Variety (September 1922)

. Friday, September 20, 1822 NEW ACTS THIS WEEK ia WESLEY BARRY and CO. (8) ••Welcome Horn*" Orpheum, 8an Francleoo Ban Francisco, Sept. 2T. Wesley Barry In an act entitled •Welcome Home" (no resemblance to the sketch of the same title played by Lizzie B. Raymond sev- eral years ago) Is assisted by eight other juvenile players, Including Betty Byron. They were very well received at the Orpheum. Next to the young screen star Miss Byron is the strength of the aggregation. She has finished style and capti- vating assurance In spite of her ex- treme youth. The proceedings are in the nature of a surprise party. The principals put over specialties to occupy the major portion of the running time. Theso bits were at times ragged, but the youngsters pleased the audience mightily. Wesley breezed through one song and handled his talk neatly. It was the specialty of Miss Byron and George Pellitler's blackface episode that really put the turn across. RAFFAYETTE f 8 DOG8 15 Mms.; Full (Special) Colonial. - While llaffayette's Dogs were clocked in IS minutes running time when reviewed Monday night, the routine Is probably five minutes less ordinarily. The act was cruelly jazzed up through a wrong dr^p^ be- ing lowered and cues being disre- garded to the utter disgust of the temperamental llaftayette. The dogs are clever and llaff ayette has obviously taken considerable pains in training, them. They run mostly to fox terriers, opening with two of the pups in a swing, some doing bead balancing and leg bal- ancing formations ot their own ac- cord. Adjusting the swing into a trapeze. two of the canines "shinnied ' i^jj the side poles, did chinning.** leg and ankle hanging and somersaults that are as funny as they are novel. Then things went wrong nnd Raft'ayettc lost his composure some- what. He shouted from the wings, being visible throughout anyway, as is a girl assistant backstage. If the idea fa to impress the feats through their performance minus human guidance, it misses its purpose in all oases because of their visibility. The closer is a miniature dog bed- room showing a female dog get- ting into bed, appropriately night- garbed, and the entrance of her husband, inebriated. Including the mechanical mishaps that evening, the stunt scored. With intelligent pruning and smoothing the act has possibilities as one of the best of its kind. It still is in the rough, somewhat; perhaps through Raffayette having recently come over from the o^her side, his second visit to the States. ^ Abel. 6PECHTS LADY 8ERENADER8 (») Jazz Band and 8ongs 24 Mini.; Pull (Special Baokings) Broadway Paul Specht, one of the local jazz band leaders, tried out an act sev- eral months ago at the Fifth Ave- nue and later played the Loew time. That was a men's jazs band. The offering at the Broadway this week is a ladies' band that Isn't so jazzy except for a few numbers; the rest Is song and Individual soloing on the part of one or two of the play- ers in the combination. On the stage there are eight girls, seven of whom play the Instru- ments, consisting of piano, drums, violin, cornet, trombone, a sax and a clarinet The eighth member Is a singer. Just what she is doing in the act is a mystery. She tried several without doing anything. In addition to the girls, there Is an orchestra leader, who graces the pit with the regular house musicians. What he is for is also a mystery, unless to make the act try to look more Important. What this combination needs is more jazz, less soloing and the elimination of the leader and the singer. A couple of more girls on the stage in the orchestra Itself would be far better than either of the two that are suggested as being taken out of the act. That would be a real jazz combination, and then turn the girls loose on the popular dance stuff of the day with the little violinist leading. This girls seems to be a musician and has personality. The solo that she does neither adds nor detraets from the act. but classical stuff doesn't fit with a jazz orzanization and that Is seemingly what this is in- tended to be. Fred. KEENE and FREDERICKS Singing and Dancing 10 Mins.; One American Roof Two men (mulattos) in singing, dancing and piano playing. The team presents a neat appearance In tuxedos. Baby grand piano used by one of the men for dance while playing for himself to step; also as music for partner's dance. The team does not need a piano. Both are good dancers, and ordi- nary singers. One song would be enough for an opener. After that It should be dancing the rest of the . way. One of the team is an acro- bat as well as a corking eccentric stepper. At the finish he does some Arabian stuff that is unusual. Re- vised as a dancing turn the team should easily fit into the best bills. FOSTER and "PEGGY" Trained Dog 15 Mins.; One American Roof Foster is the trainer and '"Peggy" a highly intelligent dog. A bell ap- paratus is utilized, the dog striking the bell to register numbers, etc. For instance, when Foster goes into the audience and asks Peggy to indicate how many people in a given row, or how many rows from the stage is a given seat, etc., the dog unfailingly rings the exact number on the bell. After assisting Foster to play a tune on a set of bells, Foster play- ing the hand bells and Peggy get- ting in the melody every time the note occurred,* Peggy plarys "Swanee River" unassisted on a special bell contrivance. This is unusually well done, the trainer standing back and practi- cally lending no aid whatsoever. Foster should speak a bit louder when making announcements, as most of his talk was lost by the time it reached the last row on the Roof. Turn would fit snugly into the best of the intermediate bills, with enough to easily carry it over No. 2 in the big timers. Bell. VINCENT BROS. (2) Triple Bar 9 Mins.; Three Colonial Vincent Brothers are hilled as "European triple bar performers," although a snatch or two of their incidental English sounds thor- oughly American. They arc dressed as "gobs." the comedian only af- fecting tortoi.se rim goggles for dis- tinction. A marked contrast Is maintained through the comedian performing all the intricate feats on the triple bars up to the get- away. The straight does conven- tional though none the less inter- MARGARETE HE88LER Violin 10 Mine.; Ons Colonial. ^Margarets Hessler, simply pro- gramed "violin virtuoso," enters just as simply garbed in a plain short frock, with hair hanging loose. She does two classical selections, both conventionally and politely re- ceived. The second is only distin- guished by what may or may not have been Intended to fool the au- dience- into thinking the bow was flung from her hands by accident. At any rate, she completes the se- lection plucking the notes pizzicato. It was probably Intended for a flash getaway, but let her off to three mild bends. Spotted No. 2. Miss Hessler displays her expert- ness In some of the bowing num- bers, but the two numbers are more concert and lyceum than vaudeville. Abel. NELL O'CONNELL Musio and Song* 14 Mins.; One (8pecial Drop) 125th 8t. Good looking, dark haired girl steps through divided gold drapes for short recitation of the get ac- quainted variety. Shedding wrap and bonnet, she is revealed In a pretty low neck dress for a pop song with a bit of jazs interpolated. A near classical medley next nicely handled In clear soprano tones, followed by a quick change to stunning green and white Irish knickers cape and top hat for an Irish song and excellent playing of the harp. Another pop song was demanded following the harp. Miss O'Connell has personality, appearance and a singing voice that will eventually lift her to two-a-day circles. The present act is a step in the right direction. The opening recitation idea has been done to death. 'She should shy away from songs of the jazz type also, which do not fit her personality. The turn as constituted Is a cinch for the pop bills. It should develop fnto a big time early spotter. , Con. (*) ANNETTE Songs 19 Mins. One. Special Drop Royal Annette Is a soubrct type in kid- dle frock, with bare legs, etc. She possesses a strong, clear, adult so- prano voice, although her appear- ance Is in keeping with the costume. She makes an entrance through a divided drop after singing briefly off stage. Her repertoire of songs consists of popular numbers, mostly of the jazz and ballad type, with one medley of old songs Included. The fault with the act lies In the song routine and tho production. Wardrobe might helT>, but wardrobe will call for a pianist to plug up the waits between changes. Annette has prima pipes but needs special numbers and an experienced producer before she will begin to discount them. She was liked at this house, opening after intermis- sion. Con. osttng won:, but PSChews Ml flash or fancy stuff until the conclusion. The contrast is all the more strik- ing, therefore, with that closer of hopping from bar to bar standing erect and whirling oft in a double somersault. , A corking opener for the best of hills. a bcl. DOMAN and STANLEY Contortionists and Acrobats 8 Mins.; Full Stage Broadway A fairly pleasing little opening act consisting of contortion 1st lc and acrobatic work, It is a man and woman combination who offer all the old contortion stunts, but man- age to dross them up to that they appear different. Beth members of the T-.-.m work equally hard and their efforts brought a small ni• - plause return on Monday night. The man does a split between two chairs that is effective from an audience viewpoint, especially as he manages to stall Impressively, which makes It appear a little more difficult. I'red. HARRY BURN8 and Co. (2) Italian Comedians 20 Mins. Ons Special Drop Royal Harry Burns was of Burns and Frabito and later of Burns and Freda. In his present act he is assisted by Charles Sena and Car- lena Diamond. According to the program, Claude Bostock is the author of the present turn, which differs from the former acts in the addition of the girl, who shows two changes of wardrobe and plays a solo on the harp, and in the special drop, which depicts the exterior of a fair grounds, giv- ing atmosphere to the "I think you touch" comedy routine, with Burns selling balloons. The crossfire has several new gags, but Is reminiscent of the for- mer routines In construction. At the finish the musical Instruments played by all three are sure-Are applause getters. Burns has strengthened his act muchly by the addition of Miss Dia- mond, who Is a good-looking, shapely brunette. Sena is a com- petent opposite, handling the Italian character cleverly and. In addition, is a good musician. The act stopped the show next to closing. Con. HARRY VOLTAIRE and CO. (5) "Yachting" (Musical Act) 15 Mins.; Three (Special) American Roof Two men In white face in neat yachting attire, another in black face in* comedy sailor garb, and two women, also costumed. Special set carries good suggestion of yacht deck, with railing and water back- ground. Phonograph plays at open- ing with couples dancing. Turn wastes no time in dialog, but pro- ceeds immediately, two men play- ing trombones, the corfilc cornft, one of the women cornet and the other French horn. IJ:t of talk fol- lows concerted numbers on brasses Five saxophones next, ranging from bass to highest range soprano Several concerted numbera on saxoes. black face playing leads and lntrodueiner some neat execu- tion. Tho woman playing French horn has voertl number earlier in act. Woman corhetlst also does some high class triple tongue solo- in-. Brass stuff Is muted for con- trast for one ensemble number. The music la well played and yacht setting takes act out of com- monplace musical turn. Good fea- ture for :->ma!i time. • Dell. "INDIAN REVERIES' Song and Dance 15 Mins.; Full (Special Sets) State. "Indian Reveries" is a five-people production flash (four women and Chief Oskomon, whote name tops the acts in the exterior billing), presented by Harry Rogers. It opens in a striking woodland ex- terior with the Chief perched on a rock in typical redskin pose. Ho doubles with a girl In a pretty "Moon Maid" song that is the theme of the skit. It has something to do with his going away which the In- dian girl does not prefer, obviously. Through the bark of the tree, which suddenly becomes Illuminat- ed, another woman appears, saying something about "civilisation" and "education." This all hazy, but the idea is obtained when an allegorical character hops on (that's about all she does throughout) and Intro- duces herself as "Education." Via a number of drops she takes the chief to Spain (for a fandango dance number). Prance (where a woman does a "rose" song with a striking electrical trellis back-up), and then back to the original ex- terior. The chief here gets in a sort of Indian dance number that consists of intermittent eerie shriek- ing and swaying of his (probably natural) long hair. Oskomon then ascends his original perch and when the girl enters he again warbles "Moon Maid," but says he is NOT going away. There's an idea, but it is not properly developed. The girls romp on and off, each indistinguishable for their efforts and none strikingly capable, excepting the "rose" singer, who managed nicely with her ballad. Oskomon sings well, but not enough, although he Is the fulcrum of the action. His dance Alls in, but is not striking. Oskomon years ago did a singing single and managed well. He should do more of It here. The.act topped Loew's State show the last half. Abel. MUSICAL ALVINOS (2) 12 Mins.; One State. A straight mixed musical team, man handling banjo and woman the violin.. A pop medley opens, each soloing. The man is exceedingly proficient on the banjo tickling, mixing it up witii plucking a tune with the left (key) hand only. Their lighting runs all to the soft rose foots and amber spot. The getaway is a jazz medley, but they top it off with "Turkey In the Straw," which lends the routine a very small-tlmey conclusion. The team is good Indefinitely for early spo.tting on the pop bills, but they suggest there Is more In them through proper showmanship and arrangement. A bcl. JACK and MARIE GRAY Singing, Dancing and Piano 12 Mins.; One American Roof Man and woman, with man play- ing baby grand and pianologing numbers. Woman makes several costume changes and does a couple of brief dancing Interludes. "Danc- ing dolls 'it manipulated by the team, placing little dolls on their hands, with the fingers going through the motions of manikins dancing for the finish. The dancing doll stuff entertains. The rest of the turn is rather lU<ht. Bell. R08S GIRLS (2) 8inging 10 Mins.; One American Roof Two girls, opening with Hawaiian double, with grass skirts, and ukeS. Bit of stepping by one of the girls in soubrct costume next, sister fol- lowing with ballad; also change of costume. Double number next, wiib both girls Retting Into ti«hts for finish and doing number illustrat- ing different types of danelng. The turn passed No. 2, on the Hoof. It h i i enough value for thut spot in tin* small time shows. It'll. RUTH HOWARD, BRUCE and WINIFRED Flying Rings 12 Mins.; Full Stage Royal A man nnd two women. The lat- ter arc seated when the curtain r i s e s w ith th e ma n—e n th e Hnw * f«>r Some excellent gymnastics. The girls change to whlto one-p •suits for similar .stunts. The Mash of tbe turn is a somor sault by the man off the rings to • perch on a rope that hangs from the flies. It's a neat opener or ( los«r for the good bills. Con. BARDWELL, MACY & KINGSTON Talk and Songs 15 Mini.; Ons (Special) State. A mixed trio with a novel opening and a good idea that deteriorates into mediocrity through haphazard treatment. A striking drop repre- senting a country exterior backs up tho act and is the keystone about which the Introduction Is built. The Kirl enters and has just missed the last car. (The drop also represents car tracks in the foreground.) Tho other two.men rush in at second Intervals and are similarly disap- pointed. Each then starts solilo- quizing aloud, viz., the girl: "You'd think I was a scarecrow the way those men don't even smile at me," and each of the men in turn: "dee, I wonder if she'd smack me in the Jaw if I dared go cer to her," etc. It's a novel variation on the flirta- tion opening and struck the cus- tomers that way. But after this the routine degen- erates into straight harmonizing, Including a "blues" (well done) and the sure-fire ("Sleep, Baby.^Sleep") yodel for the faretheewell. An al- leged comedy song with "town hall" verses could stand eliding. The men are prepossessing and personable and the woman is come- ly, although not strong on lines, as her male partners. She reads them in a shrill voice which doesn't listen so well In the mammoth State, al- though doubtlessly strong enough in more moderate-sized houses. The second part of the act could stand building up. Ah, I. EQUITY FLAY LIKED (Continued from page 12) workers, all are Equity members, even down to Barney Shaughnessy. w". j is doing the press work. And they furnish a good production, which, scenically, is quite impres* sive. The latest scenery, which is get to represent a massive Hpnnish building, with its heavy curved arches and doorways, is arranged so that it may be shifted between the aets, getting a different setting wit^h the same scenery. There Is a suggestion of solidity in Woodman Thompson's sets that is unusual on the stage. The costumes alsp are very beautiful, and com- bined with the finesse with which the entire production seems to have much of make for dignity and a simple richness which lend to it extraordinary distinction. The production, however, will make its appeal, not to the man in the street, but rather to the stu- dent of books and the stage, who is not averse to seeing productions on the stage that do not have to smack of maudlin sentimentality or of utter filth for success. Supporting Miss Cowl is Angela McCahlll, Lillian Albertson (who, in- cidentally, does mighty fine work), Leonore Novell, Margaret Far<-- lelgh, Grace Hampton, Lallvo Brownell, Edith Van Cleve, Claude Cooper, Edward Cullen and John Parriah. The more cynical traits of Salvador's character are admirably portrayed by Frederic Burt, and cer- tain character bits in the produc- tion, the Martin of Marshall Vin- cent, the Barrabas of Frank I. Frayne, the Dona Enrlquetta of Louise Closser Hale, the Tcresona of Jessie Ralph, and the Marqulta of Marietta Hyde, are the outstand- ing acting high lights. The "old tuners" in the cast do good work and dispel any impression that Hie Equity will serve as a sympathetic clearing house. John Oldmixon Larnbdin, in the "Evening Sun." said: "An event of potential historic moment, remark- able for Its Latin flavor—the work Is symbolic and elevated in tone. Jane Cowl gives a particularly beau- tiful and tender, quietly humorous and extremely earnest portrayal of the beautiful Malvaloea, while Holla Peters plays the role of th<- \m- happy obsessed Leonardo with won- derful distinutiwn g$d marvelous sincerity." John I). Barry, in "The Bun": "A very beautiful play, sound In theme and admirably developed The Bqulty has reaapn to feel j»i • »u.i «>i its first venture They h.i\<- given to our stage a drama far supei or tO BtOSt Successful plays produced during the course of a season M cowl low stands among the dozen leading actresses of our stage. This performance should lo ; v • h heighten her pre • Ige." Robe11 Oarland, In tin* Knv ean" t— "i » 0 H p i i s— n a nnt i onai — bana l- Ity, the work is worth your while. Cowl, her Smile, her voif .• ni it Ik r ( Sing pei tonality do cv< thing io dispel tin- heroin* i omni- farious artificiality—-whutevei thai may oe. 'Malvolora' Is a .«. . t < So.11 i ! ' W .i > I town Hi' vvi le ' the >; <■ ' id ' £> ik.