Variety (April 1923)

T:--' Thursday. April It, IHS NEWi ACTS THIS WEEK * •J. ^ism)',' ^IfOWARD and UNO x^n r>r^v / -C«m«dy Talk acMl 8oni9«i f / Colonial. "^ ^ ***'* Howard and Lind BX% two female*. jThA team is a recoii«trii<'t«d nne jj^ of the team, formerly being partnered with Sadl«r( Howard and Sadler). The act followi conventional lines for acta of this typei consistingr of 0oU> and doub4e sonars broken ih> by ^ bit of oroasflre In which the talk fitnses mostly upon the uncertain p^es of the two. The blonde and slighter memberfl lii i^ the voice of the duo carrying pne or two semi-classical numbers iirhile her partner handles the com- edy songs. They hare a •'bridal" \ number wearing rella and "kidding" F about matrimony, the comic getting laugrliK by her sophisticated treat- ment of the subject and rough de- livery. In the latter she remina.s of J^y Courtiiey without fnfritiKinf^ . For a finish the girls sing a rather long drawn out medley of i>opuIar (, |K>ng parodies and opera excerpts. At the Colonial, opening after in- termission, they scored decidedly: , •;'' Con. 81 VERNE BUCK and MERRY GARDEN ORCHESTRA <Y0) to Mins.; Full Stage Palace, Chicago "' '» Chicago. April 11. Verne Ituek and his Orchestra are presented hy Jimmy Henshe!. who is orchestra leader of the State-L.;ike Theatre. Verne Buck at one time was tiio violinist with Paul Bie»e. -but graduated into an orchestra di- rector with his own company. Buck And hiH followers are furnishing music to a dance hall (Merry CJar- den) and have apparently taken the regular numbers played for dances to make the local vaudeville debut. Henshel must take the Mame for this orchestra's failure as he also takes the honor of presenting and as the bitter must go with the sweet, he lays himself open to the follow- ing criticism. A dance orchestra, and especially a dance hall orchestra, grows to be a favorite on account of the Bame ^ clientele that habituates that par- ticular place. There is no doubt but What Buck and his orchestra are favorites in their own community, bat stacking up against the other ' orchestras in vaudeville, they are * left by the roadside. Their routining seems to be all Wet, being ♦•Burning Bands," "Aunt Bagar'fl Blues," medley compo.sed of "When Hearts Are Young," ♦•Jimmie Guest" and "Georgette^' *Gone." "Tiger Rag," '1 Never Miss the Sunshine," "Lovin* Sam," this ^rlth Fannie Brlce doing some danc- ing in male attire and thfn Al Her- man leading the orchestra in "Ag- gravatln' Papa" and "After You've Gone." There is no question but that Brlce and Herman put over the band for the applause that they re- ceived. The second fault with this orches- tra Is that they are absolutely void of all personality. In a dance hall, yerne Buck's individual efforts in Singing and dancing might create a furore, but at the Palace It slowed tip the act. Last, but not least, is the one outstanding factor that an orche.str% must be a good dance orchestra, but not so good to listen to. It hardly behooves this reviewer te say whether this is a good dance or- chestra or not, as they have been playing at the Merry Garden for a long timo and apparently to big success, but for vaudeville they cannot measure up to any of the bands seen before. 411 In fact, the Palace Theatre itself has a better orchestra, both for rythm, syncopation and Jazz. It has always been questioned why the Palace management has not taken Its own orchestra from the pit and put it on the stage as a regular art. Dan J. Russo, the Palace Theatre orchestrn director, has the ability and is showman enough to put It over, beside having an orchestra of jazz hounds that would make a couple of the orchestra* now playing vaudeville go back to their.caft<s. JjOOIh BILLIE SHAW REVUE (9) , Singing and Dancing Ravuo Spooial Sot and Oropo 28 MiniL; Full Stago ? ''.! Fifth Ay. A better revue than Miss Shaw bos shown in several seasons, owing to the excellent boy and girt spe> cialty dancers she has • secured. Miss Shaw wisely allows them plenty of opportunity and each stop the act with solo specialties. The girt la a contortion dancer who will tie up any bill with her bends, splits and other acrobatics, coupled with grace. She is a fmished artist in this line, alscr handling a kicking solo of weight. The boy is extremely graceful, almost to a fault, but this is ex- cused by his evident youth. A male singer prologues the act from a stage box. singing about the revue and what it will offer. It can go out. Six good looking girls who dance nicely are the chorus. Miss Shaw herself makes several changes, all barelegged, her costumes as usual featuring the dressing. A toy sol- dier drill followed by her sok> doll dance, then doubled with the boy, was the high light of her spe- cialties. Another well staged bit was a tango, preceeded by the singer in Valentijio costume. The chorus exited as Miss Shaw and the boy stiifireri u tango. A South Sea Isle number allowed Miss Shaw to jaxz and shimmy a, bit. In an "Iceland" number she looked cute in white fur trimmed costume. All of the songs are specialK. each used to introduce a nunil>er and sung by the male singer. The act is elaimrately produced and with a little ptunijig and more work will be ready to follow any of the revues. Con. — *'"^ CARSON and KANE Dancing Act 14 Minutoa; Full Stago v Jefferson An attractive back drop with drapes to correspond for the down- stage flats is the setting for a somewhat different (male and fe- male) combination of dancers. PALACE Monday two attendants armed with magnifying glasses were sta- tioned at the door and all tickets were acrutlnized for typographloal defects, which followed at\ attempt to throw the house into confusion late 4ast week by the circulation of ^„^„j ... , ^ ^, .counterfeits. Tho trick was dlseov- Opening with « clever Ja«s routine, ^rcd in s.^iort order, and only a fAw DAINTY IRMA and CONNORS Wire Act 7 Mins.; Threa City. Man and woman In neat wire routine replete with fast and tollinsr •tuff. MlsH Irma opens immediately With danoiiiR on the wiio, iloing other flashy stuff like skipping rope. "Jumplnsr ovor a tabic, ot. . u\ rapid aucoession. The man i.«» .mitioi^lin.ite In th»« rout'r'*^ which only er'hames ^, her efforts. A fast wire oi>ener for th** inf'^r- mediury ihr.ie daily. Abrl. PROF. NAKAE and Co. (2) Jiu-Jitsu 7 Mina; Three .» 81st Streat The act may have been formerly the Nakae Japs, a jiu-jitsu wres- tling trio. The .same routine here has been showmanly dressed up, the action occurring In a parlor set. Prof. Nakae, in tux, demon- strates his agility in besting two armed assailants through the art of jiu-jitsu. One of the second- story enters very melo-dramatic in subdued lighting. the surprise attack being played up effectively. One of the attackers is supplied with over a half dozen stilettos. Prof. Nakae employing a different hold each time in disarming his opponent. He next announces a match between his assistants, Prof. C. Chiba and K. Moriba. This is featured by some exaggerated, un- seemly panting and snorting by the wrestlers, probably Intended to heighten the effect, but becoming farcical. Another feature is a variation on the dual attack. The professor's work Is ever flashy and applause productive. An Interesting opener for any time. Abel. MARJORIE BURTON Vocal 10 Mins.; One American Miss Burton has doubtless been around for some time, perhaps teamed. She is exceptionally equipped vocally, roaching high regiaters and performing other stunts with her throat. A whistling bit stood out as a feature early in the routine. Miss Burton thrusting a silk 'kerchief into her mouth to demonstrate there was no mechanical device employed. A eong number which climaxed In a note claimed to be P above high C was given after a rhymed prelude. For the finale Miss Burton Imitated a muted vio- lin. She hefiltated slightly just be- fore the end, perhaps for effect. The turn was an interesting deuce. Ibee. >.' '■ SIX TYROLEANS Song, Dance 15 Mint.; One City Those Russian ho«k onsemMe.s will probably run out only when names are lacking to describe them. Kxcepting for the initial suggestion of the Alps mountains .and costum- ing for the first number, the at- mosphere and general idea in no more Tyrolcse than it is Afghan- istan, A mixed a»iartet opens in typical mountain climbers' attirp. tall, heavy-looking male vocalist e.ssaying a song that elicited .«omc applause aUhottKh n«»fte t oo tt MM lliim in delivery. A wo<xl<'ti .shoes du«H p.asse<i off with the fiiis.-«lan t»'rp»» as the reliulMe si inil'»\ for tho Run- away. Th« act clo.<»»l -h** r ty hill Three-a-day at he.*t«,, ^ ^ Ahrt. Miss Kane, full of animation, and very limber, starts the act with speed. Carson follows with an ec- centric waltz solo, Immediately fol- lowing with a well executed soft shoe dance. A double routine of medley dances winding up with a fast and energetic jacs exposition finished the/ict proper, with a quick change to military costumes and a series of drum roll imitations as an encore. • Miss Kane (formerly of Zelg- feld's ♦'Follies") makes a change of costume for each dance; costumes and herself are a delight to look r.. Caraon also changes between dances. • ; ' -; ■ • \. Closing the show at the Jeffer- son is no desirable spot, but Car- son and Kane, on an exceptionally strong bill, held practically the en- tire audience to the flnish of their clever, classy specialty. DOROTHY RICHMOND and Co. (2) Comady Skatch 15 Min.; One and Two (Special Drops) —'^ _^ 23d St. The author of this vehicle for Dorothy Richmond, enlitled 'Mar- riage It la Vaudeville," has at- tempted to get away from the stereotyped style of comedy sketch. He displays ingenuity in the man- ner in which it is worlced. The opening is In the nature of a prolog with one of the maU mem- l>er.s announcing from the stage a wedding ceremony is to be per- formed there. Th^ couple enter walking down the center aisle. Re- maining at the orchestra rail, talk is indulged in with a comedy cere- mony performed on the stage, the man who did the introductory talk" tying the knot. He later informs them lie Is about to give up hi» pro- fession as he has been appointed a Judge. A 5'ear elapses with a picture film informing the audience of the hap- penings during that time. <^^ . The stage action is ^revived in "two" with the scene a divorce court. The three original characters oc- cupy the stage, the parson having become a judge. The troubles of the couple are aired in court, the crose fire talk being of a comedy nature with the flnish a reconciliation. Thero are several laughs in the Richmond vehicle. It Is away from the general run of comedy sketches. There are certain houses where it should fit nicely. In support are Ted Adams and Robert Robson. Both are capable, Robson doing the character work with Adams an agreeable straight man. Miss Richmond flta in satis- factorily. Properly placed this turn can se- cure results. Hart. Of the phonics passed the door. The counterfeit stunt may possibly have been Inspired by the war against ticket speculators being waged by tha Palace. Calliphoncs outside warn patrons that no tickets bought from the specs will be accepted. The magnifying glass Inspection was accomjillshed with little loss of time. This la All Nationality week, and la marked in the Keith houses by tho insertion of an extra turn, ac- complished at the Palace by doub- ling. Ten acts hMtde for an overtime show that had its finale at almost 11.80 Monday night. At the matinee Ruasell and Pierce were the added turn, but the Runaway Four, rega- l&rly carded second, found the doub- ling from the 81st Street impracti- cal. They went out of the bill at night and the two act took the spot. John T. Murray and Vivian Oak- land were the extra act brought down in the evening, on fifth. That arrangement had three acts in "one" in succossJon. but was necessary, as Murray and Otikland had to make the Alhambra. The added teeun was on just long enough to win thorough Appreciation. The beauteous Miss Oakland singled nicely, but the hit of the routine was an old-fasiiloned ballad as might have been duelled in 1S62. It is the best comedy idea of the kind in some time. Attendance was of usual Palace proportions, although some of the boxes were not capacity. 'The Film Club attended, about 76 strong, to honor Hugo Riescnfeld with his Rialto-Rivoli orchestra (New Acta), the special feature of one of the strongest bills the Palace has shown in a number of weeks. Kiesenfeld has followed the greatest of the cabaret, dance and specially framed vaudeville band organisations, and it cannot be questioned that his Rialto-Rivoli orchestra is the big- gest and finest musical effort since the crate began. Riesenfeld and his 55 musiciam opened after intermis- sion, displayed novelty in the man- ner of preseiftation and effects, and scored sensationally. Recently a li^id from the realms of grand opei^ tried the Palace going and could not understand why it flopped. If those musicians happen into the Palace this week or next It all ought to be jvery clear to them. Another sensational feature, al- though unheralded, ended the firat section of the show, in which seven acts were crowded. It was Bnrico Rastelli (New Acts), the younf Ital- ian juggler, a nawer and greater Cinquevalli. Amasing is mild. Ra- 8t<)lll performs what jugglers say are impossibilities. Trixie Frigansa from her spot on fourth made great going for the flrst part. Vaudeville's biggest come- dienne wooed the house into real good humor. Most monologists have picked on the ladies, which is the likely reason Miss Trixie recipro- cates about the male sex. The ma- terial about the "eats" at a friend's house counts about the best of the talk, while her motor car song makes an excellent opener. But the real laugh of the act Is tj^e "dancing" finale witluMax Welly. It Is really a strength test, with Max standing up ta his task manfully. There prob- ably Isn't another man on the stage who would undertake Welly's, as- .slgnmont, and It Is equally improb- able Mijw Prlganz.a ever travels or has" traveled as fast as when spun about on Welly's shoulders. Molls.sa Ten Kyck ai^PK^elly, on just ahead of MI.ss Frlganta, went "TEN SWEET SWEETIES" (10) Songs and Dancing 17 Mins.; Full Stage Hippodrome, San Francisco San Francisco. April 11. This Is the first of a series of girl acts that Fanchon and Marco ara producing for Ackorman & Harris. The girl.s are all good- lookers. • The act consists of en- semble numbers, principally with singing, dancing and a few special- ties. The numbers are lively and costu.ned with originality. IMerrette riasnier and Clothiel Bellyesso are featured, the former standing out. "The Hook Me Up the Back'" num- ber, In which the girls go amonjj: the audience and asic tu have their dresses hooked, proved decidedly IJopular and a novelty for v.aude- ville. This number previotisly had been featured, by Fanrhon and Marco at the Pal.ais noy.il. A Aamp" number led by Clothifl and Pierrette is another nun»b"r that ijoes over stronyiy. The high spot in the act is I'ier- rette's .specialty. In wliich this pretty Rirl does some excellent kii-kinp, Hus.«;Ia!i and acrohatic dancing. The act is to remain at the Hippodrome for four week>j. While It is a novelty umi has con- ."^idcrable class, it .»<»«ems ju.'^t u lit- tle out of place on a vaudeville pro- frrani such n.s that offefod hy th«- Hippodronic How»*^ er. it mak^-M .1 big Hash .'irnl after it gets into princjpaH are specialists of high (...<, ( ». f ruj i M Jit tf «ud *» r i* nd n om u Af . -calibre 'J ■ "L a'aa-oviu-luokcd at the "-pccjaltic", sir.-i^thcned li should pniv** a ijtuttl lieudline at- traction for i\\'' \ Xi II and p«m) hou^*'.^. Th<» liippodf .tfn'> au-li'Mi*^'*.'* lik'**! It inim"n*:ely. "LOVE'S DREAM" (5) Song and Dance 14 Mins ; Full Stage (Spl. Drapes) 23d St. Five |>eopIe comprise pils turn*. Tliey are a prima donna, male' baritone, girl dancer and a male pianist. The act o'l^ens full stage. The scene is a studio with the p.ainting of K.arno, an opera singer, proininenlly displayed. Th(> pianist is In love with the girl, but at mention of Karno in tiieir conversation the painting blackM out and the original singii tho ":iot^g of Love." This dream idea is sustained throughout and serves to introduce the girl's solo to two classical nutnbers sung in splendid voice. Falling asleep on a couch the girl "dreams" a desert slave is dancing for her. The dancer Is a bare- legged aesthetic exponent of bends and acrobatics, handling her solo I with grace aqd ease. Tiie finale arrives when tlie orig- inal Iv.irno turns out to be a neigh- bor when they duet an excerpt from "F.iust." The vehicle l.s full of con- .Htrurtir»n faults, hut all of the over oxcollently wl^ thoir dance production. Max Dolln and Virederick Cromweod aiding as muslciana. "Th« Pirate Pasaion" number wom prettily carried through and made for an effective finale. Because of the "pirate"' title given the number It i»* significant tho couple have copy- righted it. A program note calln attention to the reglstoring of the material, something unusual in vaudeville billiiMf fur dancing acta. ii'lorence Tempest and Homer Dickinson made their first Palace appearance since a team, going on sixth, which was just ahead of Ra- stelli. Dickinson found It easy go- ing for his chatter. He kidded Miss Tempest, though she was off the stage changing once when he fl&Id her failure to respond to his salllea- was probably explained by the ap- ' proach of old age. Miss Tempest recited a lyric by her sister. Marion Sunshino. Dickinson then coun- tered, announcing a number written by Ben Turpin or Frank Fay—ho knew the compo.ser owed a lot of money. The couple held the spot without effort and walked off to * worthy score. M. Oeorgo Harri««* was at the piano. '■ Jullua Tannen entered at 10.S5. right on the heels of the Ricsenfold success. Tho show could, havo ended with the band and so it was not so soft for Tannen. Be car^ nothing for the hour nor the exit- ing of a dozen or so patrons. At' that he was lucky thero weren't' more walking. The raconteur pro-^ ceeded to iiUcreat and entertain hia,^ "guests'* for 20 minutes. He turned' the trick In the manneiyana stylo that have won him fame aa a mon« ologist and after dinner speaker. Helen HIgglns and Natalie Bateo took up tha burden of closlurr, trot- tlng on at ll.lS with Horace Bontley : at the piano. Tho clever steppers in their "Singdanoo" routine afforded a claasy closing to a big show and succeeded in holding a large portion^ of the house seated. Russell and Pierce made a corking No. 2. in fact, ' showed up so well that they are maj^ \ for a spot in fast company. Both boys are eccentric, acrobatic dancers and diaplay a lot of stunts that aro original. Several comedy tits pro-^ vided a change of pace. Tho team • is production material. Bight Bluo. Demons, a troupe whirling Arablana, sent the^show off to a flash of great • speed. I bee. , COLONIAL • *. ihe 23ril . . ■. :, where they scorerl .'Strongly through the excllont \ «»c:iii7.in^. With the iHop^T turn, nr the |)re.^ont one remedied, the basi.H of a bij? time turn in thein. Con. The All-Natlbnality bill at tho Colonial this week played for good entertainment. The show was con- siderably KWltchod around after the matinee Monday. Dooley and Mor- .. ton moved up from next to closing to fourth position to give that por- tion of the bill a needed comedy punch. Lillian Shaw, originally carded ^or the four hole, moved down to closing the ahow. The ahow got under way hopping ; off with one of the moat novel hand- to-hand turna on the boarda in liernt and Partner. The act is unique In having a top mountor who is also a contortionist. The lifts and formations are unusual and fan- tastic. The pair took several bows in "one" following their closing trick. Watts and Hawley followed. Thf , man has a comedy appearance that is heavily capitallxed and has a corking opposite In the pretty blonrtf girl who plays tho piano and solos a ballad. The comic sells sevenil comedy songs and monologs a bit. getting somo laughs at the expense of his expanse. Tho girl's ballad solo stopped tho act. liho was a plcturw in a green and silver evening gown. They wont nicely, the applause .«tif- ficlng for a brief speech that can stand revlscment. Raymond and Mackayc followed In a spotty talking skit outhorcd by lionj. H. Burt. Miss Mackaye's nwrt^t pcrHonallty and nppe^iance couldn't overcome the talkinusa of the dreary portions Interspersed in the dialog. Uay Itaymond, looking his usual debonair self, did the best he could with tho role of a pollto drunk who haa fallen In lovo with his chance visitor. She is in the wrong apart- ment. Upon this slight structure Mr. Burt has attempted to construct 15 minutes of light and airy persi- flage. The turn holds some real laughs, but peters out In spots. An unmelodious academic song idea based upon the done-to-death "Couo" formula and a graceful danco ' following failed to lift it They just paiMied. Dooley and Morton, follow in»T. picked the show up and whammed them. The "babes" were a riot from the lower floor to the shelves. Martha, a vision of gtrlishnoss, h.is thinned out considerably, adding greatly to her appearance and help- ing her dancing. She In as neat an exponent of tho buck-and-wing and tap dan(;<>s as one would wif;h to watch. Ilrr costumes were prettv and her foiling of Gordon's knock- abouts and neck-brcfJclng falls, an unbeatable combination. They had to brg off. "The Storm." a condensed ver-^ sion of the pl.iy, proved an InlereKt- irig novelty and spotted just rlgh». < |fi.<?ing the fir.st half. Tho forest fire <ffe<-t Is as fine a piece of stag-_ mechaii .Hm as vaudeville ever housed. The stnry of the two rivals snowed in a cabin in the Canadlaii Northwest with a girl with whom they both rtvn in love, Is melodrama as she Is si>oK<'n. lid ward Arnold, who created th'> role in I.angdon