Variety (February 1922)

• J • t M BURLESQUE Friday, February 3, ld?,2 CLOTHES aOSEUP (As Worn "by Women on Stage and Screen) Not until Gertrude Hoffman and her comrany (No. 6) made their Appearance at the Riverside Monday night had a woman been visible on the Btage, but this act and Ailccn Stanley made up the deficit In females delightfully. There was a waltz in the Hoffman act. In a long Bet ballet skirt and a novel Russian creation of wonderful shade of pink and blue, much decorated with extravagantly embroidered designs. The Bklrt lining and petticoat were also stenciled in various colors. A Beethoven contre dance was rtrformed by four girls in white flounced chiffon hoop skirts, with ruffled pantalets showing just below knees. A darling little "Dutchio" was dolled up In large blue and white square designed material, white bonnet and collar, and the toy wooden soldiers were In French gray coats with pants and epaulets of brick red. No artiste of less renown than Gertrude Hoffman could get away with the little actual work she does. She makes no pretension of dancing with her feet, but her arms and body do the work, let it be said In perfect unison to the wondrous music. Miss Stanley looked nice in a short pink silk cape devoid of glitter or trimming of any sort. It was shirred full on a plain yoke, finished close around the neck with a full ruff of same material. A blue taffeta frock bad an oriental hem with four Inches of white georgette skirt and tiny pearl tassels showing beneath it. Long strings of pearls draped the arm openings, bodice and skirt. There wa.s a white georgette wide girdle and plain panels of the georgette hanging from same, the full length of skirt. Misa Stanley should reduce her waist considerably. It detracts from her otherwise "good to look at" appearance. Cunning little Elizabeth Kennedy woi-c a smoke «ray silk wrap and hat faced with rose silk, over a gray ruffled frock adorned with a rose georgette apron overdress. It surely was a badly arranged bill at the Fifth Avenue Monday after- noon. A tiresome news pictorial featured submarines and a committee meeting, besides four acts passed on and off the bill. Not until the fourth act was nearly finished was there the slightest interest evineed. It was not a woman bill despite the display of women and feminine attire In "The Love Shop." The setting may be old, but It Is the best thing in the act. It Is of mauve silk with heavy stitching or braid out- lining a border at top. The arched windows and doors are hung with rose silk underneath black velvet grills, and appliqued with silk baskets of pastel shaded silk flowers. Two salesgirls in black silk and gray voile, respectively, looked well. A very blonde young person opened In a lavender chiffon with which fshe wore a large brimmed ecru hat with lavender crown and appeared at finale in a silver cloth, shirred on long waist with deep heading. The waist part was aglitter with Iri- descents and ran down into a long point in the skirt in front. The "Matron's" best outfit was a mustard three-quarter silk coat trimmed with black bands, worn with a black skirt and hat. The lingerie display did not get a ripple, due most li'iely to the fact such displays are no longer a novelty, and the wraps, short hip line capes or voluminous showily trimmed ones, failed to register. The woman of Downey and Claridge might as well have done a single turn for all the help she got from her male partner. First In a blue georgette, the skirt trimmed with bandings of tinted silver cloth and metallic flowers, then astride a bicycle in vivid green ruffled bloomer outfit, and finally in skating costume of spangled lace trimmed with feathers, she looked fresh and youthful at all times. Ed Hill's drawings and monologue on "Hattie's Hats" should have been further down on bill. The feminine end of Mullen and Francis lias a good natural laugh which is undoubtedly an asset, but she slightly overdoes it. She should wear stockings and hat to match her salmon pink frock to give her more height—a flat black hat atop a light gown always dwarfs the wearer. Black hose and slippers would be better with the black gown also. Spangled and trimmed with Jet fringe, this latter isa'ery becoming. Long sash ends, or loose panels of not at sides, add to its attractiveness. Lillian Conway, an exceedingly pretty blondie, tells the audience in a prolog how her brother John rescued 137 persons from drowning, some- where around Boston, and then shows all his medals to prove it. Brother makes some physical culture poses and sister joins him in a couple and then "all by herself" she reveals her own physical loveliness in a pose labeled "Rose." A hand.some white Russian wolfhound was drawn into The turn without rhyme or reason, but then there is no rhyme or reason for the act (save Miss Conway* attractions) when there are so many good closing acts available. •he Is delightfully feminine. An evening gown shows a striking orig- inality, surprising it has not been thought of before by the designers of •^backless affairs." A plain broad band of material finishes the top of low bodice in front and runs right over shoulders to the back and fastens in middle with a bow, as If tied. The material is metallic cloth and baa a flounce of handsome lace that joins the skirt just above the knee. A few other good looking gowns were worn by the other wom^, but they were not allowed to stand out, as Miss Frederick kept the center of the stage. Norma Talmadge should sit in an auditorium and hear the remarks while her picture is being run—most any picture, most anywhere. At the American the first half, all you could hear was: "Isn't she the sweet thing?" "Isn't she lovely?" "I Just love her." "Dont you love her?" "I'm just crazy about her," etc. In "The Wonderful Thing" she wears some lovely evening gowns, perhaps the most wonderful of which Is the sequin in two different colors, photoprraphing as black and white. It has splendid lines. A small hat trimmed with long trailing uncurled short flued ostrich was wonderfully effective. It accompanied a long wrap with chinchilla collar. There was another long wrap entirely of chinchilla and a short smart ermine coat that was worn with a large black straw hat. BURLESQUE REVIEWS WORLD OF FROLICS Thoda Barrow Nell Vernon Nellie Fly LUlian H.irvfv Charlos Burnem Joe Bristol Bill Burns Jaclc Cameron I. M. CJrimth Joe Bristol ••.Sure-Thing" Mike Roy TecU Henri DeParie KJ L«oelYlor Maizie Jazz Anna Propp Uus Sliding liilly Watson THE BABY BEARS •Tack Kiildem Georgr© Reynolds Prof. .Shultz Jean Schuler Simms , Lew Turner Mins L>oughbags Nan Shannon Isabelle Ruth Denloe Crace PauUn? Rusiell Jaadore Ltchin^ky Harry S. L>evan Jean Paige, In "The Prodigal Judge," with its picturesque southern |settingg, makes a charming Betty Melroy. In the quaint old costumes of the period, with their draped skirts and fichu, corkscrew curls topped with funny little fiat sailors, tied with ribbons, and In a long trailing velvet riding habit and tall English walker hat, heavily laden with plumes. Miss Paige was a romantic figure in the film at the Cameo. A Spani.sh tece wedding veil was adorably hung. Miss Bernard of Bernard and Movers was regally clad, one might state, at the American the first half of this week—both her gown and wrap must have been fresh from the co.stumer. The body of the long wrap was of an exquisite quality of red and silver brocade. A ten-inch border of heavy Irldescents finished the bottom, and a wide yoke that stood up like a collar, of the same material, finished the top. The gown was of a quality of steel colored metallic cloth that surely would have stood Rlone, and had a broad band of metallic lace set in the skirt. The hips were slightly wired (there was a vestee and tiny sleeves of the lace) and the skeleton bodice and skirt were faced with emerald green, a ribbon of the same color running through the lace in skirt. The Four Brownie Girls were in green sleeveless sweater type coats over white satin blouses anl skirts, and white tams. The young woman of Goldie and Ward wore an ugly kiddie dress, but her orange fringe trimmed jazzy dress outfit with its black jet bodice, hugh wired jet bow at back and orange and black hat made a good flash. Two Inches of black net or georgette at the edge of Bhoda Bernard's beautiful pearl toned brilliant gown gave her full license to wear black t«hoes and hose with excellent effect. A black jet rope caught up the loose straight frock at the hip line, blousing it slightly, and tied in long tnds at one side. A long strand of jet and one of brilliants hung from one shoulder quite to the hem. Her pretty accompanist was attired in a quaintly becoming baby blue taffeta, slightly puffed at hips and laced at the waist in front. Alma BradJey wore an orange on3-piece cotton or wool crepe slip tl*^d at waist—with a small hat of same color—quite all the part called for. "Dance Fantasies" opened with three misses in dark blue indifferent cos- tumes. There Is a pretty blonde who does some good eccentric toe work in a ribbon trimmed bloomer costume, veiled with a short 1 ice skirt, who also looked well in the blue sweater and red tarn she used for the tougli dance. All the girls were in Persian silk voile, umbrella skirts, bloomers and bats at finale. One does not get very much out of this promising plrtiire, "Two Kinds rt Women." Pauline Frederick, the star, explains to the leading man There are two kinds—those who can, and those who can't. 8he proceeds to show tho woman who can, but no close-up of the woman who can't. The woman who can is rnth» r a nia*-ruline type and hardly true to life, yhe wears indifferent looking riding ththes except in two scenes where **T\'orld of Frolics," at the Colum- bia this week, Is sponsored by Dave Marion and features Sliding Billy Watson. It's a pleasing show on the whole, fashioned after the orig- inal burlesque idea of bits and numbers, rather than the modern musical comedy and extravaganza mixture. At th^t, there's a bit of a stor>% the thread of which appcar.s every once in a while, something about moving pictures, but the "plot' doesn't matter; it's {Sliding Billy all the way. And just think of It—Slul.iig Billy has become "refined." But a single "damn" and a solitary "hell" in the whole performance, and both justi- fied. And when it comes to cleanli- ness—thD town made famous by Sapolio was never aj spotless as this burlesque show. What's more. Sliding Billy doesn't even stoop to but one piece of business that can be described as vulgar. That's a pill-expectorating stunt in the final scene—and It's but mildly vulgar at that—and extremely funny. In the first part Sliding Billy wears his familiar chin piece and wig, with his "Dutch" characteriza- tion. The Watson slide Is brought into play here for the usual laughs, and most of the other familiar Waisonisms are registered with their customary sure-fire effective- ness. The old raucous voice Is still there, but the old poker game—a Watson trade mark—is missing this season. Besides Watson there's an excellent cast of specialty people, including Jack Cameron, who owns a dandy tenor and who does an ac- ceptable burlesque rube; Joe Bris- tol, a straight man with a good singing voice; Roy Peck, who is the conventional burlesque bad man with walrus mustache and guns; Ed Loeffler, a stage Frenchman, usual make-up and dialect; Nell Vernon, principal woman, blonde and statuesque; Lillian Harvey, singing ingenue, who has about the best contralto voice heard around in or out of burlesque in several seasons, and Anna Propp, diminu- tive soubrct, who cashes in heavily with stepping. "World of Frolics" Is a great singing aggregation, tho unusual vocal attributes extending to the chorus. The 18 are a good-looking lot, and they dont shout the num- bers—they really sing them—har- monizing at times, and always tunefully. One of tho ensemble girls, it appeared to be the second on the right, is a soprano, and a nifty one, whoso voice tops and stands out over the others. The first .scene of the first part is a hotel interior. Scene in one, next, a pretty gold and black drape, in ,which Lillian Harvey does a singing spe<'ialty that gets over. Sliding Billy's military trtivcsty, the one he showed in vaudeville a cou- ple of S€Msons ago, makes up the rest of the first part. It's in two scenes, a battle landscape in one and a full stage set, showing the trenches. Good old-time hoke here, with cannon balls rolling about the stage, Watson digging bullets out of every part of hia anatomy, o\c . with laughs galore. Watson doffs the chin piece and wig ali<r tin.- first scene, continuing throughout the rest of the show without the facial and head props. S»'iond pait is all in one set, a good looking exterior. This is old- time burlesque with Watson bear- ing the comedy brunt and j^'cuing laughs witli moro or les.s familiar bit.s. A comedy quartet, that later becomes a quintet, slopped liu* show Tues(hiy night. Trifd and true hoke, but alwaj's' etfroiivo. Th'To arf a few quirt sf)ots in tho show, and two or three piaffes that can l»o l« rmcil dull, hui in tli'.* main the comedy is well susfain<d, 'Die costuming is pretty all through, and th^ production pleasing to the fvc Anna I'ropp lands one of tho hits of the show with a Ku'^sian (\:\u<i . and otherwise figurrs importantly. Business was bv'ii- ih.m ''i;c Tuesday night. B'U. Lew Talbot's "Baby Bears," at the Olympic this week, rates with the best shown this season on the American Circuit. The production is adequate, the cast strong and well balanced, chorus and costuming good. The book and comedy scenes fol- low the hit and nimiber method of presentation and sticks to the beat- en trails as does the dialog, but the comedy bits are all well handled in capable hands. Harry S. Levan, doing a ciepe- hair Hebrew character throughout both ixcts, and Gene Schuler. han- dling "Dutch," are a pair of most capable comedians. Levan handles lines with a nice knowledge of values, and in addition is quite a dancer. He tied up the show on two occasions with eccentric stepping that had a distinctly original twist. Schuler is an experienced burlesque comic with real fun-making possi- bilities and personality. He and Levan divided the honors, being particularly entertaining with that old moss-bitten "What Street" and .similar routines which they made sound new. Geft'ge Reynolds, an Imposing- looking straight, dominated his situ- ations and looked immense at all times. Reynolds is a good-looking chap and a neat straight worker. His enthusiasm at times inclined him to slur enunciation, but barring a few slight, hardly noticeable breaks he .vtuck out on each ap- pearance. Lew Turner, the other male principal, handled several minor roles and character hits ca- pably. The women of the cast are Ruth Denice, a plump, shapely girl, ap- pearing mostly in tigiits. Miss Denice was flat on one or two occa- sions in her numbers, but it didn't interfere with her roteptions. She led the fla.^li scenic bit of the even- ing, which closed the first act. "Sleepy Moon." A purple eye with a huge fan of the same color was tho background for this. Miss Denice in purple tights harmonized with the set backed by the chorus, dressed similarly. Another specialty that clicked heavily was a muscle dancer, un- programed, who api^rared just be- fore the finale. Sho conjured up visions of Millie Dc Leon, Princess Rajah and others who entertained 14th .streeters not so many yt-ars ago. Pauline Russell, tho soubrct. tied things up often with a slow shim and cakle delivery that found insJant favor. Nan Shannon, the prima, held tho voice of'the produc- tion. She is a gootl-looking brunct evidently si>ending her first season in burlesque. Miss Shannon can wear clothes and lead several semi- class numbers with dignity. The show is in two acts and 10 seenes, five of which ore full-stage .■^•et«. All of tho latter were in good taste, one or two of them lool<ing new or at least refurbished for this season. A bedroom set was the occasion for pome excellent comedy by Schu- ler and Levan as two burglars wlio are interrupted by tlio woman ten- ant nf the apartment, who enters and begins disrobincr. The parudo burglars are hiding behind a screen. The scono is handled cleanly and without offense, as was most of the show. It ends wh<n L«!van. sf«p- ping out of character, protests apainst the r.crlpt. contending that burlesque ha.s been hounded enou.Th and that he will not be a party to tho scene on that acc(.init and be- cause it Isn't being pl.iyed as re- hearsed. Asked what ho wants, he replies that h-^ wants to pl;iy Sehu- ler's part. Tho latter is em'bracin;^' tho nrirl. This has ])een lifted from a Coltunbia AVheel altraclinii or vice versa, and taken oriKinaTy from a vandevillo net. Tt was a bit too 'uVifle for this qrathfring. "Tho B.'iby T^ars" is a rood .iv."- ngo >)mlosqtje entertainment. The ti«-.n.»l Tuesday night r.'\pncify ;jt- tendanco were In and walfe.l f.,r tli- amateurs. Con. FIGHTERS BAD, BUT WITH A MAGICIAN! Con Has His Troubles Steer* ing Both to Money Dear Chick: I certainly have my hands full tryin* to manage Tomato and Merlin at the same time. A fighter is bad enough, but when you add a ma- gician to the stable it's like tryin' to shoot crap on a bed without usiu' a soft roll. Monday night we had plenty of excitement, and it ain't died out yet. You know since joinln* "The Humpty Dumpty Girls" Merlin has been doin' "Sawin* a Herring in Half" in the first part of the bur- lesque, and then doublin* back in our bit to referee, and see that To- mato has his odds if he needs them when hi boxes all comers. This night I made my announce- ment offerin* to forfeit $25 to any lightweight who stuck six rounds with my mauler. A local guy that we had planted climbed on the stage and after gt tin' into fightin* togs Merlin sent them on their way. When I make the announcement I always show the audience the $25, holding up two sawbucl.. and a fin. This sounds like a convincer, and sometimes coaxes up a sap who wouldn't move unless he seen the kale. Tomato takes the dough from me and sticks it in his belt, where it peeks out all through the bout. Monday night nothin' happened for a coupla rounds. This bird was a plant and was supposed to take a tank In the fifth round, so we didn't stuff the brass knucks in Tomato's gloves as usual. So you can imag- ine my surprise when he hung a right cross on Tomato's chin in the fourth round that dropped my bat- tler for a count. Merlin began to count after To- mato had hit the deck, but in the middle of it Tomato looked up off the floor and started to yell that Merlin had frisked him for the twenty-five fish. Merlin stopped countin* and they began argiiin' back and forth, with the house yellin* murder for Merlin to finish countin*. Can you get my feelings? Here's Tomato on the floor yellin' that Mer- lin has copped his jack. Instead of gettin* up, while the customers fig- ure it's a frame between Merlin and Tomato to rob the local pug out of a win and the sugar. For a coupla minutes I thought they was comin' up over the foots to get Merlin and the battler, but I finally nin out and grabbed Tomato under the arms, liftin* him on his feet. Ho paid np attention to the guy he was battlin', but let fly a left hook that knocked Merlin flat on his back. Merlin jumped up and run out in the audience with Tomato after him, and half the house'joinin' in the chase down the street. The natives must of thought it was a picture company takin' shot", for Tomato was in fightin* togs and looked like a cross country runner wearin' boxin' gloves for mittens. Merlin ran straight for the nearest police station, and the crowd piled in the hoosegow after him like a posse. It was a good thing they did for it was the only way tlum yokes would have been convinced uiat the whole play wasn't a frame. Merlin told his story to the guy beliind tho desk, and when I .ic- cusod him of coppin' Tomato's jack out of his belt he admitted it with- out battin* an eyelash. I nearly choked with surprise, and says to him, "What was the idea takin' that money wlu n yo*i was breakin' them out of a clincii?" Merlin looks at me sort of disgusted like, and says, "I was only followin* your instruc- tions. Didn't you warn me that the boxing commission was awful strict in this town and to break llum clean'.'" * Can you tie that one? Here's .Merlin born and I -ought up within sneezin' distance of the main stem in the biggest" town in tlio world, and he ain't hep to the lingo yet, 111 bet if I hadn't taken the cure and was to send him out for ten l)ucks worth of grease, he'd h«:ad straight for a garage. I don't know lutw long wt!l slick with this show, for businr'.-s d-'H't .seem .iny too guo<l. and 1 e^|lecl tlie manager of the 'ilunipty Damps' will 1)0 Ihinkin' of puttiu tl:e razor on US'soon. M> re <iirt n« x( \\« » k. Voiir did ]i;il, r,,„.