Variety (February 1922)

I Friday, February 3, 1922 NEW ACTS THIS WEEK 21 PAY MILLER'S BAND and CLIFF EDWARDS IMutic and Sinfllng 20 Mint.; Full SUg« >Vint«r Gardan Ray Mlller'B nlne-plec« orchestra tave been playln* the Cafe de j>arl9. They are makiner their first vaudeville appearance at the Win- ter Garden thla week assisted by "Ukelele Ike" Edwards. The act opens full stage with the nine muslclana consisting: of trom- bone, piano, violin, banjo, trap drum clarinet and three sax- ophones playing a popular number. The boys are attired in Tuexedo and land solidly with the first offer- ing. An obllgato by the violinist ac- companies the opening medley. "The Sheik" follows and is handled in masterly fashion with two of sax- ophonists switching to baby saxes lor a minor obligato. Edwards makes his first entrance In blackface, following and ties up the act with a popular song to the ^chestra's accompaniment and his own clarinet imitation. The band plays an Introduction for "Granny," which "Ike" coos in a manner rem- iniscent of prc-Volstead days when they sprinklfjd sawdust on the floors and Rupert's was a nickel a copy. Ho Chicagos his way to solid rouad.s and follows with a moan "blU'\s" and a saxophone imitation" and "cake" dance, aided and abetted by tho musicians. Sevtral curtain calls followed with "Casey Jones" by the band and Edwards as an encore. They have an unuoual arrangement for the old fi'and by allowing ono of the niusiciunK to work in a clarinet Imitation followed by Edwards' sax Imitation and dance. The act was one of the hits of the bill at Una house ^nd can repeat anywhere. The men are accom- plishoil musicians and have an ace in EcUvanlH that gets them away from tho straight musical offerings. It's an asset for any bill. Con. OLIVE BAYES Comedy, Singing 17 Mins.; One American The billing and frame up are a mystery. The girl's name alone is uaed, while the principal of tho turn is a man. The girl walks out cold and seats herself at the piano. When •he Is half way through a ballad a man In an orchestra seat interrupts in Hebrew dialect although he is Btraight in attire and makeup. There Is the usual wrangle be- tween stage and audience disturber: man climbs to stage and there Is the familiar conversational Jab and get- back until he Is revealed as a tenor balladlst. The rest of the turn is tenor song and conversational ex- change, the finish being a "Mamrijy" ballad. Man has excellent sympa- thetic tenor for the purpose and his •olos were enthusiastically applaud- ed. The girl is just an accompanist for the substance of the offering, which is the tenor's voice. That being the case the arrangement of the act is doubly curious. Why not a simple, straightaway appeal on the tinging? Rush, RAY HUGHES and PA\ Songs and Dances 16 Mint.; One (Special Drop) 23rd 3t. Ray Hughes Is the comedian of the former two man team of Hughes and Nerrett. His present partner la a shapely miss employing a flashy wardrobe. As in tho former act Hughes relics almost entirely upon falls for comedy. In this lino le shows ability, but the act Is lacking In Its other comedy branches. The couple are badly in need of material, a bit of original chatter being sure to bring the desired resultr. The young woman In addition to acting as a foil for her partner handles the vocal end of the turn, displaying Bufflclent ability to register with popular numbers. T" .3 couple can expect little bet- ter than the pop 1 ouses with thoir present turn which, however, dis- plays a certain amount of raw ma- terial which If developed properly ■hould land IhAn higher. Hart. L BURRELL BROTHERS Acrobatic 7 Mins.; Three (Parlor Set) City The two men may ho father an^l "On, tlu' topmounter helng a well appoariiip young man. The nvMi fnter the |)arl«)r sot in golf olothon. The lifts an<l hand to hand .'^tutT *s neat, though not .Mpeotaoular. They ijni^h wiih tlu; younj; m-*v aotinp rj.; .nnohor .siisi>on«lo<l hoa<l dowin.vanlH fron the ohainlolior, tlo^ ^'•ler man ^o.nors.aulfing from the ^""r to an ankle catch to liaml •" Abrl. STANLEY BROTHERS (2) Acrobatic <- 9 Mint.; Threa Rivertida. Thta team bills Itself as "two Danish phlegmatlcs." That's quite a jaw-breaker for an acrobatic team, but the Funkandwagnalls tella us that "phlegmatic" means "cool, calm, composed, indifferent." Which about describes the duo's style of working. Very calmly and nonchalantly they run through a lift and acrobatic routine that is worthy of booking into anybody s theatre for the most severe audi- ences' gaze. The hand to hand stuff Includes a marvellous lift, the understander's hands being behind his body. Both men are built al- most the same as far as weight is concerned, although that lighter- haired understandcr is a wiz for muscular strength. Other lifts em- ploy the cranium and knees for tho fulcrums, with the hands of the bottom man twisted back of his body. A prop billiard table is em- ployed, one'of the men reclining on it and reading, his partner balancing on the other's extended limbs. The setting is lent the" "club"' at- mosphere. A phone rings and while the under.stander makes a pretext of answering, he extends his leg back nonchalantly, upon which tho topmounter handstand.s, employing the limb for a horizontal bar. The routine hat; been developed along different lines, scoring very nicely, opening th..s show. For the finish they don their hats and coal.s and just walk off in the usual good fellow fashion. Ahcl DANCE DIVERTISSEMENT Songa and Dances 18 Mins.; Full Stage (Special) City Mixed dancing team, woman vocalist and male pianist. Vocalist starts act with prolog, introductory of numbers to follow. Dancing team offer adagio dance next. Usual lifts, postures and toe work of Italian ballet school. Vocalist solos number in Chinese costume, pleasing voice, with high register disclosing well controlled and tuneful top tones. Dancing team on again for another double, also in Chinese garb. Pianist solos while others change. Woman dancer singles (toe dance). Vocal- ist has another inning with likeable w^altz song. Male dancer back in Pierrot costume, doubling a dance number with partner, vocalist sing- ing meanwhile. Attractively costumed and pro- duced singing and dancing turn of the conventional type, obviously built for the pop bills, into which it nts satisfactorily. Belt. REED and BLAKE Ventroloquism, Singing, Dancing 15 Mins.; Ono State (Jan. 27) Opening as a straight ventrilo- quial act. a male carries out a dummy for some knee, cro.ssfire. The dummy Is dressed in tuxedo and derby hat. An argument develop.^ 'vith the dummy refusing to talk, whereupon the intt-rlocutor remarks that he will get the dummy's big brother to finish the act. He leads out hl.s human partner dressed similar to the dummy for a ventrilofiuial travesty similar to Felix Adier's. This breaks up in an argument which Is followed by a double jazz song in whicli an Imi- tation of a musical instrument is worked In. One solo Is a buck dance featur- ing Russian and "wing" steps with a one-handed handspring for the finish. The other follows with a ballad which Is parodied by his partner In a comedy effort that fails due to weakness of the lyrics. Donning high hats and goatees, the pair do a French song and dance, getting a fair share of laughs with the ludicrous dance that fol- lows. The turn Is a credible effort at novelty for the three-a- bills and should find a ready market In that field. Con, RUSSELL and HAYES Talk and Acrobatics 14 Mins.; One State (Jan. 27) Two men open with "silent" song double a la Lloyd and Christie. They are attired in tuxedoes. Fol- lowing the opening a bit of cross- fire is followed by a good routine of hand to hand acrobatics. The top mounter keeps up a flow of con- versation throughout the offering. The unders^nder had an occasional catch line, "Let's sing!" which failed to elicit any laughs. As acrobats the duo arc up to tho average estab- lished by the best of this type of act. The talk Is superfluous. A good series of finishing tricks were some diving head to head stands from a sec-saw springboard. A couple of somer.saults from a two- high stan«l also pulled applause. A good act for the intermodiato bills. ^^on. HARRY ROYE and Co. (5) Dancing 18 Mint.; Full Stage (Special) American Harry Roye formerly did a two- act with Dorothy Rudac. Now he has added two other girls and a mau piano accompanist and elaborated the specialty. Royt* opens with one of those introductory lyrics, deliv- ered in recitative fashion, setting f<jrth that *'there are two girls for every boy and I want mine." This leads to the introduction of the four girls as fox trot girl, soft shoe girl, v.altz and one-step girl, each doing a sample of the kind of stepping. Roye Is a whale of a dancer of the long-legged, high-kicking kind, and the girls arc exceedingly good step- pers as well, particularly the tall thiii member who matches Roye in figure and style. He has another number handled in the talking way which has to do with the vogue for Imiiating noted hooferH, and this leaves tho way for a quartet of im- personations by the girls. Two of the girls later do a "i*oor Butterfly" I song (weakly sung) and dance, and one of the girls does a bit of toe dancing. For the finish the feminine quartet engage in a "strut" contest, Roye acting as judge and agreeing to dance with the winner. The contest is called a four-cornered tie ancf they all go into an ensemble dance, Roye and the girls all doing whirl- wind stepping and "splits." The girls display a quantity of ornate costumes, all of them pretty, and all wear half hose and bare knees. The models run to abbre- viated garb, and the display of feminine curves is generous and sightly. The turn has splendid speed, with five people, the stage is always alive. Here is one case where an accompanist is superflu- ous. Usually the member at the keyboard fills in Intervals, but this one has nary a solo. The stage set- ting and the co^lumii.g give a touch of flash and the quintet are all fine dancers. Excellent dancing number for any grade bill. Rush* THELMA and MARJORIE WHITE Songs and Dancing 14 Mins.; One 5th Ave. Two young misses in kid get up and l(»oi;ing the part for thoir open- ing number thence going into two changes of costume while f>ff"rlng tho r( mainder of thuir s('h( <lulo c<>r\- Histiii;; of a tri»i of soJigs and .some (Iruioing. The Hmallor moniber of tlu- duo gives pr.imise of d.-x f!«>pin^ i^he connect* d it r th.- major p-Mtioa of the .'substantial riitplau:<o, Tlu- ;;irls harmoni/A- nicely, and with tlio eonudy .supi)Iiod l-.v- the >m:ill'r on'- ;ire offoriim a s'.^t-r a'-t tint should nioet with ap|»roval throuphout the intermodiato houses with tin* pos- i^iblhty of their g-.ln:,' hi-lior as th.";- develop by exiu'rienoe. HkifJ. MARINO and MARTIN Songs and Talk 15 Mins.; One 5th Ave. An average male two-act, a satorial rave In appearance and de- livering In Italian dialect. The routine Is composed of melodies to the number of four, witli the usual conversational argument sandwiched between the warbling. The argumentative exchange can stand brightening up In matter as well as the distinctness of pro- nounciation. At times the patter is al)Solutely lostVupon those out front. Roth men pos.sess agreeable voices. The "red fire" lyric used for an en- core seems unnecessary. ]:.\hibltlng an emphatic tendency to stall at the finish they were able to return for the extra ni:mbor though failing to build up above the maik generally set for an early spot on tho ^'maller bills. **<Ai.'/. McCarthy and STENARD and CO. (1) *'The Divorce Court" (Comedy) 13 Mins.; Three (Special) Broadway • McCarthy and Slenard fornvrly l)resentcd a family s<iual»bIo played in twin bod.s. .\ow tlx y have added a third party tr» tlwir act In 'ho gui.'o of a .iudi,'e in a divorce court and are iitiljzir.g prartlrally all (.f their foinier r-;u ine before lilm. hi reality tb<' li'lk is sfioiijJ:I> r«mlr.:scent of tho old Mc.Mahon and rhapple 'Mossfire in tlu'ir 'Why Ifubbv .Missed 1 he Traiju" Tlii : present off< ritip is sma!' Jiro'-. l'ic<d. GILBERT WELLS Songs, Talk and Dancing 13 Mins.; Ona 5th Ave. Formerly of Lloyd and Wells and now doing a "single," Wells [a not loathe in informing those present as to Just who ho is, what he's been doing and that which he Intends to do while holding tho stage—all done In ver.se set to different melodies of the "blue" variety. It's egotistical to an extreme and provides not the best of openings for an act that im- presses as being In dire need of strengthening. Wells' appearance Is above board, in Knglish cutaway attire which at present seems to be close to his main asset. Pertaining, mo.stly, to a negro dialect the routine calls for a couple of stories, three songs, one of which is a jazzed up edition of a poem and some stepping. The whole fails to call forth any imdue en- thusiasm. Flagrant hesitation per- mitted of an encore which was of- fered in the form of a "pop" selec- tion played on a clarinet. Wells' verl)al material needs revamping while some attention should be given he footwork as it was with the step- ping that ho gained what recognition was allotted to him. Skig. FRANK WILCOX and CO. (4) "Hurry Up, Jack" (Farce) 22 Min3.; Full Stage 58th St. Vincent Lawrence, who has sup- plied Frank Wilcox with several playlets before, is progi .ned as author of this new piece, which de- pends almost entirely upon the likeable personality of the princlp.d player, who does an energetic young wooer, wlio carries off the girl against the opposition of her father and an older suitor favored by the old man. It's a breezy, rollicking affair which puts over an extra- ordinary number of laughs and a surprisingly complete story in a shorr Pi>aoe of time. However, the sketch has the common f .ult of its kind—it is exceedingly diffloult to sustain polite comedy at high speed In a .'-how which Is prlnclp.ally made up of rough and boisterous low comedy, and a type of audience that likes fun liberally besprini^led with knockabout. Coming aCter the middle of a good popular-priced show on Third avenue oucjht to make a pretty thorough test of the act's comedy strength, and it should go on the record that It was enthusiastically received Tuesday evening. In a politer nelcrhborhood, say the River- side, it will go even better. Tho retting is a pretty parlor. Tho elderly suitor, acting on t'le advice of the father, tries cave-maii love on the girl and she laughs him away, but promises to consider his suit. The young lover crashes past the servants, after his rival has de- parted and makes whirlwind love in spite of the girl's protests, and maneuvers to hold him at a dis- tance. It's all briRht, quick give- and-take of dialog without any sus- picion of labored gagging, but rather In a smooth, suave way that is Wilcox's forte. The favored lover returns at an inopportune mo- ment and there Is an amusing cla.sh between the two men, the younger winning out li» a neatly managed surprise finish with a nicely balanced bit of sentiment. Bright bit of polite comedy writing and playing. Ru»h WAY DOWN EAST QUARTET Songs 11 Mins.; Three (Special) 58th Street When "Way Down East" was n standard .meller, its companies In- cluded a quartet, its members prob- ably having parts in the cast too. When D. W. Grifflth filmed the show the quartet atmosphere was re- tained, though the .''Ingors were used behind the screen. Several quartets were formed when tho film was more generally shown. The i)eHt of tho .sinclng toura was headed by Sandy .Mcl'hor.-.on, whose well nKxlulatc-d bass voice was .a feature, A I5roadway picture palace played the 'Way I)(»wn Ka.st Quar- tet" as a vocal feature for several weeks ou the ,^frent;th cf the men's al)ilit\'. l)(Uibtl"SH it waw Merhei- .^;on's fruM'. \\lT.i<h is the pre:<ent turn. Simp'*.' rural settlnKs are used, tho men appf.'Win;: as rubes. A prop v>'ell collecls about It tin- sruigsters who opf II with "Old Oaken liueket." \'irlual!y all the nunibr-i-M are th» old stand.ird fou^H, the <'XcepfioM iK-in;-: ii medley in "one" ftffered an encore. Tli«' voltes are nlor ly blend- ed arwi llu quariei'ri suette.-is in «et- tmc: ple.'isint,' luirtnony nt»tfv. eurns fiiU'ittion. It i'.i not .1 pun h t:irn but f-erx'^-.s fn- a ft-aturi- for llu* <- a d.i\*, with an e.<rl.\ sp t -n ib< b.-troi' \ U<rM*ri> likt'Iy. ibn'. BILLY DALE CO. (3) Talk, Song and Dancing 19 Mins.; 0ns (SpscisI) 5th Ave, Mure or less of a comedy sketch placed in "one" that has its location in rai id with tho theme of the son attempting to persuade his father to lay off cha.Mlng the gals. Dale is the old roue with the two other members cast as the son and the girl. The appearance of the trio Is Im- maculate in evening dress, with the comedy being taken care of by r>ale in the conversation which ensues. An adequate finish hao been sup* plied through the working, out of an old gag that cleans up tho turn with tho wallop. It's entertainment all the way that has the verbalizing broken up by means of a chorus delivered by the "son" and a short dance that the miss delivers. Placed In the middle of the running order the act was well received and should be able to repeat continuously and regularly for that specification. Bkiff. ALLMAN and WOODS Blackface Comedy 14 Mins.; One (Special Drop) 58th St. Man and woman In cork, he dolnir the lazy, guud-for-nothing darkey an I she, the "provldln* " but quar- relsome wife. He has fo' bits, col- lected for wanhing and she wants It. She gets It and he makes love to re- trieve it, becoming haughty when It Is again in his possession. Out of this seemingly trivial situation th^y derive a lot of capital fun In the swift exchange of rough language. At the opening a drou.Jn one is disclosed showing a row of shanties in an alley, with ridiculous signs painted on the front, such as "African Qolf Parlor" and the like. Darkey shuffles on humming, "I ain't got no razor, aint got no gyn— ain't got no woman and ah don't want none." Then the roughhous* starts. Man Interrupts twice with solo, once with a topical song called "Funnyablllties" with endless puns and once at tho finish with another number out of the character. He has an agreeable voice and might better use numbers entirely In th« blackface character. First rate turn for the neighbor- hood type of house. Ruah. KELL and BROWER BROS Songs and Musical 16 Mins.; Two (Special) State • Marie Kell and the Drower Brothers have framed a musical routine that skips lightly from the operatic to jazz. At the opening Miss Kell ap- peared as a street singer, with an aria to her prelude. The brothers, looking especially small In this big house, joined her, ono with violin and the other with saxophone. That is a cue for Miss Kell to strip to a Jet frock and she joins the boys vocally in tho jazz number. Momo pretty trio music wa j played with the girl at the plan > and both boys working saxes, Mis.i Kell then singled with a semi- classic, and one of the brother.^ sent over "Silver Lining" with the fiddle. For the "finish the original musical arraiigement, first had MIfs Kell doing an old-fashioned num- b^ and then all switching to jazr.. The trio delivered In spite of tho opening spot assignment, which, however, Is not material in this house. Jbcc, "APPLE BLOSSOM TIME** Whistling jind Imitations 18 Mins.; Full Stage (Special) American Here's another case whore two first rate specialists are spoiling a capital light offering with an entire- ly lumecessary talking sketch ve- hicle. Man, in country boy getup, opens, walking on whistling a popu- lar number. Cirl as rural lass joins him and they go Into exchange of talk, swapping old gags and dealin:^ comic conundrums. The audience was getting restless at this staR*' when the day was saved by the girl walking down front and putting over a capital imi'ation of a lullabye oji a violin, a notably melodious per- form a nee. There l.«< more talk, then a ro:'o9 of bird calls by the man, imitations of a train, a buzzing bee and ihu like. A ne;it firiish made a good g< t- a\\a:\'. .Man whl'<tle.s a cijrrent m 1- ody in .vvvei t lliite-like notes and Ihi? wAil apparently aceompanies him en atj cearln.'J, until It Is revealed thai the "..\v»er pot.ito" l.«! ju.'^t a prop ami the i.otes c(*mo from her lips. Neat Hpei-lully for the intermediate hfUf.-oM. that Avould be improve«1 by th' e!iini!»;.i=on of the talk. The riinie.s of the principals are not r -