Variety (December 1922)

IS NEW ACTS THIS WEEK Friday, December 1, 1922 1^3: -^r: :^u ' ^_ LEWIS and NORTON Talk 17 Mint.; Two (Spoclal Set) 6th Ave. In Feb.. 1921, according to Va- riety's New Act files, thia turn had a "8how:/T" at the Kedzie, Chi- cago, and was there reviewed by Its author. Jack Lalt. The only thing to ponder over is whether Mr. Lait really thought the skit was as good as , he stated. For he said plenty. And if imagination is nec- essary, as they claim it is. in repor- torial work, that guy Lait Is over- board with it. But a nice boy, and one of our esteemed check-paying luncheon companions. However, if he gets a flash at this notice, it looks as if we'll pay our own checks from now on—and like it. Hence. Charlie, if this gets by the "old boy'—E Plurlbus Unum and start digging. To describe the sketch we take, TerbatJm, the author's own words— •*The title is 'qost-to-Cost' and is In four episodes, each staged In a little arc of a skillfully draped curtain. The first is spring at Pasadena, the second la summer at Bar Harbor, the third is fall at French Lick, and fourth Is winter at Palm Beach. (Knowing Chicago thoroughly, this boio covers a lot ©f territory.) In the first the man is a night clerk, in the second the manager. In the third the proprietor and in the fourth a retired millionaire tourist, cussing at the indignities ▼Isited on him by clerlk.s. managers and proprietors. The woman is a resort hound who finds a season- able spa for each shift In the weather. Novelty (2) slides between the scenes help carry the idea and get individual laughs. Far be It from the author to converse about himself, but he modestly stated in his notite of his Qwn act. the dialog is the brightest he ever turned out, and quoted middle west i^anagers to verify that statement. All of which may be. We don't doubt the veracity of the gentleman, but we're here to state the identical dialog failed to wake up anybody in the Fifth Ave- nue last Thursday afternoon, with the only noticeable laughter coming in the initial scene and closing speech of the man. The subject of which was something new—mar- riage. To tefer, again, to the father of the playlet, he mentions gaiety in the form of songs and danccff in- cluded in the routine. 'Tis not so Sow and mayhaps 'twould not be Mffslde for the fair lady and gent to iwert back to the alleged mirth supplied by melody and the art of terpsichore. And no matter what the Chicago reviewer may think of this act or what he wrote about it, the way the act played at the Thursday matinee le no credit to the author or the players. It lacked the essential •nap that a cross-fire of this type Cies without, the dialog failed to eonnect for anything resembling a solid laugh and both the man and woman evidenced a moat half- hearted enthusiasm in delivering. It may be Ju.st that difference be- tween New York and Chicago, or blame it on the author's Imagina- tion—but, same time tomorrow, Jack? Skiff. . MINTO and BEERBOHM "Swank" (Comedy) 14 Mins.; One Alhambra, London. ' London, Nov. 14. Dorothy Minto, of legit and musi- cal comedy fame, and Claude Beer- bohm have a smart little cross-talk akit called "Swank." written by Roland Pertwee. It gives them splendid opportunities for the crea- tion of cockney characterizations. Scene is suppo-sed to be in Hyde Park. London, with the young man flirting with t*e girl seated on a bench. Both pretend to be much more than they really are. In the end it develops they are employed in the same department store, in minor capacities. In the hands of less competent artists, the Interest in the duolog would hardly be sustnined, nor Is the theme new in the .States. Jolo. JEROME and FRANCE Piano and Songs 16 Mins.; One Lotw's State ; A man and woman singing and !^ piano team presenting a neat little routine fitted for the email time houses. Neither is particularly strong vocally, althoup:h the man has the more powvrful voioo. There is a medley opening. f#>r.owcd by lan operatic bit, after which the two • solo and double for the finish. The ■lan also plays 'cello. A neat, dressy pair who will fit In %n Bfiost small time bills. Fred. DOOLEY and MORTON ' Comedy, Talk, Songs, Dances 15 Mint.; One Colonial Gordon Dooley and Martha Mor- ton, the youngsters of each of the famous theatrical families, recently married, and are now in a two-act that will bring additional prestige to the Dooley-Morton clans. Martha is sweetly clever and makes an ideal foil for Gordon Dooley's famed knockabout comedy and neck-breaking falls. The turn is cleverly routined, showing Mar- tha in two fetching costume changes and allowing her ample scope to sell the dances that seem a heritage of all of the Mortons. Gordon Dooley wa.? never funnier than in this turn. Opening with a double song, the pair flash a dance in which Gordon cuts loose a couple of his funny falls, starting the laughs. A comedy song and dance next by Gordon, while Martha is chang- ing to short skirts for a song and dance solo that she puts over with a bang. An interruption bit follows. Martha atteippting a ballad with Gordon breaking it up with gags and comedy bits. A dive over the foot- lights to a neck-stand atop of the piano was a thriller in this portion. Another funny touch was Gordon alluding to their recent marriage, winding up with "Didn't your old man raise hell?" accompanied by a slap on her back, for which he gets a receipt in the shape of a punch in the jaw that sent him reeling into a series of falls. Gordon as a "dame" joins Martha in a comedy song and dance that goaled them. The pair and act can write their own ticket. Con. LOUISE CARTER and CO. (3) •*Over the Hills" Full Stage (Special Set) 58th Street. Louise Carter has shown vaude- ville some excellent sketches in the past. Her mother role in this one is on par with former attainments. It speaks volumes for her ability, as the playlet is ultra-dramatic and emacks of th^ cheap mellers of a decade ago. Before the softest kind of an audi- ence. Miss Carter had to rise to her sublimest heights to keep them from giggling during the emotional mo- ments. It would require a wizard of situation and dialog to tell convinc- ingly the story of the rube sheriff who auctions off the old lady's fur- niture to pay the vil'age usurer his pound of flesh, saved mt the last minute by the appeainince of a young lawyer, who is a friend of her long-lost son. The story is one of the oldest themes of the hacks and gains noth- ing in the treatment by Edgar Allen Woolf. The return of the lawyer instead of the son may pass as a new version of an old book, but a small-time audience had hard work taking any of its dramatics serious- ly. It is more to be kidded than criticized, and that also goes for the borrowed title. The lead and support deserve a much worthier vehicle. Con. ''DON CARLOS" (3) Dramatic 33 Mins.; Interior Scala, London. London. Nov. 14. Preceding the screening of "Blood and Sand" at the Scala. the manage- ment endeavors to get the audiences Into the atmosphere of the picture by presenting a "powerful short play," the scene of whlct^ is laid in Spain. It waa written by Chester Bailey Femald, who achieved fame years ago as the author of the sen- sationally successful Chinese piece, "The Cat and the Cherub." The cast waa recruited from the ranks of British film players. A middle-aged Spanish man of noble birth, having frittered away his wealth, is reduced to practical poverty. He goes on a three weeks' drunken debauch, leaving his beau- tiful daughter to starve. The son of an old friend of the girl's father has "an affair" with the girl. When the curtain rises he Is bidding her good bye, explaining he cannot marry her as he could not bring so degenerated an Individual as her father into his social set. He offers the girl money and so on. She scorns the money and says she will kill herself, as she cannot live without her lover. Father comes home, is apprised of the sit- uation, and takes poison to eliminate the barrier between his daughter and her lover. What Is evidently intended to be brought out is that, low as the father had sunk In the social scale, he was still a noble- man, capable of the supreme sacri- fice for his child's happiness. Told In about 15 minutes, the sketch would have been far more effective. Every Situation, in its present form, can be readily antici- pated through being planted many minutes in advance by dialog. The three players are Campbell Gullan in tha role of Don Carlos; Charles Barrett as the lover, and Pauline Peters as the girl. The role of Don Carlos offers fine opportunities for dignified declamation and is capably handled by Mr. Gullan. Miss Peters is also competent to the lesser de-^ mands put upon her, while Mr. Barrett, as the lover, was atrocious at the opening performance. Jolo. THE EARLE8 Trapeze 8 Mins.; Two (Special Drop) Broadway "The Spider's Web" Is probably the billing of the Earles. the drop indicating a web. the principals ap- pearing in its center after an open- ing is made sufficiently large for them to exhibit their routine. The pair, in white tights, offer some rather nifty trapeze stunts as well as rope balancing, ending with a combination^ whirl around the horizont.'U bar. All the work Is performed upon a platform elevated from the stage proper. It's a rather nov.?t manner of in- troducing nuch a-specialty, some- thing away from the ordinary and something that places them In a di- vision by themselves. Rather unique to see a "dumb"' act nowadays with something original to work around. They went over big. Wynn. NED PERRY Talk and Songs 9 Mins.; One 23d St. The old style monologlst, song, talk, song and talk, here a parody sandwirhed in on "Alice's Blue Gown." Perry sounds as though he mipht have been English or came from Iho west. He first sing.: about hi.s mixtd-up family, so mixed ho can't identify himself, then talks about his father for quite a long while. an<l after the parody, with some more talk, sings a "Say Good- bye " number. Of fair appearance. Probably all right for the small time around here, as some of the father stuff Is sure-fire for those circuits. »'••.'. filwie. jewell-fauli,:ner co. Manikins 12 Mins.; Full Stage (Special Set) Broadway This is Mme. Jewell of mani- kin fame, aided by Faulkner, a man, in the .manipulation of the little figures. In this, the manikins are worked on af small platform, set before a backing of a house with windows. Impressions of "Bringing Up Father," "Mutt and Jeff" and a number ^ of picture fltar». the figures representing the principals worked in the inimitable Jewell fashion to great results. A baseball diamond Is next shown with catcher, batter and umpire represented In action, the man add- ing dialog from back of the scenes. At the conclusion the drop parts to reve'al Mme. Jewell handling the strings from atop the small stage. It's a novelty as it iklways has been, away from the usual closing act and right up to the Jewell standard of former years, which says suflflcient. Wynn. ALEX. PATTY and CO. (1) Juggling 12 Mins.; Full 5th Ave. Straight Juggling routine with the woman acting as assistant but taking no part in the actual work. The man handles the usual props, plates, clubs, billial*d cues and balls. His best is done from a headstand. Other than that there was too much missing while per- forming the tricks. For a finish the headstand is re- peated and jumped down a flight of stairs. It was the most noteworthy bit, retained from his former act, and received just apreciation. Minus the super amount of "muffing" the act should shape up as an accept- able opener. Skiff. THE NORVELLES Ring Act 6 Mint.; Full Stage Man and woman. A basket of flowers temporarily hides the rings, suspended from center ceiling. Adorned In artists' costumes they go through a short routine, the girl later appearing In black tights. She has a stunning figure and looks particularly pretty. The man per- forms some feats on a loop sus- pended from her neck. The finish Is a great /ash, the pair doing a whirl around a If ,.- zontal trapeze placed through the rings. Interlocking themselves for the twist. It earned them more than the usual applause granted openere. . . ' ■ Wj/nn. WAT80NJENKIN8 REVgE Songs and Dances 14 Mina; Thre« 23d St. The Watson Twins and Jenkins, a man, In songs and dances, the latter predominating, with the girls chang- ing for each number. The Watsons are of brunet type that might be considered attractive by some, pretty by others. Both are capable step- pers, but not over-supplied vocally. The man Introduced the ac^ with a lyric, followed by the girls' appear- ance, whereupon the trio dance. The drop carried a lattice door In the center. ci;-udely built, through which they pass to make their changes. In view of the audience. This is another crude Idea, looks all wrong and should be drdi)pedk A maid aids In the dressing. This de- tracts fi-om the man's number, and since the girls do nothing more than the changes, there Is no pictorial value to the scheme. A medley of dances, the girls al- ternating in Texas Tommy, minuet, fox trot, jazz dances and a trio, with the man a Frisco imitation, is the best of the lot. It's a. small time turn, and even for that should im- prove in Its method of delivery. Wynn. A HARRY STODDARD and Co. (9) Musical 20 Mine.; full stage (special eye) . Broadway ' Flanked on all sides by competi- tion, not only in names, but In genuine musical talent, Harry Stod- dard, late of Shanley's restaurant, brings his orchestra along for its vaudeville introduction at the Broadway this week. Stoddard has nine members, Jn full stage within a cyc^sing the card and easel sys- tem OT announcement. Perhaps Mr. Stoddard tarried a trifle, but if his Broadway show- ing Is to decide, this combination will fit in nicely in the big time orchestra list, for It's among the best aggregations of musicians, con- sidering its size, that have come along to date. Stoddard leads at the piano and aside from one num- ber, the "MedltHtion" from "Thaiis," his repertoire is of popular song and instrumental numbers. His members double on several instruments, the banjoist, aided by the violinist and ^x in the encore, gathering the best returns when he introduces the uke. There Is no pause between selec- tions, and the ensuing harmohy Is plainly from thorough training. Golden "props" give the affair a neat touch and aids in the picture The sax player broke the routine by vocalizing a chorus, otherwise It's just a straight musical program. Stoddard can mark his name right up with the best, for he satisfiea His act stopped the show dead still at the Broadway without any jockeying and they were forced to render two encores and then black out the stage amid a torrent of ap- plause. This outfit looked destined for a big time run if the band thing holds up. Wynn. JOSEPHINE DAVIS Songs 14 Mins.; Two (Spscial 8«t) 23d St. Back in the metropolis with brand new character numbers, offered with appropriate changes, Joseph- ine Davis, a bannvr vaudeville at- traction Just a few short years back, now has a specialty that car- ries numerous opportunities which for some unexplalnable reason such a clever show woman tm Miss Davis overlooks. She works In a dark eye, th^ center of which carries a massive album cover, from which she appears and exits during a number of Intermissions. A male pianist accompanies, open- ing with an Introductory lyric, well built and reasonably 'well delivered. This chap, first of all, could disc .rd j the cheek beard, for they arc out' of fashion for this type of spe' alty,* Four characters are intrr .need, the first being the old fc hloned- glrl of yesterday, with a special number probably titled "Pon't You Remember." The second ."3 a tough girl, costumed as the B wery typar' of the late 'SOs, which carries It a»- bit back for the preser: generation. A Jewish girl comes next and the' final, a "wop" In t-Idal costume. The Initial lyric Ir. ' far too long. This gives Miss Drvis a slow starts One verse and a f .>g chorus would suffice, for the number lacks strength and Is .nerely an opener that should be r snstructed to glv^rii' the audience an idea of what foU* lows. The tovgh girl lyric is aT weakling. Here is a type that couldl be nourished In great shape, but- the costume handicaps and the lyri^^-' ' cripples it. V.hy not dress it jusit »a little fly, neat, up to date and a* trifle exaggerated, accompanied fiyj*" a flapper or fast chorus girl num^l^ her? The Jewish number was clev», erly handled and br-ught results,^ but tho closing number carried th«y act to what heights of success it ^ attained. J„ Miss Davis looks good, quite as good as ever, and her voice for this sort of act is right up to snuff. Buto she needs new numbers. With heiP^ ability as a chahacterlste MisSjt^ Davis Is expected to show far bet-.*, ter stage material than she is of-v;,, ferlng. For this girl is a big tiraerr and should stay there, but to returatf she will need something more sub- • stantlal^ than the current reper- toire. Wynn, DE MARLOS (2) Trapeze and Contortion 10 Mins.; Full Stage Colonial ^ This act opens with a man In devil attire performing on trapeze. Antlnteresting and difficult series of aerial dislocations and contortions starts the act well. The girl good looking and beauti- fully formed, ei\ter8 for some ground contortions. The man de- scends for some excellent serpentine stuff on tho carpet. They finish with twin wrlthlngs on separate chairs. A scat atop a wobbly-look- ing pyramid of tin cans by the man got applause. They have unusual appearance for ilils tj.)e of act. both being per- fect physical specimens, intelligent- iy and tastefully costumed in black and silver striped tights. It's a big time opener or closer, away from the usual. (7^„ . ' — < MORSE and MILL8TEAD Comedy Variety 14 Mins.; 0ns / Mth St. Tramp comedian In tattered clothes, crownlesH straw hat and turned up big shoo.''. A slender brunet in knickers does the stralght- Ing for his opening crossfire, which contains some excellent fly material. He monologs next, while she changes to bc^coming dreps and re- turns for piano accordeon and vocal rendition of "Gypsy Love," followed by a modify of popular airs, to which he docs an eccrntric dnnce and a .Spanish travesty with comedy props and a can containing objects which he rattU-s in lieu of ca.stincts. Both are capable artists and have a sure-fire vehicle and routine for the pop bills. ^c^: GARY and BALDI Talk and Songs *^ - '■ 12 Mins.; One (Special Drop) 23d St. Man and woman In "one" before a special drop with two openings, one the entrance to a garage; the other the entrance to servants* quarters of the house. The man !•* the chauffeur, the girl a housemaid^ both in appropriate uniform!*. There Is a routine of flirtation patter leading up to a comedy mar- riage proposal, ensuing talk about arrangement.*?, etc.. Interrupted by a song by the chap, while the girl makes a change. A double number is utilized for the finale. It is a specialty with a flrst class framework, two capable principals, an exceptionally good vaudevilla voice (the man's) and all the prop- erty essentials to a big time oflfer-r Ing, minus material and careful construction. The cross-fire talk has been hand- picked from here and there and the majority has long since lost its stage value. Such stuff as, "He died from sore throat, they hung him." "If the wife takes a bath without shades, the neighbor."* will buy the shades." have no place In this routine. And the reference to the fly In the soup Is too rough". The man makes a fairly good "wop" and the girl a good feeder, pretty and full of life. They should con- sult a script doctor and strengthen their turn with some bright, new material. Then they may qyalify for big time attention. Wynn. JIM JAM TRIO Abrobatic 5 Mins.; Full Stags American A male acrobatic team which doubtle.'^s has been around for some time, althouRh the present billing appears to be new. They work In clown white face, sporting blacks, satin nicker.s and socks. The rou- tine is tumbling and head to head balancing. The feature rtunts arp hnad head. In one trirk the top mounter strums a mandolin while the under- stander and third member manipu- late small hoop5 bctw(*<E»n them. For tho finale the men are in V \y same relative positions, the topmounter catrhlnc; a flock of hoops with hi* feet. It Is an exceptional bit. As a closer for three-a-day the trio ^01^ as here. Jhrr,