Variety (June 1922)

Friday, June 23, 1922 NEW SHOWS THIS WEEK 17 I THE SHEIK OF BROADWAY By JACK WILSON When I saw that blunch of femininity billed at the Palace this week. It was down in the front row center for His Majesty, "The Sheik" Peggy Wood and Eileen Stanley, Sarah Padden, Fanny Brice, Sylvia Loyal and those posing girls, I'll say that's nice, you know I love the ladies—bless their little hearts— Every time I meet one, another romance starts; And it's funny how I get them—now I don't like to talk, But, fellers, give me credit: Ain't I the chicken hawk? And say. not only chickens—just look over my list- All beautiful! Gorgeous! There's only a few I've missed. And ' don't know why they love me, but they meet me and they're gone; Just a funny looking black-faced comic, but what a Don Juan! Why, when I walked down th.it Palace aisle Monday matinee, I was so embarrassed I didn't want to stay. The women nudged each other. Oh! the glances and the sighs. Everywhere I looked I saw women's admiring eyes. Mr. Rogers saw me, and went back stage to break the news, When 1\ jgy Wood looked down at me, she forgot all of her cues. The last time I played the Palace, there was nothing round but gloom. All I met were husbands—the wives were locked up in the room. You can talk of Wall Street brokers, and motion picture stars, Like Vally, Jack and Rodolph and their high-powered motor cars; But with my box of old burnt cork and this sneaking frame of mine, I out-n eda Bara all he-vamps—women worship at my shrine! But boys. I got the chatter that lands them all the time. I've had the cream, each one a dream—I never picked a lime. There was Anna, wistful Anna, as fickle as could be. Never true to any one in all the world but me; Then came Edith, stately Edith, and what a regular scout, I thought she was the only one, but Josie cut her out. Josie with her Ritz! She carried it like a queen— I often wished I had her back, and then I met Irene. And tonight my heart's in Pa r is, far across the sea, And all day long I'm singing, "Bring back Irene to me." Sticks and stones may break my bones, but no matter what you say, III tell the world I'm Paramount! I'm the Sheik of old Broadway! PALACE Fannie Brice holding over for her second week, makes the Palace show this week. Miss Brice closed the first half Monday night. Placed squarely in the middle of the bill, she gave it the strength of Gibralter, dominating the works completely and delivering a brand of entertain- ment unusual for vaudeville, for a headliner from musical comedy. But then it must be remembered Miss Brice didn't originate in mus- ical comedy, but like most of those who form the backbone of the mus- ical end of the legit constellation, she laid the groundwork of her the- atrical education in burlesque—that remarkable school that has fur- nished Broadway with most of its best comedians. Many a woman in vaudeville has capered around a stage in a so- called classical dance travesty, for comedy ,and most have been pain- fully unfunny, but Fannie Brice makes even that over-done piece of burlesque deliriously funny. Her conception of "Mon Homme" (My Man), is a gem. One of the great- est assets Miss Brice possesses is the ease and repressed method with which she marks the delivery of her numbers. A finished artiste— and that most rare of human be- ings—a funny woman, Miss Brice's current turn places her quite in a class by herself in vaudeville. This week's show held nine in- stead of the eight turns the Palace has been running recently. Aileen Stanley withdrew after the Monday matinee. Morris and Campbell, doubling from one of the local Keith houses, filling in for Miss Stanley Monday night. The team opened the second half. They are favorites at the Talace and had no difficulty in whooping things up for their reg- ulation returns. The act is about the same as heretofore, Miss Camp- bell having added a pretty ab- breviated costume for the final num- ber that made 'em sit up and watch attentively. Sarah Padden and Co. was third With "The Charwoman," a dramatic sketch poorly put together and carrying a story that lacks interest. it .. 1>a *hJeii's characterization of the Charwoman" is miles above the act itself. The action is slow and halting, and the playing of the piece for the most part on a semi-dark- ened stage, keeps the tempo down to even a slower pace. The house listened to the unfolding of the melodramatic* with attention, and the sketch pleased generally. Miss | adden, however, is not at her best »» the 'Charwoman." Some day «orno one'will fit her with a real vehicle, that will properly exploit her talents. Senator Ford was spotted to fol- low the sluggish moving stuff in Miss Padden's sketch, and possibly Jt was that, that kept him back, on tne other hand many a sonologist Wou Jd have found the melodrama tici |ne for travestied quips, but Senator •wrd has a sot monotog and slicks J° a routine, if he had deviated a Jit Monday night he could have probably Inserted a number of jaughs. The material was H«r» for travesty preceding him. Not that senator Ford didn't get plenty of 'a'ighs- he did, but they were mostly Of short lived giggle variety. Some of the topical stuff used by Senator Ford Monday night appeared to be a bit too much on the order of what newspaper column writers consider humorous. He has the delivery, however, also personality, and the question of material—or of broaden- ing what he uses is a simple enough matter. At any rate vaudeville has a first rate monologlst in the Sen- ator who will develop as he goes along. Peggy Wood and Co. second after intermission pleased with her sing- ing turn. The act fitted perfectly in the Palace surroundings. A class offering—hardly vaudeville, but suf- ficient to serve Miss Wood as a vehicle once around. Miss Wood's "Self Expression" number was delineated beautifully. The number could stand a couple of extra verses. Bernard and Garry were second and cleaned up in that spot—an achievement at the Palace. The boys have excellent voices and bust right into their routine without any stalling. The harmonizing was especially well done. Sylvia Loyal opened with wire walking and a mixture of entertainment, that sent the show off nicely. Lester Allen ((New Acts). "An Artistic Treat" the posing turn closed. Business capacity Monday night. Bell RIVERSIDE Mae West, headlining at the Riv- erside this week, made the half a houseful of patrons forget the heat Monday night. Mae West, once known to vaudeville fans as a girl who shook a wicked shoulder, will prove a revelation to her former ac- quaintances in her new act. She rises to heights undreamed of for her and reveals unsuspected depths as a delineator of character songs, a dramatic reader of ability and a girl with a flare for farce that will some day land her on the legitimate Olympus. In her new turn she is assisted by Harry Richman, who Is an ideal opposite. Richman has the appearance of a musical comedy juvenile coupled with an ability to read lines and a pleasant singing voice and delivery. Miss West as a French prima donna of temperament was delicious. Another high light was a special ar- rangement of a pop song that al- lowed her impersonations of how different types of vamps put the bee on their heavy Johns. The material by Neville Fleeson gave Miss Weal the first opportunity to capitalize her versatility. Miss West has arrived and is a real wow. Opening after intermission here she and her part- ner did 20 minutes of sheer enter- tainment that was h»ney to the jaded Vaudeville palate and were then ovated to a speech. Joe Cook followed with his one- man vaudeville show and kept up the good work. Cook has a new hit. it is a balancing stunt atop of a l:ir^e hull which he mounts and rolls up and down Stairs in a spe< ial cir- cus set. Th<« one*man troupe must be carrying plenty of excess these davs. for Cook is going in for special sets with his specialties. Three "stOOgeS" are prominent, with Cook doubling into the closing act as usual, the Alexander Bros, and John Smith. The latter is Cook. He in- troduces himself Incognito at the conclusion of his turn. The first half of the bill contained a comedy turn in Norton and Nich- olson in "A Dramatic Cartoon." It is a homely little farce of the do- mestic triab and tribulations of a floorwalker and his bride. As one of their old acts the business now skates on thin iee in spots, but it hooked solidly and closed strongly. Both of the players are experienced vaudevillians who get full measure of value out of their lines. El Rey Sisters opened in their graceful skating routine. Van Horn and Inez, programed, were off the bill through illness. Foster and Joyce, two men of mu- sical talents, were next. One plays a variety of instruments, getting most from the brass. A violin ac- companiment while his partner is singing should be increased in vol- ume or discarded. At times it couldn't be heard, and created an impression of being faked. The vo- calizing member has a light tenor voice, lacking volume but acceptable and pleasing in an imitation of Mc- Cormack singing "I Hear You Call- ing Me." The boys did nicely on early. Bob Albright was fourth and clicked with his singing and mono- log. Albright's Irish brogue strays in spots, hut his decisive delivery and wholesome personality cinch it for him. The "yodeling" went as strongly as ever. He finished to an encore demand. "Alpine Blues." an- nounced as his own composition, Is a hodge-podge, meaningless lyric that allows for a falsetto chorus, which excuses it. Ona Munson and her male sextet of singers and dancers closed the first half. Miss Munson flashed sev- eral neat changes, looking fetching in each. Both of the vocal solos were applause getters, as was an ec- centric dance double of Shean and Phillips. The act is neatly produced with special songs, snappily ar- ranged and entertaining. Miss Mun- son is a graceful, elfllke girl who knows her vaudeville and how to cater. It's one of the best of Its kind. Con. BRIGHTON It was damp and dreary down by the seashore Tuesday night, but that didn't mean a thing to the Brighton, for the house was sold out in ad- vance, a party from one of the sub- urbs filling it from basement to loft, with quite a fringe of standees on both floors. Not to be outdone by the other Keith-booked houses that have been running "special" weeks, the Brigh- ton has declared itself in for a few "specials" of its own. Last week it was "Home Talent" week. This week George Robinson dug up the old reliable "anniversary," the daddy of the whole special family as a ballyhoo label. It's as good as any of the others, at any rate, and in this instance be- comes a logical monicker, as the Brighton started some 13 years ago. And just to make everything nifty all around, the eight-act show this week is a pip—one of those bills that any house might be lucky to hold, regardless of anniversaries. Van and Schenck were held over from last week and will repeat again next week. A record for consecutive booking aa far as the Brighton is concerned. Some wise egg pulled something once upon a time to the effect that prophets are never ap- preciated by the neighbors in their own burg. But that guy evidently never heard of Van and Schenck or Brooklyn, for Van and Schenck are natives, and the three weeks* run at the Brighton supplies the answer. Sharing billing honors with the champ piano and singing team were Chas. (Chic) Sale and George Le- maire and Co. Besides the triple headline billing arrangement, the show is conspicuously strong on "names," through the presence of Val and Ernie Stanton, Franklyn and Charles, and Tom Bryan and Lillian Broderlck. The show as a whole played as a compact and smooth-running entertainment. But there were no riots started by any- body, the house, like most parties, being liberal enough with laughs but rather conservative on applause. Lawton, the Juggler, who opened, had to battle with an unsettled house, but by the time he got into "one" with his ball manipulation on the drum he was nicely set. This drum work is excellent, shaping as a nov- elty for present-day vaudeville fans. Years ago Paul Spadoni and others used to make the Juggling nnd catching of cannon balls appear pretty difficult. Lawton. on the other hand, handles three rather hefty looking pieces of ammunition as if they were apples instead of iron, Juggling them in a nonchalant manner that makes it look a good deal easier than it is. A dandy act of its type. The first half Hmply couldn't fail to get over with the comedy it held. I Sevan and Flint. No. 2, were the first to reach 'em with the laughing gas. and they stepped on it. That ga:c. "No matter how short the ban bobbed her hair, remember she is still your mother.'' seefltl to be trav- eling the rounds. lUvan and I'lint are about the tenth eomedy turn heard using it in 'he last couple of weeks. It tickled em pink at the Brighton. Mr. he van's comedy method and his f.ills. coupled with Miss Flint's easy feeding, cinched it Franklyn and Charles Always re- ceive a reception on their entrance around the metropolis now. and the Brighton bunch lived up to tradi- tions. The travesty Apache spilled the laughs all over the place, and the clean-cut hand-to-hand lifts held the house with the rapt attention of a Quaker meeting, with the chair stuff encoro reaping a ponderous reward. Brooklyn's own contribution next, with a welcoming wave of approba- tion. Van and S'henck unreeled eight numbers before the customers were willing to say uncle, the list including a "wop" ditty that con- tained a flrst-rate idea, interpreted faithfully as to dialect and manner- isms by Gus Van and "My Gal Sal" warbled sweetly by Joe Schenck. A southern ditty done as a double, with a touch of characterization and close harmony that blended beautifully, was another high light. Closing the first half George Le- maire and Co. were a tower of strength with their low-comedy turn. Its one of the thousand-and- one variations of the good old "Doc- tor Shop," and overflowing with the robust laugh-making stuff that vaudeville used to be plentifully supplied with, but which has not been overabundant since—the silk drape and satin-lined craze crowded it out. A set that would do credit to a Belasco show, with a real dental outfit, adjustable chair and all the trimmings, made a perfeet back- ground for the comedy. "Hoke," if you will, but as done by Lemaire and his tiny ussistant as sure for the real roof-shaking laughs as anything in vaudeville, past or present. Chic Sale had to start the show over again, opening after intermis- sion, because of the tardy return of the slow drinkers. It was quite some time before the necessary quiet obtained, an auto exhaust In the vicinity and a couple of loud conver- sationalists in the rear of the bal- cony furnishing some earnest com- petition for the first part of Sale's act. When the opposition had pe- tered out, the conversationalists ap- parently running out of topics and the auto getting started, Mr. Sale bounded right along at his usual pace, gathering in laughs galore. The sentimental finish featuring the old horn player type has been changed about since seen at the Palace a couple of weeks ago, but can still stand further development. Following all the comedy that had gone before, Val and Ernie Stanton shoved the laugh register several notches higher with their likeable clowning. The Stantons are dis- tinctive as entertainers in "one." It's one of those acts that the pa- trons tell each other about after seeing, and they're few and far be- tween in vaudeville. Not the least part of their score was the uke and harmonica stuff, musically pleasing and endowed with the real spirit of jazz. Tom Bryan and Lillian Broderlck closed with their finely balanced dancing act, which, in addition to some of the neatest acrobatic step- ping observed in some time, is no- table for a production setting that stands out prominently even In these days of elaborate drapings. The spot was a tough one, but the whirlwind double at the finish held the deserters down to a minimum. Hell. FIFTH AVE. With but few vaudeville houses remaining open during the hot months the bookers are enabled to make a varied choice of acts at summer prices. One of the best shows of the season reflected this condition at the Fifth Ave. the first half. The dish served up for hot weather consumption consisted of eight sterling turns, a feature pic- ture and the news weekly. There wasn't a weak sister among the gathering, each act gleaning generous applause. James and Etta Mitchell opened. On the revolving ladder they ran through their neat routine of straight and comedy gym- nastics on opposite ends of the lad- der. The finish, a breakaway spin, was dispensed with when James Mitchell rapped his funny bone on the ladder while mounting from the trapeze to the top side. He called audibly for the curtain. The audi- ence sensed something abrupt and unusual and refrained from the usual applause. Margaret McFCee (New Acts), No. 2, is a pretty blonde whistler who will be familiar along big-time trails by next season. Sho scored unusu- ally through personality, appearance and ability. Vine and Temple followed. Dave Vine hooked them right off the bat with a couple of Hebrew dialect stories. The pair cross-fired to their usual returns, with a slight let-down at the llnish. It's a sure- lire thiee-a-day turn, but lacks the polish and refinement usually asso- ciated with big-timo bills. Vine's character of a wise-cracking hick permits his grammatical lapses. Weilly and Ten Kyck and Co., the dancers, followed. The company consists of two male musicians at the piano and violin. The act Is elaborately produced, a special set- ting bark of a divided drop "intro- ducing each dance. The routine con- sists of idagio, Egyptian and Italian doubles and the giris solo Fgyptian and modern jazz. Max Weilly is graceful, handling Miss Ten Eyek with ease in neck spins and adagio posings. It is an artistic treat and one of the most finished turns of its kind. r.obbe and Nelson followed and tied up the show with cross-tire and songs. These boys are blessed with pApes of caliope volume that art atire-fire in vaudeville. Nelson han- dles all types of songs a la Jolson. Bobbe hsyB Improved vastly as th3 straight, having moderated his prop laugh. On his present form he rates with the best in the business. They had to pull a speech. Introducing Nelson as "Nelson himself ami not a moving picture," infringes on livn Bernie's billing. Jack Donohue, the dancer and monologlst, also wowed them. Hon- olulu's bright chatter was muffed In spots, but the dancing did it. The eccentric soft-shoe and travestied Egyptian and classical dances were the usual clean ups. He also ran to the speech thing. John S. Bloody and Co. closed tho vaudeville. It is a two-man and girl novelty acrobatic turn. The girl contributes a fair cane dance and dresses the stage prettily. A trained dog copped with front paw stands and balancing. Morton and Glass, on just ahead of Jack Donohue, scored with their songs and dancing. The act, "April Showers." holds a neat Idea and carries a pretty production. The crossfire could be strengthened In spots, but the vocal and pedal work of the pair will insure them for any- where. The feature picture held nearly all of u near-capacity crowd. Con, 23RD ST. This Proctor house is evidently cutting down on Its show for tho summer, and judging from the half- capacity house Monday night there is ample reason for It. Jack LaVarr and Girls, a five-people , dance topped, with Jim McWIlliams. next to closing, mopping up with his piano-songalog. McWIlliams came on fully five minutes late, keeping the house waiting restlessly, the sec- ond stage wait that evening;. When the Gautler Brothers opened a hitch in setting the ponies delayed the curtain. The Gautiers have an acceptable, although not exceptionable opener, as far as dog and pony acts go. That getaway electrical effect, an Illuminated merry-go-round pro- pelled by the Shetland*, with the dogs jumping through the loops in an opposite direction, looks new since last seen and got them off nicely. Jean Lamont, No. 2 (New Acts). Foley and LeTure Jacked up th« midsection with their songs and dances. They open with a medley of current musical comedy hits, Foley also doing a pop medley Immediately thereafter. Although this suggests overdoing the same thing it Is not noticeable. He works with a certain flyness that eases him along nicely. Miss LeTure made several changes, the Oriental number standing out particularly. It Is conversational "pipe" number, the man expressing his willingness to buy Fifth avenue and other such things. She Invites herself to a pull at the pipe and tells the world that Rockefeller works for her, etc. McWIlliams came on In street clothes after the enforced Intermis- sion and took the situation in hand, gradually overcoming all mental op- position. He did not seem to extend himself any. Just breezing along, chummlly chatting at the baby grand and fingering the instrument ever and anon. He did extend him- self on the amount of work, though, evidently to give tho customers something extra to square It. Mc- WIlliams has a wonderful smile, boyish and winning, personality, stage presence and old gags. The former helps him sell the latter. He did a couple of numbers he said he wrote. They're all right, but Mc- Wiiiiams Is a better entertainer than songwriter. For a first recall he did impressions of "Marching Through Georgia" as an Italian waltz, Orien- tal dance, as a little girl would play it, etc. There's a lot of laughs packed in that number. The grand opera wind-up, doing an Impression of a Met show at the piano, Includ- ing fanfare of trumpets, hail the prince and all the rest of it, con- vulsed an audience that was hungry for comedy. Jack LaVarr and Girls In "Tickle Toe" (New Acts). Pauline Starke in "Wife Against Wife" was the fea- ture. Abel. BROADWAY The Broadway appears to bo summer weather proof and with this week's bill of seven acts, a film feature and the usual short screen subjects the entertainment is an attractive bargain at the scale. Even during tho sultry weather of Monday night downstairs ap- proached capacity around 8 o'clock. It was a capital show built up on the vaudeville essentials of vigorous low comedy, plenty of music and a fair amount of dancing. The frameup had a wealth of variety and ran through from start to finish without a conflict. It had a little class, but the specialty com- plexion of the show was not sur- rendered to that quality as fre- quently happens. Dave and Dora fNcw Acts) made an attractive opener with their Hawaiian music and novelty in- cidentials. Lacking comedy at tho start Jack Inglis with his "nut" routine fitted in nicely. His low comedy funniments broke the Ice and got the audience in good humor. [nulla* clowning is energetic rather than subtle, but be manages to keep