Variety (November 1922)

i^fi^Friday, November 17, 1922 NEW ACTS THIS WEEK '*■■:■:'-^'^i^ T'w-r ■ryi:./.:..' ■mrn PSTRANDEiy (•) r^ ' •Ilin«tr«l Act It Mins.f Full sUa^ and on« (Sp*- oiai ••ttino) liajMtio, Chioaflo t. .^'\ - ^ • • ' ChlcA«o, Nov. 18. '** "Stranded It a happy idea for a "t* mlnatr*! act, for It createa interest '^'^ on tha part of tha general public ^^' And has a certain appeal to veteran **"minstrel men for the reason that It ;*' "Ylnga true.** Tom Powell, agent 21 WESLEY ("FRECKLES") BARRY and CO. (8) ;; "Weloome HomeP* (Sketch) 28 Min.} Full Stage (Special Setting) Garrick, Chicago Chicago, Nov. li. Wesley Barry's act is being seen for the first time In Chicago as an extra added feature at tho Garrlck with a Shubert unit, although It Is not new to six or eight points west. where It has appeared in Orphoum aiK »* hoMsea. The company came from bad many m miaavrvi »uww uii wio ^ the Hennepin, Minneapolis, to Chl- road of his own. Is sponsoi* for the ^ cago. It Is common gossip the act new turn and he has adopted the ^ failed to make good for 12.100 for faahlon of the day In mlns.relsy by ; the Orpheum, but that It switched to having a couple of vetemr.s fea- the Shuberts and Is getting $2,500. tured In Jimmy Wall and George It Is programed that G. H. Dum- Wllanrt. The act openi Iii "one,** showing a railroa^d station at Pulaski Tenn. There are two boys and two g rls, y evidently stage struck, planning a . .-wti mond presents Wesley Barry and his mother (Mrs. M. E. Barry) In a scene "away from the studio with hls-paljl." The juvenile picture star Is presented by arrangement with benefit for two famous minstrels . Warner Bros., according to the pro who have just been dumped oflt the train,.Q^ their money has*run out. 6nc iteUow,. who9e father Is 4up- "*' posed^Jto have posted him, Inro- '"^^[l.duces Wall and Wilson In white fare ^ * and as they are now. Opportunity Vis ftiyen to Wall to tfeU ihe folks •»« gram. Those who see Wesley Barry In th)fl playlet are certain to be disap- pointed to a lessor or greater extent: While he provides comedy as well as might be expected and la not Si a disadvantage In a couple of sentl- ^|.y"ho he Is. IJe aays he started In > mental bits, he does not stand out \^.iM«. lie tells wliat shows be has j as his admirers In pictures ei^pect ;i^;..l;>een with, from the New Orleans | him to. There are other lads, a team ;^ Minstrels down to Quinlan and of sisters, another girl and three '!){Wnll, what m'nstrel stars he has |.adults In the company. George Pel- .* played wl.h, dead and alive, and letler does a sermon as "Deacon *^, then Introduces George WiUson. of j Jaclison," which is good vaudeville l^^*^'alt« Me Again" famo^ who was | though it does not fit Into this act. ,/,' iho Wllaq'n of the Barlow. Wilson, 1 The juveniles present entertainment .Primrore and West MinM'rels. . j such* as might be expected in a ».;. Tho boys and girls do harmony j mediocre school act. Wesley does :. ,tt;alrp:nfT nt the rise of the curtain song with Jessie Brown Sempie, who and nt tha flnl.'^li of the act One pli^ya his sweetheart; dances with • younfc- mRtn dunoes following the in- the Reynolds sisters and sings with troduction of the veteran come- O"** o'the boys. i . > . <llans. The two g rls then sing, in , There is a defense of Hollywood In full ctage. doing an "old fashioned" . the playlet. When Wesley Is asked boy and girl number. Having had . about tho place he aays: "Hollywood time to bl.Tck up, Wilson then ren- ' Is CO tamp that wild flowers won't grow thtie." Wesley's freckles do not show from the cccond row, if he has any, ders the lauprhlng song which made him famous foriy ycars^ ago, after whicli Wall sings a ditty. The songs are punctuated with minstrel gags j which may rob his picture admirers by both comedians with the four o^ another Illusion. Loop. Others making tho circle. | . ' .. ! f;^.:f It is a plea«irg act. carrying ap i* peal to those who have loved min- f.\ atrelsy In the past and being satis- factory to playgoers developed In recent years. Harmony singing with - black foce comedians standing still Is rather a tame flnisK to a minstrel act, but It is not an easy task to work out a closing for such an offer- ins that will be more satisfactory. OOSSMAN SISTERS and 41M FOLEY *Two Is Company* (Song mn-i Dance) 17 Mine.; Full SUge (Spoei * Sot) Sth Ave. Eddie Butsen and Alex Oerber are lobby credited for authorship of "Two Is Qompany." the Oosaman girls and Jim Foley's new act. The Idea is concerned with Foley's quan- dary In wooing and choosing either of the slstere. This is maintained • throughout consistently, with flttL.g ;iind jingly lyrics which continue 'the theme thread. Foley Is anchor man, remaining on the stage almost continuously to allow for the Gossmans' costume changes and soloing twice to excel- lent returns. The girls work en- ■emble with him except for a seml- . Spanish double. ^ The frameup Is smooth and fln- ., Ished. AleU JACK DUNSMURE and CO. (2) Singing Sketch 20 Mins.; Full Stage American John Dunsmure formerly did a single, depending on his bass voice and Scotch dialect stories, and fared nicely. With a company of two people and a sketch he hasn't a chance. Even the roughest kind of hokum couldn't put It across at the American. The stage Is the courtyard of a blacksmith's cottage and Duns- mure as the smith is working at his forge, slnglni^ a solo In a fine robust voice and hamrttering with an electric sledge that makea an annoying flash. Daughter Peggy entera There la angry talk about her sweetheart. Clarence^ whom daughter defends from father's at- tack. He Is off and the girl does a pretty light number, a Scotch-ballad KINQ AND GORDON Song, Talk, Dance 18 Mine.; One and Throe (Special) 5th Ave. Nellie King and Tonuay Gordon form this new combination. Nellie Is Charles and Mollle's sister, and formerly appeared with them. Gor- don Is a smooth juvenile, the couple on appearance rating with the fiistest. The bright talk and truly clever verses are reported authored by Andy Rice. The act opens in "one." disclosing a rural drop. A flivver's asthmatic farewell gasp Is heard offstage. The team enters and Gor- don bewails the thought that becauHC of their delay the patrons of Proc- tor's 5th Ave. may be deprived of the pleasure of viewing the greatest act in the show business. That Is his modest estimation of himself, Gordon admitting that he rea ly conLtltutcs the whole works. Patter about Miss King being the "and Co." starts a new verbal barrage, Nellie rem'ndlng him about |7,00U being still due on the furniture and the bungalow. Tommy dismisses that With the statement It means only two weeks' salary. He admits his act is a novelty, since he t^lls prohibition jokes and talka about ^he bonus, • ^ » If Spying a flivver oflf-stage. Miss King asks the taxi bandit what the fare would be. Tommy tells her to use the old "personality"—that'll take something off the damage, maybe. His verdict at the chauf- feurs |2& demand is that she Is losing personalty. In "three" the male pianist do?s not worry about the couple's -delayed appearance, fully realizing that he Is really the act. The balance la a smart double number routine, a'i restricted ex- cepting the "Martha and Me" num- ber. In the curtain speech for the encore Gordon cpoofs the audience, Inerenlously commending them for their good judgment Ip rocognliilng a good act. Some of the fly stuff Is "wise." but Intell.gently gauged not to avi- ate over the average proletarian's cerebellum. ' Abel, ZIG Shubsrt wit fhow. At CenU^ N«w Tork. w««k Nor. 11. Prodoo«d by Arthur Peanoa. MiUlo and lyrloa bjr Ifllton Acer and Jack Tetlen. Numb«ra stASod by Larrx Ceballoa. VaudevlU* acta—Hap Hadl^y, Alloe lAwtor. "Makinc a Ifovi*" <tna*rt*d •kit played by revue principals) Mastara. Kraft and Co. (Qraea Maatara. PattI lloora. Rone Brahani), Lean and MayBeld (adde^ji attrartlon for week): additional prlnripala In r«vue: Harry Welah. Catherine Craw- ford. Jamie Coushlln. John L. Kearney. Harry Peterson. Straight maa from tho comedian. It's worse than ''Watt Street.'* and that's some worse. lAter. with Welah doing his "soup" table scene la tho revue, there is a laugh, and a good one. and another later on when Cath- erine Crawford, who always looks so welL does her l Joyable "souse." It was In this scene, though, that the brazen bit of lifting from Savoy and Brennan In the "Greenwich < Village Follies" came out, the "just walked back from one" (auto ride) "Zlg Zag" is more of a burlesque and jumbled up to no eflTect through ehtertalnment than many of the . Coughlln attlng over the laugh line unit shuwa at the Shubert house so j Instead of a woman, far this reason. Arthur Pearson, lis I Rorrov.ed m-^t(»r'«l Is all over the producer, was a Columbia burlesque performance, and frequently among wheel producer, anking among the the speclnlists. Hut its unfair to best on that circuit. His unit revue Is so frankly burlesque it cannot be gotten away from, and there are laughs in the low comedy of the revue section. The show's people as a rule are specialists and not principal.^ leaving tbe comedians of the revue recognised burlesque comics, like Jamie Coughlln and Hurry (Zoup) Welsh. As a unit show for the |1 top the Central Is now charging on week nights, "Zlg Zag" isn't there for the acals. but for $1 top that the unit f circuit flrst announced, it would t>e | this aggregation,' but they are dolny considered satisfying, despite its their old vaudeville turn wltli tho poor vaudeville section. However, i t>asebal| finish that la four or flvo as a burlesque show "Zig Zag" | years old. A new turn couki not could stand up with the best of the {have been looked for a single week, Columbia attractions with the but the show might have boea givoa necessary changes to make a flrst I something new for ita equal split oC part that would cause some elimlna- the flfteen. tlons that might be beneflclal even An agreeable feature ia the chorus now. of If. their youthfUllnoaa. good looks The vaudevlll and entire per- . and active work. Ia one number the formance receives an awful ;/low | girls are used la two sots oimuN when a skit called "Making a taneously, both sets working la a cop the Savoy and Brennan gag. brand new this season, and • then have the nerve to use it on Broad- way In another C l»crt house. Cecil Lean and Cleo Mayfloid are the adde' a action this week at the Central at the weekly salary of $1.S0t. Tuesday night, though, they hardly Ad ed any business. By •:!• the house was pitifully meagre^ and by nine apparently a sparse ovdr« flow from other houses sent tho cash-in u,. to about MM. Lean and Mayfleld look class la Movie" with the revue principals Is inserted into the vaudeville section us an act. It isn't an act—it Isn't anything—It's terrible. The whole mess revolves around tbe accusa- tion of a stolen collar by POLLY MORAN Songs snd t'alk \ '" 15 Mins.j One 58th St. Polly Moran has been acting before tbe camera for about flve years. Polly has been back for about six months and has framed a vaudeville act. Now Polly seems to have a frame-up that is sure Are for the big small timers, and the small big time houses, where any part of tho audience ia of the pic- ture fan caliber. Polly has a couple of songs. One Is "Polly With a Fractured Past." that gets over for a laugh, but it is the "inside stufT* on the picture mob she relates that hits the aver- age audience for^ a woir. At the Fifty-eighth S reet she was going nicely up to the time she started -M\- RHODES and WATSON Pisno and Songs 11 Mins.; One ^ . , Two attractive girls, blonds and brunet, both pianlstes and singers, alternating in each department, and doubling for the flnale. A Span'sh song by the dark hair miss opens, the other accompanying. The blonde girl then renders a medley, well pieced together with an In roduc- tory verse. She has a good voice, clear dctlon and a llkabio style of different manner. Ifs effective and a staging scheme seldom attempt«d« perhaps because of its dlfflcultles. In a snow scene closing the show, Mr. Coughlln appeared agalast the the background of the snow clad moun- I tains in the costume of a classicnl dancer. That was the funniest bit of the evening. It's too bad this show has m»t a couple of singers with voices who could handle the worth while music; The singers are dancers otherwise and better dancers than singera al- th'^ugh Alice Lawlor goes In for a singing speciality. She has red hair and no voice, but her llvelv songs seems to stand off both. Hap Had ley opened the vaudeville In a numlier setting, using girls for models and doing some comic rap d cartooning that got someth'ng. After Miss Lawlor. No. 1 were the Masters and Kraft act. considerably changed about in setting and routln- delivery. _ _ A self-accompanied ballad by the jing. The dancing flnlsh'caugaVMme brunet follows, the blonde retiring to applause. ,» ii, CARLE and MULLEN Singing, Dancing and Talk 14 Mins.; One (Special) ilefferson ' Man and woman In singing, danc- ing and talking. Man Is excellent 'dancer, shining especially In t' e loose eccentric stepping. Woman „ "dishing dirt** about the stars of the minus the burr, which she uses at I screen. Then she held the audl- other timea ( erce In the hollow of her hand and walked away the hit of the show. Polly names them all, Gloria Swanson. Bebe Daniels. Rodolph Valentino. Bill Hart and slips over stuff in a comedy vein that carries with it a little Intimate touch that the crowd in front eats up. For comedy at times she kids the or> chestra and clowns generally with the audience. No one but Polly Moran could do it the way she does and get away with It. for it takes her particular sense of humor to land the material as she does. Fred. Clarence enters, foppish In getup and "cissy" in manner. He has a row with father and he and he girl plan to elopo. For this purpose Clarence gets Into one of daugh- ter's dresses and she dons trousers. In the meantime having presented a flask of Scotch to father. When the disguises are finished after a lot of crude comedy bn.sinesif, they decide that father will be drunk by this time and will marry thom (he is described as the "marrying blacksmith") without guessing their Identity. They put this brilliant idea through with much business of comedy marrlai;e ceremony, ho'i<ed to the limit with Clarence doing "nance" stuff in his petticoat dis- guise. It's a pity to see Dunsmure's flrst change Into a hoop-skirt affair, re- turn ng for a medley of old-time numbers, while her partner exits for a similar change. They duet the closing number. Both look good, sing well and will please where a straight singing spec'alty flnds Grace Masters and Patti Moore of the act wore liked when dancing and they, with tho men, were principals in the revoo por- tion. But princlapls meant Vttlo In the revne unless on tho low eomedv order like Welsh and Coughlln. The costuming scheme also runs to the "leg" expose, with one num- favor. At the Fifth Avenue, in sec- i ber having the girls in black tlglitv ond position, they earned a trio of ciurtain calls. Wynn, MILLICENT D'ARMOND and CO. (1) Toe mnd CIsssiesI Osnoinf 10 Mina; Full Stage Milllcent D'Armond Is a pleasing (Ittle toe dancer who, with her male companion, manage to present a neat type of closing act for the to the hips while a black jacket was worn above. It was attractive for that stylo of dressing. **Zlg Zag^ has lost somo of its personnel tnat atartod tho eoascn with It, but there could bo little to It other than tho revue. Like other units It is unevenly balanced, but hero at least there are laughs in the afterpiece. Laughs are gold nuggets with a Shubert nait. Tho show carries "Max and Morits." tho monk act. as a regular turn but it laid off this week though having prevlotisly appeared sma'I time. Acts of this nature are hard to get across with a small time at tho Central with another .sho<¥. audience, but this pair soems to - Thai however did not estop the have the faculty of doing, with l*!*?^" ™*J*^?r?«"! ^5?" **".^l®y*'I? some little floor stuff and trick too stepping by the girl, such as the waltz clog that she does on her toes. There are four numbers, a double opening and closing and two solo numbers between. Fred. sltigs and dances also, but her chief 'Asset l« her api»arance J^n jjbbrevl-| ^ate'volce and enjoyable knack for csu-.. ^u..v>i>.. ii»»i- Scotch c^jaracterizatlon w sted In Ated costumes. She's a chubby little pony and with a flgure that readily hiakes up for vocal deficiencies. Act shapes as flrst rate No. 2, with man's dancing more than sulA- clent to carry it over with a rush in the pop houses. Bell. fhe rubbl.'fh of such It vehicle. Rush. PENTLEY, BANKS and QAY Siiiging 12 Mins.; Ono -' Simple singing trio of soprano, tenor and bass, all In evening dress and working straight. Strong ap- peal In unpretentious presentation and flrst-class musical quality. The soprano has a brilliant voice and makes a pietty sta^e picture, flrst 1 even! p gown of metallic cloth and Liter in a red velvet affair with a train. ' Enjoyable musical number for early middle of a fast comedy bill where it would furnish variety. Here poorly ppotted No. 2. where a livelier specialty would have been more In demand. ItuMh. ARTHUR and PEQQY Wire IS Mine.; Full Stage American JULIAN HALL and KATHLEEN DEXTER Song. Oanoe, MusioaL Talk 17 Mina; Ono Julian Hall has been around with a single for some time and In other comblnat ions. Kathleen Dexter looks like a new partner. Their stuff, too, has been built up con« siderably. The act opens In "one." tho team entering with golf bags which sorrote the sax and trom- bone used later. In addition to the golf cluba Miss Dexter is a cute .lappor who THE LUMARS (2) . Equilibristio 11 Mine.; Three Man and woman making neat ap< one of the trainers as a waiter in a table scene. He was a dumb waiter and that helped some. Sfme. PALACE The Palace program was supplied plentifully with "names" for this week and ran extremely long Mon- day night, notwithstanding the ab- sence of the closing act, which failed , to appear for some unannounced pearanco in riding habit. The reason. The bill was juggled around routine is unique In that the man ' consequently. Kerr and Weston. In- asHlsts the woman with the props, j stead of holding the third spot, as the latter doing all tho risky-look- programed, made their appearance after intermission. This proved a Ing aerial balancing. The routine is wise move, for their repertoire of Apparently from the other side j clicked solid with her insistent. and with small knowledge of Amer- ican vaudeville. Man and woman, both In Scotch kilts and thick brogue. Man does short ri utine of simple balancing on the bounding strand. Woman walks down front vexed manner in delivering a pub llshed number. Hall still does hit Chaplin Imitation, a worthy bit of the routine. The resemblance to the film star is most striking and Hall has the mannerL^ms down pat. introduced with some tumbling and ; janclng not only proved to be of balancing on an ordinary table, guffloent weight for the later posl- Later the woman mounts a three- Hon, but. figuring on their returns, high table which Is balanced on the they would have b«en rather hard first table used. Aloft she balances | to follow In the early section of the on chairs, poles, etc., impressing ^^'liv .... nn haf "nArtf« " I ThoTe might hsvc been morc com- Thruam ope„<Hl a. th. Hth 8t>*>' »» '"• ""'<««• W"" "" ■•»" and were well received. AbeL ARMSTRONG and PHELPS Piano and Songs 15 Mins.; One Golden Gate, San Frsneisco San Francisco, Oct. 28. Two men, formerly in cabaret and offered was hardly satisfying In quantity, although prime lo quality. Another good comedy specfalty would have rounded out the meal of entertainment to a nicety, and It cou!d have well fltted In tne spot occupied by Brooke Johns and hla orchestra, a holdover from last week, for some unaccountable reason. Johns is a cabaret entertainer—JMSt that, and that's all. Ho has a fair and delivers two verses of "Nice to At this, his partner remarks. "Vou Get Up In the Momin'." a slow , do Chnrlie Chaplin good" and Hall: Lauder number even fur one verso. | "Vcs. but not like Mildred d d." re and fatal ' " '" " ' ~ *" •».»»-^- »» . «. ..- with two. She do.s a short bit of talk that doe.sn't Ret anywhere and for the fininh she makes an announcement for the next wire feat. The man puts on high boots with spurs and doe.^ a Series of someraauUs on the wire. The act has no showmanpliip. Hush. tnoro recently In pictures, have share of personality, a typical dance piano playing and comedy songs. , floor rouMne with Its accompanying Their appearance Is above the aver- method of delivery and a group of age. and ihere is nothing abou: their capable musicians, .'^hwie appear- ...^..1. »,. :., i:..»*^ ^.>K » . tnce serve nicely In aecentnattni work to indicate cabaret | ^^at personality and appearance Armstrong sits at the piano and Mr. Johns poaseHses. He Is a banjo- ferrlnff to Mildred Ilirrls Chaplin. The trombone work in accompani- ment to a hock (lance by Hall scored, leading Into some effective ' works In the duets with his partner raxo work. They use six numbers, two published The fraine-np Is variegated and and the other exclusive, connlstontly entertaining qualify- | The act was put over in neat ing for b!g time bookers* tttentlon .«'tyle and cnn easily hold an early j"r\infrathe7 than attract 1^^^ Abet. position on any big time bill. Donald Kerr. Mr. Johns danced. Tho 1st with a mania for stage contor- tlons that hsrdly jibs with his chosen work. When he Is singing he seoms full of rhytlimless "pep." anl his physical gyrations serve to ds"