Variety (April 1923)

^7.\^^r■t .i^^ Thursday. April 19, 1923 NEW SHOWS THIS WEEK if w^ fj, '^^ 23 9«C PALACE Bualneas on the l<rw«r floor at tha Palace Monday nlglit was Just under capacity in the rail boxes and a aoUd sell-out for the remt of the floor, with standees back of the orchestra. The seven acts played until well after 11, due to encores for Hugo Rleeenfeld's symphony musicians and the way most of the turns went. It wa« a perfectly blended show, a delightful mixture of class and comedy that would pleaj«« the most jaded vaudeville palate. Santos and Hayes, programed, were out. There would have been A slight confllction from their kid specialty with which they finish and the theme of "Just Out of Knickers" (New ActMK the youthful playlet of • Lewis & Gordon, epotted in third ^ position. JuliJM Eltinge (New Acts) was also moved up to close the HrHt half from opening after intermission, swapping spots with the RlesenfelJ orchestra. The musicians, led by Hugo Riesenfeld. scored one of the JOE FREED, AL HARRISON and Co. (2) Comedy Act 15 Mine.; One and Three 58th St. Tiii.M is probably the fir.'-t of the burlesque summer excursionists Into vaudeville. Joe Freed has brought with him some yure-fire burlesque hoke, which will probably be responsible for the booking of- fice voicing a new demand for com- edy acts in "one." A rube sap in- troduces with a sons in old fash- lonea wmUz time anent what he saw In the wicked City of New York. The first scene has Fr^ed as a Dutch copper, with a police offlctr (Harrison) doing straight. The latter nal»s a crook but Freed rec- ognizes the culprit as an olil friend and secures his release. The crook promi-ses to return as soon as he keeps his appointment to thoot .". victim. He asks the cop for the loan of his gun. Freed asidng if he couldn't oblige him by just stab- bing the man—the gun's noise an- noys him. The rest of the act continues with similar such bits of business, wind- ing up with a pseudo-cabaret scene In "three" with Freed messing him- self, his companion, the waiter send the restaurant with generous sprin- klings from the "champagne" bot- tles. Crude comedy but effective to no uncertain extent if laughs mean anything. , Abel FLETCHER and PASQUALE Musical 10 Mins.; One American Roof Male duo, Pasquale performing solely on the accordion and Fletclier alternatiiTg between the baby sax and a "hot" clarinet. In either case Fletcher Is glv<>n to continuous "blueing" and ragging, "laughing" all his stuff. It is pleasing, but is overdone somewhat. Opening with the "Russian Rag" together, the accordionist's solo fol- lowing lets down because of Its "heaviness." Fletcher does some strutting as he pipes his clarinet. They finish together, taking an encore. Pleased No. 2 on the Roof, al- though aPasquale would help con- siderably by lending some color to the routine. He Is a mere accom- panist, pumping the bellows instru- ment sans snap or pep. Abel WALSH and BENTLEY Talk and Acrobatics 12 Mins.; One City The chatter, inconsequential for the most part, elevates this two- man combo into a spot act whereas they would ordinarily open or close on the strength of the straight acrobatics. The topmounter. in bellhop costume, enters with some talk anent the tightness of tipping In the hostelry where he is em- ployed. Tlie understandcr. in dark street clothts, is the new guest, the chatter l.'uding into tiie hand-to- hand i-tuir, neatly sold because of the giant understander'.s ease mi maiilpul.it iiiK the J.ellhop-partner. The art was No. f. at thp City and I delivered, following loui strors; preceding acts. Ahrl. MASSENO and RINALOO Acrobatic 8 Mins.; Full Stage Broadway Two-tr.j,,, t«am, I'olh nienil.crs ap- l»c»r»''t.y iiom othe. utts of tb- sanu- nature, with tlu- one i.«,ssil ly fi«in» IMP K i n il do l;v<Uit»'VK t»**^^u, JUUmI)*'- Inp-. i.:. hiding he.ad. ban] and le.ot ^<>iK\ n: lixes l\^^ tiic jnajoi- jiortinn ff th^ roiiUne. Th<^ inirodu:>t«»i:. Work iMii-.'s the men on with mu- sic.jl inst :Hrn<»nts. and includes hcv- f"!'"! stronv; ieats. As a hill opener the corn'-intion i< worthy. Ifari. oven log's hlte. They held orer from last week. The repertoire was changed slightly, but the overture with the burning city effect and "The Parade of the Wooden Soldiers" were hlg applause gleaners from the original routine. The six col- ored klda marcblns across the stage, to fall In heaps when the cap pistols of the musicians exploded, was a funny bit, but the repetition of it led by a white clown playing a har- monica was unnecessary and took the edge off. The comedy hit went to Jack "Kube" Clifford, a western comic who is due to remain east indefi- nitely. Nelson is assisted by Rus- sell Hird, tormerly playing piano for dancers hereabouts. Hird handles the piano, but also does straight for Clifford's irresistibly funny deaf "tube" detective. The pair have a unique and original method of crossfire that makes euch an old piece of business as a deaf man miiiunderstanding his partner's answers as new as red shoes for women. As the bouse dick from the Pennsylvania hotel Nelson won all of the room keys. He responded to the tumult with a funny bit, imi- tating an old fashioned phonograph, u.'-ing one of his removable cellu- loid cuffs for the horn. Another funny bit was Nelson's struggle to cross his aged knees. He gets more out of this than any of the num- erous others that use it. Hird Is a corking straight. The act is in for the east and should be in big de- mand. They were fifth. Right at Nelson's heels for com- edy honors were Murray and Oak- land, second after intermission. One or two of their ("omtHiy sketchx^s are familiar, as the dramatic voices and darkened stage opening, whioii reminds of Bennett and Richards, the former blackface team, but the act is routined well, allowing ampie scope for Murra.v's light irave<sly touch and Miss Oakland's attr:u?ti\e personalit.v. voice and physical at- tributes to score. The Spani.-h number and old-fashioned song team were the high lights of an act that went all the way. Sheldon. Ballentlne and Heft, the closing act. achieved the almost impo<ssibIe in holding them in It'."^ ten to ona that not a male left the house aftfT- getting a peek at Lucille Ballentine in her oi)ening dance with the two boys. She was in long dresses, but gave the gang a flash at the prettiest pair of limbs aince Frankle Bailey first flashed across the theatrical horizon. Later on in two sweet changes to costumes which didn't clog up the perspective so much. Miss Ballentlne showed a form to match those gams and .'in ability to dance Jazz, classical or on the toes that would carry her far if she were as plain as a mud fence. Lucille has everything from a change of pace to a hop on her fast one. Both of the boys are capable assistants. Sheldon is a vers^atlle pianist, singer and dancing partner. Heft sells an all right Russian rou- tine that looks flashy, but Lucille is the darb. "The Clown Seal" opened and went as big as an.v show starter that has played the Palace in ages. The animal is perfectly trained and directed by a superior showman In Ray C;. Huling. Juggling, playing on musical Instruments and chasing a poodle dog every time the canine appeared were but a few of the eeal's bag of tricks. The Chung Hwa Three. Orientals In native attire, scored nicely in the deuce spot with a routine of Amer- ican pop songs harmonized pleas- ingly. One of the trio got over big with a ballad delivered In a pleas- ing nasal tenor. Con. COLONIAL What's the use dissecting a ehow that packed them to the rafters arid had the gang chortling, screaming, clapping and whistling? Of course it was good. Everything in this life should be measured by the ratio it attains toward what it sets out to attain. A pure art offering should not be rapped becaueo it doesn't get money—it doesn't expect any; and neither should a Colonial vaudeville show be gauged on its art.ifctic verities, as it doesn't claim any. It is put together to draw In the mone.v. primx^rily. and to please. In- cidentall.v. which is the same tiling in the long run. And it does that from the tape to the wire this week. Pat Rooney and Marion Bent in their "Rings of Smoke." growing a trifle wander-worn now but having long since paid for lt«i'If in returns of several seasons well accounted' for. occupied the majin- portion <'f tlie sc'ond section. l'at'.-< interpol.i- tioii.s have made it one unbrok-n routine of laughs whenever he is In vif'vv, and the dunces arc all there. I'at. of course, is an ilie C.»Ioiiiui territor.v. he did was accepted vocif<':<»iM apprf»val relatives give to the favorite l»ah.\ «»f tii^ fa mil V. Tlii.-> rfviev.cr ma<ir some similar cvv^k uli(>pi I'.it at the Majestic. Chic;igo. Mayli** h.- »-t inds .■ihout that way vvlicrc\cf he li.i!>- p< fK to ln". Wf \\i^n ni.i iiiia in J lid j) jj Of "Smc»ke Rings'" and improved th.v' «H)mrdy. He annnnn^^d th.if he will .looti f»pen a n»'W revu*'. to t»c calli-d "Sliamroc kH." It scents tough *<• Io.»e a great act when U J'i at it""' gjeaiest. lik»- an old pipe or an old pil. But tiirit's life, in oi- on* of vaudeville —the lOngir ihcy ale wi.li li'isii kinj; 'D and whatevwr with all the that doting US and the dearer they grow the sooner we must lose them. It re- quires no critic to discover "Smoke Kings" as a fine act. It has medals and records. This la one credited to Edgar Allan Woolf, however% that even this reviewer always likod. Pat, having worked what seemed like an tiour In his own turn, char- itably came on and put over Van and Pelle, the.closers. It was 11:15 when they rang up and many started for their hats, when who should be discovered on but Rooney, doing spontaneous hoke equlll- brisms. breaking up tiie seriuu:t- iooking balancers and keeping up the fire of laughs all through to the end? It took the heart of a Pat Rooney to do it and the quick wit of one to get away with it. Mack and Deagon had opened in- termission. The classy Jack and the lisping little Oracle rolled it up to a wow. Miss Deagon is as much better in this act than she was with Dickinson in the old and well- remembered one a« she was even then better than any other kid per- former in the vaudeville of her era. The present material is immense. Mack is an ideal straight man, humoring Miss Deagon at every point and standing up on Itis own when she is off as a single per- former. This turn, too, has passed the doubtful mark and is over, but can be and is'every week becoming better and richer. The Three Marshons opened. This Is a club and hat Juggling melange In a special set. a yacht club idea. The men are experts with the clubs and have a welcome change of speed in their program of tl*ick"». The woman assistant is too mucli in view and strains too much to be important. Her succession of "cracks" in the first portion had as many misses as hits, her correspon- dence school hornpipe got courteous silence nnd her sideline cheering on the closing stunt was overdoing it. She would be welcome as a touch of femininity if she did not make herself so conspicuous throughout. It caused some giggles Monday night. The act otherwise la an am- bitious and snappy ten minutes for the spot and was wa»Tnl.v taken. Every other act on the bill w.^s new. Malinda and Dade (New Acts), a colo.ed couple, went strong and to a speech in second. Miller and Fears, man and woman dancers witli some 'talk and song (New Acta) very good In third. Smythe and James, male team, comedy and songs (New Acts), started slow but finished all right next. And then came the wallOp of the first part. "Compliments of the Sea- son," a sketch In three scenes by Paul Gerard Smith, featuring Garry Owen. Owen for years did a small- time «inglng single fairly well. That he had acting ability a as never even suspected by those who knew him in his old capacity. But someone cast him for a young wharf-rat with a heart, which he plays legitimately as the lead In< this one-acter, and he Is a surprise in an act which is, itself, a sensation. Owen, now that someone has put him there, appears as a logical can- didate for that type of work. He has a natural slang delivery and a boyish yet world-wise personality that fits "Fingers," the character In this story, down to the boards. With «habby support (every other part wretchedly done). Owen held up the act and the action and sold it slnglehanded. It is a sound story with heart-throbs and some of the smartest, shrewdest and punchiest lines for laughs heard in a situation act in months. "Compliments of the Season" (an unhappy title for such an Inviting act) is faithfully and impressively set tp its atmosphere of the river front and Broadway Just before Christmas. It Is a fine example of the newest thing In the oldest sort of playlets. It gets the midriff guf- faws and it gets the honest tears. Big time, as a rule, is afraid of melodrama, underworld, sketches without specialties, and casts with- out names. But the Palace needn't hesitate about this one; it will go for a knockout In any theatrical so- ciety, and the vaudeville-trained young Owen does It more effectively than would nine-tenths of the tony Lambs Club Juveniles who sneer at vaudeville and flop when they re- luctantly "accept" an engagement in it. I.ait. stage personality and If eliminating all talk, going right into the imita- tions, she might have sometliing which will carry her into the better class houses. Edward Clark, assisted ably by Clarrissa Rose (Mrs. Clark) on the piano and cello, of which she is a master, put over his usual hit with character songs in appropriate make-up. If there is any better reader of songs than Mr. Clark, he has not shown around here. A good act for any bill. Ed Blondell showed his well- known country kid character (and there are few better exponents of it), ably fed to his comedy points by a straight woman; and rocked the house with his own methods. Townes and Bernard, the latter at the piano, registered next to closing, but come perilo^isly neur the demar- cation line of suggestiveness. not at all necessary for these two clever boys. All their songs brought ap- preciative recognition, from their personally conducted self-introduc- tion to the blues which, with Ber- nard's dance, closed the act to plenty of applause. Good act. Long Tack Sam and Co. seem the best novelty closing act in vaude- ville. Tha beautiful silken draperies and the costumes are « feast of color and magrniflcence, a fit setting for a remarkable act. Sam himself is a great showman, but his speech at the close of the act, referring to the relations between America and China, suggests bad advisers on this point. In a house packed with ad- mirers of liis act. the speech fell flat, which should <ell Sam something. The act itself is in a class by itself. "Where the Pavement Ends,' Metro film, closed the show. STATE Loews Slate continues to do over- flow bucinofts. Russo. Teis and Russo. a man and two women, opened the hill with the flrst half dancing. The opening trio dance Is followed by a waltz clog Ity the man and one of the girls. A limber dance solo by the dthcr girl and a sailor's horn- pipe in lo.^tnme b.v Miss Teis with a I'Uck loutine bi' (he man .are the singles le.-iding lip to the ensemble (itii.'--h. a hard shoe rally which put th^ act over with sufficient results to justify it a place on this bill. A f.jiiit whicli sliould be corrected is Llie .tppearance of working too bird b> the dancers, especi.'.lly notlcpahle in the man. Good oi>ening act f(»r .snuiU lime. Birdie Kraemer. nri iT»iiC."»tor of musical lnsliMUTi»'nts. took up thn Msniijng ;iiul was a surprise. Il might be a good idea for Miss Kraemer to talk instead of singing hci- descrii)tive material. Her im- Itati.-iis v.ere exeeMent, astonisli- ing'y HO. The woman has a nice RIVERSIDE The Riverside bill was consider- ably switched about of necessity Tuesday night through the falling out of Adelaide and Ilughes and the subBtitutlou of Vincent Lopez orchestra. The Lopez act was spotted third, pretty early for (i hoadliner. This was because of the act doubling the Riverside and the Coliseum. With the Lopez harmonists knock- ing 'em over No. 3. It looked as If it was going to be rather tough going for the rest of the show, A solid array of dependable turns fol- lowing, however, easily kept the 'slm^ir to the tempo the band had set, and the entertainment moved along nicely. Hampton and Blake, fourth, had their work cut out for them. They didn't let the handicap annoy them, though, but went right after 'em with their smart talking turn, catch- ing giggle* at first, but rapidly de- veloping the giggles into laughs and the laughs into solid waves of mirth. Both Mr. Hampton and Miss Blake do a lot of laughing at their own stuff. This Isn't according to Hoyle, but the lAughs are used possibly to take the sting out of some of the sharper bits of repartee. Still the audience is there to laugh, and it takes the edge off a trifle when the act on the stage appears to be run- ning the house a race to see which can register most laughs. Enrico Rastelli closed the flrst half. He's billed as "The Master Juggler of the World." And he un- doubtedly is, for if there's any Juggler who can top him he'll have to be more than a marvel. Rastelli proves the old saw—that no one can do more tlmn one thing at a time and do it well—is apple sauce. Ras- telli docs five things at one time. Juggling with his feet, hands and legs, and balancing something on his chin. It takes a good silent turn to hold the closing Intermission position and Rastelli is all of that. He can hold any position. Crafts and Haley opened the sec- ond half with comedy, sinking and clowning. The pair have a modern way of working and a lot of fresh material. They did well. Moody and Duncan No. 2, with a likeable sing- ing turn. Wood and Wyde. next, with their revue turn that holds one of the funniest comedy characters In vaudeville In the person of the old time ballaflist who has to be shot before he'll quit warbling. The mis- fit dress suit and make-up gener- all.v Is a darb. The various special- ties the Wood and Wyde combina- tion offer run to travesty of the highest type. There are quite a few old gugs and hoke mixed in with the modeiti stiiff, but It all goes for laughs and It's well blended. Julius Tannen. next to closing held 'em. Taimen Ija<l considerable Uf'W material In his monolog, all of It crisp and hrilllant. as Tannen's patter always is. Les Splendlds closed with a skating turn (New Acis». and the Osborne Trio (New Acts I. o|>ened. IIuHlness something less than capacity Tuesda.v night. Bell. BROADWAY The Knabc Piano Co., which makes (he Ampico piano recordings 4>f classical coniitosithius by prom- ine nt pianists, has signed \incent Lopez to make j (i|n iir danc num- heis for it. Lopez will bf fe.attired in the n.'tiional udvertisir-.g. An Aropl-o piitno has been installed in th*» ]lot< I Petinsylvania grill and will pl;«\ Lo(»e7,"s recordings in con- junction with the orchestiu. The doctrine that "music hath charms" applied strictly to the lay- out for the current bill at ths Broad- way, with seven out of seven acts introdiwing music of some descrip- tion. Five out of the seven brought forth the piano, wiUi three coming together In the latter portion of the show. Three of the flrst four used string instruments. Including the ' acrobats in the opening position. The early section was likewise over- loaded with men, a two-man team taking the initial spot, with the No. 2 position having a combination of the same order. An Irish tenor with .1 young woman pianist, she being the first woman to appear on the bill, held forth No. S. Not altogether good vaudeville, but the capacity audience Tuesday jiight cam« f«krrb throughout the evening with ap- plause. Masseno and Rlnaldo (New Acts) opened the show in balancing worR, with incidental music on string In- struments and the piano. Jans and Whalen, a two-man team, worked in nicely No. 2 with pop songs an<t comedy. This combination haji taken their ukulele bit from Clayton and Edwards. It is practically Iden- tical, with the exception that the one man does not work In cork. The work is so near alike they even um a baby spot on the uke player. Theee chaps appear to have the goods without resorting to copying, unless holding permission for Its use. Their other efforts were equally nm effect- ive as the uke business and dance which accompanied It. Thornton Flynn vocali/^ed No. 8 getting away nicely with Irish selec-' u°"**'i ^ young woman furnished the piano accompaniment and came in for a small portion of the vocal * work. Flynn was the one act of the bill producing music to hive an In- strument the others did not use it being a phonograph. Returns oam« nicely for his efforts, with Harry Burns and Co. taking a comedy as- signment No. 4 with a Wop turn The musical work produced in the latter portion of the turn outdid fhe comedy earlier for results. The young woman who la limited In her efforts, handled a harp artistically and did equally well with a guitar later. Burns oould afford to give her ample opportunities, as she possesses the musioal ability and supplier a flash In the way of dressing. The turn nnished to strong applause. Higgins and Bates, a' two-girl dancing act with a male planlat. held No. 6. This oombination has worked up Successfully. The girls are presenting a snappy and worth-' while danoe routine. Their effort.«« are no longer devoted exclusively to double work, with both appearing to advantage in their sok> stepping. A we 1-groomed planliit helps mate- rially. Holmes and Levere, with their standard comeay turn, brought laughs Into the next position, the young woman coming to the for*» with her male impersonation and dancing. They fitted Into the bNl with ease, getting away to genuine Applause. , Ernie Golden and orchestra, th* regulation dance aggregation, took the closing assignment, dispensing a variety of dance selections, which met with approval. Hart. AMERICAN ROOF V An ordinary small time lav-out it the American the first half,*no bet- ter nor worse than many another similar conglomeration of nine average acts. Businese only fair V* Monday. Dooley loloen opens with two songs and retrieves herself with the wire work. The songs are negligible and the flrst means nothing at all. The second, a more familiar and plea.sing pop, If the vocalizing must be retained, sufflces to round out the offering. Fletcher and Pasquaie (New Acts). La Temple and Co.'s magic rou- tine is pleasing, the man's small talk delivery having improved since last seen. The comedy points click and lead Into the magic brightly. AglasH casket Illusion was flashy and could be held for the last in place of the obvious cfoser announced as for- merly done by the Great Herrmann. Cecilia Weston, assisted by a fe- male pianist, has an average ld<»a of what i8 intended to be realistic mimicry and connects merelv through her material. Stripped f^t the rather telling chatter and char- acter songs, she would not fare so well. The girl pianist Is an able accompanist and her solo, a dance arrangement of the "Samson and Delilah" aria, was well received. Moran and Wiser, closing the flrst section, annexed a flock of laugh.i with their-hat throwing routine and Moran's • aggre.ssive comedy. The duo is a former "Shubert act." Daweon. Lanigan and Covert re- opened after Intermls.slon with a fast dance routine featuring some flashing "winging" in their buck dances. The ensemble stepping at a zippy pace al.'^o told, Harry Faber and rrs.a MctJowan, next, intro- duced with a variation of the flirta- tion opening via a compass. The girl consults it continually to find her way to and from the theatre. •■(. , niontflng she la with the -rnr= ■ lie-." playing this week In town. Asked what she does in the show, the blonde says she plays the part of an old man, later modifying this statement that she has played more old men than Faber ever knew. The crottstalk continues droliy for cue-