Variety (June 1922)

Friday. June 30, 1922 VARIETY 19 THE SPHINX OF NEW YORK By JENNY WAGNER Everybody's gone to Europe, and I think it's a shame, ±\\ <jajr long I'm running around, trying to dig up a game. jlost of my partners in cards have gone, and I'm lonesome for the chips, yrom hunting up games I'm losing weight and losing my sylphlike hips. J don't know why I fool with cards, because I never win; Jjveryone knowe I'm always the loser, and really it's a sin. IWell, It may be I lose at poker, but I never miss picking stars. Of course, I missed a couple, like Jupiter and Mars; Put my last were the Duncan Sisters—they go with Harris next year, ;A.nd I know those two clever girls will make the hit of their career. And I got my usual commission, too—I'm the agent that never waits— The largest one in the business, and probably the only one that doesn't cut rates. I laughed fifty pounds onto May Tully—to be exact, fifty-two— And maybe you won't believe it, but I got commission on that, too; And I signed up a couple of other stirs, but I have them up my sleeve, I never talk about what I do; why, would you believe I could have my name in the papers daily, but it's very distasteful to me. I'm even surprised I'm writing this rhyme, for I hate publicity. I like to be a shrinking violet, unseen and unheard, Sort of a Broadway wall-flower, never saying a word, Never asking questions, never listening to talk. I sit in the corner all alone, hey call me ,J The Sphinx of New York." For I can't stand those people who are always ready to chat. My motto is "Silence is Golden," and I always go by that; But if you want to hear a gabfc3t, go to Fanny Briee'a dressing-room some day. First, there's brother Phil with his argument, .'Niblo of the N, V. A"; Then there's Mujs Moon, wherr she starts in she never wants to stop, And Lottie, who's in business with Fanny, always talking shop. By the way, Fanny suggested I go into vaudeville, She says I could do a sister act all by myself, and maybe I will. My friend, May Tully. would write my act, and I'd have her book me, too. B\it I'd hate to pay an agent's commission—that's one thing I couldn't do. Blanche Merrill. first half with "Hard-Boiled Hamp- ton," a vaudeville standard as far as comedy sketches go. Mr. Holman makes the grouchy business man a human sort of fellow, and legit- imately amusing. The girl playing the office assistant, that has most of the dialog with Mr. Holman, is a capable exponent of farce, who also pitches her performance in the right key. The stenog is a bit. but like- wise well handled. The Holman act made them laugh throughout its running, and got much more at the finish than is usually accorded a turn preceding the intermission. Baggett and Sheldon opened with hat Juggling. The routine holds the familiar formations and pleased. Lew Hawkins, the blackface mono- logist. had an impossible spot for talk. No. 2. but made the most of it. catching all the laughs in sight. Shireen opened the second half. The picking out of colors, walking around the stage amidst obstacles and shooting blindfolded mystified the house completely. The audience business added to the mystery. Pat Hooney and Marion Bent with "Kings of Smoke" closed. The act entertained while it was on, hold- ing the house intact until the finish. The set number of hows, however, had to be curtailed Monday night. the walkers starting to promenade as the drop descended, with half the house in the aisles and on their way to the exits. The greater part of the audience seemed to be famil- | iar with the turn through frequent repetition around New York, and anticipated the business that should have gone with the final how, which w,i3 never reached. Phil Baker (New Acts). Bell show with a well balanced dancing turn that gave the bill a speedy start. Healy and Cross, second, did a pleasing singing turn a la Van and Schenck, getting returns. Healy soloed with ballad for a hearty ac- knowledgement. Laughlin and West. No. S. slowed up the bill at the start, but quick- ened the pace at the finish for fair applause. Edwin Grasse. announced by Miss Campbell (Morris and Campbell) as the only blind organist to appear on a vaudeville stage, played five selections. Each proved lie was a finished musician. The feature picture "Man From Hell's Biver" closed the show. PALACE Glimpsed from the orchestra floor Monday night, the blue that pic- tured a southern sea and the tropi- cal palms beyond looked cool and inviting through the open doorways to the right and the orangeade ser- vice got a real play at intermis- sion. The far reaches of the upper boxes ranging towards the gallery were peopled with faces, and it seemed every seat was tenanted. That means something for late June, though it is not exceptional for the Palace. At the matinee there was a capacity audience in, too. Fannie Brice again the card and surrounded by a bear of a show. This is the "Follies" star's third successive week, and it is likely she will be held over for an equal en- gagement She has the material, most all of it having been done either in the "Follies" or Ziegfeld's roof show that was atop the New Amsterdam. And Miss Brice is an artist. A change in routine should be easy for her, though certainly up to this week ehe hasn't needed .to do that. As for the first week, Miss Brice was down next to closing, and again she beat a running time of 30 minutes. That included the final recall after the lights had gone down a number of times and the many-voiced request for "Second- Hand Rose." The number labelled on the card "New York in 1899," and called "The Fiorodora Baby", or "I Married for Love," is one of the best ever given Miss Brice. and she sings it Just that way. "My Man," which, like the "Rose" number, was in last season's "Follies," will prob- ably linger with Miss Brice as long as anything in her repertoire. It was her rendition of the number last season that gave it a vogue, even at a time when few artists could do anything with it. Joe Cook, the Fred Stone of Vaudeville, carried on his gimcracks on fifth, that arrangement permit- ting the Alexanders and "John Smith" to close intermission (actu- ally the sixth spot). Instead of »wo turns, it is really one big turn in two sections, with Cook the very life of the party all the way. Eve- lyn is still a feature of the Alexan- ders, though not individually billed. The heavy member of the rubber ball experts is missing, which ex- plains the changed billing* plus "John Smith," none other than Mrs. Cook's boy. In Cook's act itself the man of the Alexander duo is chief assistant. Cook's own act is full of new chatter and is a succession of chuckles. It is really funnier than the combination turn, in which it soemed he introduced just a bit too mueh hokum, and from which some pruning would not he amiss. Every- thing Cook did they laughed at. Everything he says is humorous. Witty or nonsensical—laughter woo- ing. Anyone paying attention to his rhatter out in "one" can be cured of indigestion. Ilo has a new explanation of why h" won't imitate the four Hawaiians." He asks it' anyone is present who remembers that the "old Polo Ground" was on the Palace site, and goes on to tell about the three teams in the league —New York, St. Lotus ind San Francisco; how the crucial game of the season was on; four men on bases and he up to bat and Daniel Boone umpiring. It's a better rea- son why he don't do the four-ply imitation" and a fresher and fun- nier "reason." "Everything That Is" provides about the proper bill- ing for the combination act. Cook is doing a shooting bit that looks on the level .and is accomplished with utmost ease—and with his ir- repressible comedy. The two turns occupied over 40 minutes, and at the close the appreciation was en- thusiastic. Last season Cook and the Alexanders were a great comedy attraction. Now it is better than that. Vivienne Segal (New Acts) made a charming impression immediately before Cook. William Seabury and Co. were on for a ripping hit in No. 3. Seabury in the sleeping car section started something with his solo dance, but his stepping spe- cialty later landed the house. The second section of the act is some- what changed, and the "plot" now calls for the interlude being a page out of the Arabian Nights. The trend to yellow tights throughout the act was a garish note. The girls in the turn are Hose Stone, Edith May Capes, Marie Cavanaugh, Margaret Quimby; aiding also arc J. Roxey Clements, with Cooper at the piano. • Bill Bailey and Lynn Cowan, with Estelle Davis ("Red") assisting, opened intermission with "The Lit- tle Production." It is a song and musical turn well spotted, with Cowan's hard work the outstanding feature. Miss Davis exhibited about $500 worth of paradise feathers on one frock and looked very nice in the bridal gown. Harry Adler and Rose Dunbar ' were second with the "hypnotic" mimicry turn formerly done by Ad- ler and Arline. It was on too early and Adler repeated some of his stuff for new arrivals. Monroe and Grant opened the bill with their beer truck trampoline novelty. It was the second time for them to get things started* at the Palace lately, and they went off to flying colors again. Muldoon, Franklyn and Rose closed. The singing of th G straight held attention at first, but there was too much of it for the spot, and the house emptied. Ibee. RIVERSIDE An oddly arranged show at the Riverside this week, eight acts, with no acrobats and a monologtst sec- ond. Business was fair Monday night considering the time of year and the weather. The first part held a couple of show stoppers in Walter and "TJmily Walters, ventriloquists, and Eric Zardo. concert pianist. Walters and Walters get away from the conventional in their voiee- placing turn, both shining with dif- ferent styles of ventriloquism. The hov dummy used by Mr. Walters has a peculiarly expressive grin—sort of Impudent smirk that accords nlc -ly with the £;ib Walters gives it Emily Walters' l>» by crying bit scored heavily, as usual. Classical music can be sold in \ tudeviiie if the salesman•"-knows how. and Zirdo doe* Me played three selections, with Paderewski's pretty minuet sandwiched In be- tween »wo heavier pieces. Zardo's execution with both hands la fault- less H<* could have played mothoV one had he desired, the ipplausc justifying i much longer stay on the platform Zardo's modest person- ality while playing and his shy ac- knowledgment of applause is an asset. Harry Holman and Co. closed the STATE BROADWAY The Broadway secured a fa it- break in attendance Monday night when the lower lloor was comfort- ably filled, together with the side boxes. The Ioges and balcony were slightly off. This house is announc- ing the last show starts at 9 p. m. Monday evening the vauJeville got under way at 8.55. with a short car- toon reel used prior to the opening act. The current bill failed to hold a name, with the show in general a regulation summertime bill. The Mclntyres, a sharpshooting turn, gave it a start. The man experi- enced little difficulty with his shoot- ing and had the audience with him. The act is a sight turn for an open- ing spot and contains capable work. An attentive audience gave ap- plause. Madelon and Paula Miller, a youthful sister team featuring piano and violin playing, worked quietly No. 2. The girls appear at their best while dancing. One is given the preference in this line, with her partner also capable when called upon. A piano solo is one of the real bits. Rather quiet for the Broadway, but the audience never- theless knew the girls were present. A dash of ginger was added by the Yip Yip Yaphankers, No. 3. The ten-boy combination carried off one of the applause nits. With speed predominating from curtain to cur- tain the returns were as expected. Fast tumbling, capable harmony, and the proper knockabout comedy provided the necessary punch and gained returns. Lew W.ilson, No. 4, experienced difficulty with his talk. He fared much better with the whistling and stepping. The final accordian play- ing lifted him up and placed him well above what was expected earlier. Way Dalton and Jane Craig, in a novelty singing and dancing turn, were rather late, considering the weight of the turn. It is a flash and that is all. Nicely mounted be- fore special hangings the routine lags and lacks the necessary kick at the finish. The bridal idea is neat and attractively dressed, but there is nothing produced to call the couple back. The Quixey Boys, next to closing, had the second chance with quartet vocalizing of the evening. Using several published numbers vocally they Introduced three banjos and a saxophone for some speedy musical work. They carried the spot satis- factorily, making way for the Tan Arakis. a Japanese balancing act in the closing position. The early ar- rivals started to leave during the final turn. The picture end of the program suffered through a slipshod feature, entitled "Nine Seconds from Heaven.** Hart. FORDHAM Monday night the Kordham had to buck a strong Bronx favorite, Benny Leonard who fought Jack Button at the New York Velodrome. situated a little over a mile beyond the theatre. The house was three- quarters full, a good audience for Monday night. Since the clos- ing of the Royal (between the Franklin and Kordham) the only big time house in the Bronx, the bookers have changed the quality of the Kordham bills trul instead of one he idliner each half aa heretofore. It has tWO. The jirst half Toto. and Morris nrtd Campbell shared headline ng. Toto walked*-eft with the hit h >noi i through* his cle er clown- in;,'. Morns and Campbell pre- led him and roistered with their patter. The eornedy talk from box to stage had them laughing continuously. The Fifers and Sister opened the The show the first half was ade- quate, although running slow in the fore part, but winding up with a bang. Three double acts, although all of a different order, followed one another, starting with DcLyons Two (New Acts). VVaiman and Berry, with a musical offering, piano and violin, nicely attuned to popular taste, landed No. 2. Excepting for the inevitable "heavy" classical opening selection, the balance of the routine strikes a genuine responsive chord. "Glow Worm" as soloed by Waiman paved the way for the im- pressions of "Home. Sweet Home." done with fandango, heather, vodka and Hibernian variations, winding up as a rag. This won them a recall for a medley of musical comedy selections* It is an entertaining mu- sical act of its kind. Armstrong and James' comedy, despite its antiquity, clicked sweetly, chiefly because the house was hun- gry for laughs. A good deal of the chatter has been released long ago, although the blackface comic, who later does a blackface Eltinge for comedy purposes, helps sell it for fair returns. The straight, if he ever was gifted with a voice, kept it a secret Monday night, displaying a tremble that was far from convinc- ing with the "Broadway" number and a posture that was ungainly. Throughout the verse and two choruses of a ballad he was inclined at a 15-degree angle to the left, looking far from groomed and pos- sessed as every "straight" man should be. In th,e concluding double number, with the comic doing the "nance," a couple spicy kick lines were gotten away with, as well as some business that would not be excusable If the "gal" were really feminine. Arthur Devoy and Co. (New Acts). Harry Hioes is in the lights this week. Entering with an ad lib about the preceding sketch charac- ter, who gives away $50,000 Just like that, he remarks that if he had that much money he wouldn't be doing three-a-day. Hines went into his songs and stories with the usual "nut" flavoring, and afforded the customers a few real laughs they still craved. For the getaway Hines works with an audience plant in the front row of the orchestra for a vocal number, also encored In a fal- setto. Hines was an unqualified hit at the State. The Harry Downing Bevue, three men and two women, in a song and dance routine, shapes up as a cork- ing big three-a-day Hash, with a chance at the big timers. This turn has been working about the small time for many months, constantly smoothing the rough edges and elab- orating in spots, until now it runs its course with clockwork preeision. Besides Downing, who flashes a falsetto, some stepping and a com- edy female Impersonation, there is a male pianist and a specialty hoofer. And how that boy can hoof! In fact, one is in doubt which is Downing—the stepper or the other— until the finale, when the posing gives it away. The two girls are specialty steppers, one standing out, with an acrobatic toe number and the other with a Jazz strut. "Hate," a Loew-Metro release. 'was the feature film. The usual neWa reel and a Larry Semon com- edy preceded the vaudeville. Abe* tered that proved most of the house knew him. Van and Sehenck's piano was on for a couple of minutes and »h<* lights had been doused at the finish, but the houso still clamored for (Bason. His talk routine had a couple of new ones and the vocal end has been considerably fresh- ened up. Tom Smith, fourth, gave the first section plenty of heft through his comedy turn. Smith has a method of his own, dances exceptionally and knows how to gauge laughs to a nicety. His acrobatic stepping is tilled with humorous touches. The ventriloquial and mind-reading bits were wows. Francis X. Bushman and Beverly Bayne met a cordial reception. Their playlet. "Boor Bich Man," swung along smoothly, closing the first half, and gave both a chance to shine. The pair were an unqualified hit. Lou Lockett and Ann Linn, pro- gramed for closing, were third. The dancing is the big thing, both adept at all styles. Lockett'e solo seft- shoe stepping and Miss Linn's toe dancing stood out, and each landed solidly. Howard and Sadler were second with song and conversational stuff. The two women are strongly con- trasted as to sixe and the voices blend sweetly. They went very well for the spot. Anderson and Yvel opened with a skating turn that held a pirouette swing, with the man holding the woman and revolving dizzily at top speed, that made most of the other spins and swings look commonplace. Pat and Julia Le- voilo closed with their wire aVt, holding 'em as well as the average. Bell. AMERICAN ROOF Plenty of variety in the American first half bill with a sketch the only missing factor in the layout. The returns were a little slow in start- ing Tuesday night but bolstered up with the introduction of comedy. The first half of the bill held the comedy strength, with the Charles Ahearn Troupe, closing this section, taking the honors of the evening. Business hit a summertime aver- age Tuesday. At 60 cents top the Boof still appears to have a draw- ing, power during the summer months. A comedy picture started the evening, with Wally and Wally, a two man acrobatic team, the initial vaudeville offering. They topped their six-minute routine off with a neat feat that gained fair applause. Lillian Boardman vocalized No. 2. The opening selection was a pub- lished ballad which meant little In the way of applause. Her phono- graph record number is novel and nicely worked up in 'conjunction v with the old-time song, light opera, and blues. The audience at this point had yet to be awakened, and the returns were meager for the single. Beal entertainment value was pro- duced by Arthur and Lydia Wilson. Before a special drop, a rarity on the Boof, they offered a song and talk routine blended in such a manner as to prove refreshing from start to finish. Vocally Arthur Wilson is a sure bet and carried off each number in tip top style. The waltz finish and the novelty dance encore let them off to real apprecia- tion. Sweet, McCauley and Hill (New Acts), No. 4, gave the show a comedy boost with it being carried along in the same vein by the Charles Ahearn Troupe closing the first half. The hodge-podge comedy contained in the Ahearn act kept up a steady stream of laughs. Bough house comedy is always a sure bet with the Boof audience. Paramo with his harmonica work opened after Intermission. An artist in his line the returns were forth- coming all of the while. Paramo has eliminated the colored boy from his act and should experience no difficulty as a straight musical act anywhere. Hugh Emmett and Co., with a ventrlloqull offering, pro- vided one of the comedy bits of the second section. Emmett has perfect control of his voice and displays ex- ceptional ability with the long dis- tance chatter. The turn is com- pleted by violin and vocal work, Emmett doing the instrumental work and his young woman partner the vocal. A strong finish and good laughs during the running secured the desired results. Turk and Clare, a two man acro- batic team, held forth next to clos- ing. The spot was a bit heavy for the combination. Several laughs were credited to the contortion work of the one man, and the ground work of his partner also gained rec- ognition. In an earlier spot the re- turns would have been greater. The Aerial Dc Clroffs, a man and woman team, closed the show on the rings and trapeze. The revolving finish gained m applause finish. Tom Mix in "For Big Stakes" was the leature picture. Hart. HARLEM O. H. The Harlem split week pop vaudeville house is thriving during the hot spell mostly through lack of opposition, Hie Alhambra being closed around the corner, >leaving Loews Victoria the only other functioning in tins section. Another BRIGHTON The Brighton, Coney Island, Is in its sixth week and going along nice- ly. The house has been getting con- sistently good bills. Through so many houses closed this summer the lirighton, together with the few houses remaining open, has the pick of the acts. Tuesday night found near capac- ity, with a couple of small parties building up the total. The running order shifted about somewhat through Ruth Budd leaving the show Monday, withdrawing because of dissatisfaction with her billing. Pat and Julia Bevollo replaced her. This is the third week for Van and Schenck, The piano get was In fine shape Tuesday night and knocked over a walloping hit. The applause was so insistent at the finish, and continuing until long after the piano hid been removed, that the pair couldn't beg off Joe S< -bench stepped down into the orchestra pit finally, and with the house instru- ment as first aid the pair warbled an encore ditty. Previously * Silly Olison, opening the second half, had performed an unusual feat by stopping the show cold. Considering Qlaaon had Van reaaon is the quantity of entertain- and Schenck following him and thelnient offered at popular prices, house were waiting to see the] Monday night. In addition to the Brooklyn favorites, (Bason's stunt' regular bill of five acts and a fea- was all the more remarkable. Heture picture, also lows weekly and received a receotion when he en- (Continued on page 27)