolinl opened the second por- tion. His program matter set out all the six great grand opera com- panies of which he was top tenor. He appeared hatless, in semi-colo- nial costume. He pleased, but did not thrill much. He used some make-me-come-back politics that he never learned in any of those six opera organizations, even having the leader motion to him frantically and beg him pantomimically, while the orchestra wao playing his next introduction, forte. Ciccolinl is no helpless stranger in vaude. Burt Earle and his eight musical girls let down half No. 1. This is a lot of flash and noise, suitable at best for a three-spot, because the entire act lacks novelty or distinc- tion, and th< playing is never im- portant and at times much too long at once, and devoid of entertain- ment. There seems an effort to make the girls versatile, and in the effort thero is considerable faking of instruments, notably a violin, which one fc.A saws with her bow for many minutes without any per- ceptible fingering. Earle's banjolng is fair and his comedy is nil. De- spite much hurrah in the get-away medley, it didn't come to a boil. Billy McDcrmott kicked a goal with his customary run of stufT. The crowd took to him on sight and stuck right with him. He worked easily and ad llbbed fllppnntly and had them every second. He left on I lie high wave of a substantial vic- tory, proving also that the Winter Garden is O. K. for punchy comedy of the bull's-eye class. Everest's monkey circus got a ••pot, too. being third and getting awav with it nicely and noisily. Anybody who knows bid vaudeville can see through the backstage mc- fan who buys it but effective. Study and develop- ment may make them; now they lack poise In their dancing, which is their asset; their singing is hopeless and should be* Immediately aban- doned. Pedersen Brothers opened with ring tricks, very difficult, very excellent, very good for the position. Lait. COLONIAL 44TH ST. ehanics, but 1o th* An experiment (at least an in- novation) of extraordinary vaude- ville interest is being worked out in the Winter Garden this week. It is "oubtful whether the arranger of tho bill had in mind a test of revolutionary a step. Hut here »■-» i »■ •* j «"•»-« ........ —■- — 1A . . . « . . , t y»«it ho has done: He has put a done better had they not sung songs. Soman with a short and fairly ef Epical closing art (full stage) ftext * Their acrobatic dancing, single and feetlvc hand-to-hand balane.ng rou^ to closing and closes with a g^at double, was hard and mechanical, tine, closed. I bee. is a marvelous exhibit of simian re- Jinement. Mm<\ Kverest tot>k two bows bv ample request. Joe MeCoimaek and (Miss) Uillie lb-gay deuced and sang and danced, •ol.loe is no John and 1'illie is no I'-arl. is I They worked bard, and would have An exceptional vaudeville show, easily one of the best here sipce the start of the season—and a surprise, since It graced the boards the week before Christmas. It could ride nicely as a holiday bill. While the news weekly was being projected a* woman patron was taken very ill, but was assisted from the house wit:, little commotion and few people aware of the incident At- tendance on the lower floor was not as good as last Monday evening, the approach of the holidays probably affecting the box office. On form patronage should build during the week. Considerable switching at night worked out for the best results. Arman Kaliz, with "Temptation," was moved up from seventh, which was next to closing, the turn being assigned to close intermission. At the matinee there were five acts in the first section and three in the last. It was made four and four at night A long leap was made by Harry Holmes and Florrie Le Vere. sent from No. 3 to nex w to closing and there cleaning up. It was about an even break for the evening's honors between that duo and Billy Wayne and Ruth Warren (New Acts), who opened intermission with a laughter winning skit, "The Last Car." Both comedy acts had the men folk pick- ing on the women, but there was no conflict in any way. The velvet drapes of Holmes and Le Vere's skit held a laugh, for on the material Is painted "murals" of two of the world's fattest nudes hiding among the flowers. In the box section of the turn there are several new laughs. Holmes' lyric with the bass viol is a corking bit of humor. His "system" of taking bows is tickling, too. He Carries his partner on and off, each time bending lower and finally staggering on with a dummy which he tosses into the aisle. There was a third comedy act in the going, Ed Lee Wrothe and Owen Warren (New Acts), which worked up into a good scoring No. 3. The class end of the bill was car- ried b. the Kaliz act and Ella Ret- ford. No doubt about "Temptation" being too long running for the sec- ond section, and it was rightly spotted at night. After some stray fumbling at the start, that included tampering with the light cues and several of the girls stumbling over the wavy groundcloth that is so prepared to make it easier for the barefoot dancing, "Temptation' set- tled down to good flash entertain- ment Of theTeminine aids Hazel Webb first drew attention as "ex- travagance," and led one of the operetta's prettiest numbers. Mr. Kaliz with "Lovely Ladies" had the other most likely song. E. Renoff, first as Adam, looked like a cave n in and used his strength in the classical dance with Vivian Laland. Katherine Barnes as "intoxication" was lively, and Florence Browne was very effective as a temptress. Others in support were Marjorle Sweetser, Laura Land, Dorothy Kendall and Klosane Furukawa. The feature of the supporting play- ers are the number of girls who de- liver in a dancing way, and some of them have tiny-costumes. One of Mr. Kaliz's scenes lost something because of the use of ragged-end straw hat. Instead of closing intermission Miss Retford was moved down to No. 6, and there the English girl landed. She first appeared last spring, and was booked back for a tour which started last week. Miss Retford has retained style of rou- tine, though there are perhaps sev- eral different numbers, two of which sounded as American. One may have been "As Loi ; as You Wear a Smile,*' which had chatter between verses, and the other was "Casey." The impression bit was used for the finale, Marilyn Miller being retained, also the Chaplin bit and Belle Baker, the Lauretta Taylor bit being out There wasn't a trace of dialect for the Miss Baker number. Miss Ret- ford has a charming personality, perhaps no better shown than in the speech of thanks for her warm reception. The uppe. part of the house whistled its plaudits, so her initial try at the Colonial is to be counted a success. Madelon and Paula Miller, a juve- nile sister duo, won something on second. One sister at the piano and the other with violin was the opening layout, tho peppy style of the girls counting. The sisters danced '-/oil at the clos*». getting re- turns that brought them out for some encore stepping. La Dora and Rockman opened, their routine being largely upon webbing. Miss La Doia flashed u peachy form, but she is not so nnturally possessed of a singing voice. The warbling in the air rather detracted than helped, besides it is not original. Both members working on the webbing at the close, the orchestra using a melody from the "Music Box Revue." Sidney and The only fault to be found with the bill this week is the absence of novelty. Nora Bayes should prove a sufficiently potent headllner, but the light house Monday night did not evidence drawing power. It Is the pre-hollday week, and Miss Bayes not so long ago was at the Winter Garden. Miss Bayou is, if anything, as good as ever, if not better. Any per- former who can entertain for over three-quarters of an hour is an artist. She has two male assistants besides a pianist, and they are all competent Allan Edwards sings a la Jack Norworth—that is, he in- tones in the same manner, but there the resemblance ceases. The other man has a well-trained voice with fine natural quality, besides being a clever comedian. Miss Bayes Is ap- parently a "bug" on lyrical enuncia- tion. In a class by herself in this line, she either selects her assistants because of this facility or has the knack of securing such results from them. Her numbers are well chosen, with a leaning toward dra- matic melodic concordance—just a leaning, never a toppling over the boundary. Directly she Is on the brink of seriousness she switches to her exceptional sense of travesty, low comedy or farce, as the occasion demands. The act is a conglomera- tion of diverting nonsense. Fred Rogers, blackface dancing comedian, is a.unique stepper, but not a word he utters while vocal- izing is intelllglb* . His forte is knockabout flat-foot hoofing. Rogers opened the show, and a more strik- ing comparison could not be made than that between his lyrlcizing and that of the headllner. He has a funny personality, but It gets him nowhere—and never will until he can learn to land the words of his ditties. Musician Johnstons enter- tained in their usual manner with their xylophone playing. Mr. and .Mrs. Mel-Burae enact a farcical sketch in an original stage setting, depicting a sleeping porch of an apartment building. It Is ef- fective, even if ho one ever saw such a thing as part of the equipment of a Riverside Drive apartment duell- ing. The man plays a husband re- turning home after a night out, very much under the influence, and gives a legitimate characterization, which is fed by the lady. The dialog Is punctuated by a lot of sure-fire gags, but they are so well perpetrated they get over. Hattie Althoff, with her sister at the piano, sings a number of ditties in the kind of voice that appeals to vaudeville audiences, and as a re- sult she scored a neat hit Al Sex- ton and four girls, reinforced by a special eye, sings pleasingly, dances with each of the cutely costumed maidens, and the act finishes with Al and the girls doing a musical comedy ensemble "number." He Is an easy, graceful, modern stepper, and the girls do their part. International NeWs Weekly sepa- rated the two parts of the show, and Bert Melrose took up the task of amusing, with his clownish antics and clever balancing, finishing with his table rocking stunt. He came back in "one" for a bit of instru- mentation on a saw to enable the setting for Nora Bayes, who fol- lowed. George M. Rosener, next to clos- ing, must have realized there was a goodly sprinkling of the profession present, for he opened up with such technical references to the business as "62.G0 for the last half," and landed a few giggles. His "Anthol- ogy of an Old Actor' must be good entertainment, for he was healthily applauded for his efforts, and made a speech, m which he stated It was "too damned much trouble" to get a new act. Ho spent fully two min- utes with his speech along these lines, adding that all that was necessary for such a turn was "Madison's budget, a red nose and a lot of gall." The hour was 11:10, with the last act, Apollo Trio, wait- ing to go on. Fortunately, the Apollo people are well worth while or their turn might have been spoiled by the remarks of their predecessor. What was left of the assemblage remained seated for the finish. Jolo. holding up. The boxes and logos were filled to a greater extent Mon- day evening than any other section. The Chandon Trio started with- out the customary short reel picture used before the acrobatic turn. The Chandona, consisting of two girls and a man, have a cleverly devised acrobatic routine with several cork- ing tricks. They easily brought forth applause in the early spot, paving the way for Willie Solar, No. 2. Solar used two restricted num- bers and his monkey song, tho latter topped off with a dance which gained all of the attention the spot could demand. The sketch position No. 3 was handed Valerie Bergere and Co. In the Katharin Kavanaugh playlet, "O Joy San." This Bergere offering Is up to a par with her previous acts and proves sufficiently enter- taining to hold its own in any of the big time programs. The sup- porting cast includes Herbert War- ren, Jason S. Kinslow, Violet Bar- ney, Effle Bordine and Harry M. Smith. Miss Barney Is a stately blonde admirably cast in an unsym- pathetic part DoUle Kay, No. 4, with Phil Phil* lips at the piano, blasted away with" several published numbers that filled the bill nicely In the first half spot. Miss Kay has retained an old num- ber here and there with the songs, however, neatly knit together, with which a generally good Impression is made. A corking novelty number used for an encore Is the outstand- ing hit of her present routines. Ap- plause greeted this hard-working? girl. Paul Morton, Flo Lewis and Oo^> in "Broadway Butterfly" closing the first half easily gathered applause and the comedy honors of that eee- .tion., This couple have a fast and furious bedroom farce that abounds with laughs and Is bolstered strong- ly by special numbers. The bill was In need of a strong comedy feature at this juncture, with the couple easily carrying away honors In that line. A "Topics" and cartoon reel fol- lowed the Intermission, with Carl McCullough reviving the Vaudeville. This well-groomed boy started slowly, but built up strongly aa he went along, finishing with a cleverly written and handled telephone bit which waAha neatest morsel In the turn. Tom Elliott Is In support ef McCullough as a piano accompanist, going through his work In a capable manner. The second half got a good start with the McCullough act, which mado way for Frltsi Soheff with her routine of voice displaying 1 numbers. The "chanteuse comlque" (program line) retains her famous "Kiss Me" again, which can be In- variably relied upon by her for re- sults. Several standard numbers preceded It Monday night, and also the "Silver Lining" song from "Sally." The uptown audience ap- proved of this single from start to finish. The comedy and applause hit of the evening occurred with Dooley and Sales next to closing. They were the first to secure applause upon the flashing of the cards, and from then on walked right through the audience, mowing them down with laugh after laugh. Mme. Bradna with a snappy circus turn closed the show with but few walk- outs. Hart. RIVERSIDE The current week's show at the Riverside is billed as an Anni- versary Program with no apparent reason for this style of bill, as tho layout contains a name headllner and several standard acts which, collectively, furnish an entertaining program, a condition rarely existing with the so-called anniversary bill, rosslbly it being tho week before Christmas was tho cause of the switching from the regular billing policy, as tho time table method draws a certain number of bargain hunters. The uptown Broadway houses in tho vicinity of the 00s draw largely from a theatrical shop- ping clientele. The show shoppers pass up nnd dwwn before the thea- tres in tha. locality andyinspect the bills at the various hocuses. I'm.illy picking out the one which suits them. The general Impression Is that they curtail the dinner hour to take the Broadway promenade to look over the show bills. Monday evening found business comparatively light at the River- side. Attendance at this house has been off t • a large d«T.r<-<- i!"- « uiy part -of the wick for sunn- lime, Willi the Saturdays and Scndnysiiaugh closed. AMERICAN ROOF The open season for shopping put a dent in tho American patronage Monday night. About half a house. It'll be tough sledding for the first / and second half shows If the initial | evening of the week Is any criterion as to the attendance that can be ex- pected. For those who remained away it may be said that there is no need for weeping on their part, as the first half bill gave evidence of hav- ing been booked In with an eye on the proverbial pre-Xmas business. Taylor and Francis (New Acts) on fourth gathered unto themselves what honors were donated by the meagre throng. The remainder came very near turning it into what is sometimes called "one of those things." Grant and Wallace opened, with Williams and Smith following, who offered a couple of songs and some stepping, of which the footwork of the malo half received what little recognition was granted. Ambros and Obey, succeeding, passed along quietly despite the woman's efforts at comedy. Minus any semblance of personality or appeal to an audi- ence it might prove of advantage to the act if she would omit the comic antics and adhere to a straight routine. Mite. Twlnette (New Acts) accompanied? by a pianist and a mixed couple of dancers ushered in the wait between the two stanzas. Comedy made up by far the major portion of the second period, with Lawrence and Beasley putting It under way. Both boys tried hard, but seemed to continually Just miss, with tho result being an outburst that was far from being uproar- ious. Al and Mary Royce talked their way along, which eventually led into a boxing contest between the two, preceded by much display of tho figure on the part of the woman. It got little in the way of returns and could be eliminated without doing material damage. rharllo Wilson was next to shut with his "nut" offering, Ho was decidedly shy of any substantial re- turns until lie went to the violin* iikig.