Variety (February 1923)

20 NEW ACTS THIS WEEK Thursday, February 22, 1923 EMIL BOREO Pianologist 12 Mins.; One Palace Emil Boreo is said to be a Itus- lian and of the origina' "Chauve Souris" company over hc-e. He enters In "one" to the melody of the "Wooden Soldiers" from that Cen- tury Roof show. Immediately his act commences to smack of the parlor, not that it is amateurish in any way but mostly because it Is not vaudeville. Playing his own accompaniment to a couple of numbers, Boreo sandwiches in "Pagliacci," doing his best with the closing number, an old Parisian music hall tune in which he Invites the audience to join in the chorus at his signal, as he is seated at the baby grand. "One side of the house" la to make a noise- as though kissing and the other half as though snoring. The snores make for some laughs but there is no weight to the number, nor to his first at the piano, a trifle that got nothing. Boreo is under the tutelage of Gus Edwards, who has been saving him up for some months. The for- eigner ma,y have possibilities. He. suggests that, hut his present act is of the type of years ago when a foreign comic singer came over and tried to disguise, himself in a work- ing way. Thoae may have been the good old vaudeville days, but mod- ern vaudeville demands more now for a single turn. Boreo's not fast enough to keep up, especially on the big time. Boreo might get over with this turn in a revue sort of a show in a house like the Music Box if he did six instead of twelve minutes. Otherwise Gus will have to reshape the act, cutting out the "Pag" number anyway and making Boreo try to be funny until he is funny. Somewhat unfortunately placed Monday evening, next Unclosing of the Palace bill, he probably went Into the next to closing the first half from Tuesday on and may have done better there, but regardless of his Palace showing, the turn needs fixing. Rather good looking and young, Boreo has appearance. MAZIE CLIFTON snd BILLY DE REX Comedy Act 15 Mins.; One Riverside Mazie Clifton (programed Clinton) and (Miss) Billy DeRex have a nov- elty act, novel in that two women sacrifice general decorum at the altar of comedy and go after the laughs hammer and tongs, falM^g. hokeing, knocking-ubout und "mug- ging." In those funny skirts and jackets usually sported on the stage by "Bowery dance" impressionists the gals enter with a funny walk guar- anty *»d tn prove unfunny only to the blind. The girls are at first differ- entiated through one addressing the other by her first name. Miss Clin- ton is in red tarn; her partner in green top piece. The routine is a collection of general hoke, falls and burlesque by-01ay, novelty sold in its mixture with the chatter. One admits having been on Broadway in "The Lady of the Lamp" but when she came in lit up one night, that dimmed her Broadway glare. One starts on a hlgn class num- ber and is unceremoniously stemmed I j hec partner running across the stage on a flying leap to her wind- pipe and realistically choking and dragging her off. That brought them back to strip the* outer gar- ments off to abbreviated underdress- ing for a travesty Oriental dance. Another comedy scream that took them off big. * The girls are "in.l In the fourth position at the Riverside, close on the heels of anotherjeomedy act pre- ceding, the team whammed 'em. . Abel NYLE VERNE and Band (6) Female Impersonator 28 Mins.; Full Stage (Special) 425th St. Previously having played around Philadelphia, the act is* trying out around this locality. Accompanied by his Versatile Serenaders, Verne's donation to any vaudeville bill will never cause others, possessing sim- ilar vehicles, to rush into a panic. No voice, inability to do any re^al dancing* clothes that if they cost money, hardly look it, an appear- ance that is undeceiving and a self- assured manner of delivery com- prise a handicap seemingly unsur- mountable. The routine has been badly pieced' together, with none of the numbers really meaning anything. Announced as a satire on the modern society woman, Verne uttered a dialog that would, supposedly, occur at a social function. It later led into a song. The number got nothing and was inadequately presented. The musicians consist of a com- bination of two saxophones, banjo, violin, piano and drums, playir.j or- dinarily. A dolling of the wig in conclusion failed to elicit any particular com- ment, and the applause hardly sanc- tioned the encore forthcoming. Verne sells his stuff not at all, and there is dire need of much re- vising as to material and showman- ship. At present it doesn't appear as if the act could hold its own in even the smaller houses, through the probable cost. 8kig. AL SIEGEL'S ORCHESTRA Dance Music %7 Mins; Full (Special) State. Over from Benny Leonard's Ring- side Cafe the orchestra is heralded as such on the outdoor billing and as of eight pieces. Actually there is one more on the stage but it may h# a phoney at that for the two banjo players are half buried behind the piano and one steps forth fcr a ballad solo. The band pounced on a ballad as the most del- ectable morsel tjt the pop houses. When augumented by a special or- chestra for accompaniment tiie re- sult ia decidedly emphatic. Hence, small time musical combinations can always undertake the rule, 'When in doubt .throw a ballad at 'em." It hasn't missed yet. Sicgel has surrounded himself with an average looking allotment of toys comprised of himself at the piano, cornet, trombone, violin, bass violin, saxophone, drums and at least one banjo. The numerous scores listened as featuring a clari- net upon which the sax player doubles, although each takes his turn individually at intervals in the midst of a number. The combination listens as be- ing capable of providing good dance music, especially in a small room, and while there is nothing spectac- ular contained In the routine of- fered, the boys will have no trouble In running away with the thrice daily shows and as many times. The selections nro all of the straight dance type running 15 min- utes exclusive of encores.* Siegel takes one number alone, but out- side of the song its all the boys all the time. A special melody, dedicated to the establishment from whence they came, impressed as be- ing the band's best, with the final encore also not without effect. Be- yond that the other ditties have been often heard with no exception- al effects in the orchestrations. A variation incident gained through means of the cornet and trombone, used only for one chorus, may cause some notice. It isn't bad. Skig. WILL MORRI8EV8 MOVIE STAR8 (6) Comedy Act 18 Mine.; Two City Things must be tough In the movie game when people like Mar- guerite Marsh (who has played for Griffith) and Billy West, film come- dian, resort to vaudeville. In addi- tion there la Ethelyn Gibson, a blonde beauty, with the near«»Rt ap- proach to song delivery of the women, and a rather handsome Cu- ban young man, Gabriel Renaldo, mentioned by Bill Morriaey aa a possible rival for Valentino. The act is introduced by a slide and a one-reel comedy featuring West, whose screen antics ape Char- lie Chaplin. It la probabl: one of the old Louis Burston productions which West ground out prolifically for some months several years ago. Morrlsey sets the act with a "Battle Hymn of the Republic" parody that clicked. He then assumed the role o: master of ceremonies to introduce the support West came on for a nance picture director's bit with a megaphone, Morrlsey mentioning something to the effect that it ia not part of the business and West retorting, "But you don't know my business." The flicker comic also sported a courtplaster decoration on his chin as a memento of something or other. Miss .Gibson waa next, followed by Renaldo. Miss Marsh then came on, and the quartet ad- mitted they could .neither sing nor dance, whereupon Morrlsey invited them: "All right; let's go into vaudevMUe." A hoke mental telepathy bit (from the audience) and a travesty scena- rio topped off. The act entertained, and should do It anywhere. Ar* ques- tion of salary la an important con- sideration If the quintet ia serious about its vaudeville itinerary, al- though most likely it's just a filler- In. Morrlsey mentioned something about Miss Marsh doing some forth- coming picture work. The turn was roundly applauded at this house, for which enthusias- tic appreciation Miss Marsh flung her osculatory recognition with careless abandon and promiscuity on the slightest provocation. Abel * ESPE and DUTTON Acrobat : e 13 Mint.; Two (Special) A standard team seen around for years .with a new set and some new stuff. Later developing into a strength turn and after that into hand-to-hand lifts, this male duo open with a comedy lyric, of three or four verses, which is not espe- cially well delivered. Unusual is probably the object sought so, may- haps, fair enough. However, the "meat" of the act is in the actual work accomplished and not due to the comedy efforts of one of the men or the conversation carried on. The "straight" listens as having a particularly weak delivery in that it is expressionless and Is of a de- cided monotone. Entering in "one" the drop lifts to permit tho smaller of the men to toss about cannon balls to the accompaniment of thrills on the part of the feminine contingent present. Succeeds a change of cos- tume, Roman gladiator attire, and the lifts that register on merit. The deviation in the routine is just about capable of giving this couple a second spot rating while the less attempt there is for comedy should make the act faster, more to the point and a substantial gain for, results on actual entertaining. Sklg. B. C. HILLIAM Songs and Piano 16 Mine.; One Eighty-first Street B. C. Hllliam is the former Canadian lieutenant who began his stage appearances directly after war, during which he won attention by his compositions notably "Keep the Home Fires Burhing." He ap- peared with Gitz-Rice for a time. i Hllliam wrote the score of "Bud- dies" and figured in the composing of other musical cemedy numbers. The composer-entertainer has de- veloped a bright idea for the num- bers of His present turn. He has taken the melodies of several clas- sics and draped fhem with lyrics of his own, patter matter being em- ployed for parts of each. Jim Kil- patrick aids in the renditions which are generally duetted. Hllliam intro- duced his aid by first saying he was eight years of age and later on call- ing him brother, cousin or any male relative he could think of. To the tune of "My Hero," there is a v song "Little Home for Two." For that Hllliam did the patter stuff alone. Prior* to each number Hll- liam would say "Instead of playing for you Rachmaninoff's Prelude I'll try" etc. But there was a special number based on thai composition and called "What Was the Matter With Rachmaninoff," it being his idea that something must have broken badly for the old boy. It was cleverly worked out with hum- orous results, though Hllliam said in the first of the lyric that far be it for him "to mock Rachmani- noff. For encore which was roundly earned he and Kilpatrick sang a variation of his "Long, Long Trail" from "Buddies." Hllliam is a soft spoken chap with a personality that gets over the foot- lights easily. His modest style of humor is perhaps the outstanding factor. The turn is certainly far away from the songs and piano acts presented to date. Here is one with class and comedy suited to the very best of vaudeville. Jbcc. VIRGINIA SERENA ">ZRS (10) Musical, Song, Dane* 19 Mins.; Full Stage A variety musical frame-up with a colored company of 10. Only seven open ensemble on the saxos, the others drifting on when needed. The costuming is in purple military idea. After the saxo opening a mixed sextet does tl.e "Raymond Overture" on three xylos, the thumping listening snappy. "The Sheik" with xylo and drums com- bination Is delivered, each number being prefixed by a hearty ex- clamation of "you ain't heard noth- ing yet." The drummer gets in a buck dance with some nice "winging". A colored songstress makes her ap- pearance for some • vocal work, winding up to "Da Da Strain" to cooch delivery. if given leeway this gal could wiggle the audience into tantrums. Some more en- semble work in various formations, each member being proficient on either reeds or brasses and switch- ing from one to the other with every number. The clarlnetis* got in seme "slue foot" stepping that filled the picture to advantage. The act is all go from curtain to JEAN ADAIR and CO. (3). "The Caka Eatere" (Comedy). Five (Parlor). Palace. Tom Barry hft written a snappy comedy playlet for Jean Adair "arfd her youthful supporting company of three. Its* story Is of the present day, of the young people and their ways when they* are together; of their opinion of each other and their elders, with the flapper girl type getting quite the worst of It in rather a rough way. Mr. Barry makes the" young char- acters speak in the flip language of the dance cabarets where these kind of youngsters hie to for most of their pleasure. It will be enervat- ing to the drys who witness this to see the very lifelike manner in which the flapper of perhaps 10 takes a drink of whiskey from a flask, stating whoever has the flask of%a youth" in her possesion "owns" that boy. Asked what is meant by owning him, she defines it aa saying that no* one else can dance with him without her permission. Like they do at the Plaza on the dance floor where the kids line up and think it is fun to take a danc- ing partner away from the other fellow, they square It by stating they never do that without know- ing the other fellow. That's at the Hotel Plaza, New York. The Barry story is brought to a focus when the mother (Miss Adair) hearing her young son is to marry a girl she has not seen, contrives to meet the young woman without divulging her Identity. The girl be- lieving the mother is one of the elder jazzing matrons infatuated with her swain, is not backward in expressing herself as to things in general. In particular about why she wants to marry the young man the flapper informs his mother she wants more liberty, to run around and have a good time, including meeting other men and cont.nuing on her cabaret dancing way with- out interference. Well played as it is the punches in this capitally amusing skit c:n't be missed. It may give information to many a parent and it certainly does send to the fore the decadence (if it is that only) of quite a por- tion of America's youth, not alto- gether found only in the large cities. 8 .me. \ this ccm- males are by some crossfire between the mu- curtain and, though by no means,, . . . , ., . , ,. -T * 'sician and pianist wh eh«doesnt be- essaymg symphonic syncopation a , . * . . ,. .. yxtAmt , MANN HOLINER and Co. (2) "Oh Chetney!" (Comedy 8kit) 15 Mins.; One and Three (Special) City This is the former Bbbby Iligglns Tehlcle "Oh Chetney'* which the Mann-Hollner Co. has leased from Mr. Higgins. The Sears-Roebuck tailored comedian proved a sure- fire laugh provoker for the custom- ers on a par with the results on the bir, time. The ingenue role, created by Betty Pierce, capably handles her lines and impresses as genuinely "sweat." The bridal suite, scene with the catchllne "it's getting kindalate" by Chetney bad its effect on the rest of the bill, practically every turn using it for ai ad lib laugh. The second company gets con- siderable out of the vehicle and it should prove Interesting in those big time houses—If any—not touched by the originals, and cer- tainly In the thrice daily. Abel la Lopez, Whiteman, Specht, et al.. its rip-snorting delivery recom- mends it for contrast, If anything. Abrl EARLE and MULLEN 8ongs and Dancing 14 Mins,; One (8pecial Drop) 23d St. Man and woman in song and dance routine, the man an excep- tional dancer. The girl steps well and handled a solo making a change to military uniform for the num- ber. Her delivery was passable and voice so so. The man's contribution runs from soft shoe to buck and wing eccen- tric and acrobatic, each style done equally well. The act carries a pretty special drop in "one." Sev- eral novelty costume changes are made. An effective one was a pat- ent leather coat and hat worn by the male for one number. His solo "breaks'" landed heavily. At the finish a-"March of the Toys" dance arrangement with both In military uniforms made an effective eloper for a strong early spotter on the Intermediate bills. Con. SI8TERS ARNETTE (2) Songs and Musical 12 Mins.; One Twenty-third 8trcet Although strikingly different in coloration these two girls^rcsemble ~eaeh other sufficiently to be sisters as they are. billed. One plays the piano and banjorlne, while the other sings and handles the violin. Mon- day night they both seemed rather nervous at the opening of their of- fering with the first two numbers offered visibly effected thereby. Both numbers 'failed to get to the audi- ence at all. The girls have neat little parlor voices and that Is about all but they manage to harmonize sufficiently well to get away with a number or two providing that they hold the singing portion of their act down to the secondary classification. They can get by on their musical efforts, looks, clothes and smiles, then if they must sing let them move tho number down In tho act and open with their instruments. Reroutlning the act will undoubt- edly help It along and they will get by in the small time houses nicely. Fred. WILLIAMS and VENNESSI (4) Songs and Dancing 25 Mins.; Full Stage Orpheum, San Franc.cco San Francisco, Feb. 21. Act locally produced by Fanchon and Marco with Harry Singer also participating. It is elaborately produced as to costumee and set- tings and has the two pianists (Arthur Freed and Jack Gifford) on either side of the stage. Both girls (Williams and Vcn- nessi) present a striking appear- ance, with one a blonde and the other a brunet. They offer a series of dances which provides intervals for Miss Williams to sing songs, ranging from pop melodies to ballads. Besides she is a Jazz, buck and wing artist of no mean ability. Miss Vannessi handles the classical end and displays some unusual kicking, supplemented with back bends that demanded attention. Freed is the #nore important of the two boys at the keyboards, as he supplied, the act with .special songs and solos for a vocal rendering of one of hie own compositions. The routine, as presently out- lined, is In need of speeding up. for otherwise the turn can't miss on the ability of the girls, backed by the sumptuous settings. It scored a tremendous hit here, and will ROY, DORN and DUKE Music, Songs, Dance 14 Mins.; One Two men and girl in bination. Both of the musicians, one sticking to the piano throughout. The girl attends to most of the singing and should be al'owed to handle it all. She has an excellent delivery for-the~-pup~ calibre of song and sells it. ^^■lurn opens with a piano and s: jpnone number, the girl playing bass. She sings a ! op song next to their accompaniment getting It across nicely. » Saxophone and piano duet next played to a statue of Buddha which is revealed back of drapes with the song title at the l base, a rather inano plug and small tlmey. He Is a good musician. This is followed long, neither having the slightest talent for reading lines. The comic ases an unconscious dialect of some sort that further detracts. An Eng- lish pop rendition of a song also missed, but the clarinet playing and Jazz dance that followed, saved it. The gJrl after a change Is back for another pop song to their piano and saxophone accompaniment. If this trio stick to their knitting they will make the grade. Soft pedal on the talk and songs by the comic, and tkey have the basis of a big time turn. They stoppc.t the snow here opening after intermission. Con. talk gag, make piendid attraction for any a p;en of the.be<?t nouses. Joseph*. LEO HALEY Talk, Singing and Dancing 10 Mins.; One American Roof Young fellow starting with that includes 'Santa Claus" with singing of doggerel verse, ac- companied by like next, and imita- tions of radio tuning In, et?., fol- lowing. All of which meant noth- ing until Hairy got to his dancing, which incidentally he should stick to until he gets some regular mate- rial. And when ho ge;* vi;o regular material it would be a great Idea for him to play about n year in the's # tick«* learning how to do It. He's a good dancer, with that aside from a pleasing stage presence —and assuredly plenty <>* leU-con* ftdonce as his best assets. Another solution might be a partner* UcM.