Variety (February 1923)

Thursday, February 22, 1923 WEEK SI THE BLUSHING BRIDE Lee Shubert's own unit, "The Blushing Bride," starring Cecil Lean and Cleo May field at the Central, New York, this week Is good enter- tainment. But it is patent that at the $2.20 clip it's an impossibility. About half capacity on the lower floor Tuesday night, including quite some paper, besides cut rates and two-for-one. r? "The Blushing Bride," with a score by Sigmund Romberg and a libretto by Cyrus Wood, plus the staging of Jack Mason, the com- bination of which proved its mettle last season on Broadway as a fairly successful musical comedy, has had Its choicest meat extracted and con- densed for a miniature musical comedy in three scenes. It runs without interruption from 9.15 to 10.45. fully an hour and a half. In actual running time, excluding the **>etween arts' siestas, many a .Broadway show, musical or other- wise, consumes but little mote than this length. With a plot and less of the burlesque thing is prom- inent than usual with the after- •pieces. It stamps 'the condensed musical comedy with class which. ( too, has the advantage of two Broadway names In the leading "roles. The supporting cast is com- prised for the main from acts ap- pearing in the olio, alfhoughthe .atnrr. Hstaire Kayo, the ingenue*, and two or three minor characters -do not appear in the forepart. Con- versely, Herman and Briscoe. deuce spot warblers, and Jack and Kitty *De Maco. programed to start, call vlt a day following their fifteen min- ute?. The thorus of eight is a well- trained dancing octet, with more bearing than the usual vaudeville chorines,, hut the "famous beauty rhorus cf blushing bridesmaids" is not literally descriptive. One or two 'are far '"lookers," but U ends there. •» Georgie Price was programed to ■close the olio, but did not appear. ,He is ar.nearing elsewhere with a „Shubcrc straight vaudeville show. Incidentally Price's program billing of "America's youngest, foremost comedian" Is also ascribed to rieorg? Jessel, announced elsewhere in the program as next, week's attraction, but reading "America's foremost young comedian." Harry and Grace Ellsworth closed -the first section with their sensa- tional stepping. The brother has a personality and a pair of lesmanla nether extremities that should curry him into a production very soon. Miss Ell; worth is no mean stepper herself and should fit in with a spe- cialty anywhere. Preceding them, No. 3 was "On the Platform," a sketch with Harry Corson Clarke, Gertrude Mudge and Harold Gwynn in the cast. It is by Lawrence Ris- ing and billed as the "Princess The- atre, New York, success.". It shows the rear platform of a Buffalo flier with Miss Mudge as an adventuress working the old badger game. For practical purposes shea a very crude worker, although it interested to some extent. The twist is ob- vious. Incidentally the vamp's up- per portion could be improved on sartorially and to better effect for the purposes of the plot, through proper fortification. Herman and Briscoe, No. 2, are a pair of strenuous pop warblers who Impress via their aggressiveness. Their sincere desire to get their stuff over reacts rather favorably for them. They do pop stuff ex- clusively, concluding with a parody medley, fairly well arranged, al- though nothing new. They could tone down a little in a small house like the Central. Jack and Kitty De Maco opened. Starting at about 8.15 the olio en- tertainment concluded at 9.05. 'The Blushing Br.de' resumed at 9.15 and about an hour later, in the course of a cabaret scene. Lean announced that one of the tables was reserved for Jule Dclmar. That restaurant scene, credited to Mr. Lean for origination, incidentally is a comedy gem and could form the nucleus of a vaudeville act. Abel. section is run through la rapid or- der, the speed of the performance in general being in its favor. Leighton, Pettlt and Josephine were pro- gramed to follow the cabaret scene in "one." Baby Josephine failed to appear, with the couple doing but a few minutes. Wynne Gibson and Frances Vernon helped out with a neatly devised dance bit For his initial appearance Mr. Fields has selected his old reliable "The Village Barber." The show secured its comedy star with this standard bit of horseplay. Joe Tor- pey, who appears as a foil for Fields in the lathering business, is the one member of the original "Snapshots" other than Fields to be included in the unit production. Miss James heads a chorus number at the completion of the barber shop scene. "Who Done It?" the burlesque melodrama written by Marie Nord- strom, included in the original "Snapshots," brings Fields on for the second time, as a policeman. Miss Gibson is handling: the role i finished score- Lorl ,? Ina ' I >' en f r , usted to Lulu McCon- nell. The skit moves rapidly and provides its quota of laughs. Miss Gibson, who seems exceed- ingly young*, is handling the bulk of the work in the feminine division. She appears n all of the scenes with Fields, and is called upon for addi- tional work in the way of dance specialties and numbers. As a comedienne and .dancer sh > displays strong possibilities and is appar- ently still at the age when the work done in the present piece, which can best bo termed general business, will be to her advantage. Nell Woods' Melody"Charmers and Saxi- harmonists followed the sketch, ap- pearing in patent leather costumes for one number. The Woods aggre- gation are recruits from "The ltitz Girls'." •The Candy Shop'' closed the first half. In this the liquor tab'et idea from the original Fields unit is brought Into play for fair comedy returns. The regulation ensemble brings this section to a close. Spanish specialties by Gladys Jamej. B-*rt Leighton and Al Hardy and Charles Case serve to open the second half, with Alice Remson fol- lowing in "one" with impersonations of Vest* .Victoria and Fay King, topping it off with a po,> number. It is rather late in the bill f«»r a single effort of this nature, with Miss Rem- son getting away with it easily. "In the Nursery" brought Fields on for the first time in the second half. In this bit the chorus displayed considerable in the way of limbs in the romper outfits. Fields gathered in several laughs in a burlesque bit with Mat J. Thompson and Wynne Gibson. The chorus furnished a good effort with a military drill number. "Hearts in Pawn," an alle- gorical playlet, serves as the follow- ing offering with the suffraget skit, "When Women Rule," following im- mediately after. Both have been done before, with the latter having seen much service in Vaudeville. A flash finale brings the show to a close. Mr. Fields has hooked up a unit In his new "Snapshots." which should be able to proceed if capable of getting any kind of a break in business. The production cost is nil, as all of the sets and drops have been used in other productions. The chorus consists of 10 girls, with the costumes from other productions. At the Harlem O. H. Tuesday evening business was off, with the lower floor but half filled. Tho Fields show entertained those present Hart. PALACE SNAPSHOTS Lew Fields is making his second trip as a Shubert unit producer with ''Snapshots" at the Harlem O. H. th:3 week. The new Fields unit is a ■trrlght review, including bits and people from his former summer re- vue < " the same title and his original unit, known as "The Ritz Girls of 19 an : 20."" The straight vaudeville idea his been eliminated entirely from tl> new "Snapshots" unit. It starts a a review and finishes that way, including many of the standard bits which Fields has been Identified with for some time. Other than himself there is not a name in the show, which on this account should be operated at a low weekly salary figure. A cabaret idea is developed for the opening carrying the program line of "The Moulin Roof." An old set is employed, with the stage di- vided, the company being seated at tables in the rear, with specialties Offered forward. This portion, run- ning 11 minutes, serves to bring on the entire company witli the excep- tion of Fields. The Six Saxomaniaes supply the music, with specialties by Frances Vernon and James Cagney, Gladys James, Al Hardy, Nell Wood. Midgle Morrison and Mora Nielson, Wynne Gibson and Charles Case, with Lucille Arden leading the in- troductory chorus number. Thl3 The Palace show this week is run. ning without a headline "name." Its nearest to that distinction, Carroll and Segal, did not take tho engage- ment through Harry Carroll in wanting to do a different act on the short return to the house (within six weeks) finding he had not suffi- cient time. Clayton and Edwards substituted, and ns they stopped the show in the No. 4 spot it could not be accepted the bill lost anything through the deflection. The show held a distinction, how- ever, in Joe Howard's production act, the best turn Howard has ever been Connected with. And not the least part is contributed by James J^ Morton, "The Boy Comic," who makes tho only laughs there are in the turn through his wait-changing remarks. Morton is happily placed, for himself and more so for the turn. The act is nicely laid out, with the scenic end including effects made by the Fabric Studios of Chicago, and very attractive they are. Running in scenes, nothing is too long, and although the time is 35 minutes it quickly passes. It's a vaudeville re- vue in the proper sense, and, as Mr. Howard curtain-speeched. "It's dif- ferent." For entertainment the perform- ance did fairly enough, probably bet- j ter after its rearrangement Tuesday. I Clayton and Edwards went In with- out billing or announcement other than on the stage's side lights. They got the No. 4 position as shifts were made otherwise after the matinee. Tuesday the blackface Tcnm wrnt Into the next-to-cloi«!ng-the-show spot, with Kmll Roreo (New Acs; moving out of it into the first half. Boreo would be lucky to pet over with anything lik<> .■ wallop any- where on the bill. Ilia Monday evening location and on at 11 made It so much the more difficult The Howard act opened after the intermission Monday nigh f . »-ha»g- ing with the Eva Shirley band aot, the latter closing the first part. Some years ago single women said they needed a piano player for ac- companiment and "class"; they didn't want the orchestra in the pit. Now Miss Shirley has an orchestra on the stage with her, and although she comes first in the billing, the 10. piece band is first in the act itself.' In fact, It Is nearly all band, al- though Al Roth, the dancer, would have been one of the cards had he not followed the colored dancer of the Albright turn, which was No. 3. The Shirley band frame-up appears to say that each needs the other and both need Roth. Miss Shirley in straight singing did three numbers, and the a hole totaled quite well. The. Bob Albright act can well stand and retain its two colored boys, one a twisting dancer who near-started a riot of applause for himself. Up to his introduction Al- bright had barely toddled along with a couple of songs, his sombrero and Irish stories. There were not many stories blamed on "Clancy" and less new ones among them, but Albright got down to the act on the encore, which was wholly taken up by the colored youths, one of the boys be- ing the unseen pianist until the other started to dance. The piano was .;et between the opening mid- way on the stage of the two sides of the draped curtain. The dancer will carry the act to a big applause finish, but Albright had better prune up his own portion and drop the second encore. An enjoyable period was "The Cake Eaters" sketch by Tom Barry with Jean Adair, surrounded by a < good and youthful company of three. It's of a mother who investigates who and why her son intends marry* ing. The playlet is full of slang and laughs, speeds along as easily as it does pleasantly, with a great lim» inward the finish that. makes the finish. This little comedy almost typifies the present-day flapper and her brainiers sap escort. It makes it a little rough for the youngsters, but not any more so than the Rachel Crothers new play, "Mary the Third." Mr. Barry and Mi^s Croth- ers appear to have held the same general scheme, with one working it into a slangy playlet and the other into a straight comedy. Miss Adair can be booked ahead with this one, for return dates next season. -It is the kind of an act the Orpheum Cir- cuit now should go looking for. Another laugh-getter with a kick in its finish was the Lydell-Macy turn, full of nevV dialog with punch lines for Lydell, and getting the same results this turn steadily does. New matter was also in the Clayton and Edwards act, with Edwards handling it. He has several scream- ers in the talk and gets them all over. The reunion of Clayton and Edwards gives the big time a next- to-closer that will always fit In. No. 2 held Stanley and Birnes, who started the dancing bee, doing their double formation stepping to favor, closing strong with the com- edy dancing travesty hung upon Ruth St. Denis. It was early for the boys,, but, as the bill broke, not so bad in that spot. Opening were James Dutton and Co., two girls, in their pretty riding turn. A new bit of business is in this. Wide* the three are going around the ring on two horses abreast, one of the girls apparently slips and is about to fall between the horses as she lets forth a slight shriek. Dutton gets her just In time. It's "business." but the matter of the probable thrill it sends through the house is open to question as to ad- visability, as the audience may be- lieve the girl is nervous during the remainder of the turn, the house then centering attention as to whether she will have another mis- hap instead of upon the act itself. The Six Hassens closed. Business Monday night not quite capacity. It was what would be called a flat show, nothing standing up In the billing, and the house had to draw all alone. Also question- able was whether the quick return advertised of Carroll and Segal, with nothing else in the way of names to attract, could have done anything for the box office, if not working against it. Some cuts were made after the matinee, the Adair sketch losing a couple of lines or so, while Clayton and Edwards had talk in Monday night they had not used at the mati- nee, but nothing in their act evi- dently had been ordered out. The new rule at the Palace that not over two curtain calls may be taken, although bows before the cur- tain are not limited, is elsewhere reported in this issue. Rime. RIVERSIDE fickle, in Its A vaudeville ' audience If cruel, heartless, vacillation opinions, fluctuating in its likes and < dislikes and Inconsistent in its re- action to the performing artist. Where it later took Marga Waldron to Its collective heart and figura- tively hugged her, applauded her and acclaimed her, even thos<- that knew of this sterling dansousc's past T^Tforrnnnces joined in the mild "bird" or "rn*," when Miss Waldron'* opening vocal number did not meet up with their stand* ards. There's no denying Miss Waldron's vocal calisthenics with the opening Spanish number are horrible and should be amputated from an otherwise snappy dance novelty but the fans' loyalty Is by no means flattered by an unseemly applause barrage where it didn't belong and which emanated just as resoundingly downstairs as up. But the dancing sp ite went after them for that with a vengeance >and dared them to do anything. Her stepping specialties were roundly applauded and the con- cluding toe jazs to "Kitten on the Keys" accompaniment was a con- tinuous succession of spontaneous approbation. George Halprin's piano accompaniment between dance numbers is a genuine feature of the act. Fanny Brlce Is the "name" lode- stone at the Riverside this week. Fanny got to 'em even before she entered. The mere flashing of her card was enough and the way they were hungry for more made her show everything, doing 31 minutes and begging off with her inimitable "see you tomorrow." From "My Man" right through "Florodora Baby" she sang her extra quota ot "Follies" numbers, supplementing the regular Blanche Merrill re- stricted comedy classics. Opening and closing were two New Acts, respectively Rupert Ingalese and Bob Anderson, as Is Masie Clifton and Billy De Rex, No. 4, one of the show's comedy high- lights. Al Markell and Nell Gay. No. 2, can step with the best; pie man's neat and snappy acrobatic dancing evoking considerable en- thusiasm. As straight hoofers they can "deuce" it continuously but their handling of the vocal intro- ductory numbers suggests possi- bilities for song and talk expan- sion. George Yeoman and "Lizzie," (he latter the amanuensis to the "editor' of the assassinated press," won a flock of laughs with Yeoman's topical gagging, virtually a mono- log but novelty Introduced via a news ticker, requests from news- papers for information, etc. The material is credited to John P. Medbury. "colyumlst" of the New York "Evening Journal," although James Madison was formerly pro*- gramed as author. If the Jatter originated the Idea, even though his gags may have been supple- mented—but a few of the old ones are still retained—he deserves credit for the frame-up. Yeoman does his stuff within the quarter limit but accomplishes it only at the expense of choking off some of his own laughs with the result sev- eral of tho neighbors were periodi- cally asking "what's that!" His eagerner.s to start on some new floint dams the laughs, a thing com- mendable otherwise for speed and general effect, but instead of plant- ing his next point ho should either wait until he becomes heard once again or stall a few seconds for the customers to enjoy themselves. Reopening after intermission was Craig Campbell, the tenor, with a better class song routine well adapted to vaudeville audiences for results. Another ballad on the or- der of "Love Sends a Little Gift of Roses" could be added for double advantage judging from what that number scored for him. Clarence Oliver and (Miss) Georgie Olp followed with their "Wire Collect" playlet by William Anthony McGuire that combines comedy, romance and wistfulness tellingly. Arthur Behim's "Time Will Tell" number (not the "Sally. Irene and Mary" song) Is neatly worked in for the theme strain. Followed Fanny who murdered them, and Bob Anderson and his polo pony to revive them for the pre-exit. "***- Abel. tor the Kelly brand of humor. Prod Sumner received more laughs from his munioulatlon of his toupe than were awarded the clever lines and situations. "The Show Off" Is being elaborated into a three-act comedy, a fate predicted for it by Variety the first time it appeared. Willie Solar followed in grotesque makeup and wowed them. Solar was right in their wheelhouse. get- ting a full minute belly laugh on his makeup before he opened his mouth. He sang four pop songs of the com- edy variety, getting most wlt,h "I Love Me." He finished with his "Baboon" song, working all of his vocal bag of tricks to big returns. Grette Ardine, assisted by John Tyrol! and Tom Mack, closed the first half in one of the best dancing turns of the season. The singing means nothing, being an excuse to get them on and off and allowing Miss Ardine an opportunity for sev- eral changes: but the dancing is ex- ceptional. The opening number, with Miss Ardine as a French model applying for employment, is a song- and-dance conceit In .which the, two boys swing her by the wrists and ankles to the most dangerous and thrilling swings that has been seen around. One - second her nolso is just missing the stage, the next she is standing aloft from the momen- tum. It would bo a sure-flre four* curtain closing number. An Apache double gave Mlas Ardine and one of the boys an opportunity for rough- house acrobatics and a "hoch" solo by one of the boys showed a pair of rubber ankles. A fast trio song and dance with Miss Ardine in soubret costume topped off a splendid turn. Gordon and Rica opened neatly. They are a mixed double, with tho man riding trick bicycles and talk- ing. The set is a novelty from all angles but the talk. By brightening this portion the pair will begin to descend in the running order. Millard and Marlin did nicely No. 2, doe to the girl's personality. Tho aot is a singling and dancing combi- nation framed along; conventional line's. A wedding number tough dance, with'song and patter and a Chinese double, certainly doesn't sound unusual, but tho girl made both of the latter two stand up. Robbie Gordons In her familiar posing specialty closed, and held the mas well as could bo expected. It's an interesting sight turn. Con. ■ COLONIAL A packed house Monday night made the Colonial look like old times, although the attendance has taken a decided spurt for the better during the past few months. An aid society bought a large portion of the lower floor, with regulars takirrg the balance of the seats. Standees were thick In the back when the show started. The second half went stronger than the first, due to the audience and the presence of Lopez's Band, second after intermission. The mu- sicians did 23 minutes, but could have been out there yet, judging from the reception. Ono new effect number was used in "Fate," an or- chestration backed by a miniature special set, with lighting effects showing an immense Illuminated dragon. The title was spelled out In letters of Are, the idea probably having been inspired by the dragon from the "Four Horsemen" film. Tho other big effect punch was Illus- trating "The Natchez and Robert K. Lee," a corking number. "The Flor- odora Sextet" gave the musicians a chance to clown a bit in "dame" attire. Marino and Martin followed and did well next to shut, but stole a couple of encore speeches. It 1* a two-man "wop" duo, with the mak- ings of a comedy wow. The routine consists of argumentive cross-fire and songs. The stout member has a voice of unusual quality and a sure- fire delivery for the dialog, but Is a bending i>",ir. The arguments are the o!n Weber and Fields Idea done In '"v. op'' The suits worn by the pair are real romedy creations. It should work into a big-time stand- ard. In the first half George Kelly's comedy class'c, "The Show Off." one of -vaudeville's greatest comedy skits, got about half of Its usual quota of laughs on account of the noise out front. It was no gathering ... -^BIST ST. Both box offices in tho lobby did a brisk business, as usual. Monday night, with the house slowly filling. When the sale finished there were about five empty rows in tho rear, which, however, means corking at- tendance downstairs In this big Keith house. The show hold the policy of six acts and a feature pic- ture, the latter being "Tho Voice from the Minaret." The scintillating Cansinos topped off a bill entertaining regardless of the fact that there were two play- lets in the short vaudeville program. Grace Valentine and Laura PUwpont were separated by B. C. Hllliam (New Acts), and that ho landed ex- tremely well cased tho sketch prob- lem. Hilliam's singing was unop- posed, which also helped. The "Fantasia Espanola" rates as one of the season's outstanding dance production turns, if Indeed it does not class number one. All four Cansinos are billed equally, with Bllsa, ifiduardo. Angel and Joe on the same line rta tho order named. Miss Canslno appeared to have more of the routine to herself than when the act was first presented. She worked splendidly, and then at the close, in taking her bows on one side of the side (the three boys were op- posite), she perhaps made the femi- nine patrons envious by sporting a carmine shawl. Her cute little wig- gle in the gypsy dance caught the eye, but it is given amid the curious atmosphere of snapping of the fin- gers and other little noises made by the brothers' hands. The appear- ance of the Cansinos—the costumes, the flashing teeth—all contribute to the general effect. Theirs Is -the finest display of Spanish dancing presented on this side of the water. Miss Pierpont was next to closing (Just ahead), with "Women Who Pass in the Night," one of the few playlets that have been successfully staged in "one." Most credit for that goes to Miss Pierpont's protean cleverness. The changes were made rapidly and she made her characters stand apart from each other as dis- tinct personalities. Tho two male players In support have been weir chosen. Cornelius Roddy as tho husband Who might bo Interested In another woman but his wife is a good-looking chap and plays the role with understanding. No loss bo does James Maxwell as the divorced man who hasn't found it so nice to be free. There is only a painted drop and a prop lamppost, though a wardrobe woman Is also carried. It Is a coincidence that Miss Val- entine enacts the role of a Miss Pierpont in her "Fourflush," written by Hal Crane and staged by Carrie De Mar and Fred F. Hand. The turn was originally presented last spring. On third. It caught the fancy of the house, with Miss Valentine's performance a bright and clever one. The mention of Lombardl's shop is a reminder thai Miss Valentine won much attention In "Lombard!. Ltd..' several seasons ago. playing a model. It's quite a different type of model In "Fourflusl)." Fred Arthur as the supposed son of a broker was much too loud at the opening. Cerio _• -