Variety (April 1923)

;^f^^^' v'"^' KJ5r>.- ''Tv TTf '„ ■•f • ■«R»^^«A '# 90 NEW ACTS THIS WEEK ••^♦*.w^r'.i^»T-*-w:#^c»«"'-ii. •(nr« -'y«i'w-T HOWARD KYLE and CO. (4) "Th* Hous* at tha Crossroads* 18 Min.; Full Stag* Jaffarton ■ .., . ^i'., .> ,['■.: ., ■'; — Paul Gerard Bmtth authored this playlet, which Howard Kyle is using for his return to vaudeville. Smith haa devoted himself to the ligntor form of writing and material princi- pally for vriudeville usage, and he is best at that, judging from "Thci House at the Crossroads." The Idea is akin to that In "The Dover Road." a light English comedy by A. A. Milne. The latter treated his subject entirely as comedy, whereas the playlet Is serious, somewhat of a aymbolic sermon. At the curtain there Is a storm, with a man and his would-be mis- tress knocking on the door for ad- mittance. A bit of mystery Is In- jected, the door opening without vis- ible aid and the lights going up on their own. Tha relation of the couple Is conveyed by the woman's expression of fear and the man's as- surance that on the morrow they will bo safely aboard ship. A thief escaping from the police enters for shelter. Shortly afterward thp host enters, the door automatically open- ing for him. He Is garbed In a cloak, but his white, flowing hair is unpro- tected. After he has bidden the guests welcome another visitor comes !n from the storm. This time it is a woman of the streets. The host Introduces the crook and the gentleman and asks which U the greater ainner. The eiring wife and the woman of the streets are also bhuwn to be near Blstera In their present plight. There is a flareflp when the wandering girl im- plores the woman to remain with her husband. The host departs to wish them well on their journey from the crossroads. The message has its effect, the eloping couple de- ciding to go home and the other pair to go straight. Without the dignity given the character of the host by Mr. Kyle the playlet would s'and little chance. It is a question if it is strong enough for the big houses. Mr. Kyle is well supported. J bee. FELIX FERNANDO BAND (12) 14 Mins.; Full Stage (Special Set) Colonial This latest jazz band combination consists of 12 male musicians,-in- cluding the leader, Felix Fernando. The act opens in a special sot with a back drop of a moonlight river scene. A ship passing across the drop was out of proportion. The other effect is a prop fountain with real water on which colored lights played intermittently. The repertoire includes "Havana," •'Lovelorn," "Cuban One Step" and the inevitable "Wooden Soldiers." The arrangements are all wrong for vaudeville and the musicians in evident need of much rehearsing, according to the changeable tempo heard at this house. The band is "oom pah' in several spots, seem- ingly having too much brass. Fernando leads and plays violin. The musickins are in tuxedos, with red sash vests, making a neat ap- pearance. The act In its present Shane can't do It unless booked solely as a reception committee for acts on the bill to walk into and clowp. Direction, new arrangements and the injection of a couple of specialty dancers may help it to consecutive bookings. Von. WILL MARION COOK and tha CLEF CLUB ORCHESTRA (27) 21 Mina.; Full Staga 58th St. The Will Marlon Cook Clef Club Orchestra will have to bo reckoned with among the bands of vaude- ville. It has Mr. Cook, who la not without his attraction as the con- ductor; 17 musicians, a shimmy dancer, quartet of singera and a dancing ensemble of another four that send this turn through In 21 minutes to "an act." It's a colored assemblage, with a few of the musicians from among those Cook took over to London some years ago. The majority have remained over there. In music the Clef Club (a name for colored musical organizations in Now York for some years) bunch does very well with the "hot" melodies, but when they edge off what ia rightfully theirs, they don't sound at home. It's the levee stuff that aids the color and atmosphere of this orchestra. Thafs all they need—they cajx play it, and that saxo soloist is there. The shimmy Is merely a bit, the quartet singing could be replaced by a double dance, but the single and ensemble dancing at the flnish —oh! boy, that is some "hot!" There are two boys and two girls stepping at the conclusion, riding along to the fast strains of a booming band. The first boy is a stepper from the start; the other boy is tricky and acrobatic on his feet, while one of the girls makes you think she is better and faster than she is through the swinging use of her arms. Together they spell hit. And Mr. Cook as a leader—he's doing something different, a term that also distinguishes the entire turn. Cook carries no baton, no musical instrument and has no stand—he Just ambles back and forth, slightly moves his head or hands, and seems to be counting up the boys to see if they are play- ing or faking—it's all brand new in leadfing and a feature alone. It's a good vaudeville act. out only four days when caught and even then good. It will be better with work. Here you are, Orphcum Circuit, built to order for yours or any other time. Sime. I BLOCK and DUNLAP Singing and Dancing Skit 15 Mins.; One (Special) Alhambra Man and woman in flirtation .-ikit. with cross talk following. Specialties Interpolated at strategic spots! There is a bench in act, as customary, and action i.s supposed to take place in hotel lol)hy. Man in good d.inrer, with leg- mania ability. CJirl is pretty and dances well. SinRitig averages with usual two-act combination. Skit has thread of *tory, which removes it from conventional. Turn shapes nicely for No. 2, in bit; f.mer>i. witli plenty of promise for devolopmrnt as it goes along. ' Bell. HOIER and AYLOFF Skit 14 Mins.; Two (Special) 23d St. (April 23) Tom Hoier has been around in various acts, from single to sketch. Miss Ayloff being In his support In one. Then she was known as Sasha Ayleroff. The action here transpires aboard ship, with Hoier badly af- fected by the ship's rolling. An opening song about being "seasick" Introduces mildly. A variation on the flirtation opening Is employed upon Miss Ayloff's entrance. The cross talk is spotty, sometimes good, mostly below par. Too much re- course for comedy is made to the seasick episode, such as her pleading that he should give up this-or-that for her sake ,and he quipping, "Lady, you don't know how much I've given up for you," and making a dive for the ship's rail. That idea soon becomes tiresome. A song about "fish" closed ^in "one," done as an audience number with points that the gallery patrons are "sharks," the !>ox seat holders are "sardines, because tlicy're in a box," etc. Fair getaway. No. 2 of the try-out turns. Delivered fairly well. Ahcl. "GEORGIA MINSTRELS* (2S) 58 Mina.I Firat Part Spaolal Sat Pantagaih KanaM City .» Kanafti City, AprU ti. After A break-in week In Danrv followed by « waak of oao-nlght«ri en route to thl» city, tha "Georffln Minstrels" opened aa a ra^ular act on tha Pantagea circuit, closing the bill at the local housa. >A regulation minatral flrat part circle setting la uaed and tha black- faced entertainera mada a flashy showing when tha curtain disclosed the opening number. Tha aiz end men were clad in startling green suita lavishly trinuned in red; tha vocalista wera in purpla and tha interlocutor In brilliant rad, ^hlle the orchestra wore modeat green uniforms. A snappy minatrel opening chorua waa introduced and brought on the entire company. Harry Nay aang a number and followed it with * faat bit of hoofing and negro atrutting. He ia a better dancer than singer, but got by. "Pal o* Mine- by Charlea Wood waa much better and Introduced a capable quartet to aa- sist on the chorua. Al Coleman put over a few gaga and waa followed by Arthur Malona with a aong. Then more "jokes'* and another aong by Coleman, who !:nowa hla stuff and stopped tha ahow. J. R. Johnson, who occupied tha center chair, sang "Big Baaa Viol" and had to repeat Chick Beaman of- fered "Down in Arkansaw" and had the whole house ateppmg. only to be quieted by "Silver Threada Among the Gold" by Bob liidmonda, a really fine tenor. More gaga and cross- fire and then a comic aong by Harry Nay, another better dancer than vocalist. Ed Wood rendered a solo and waa followed by the real wow of the act, Thomas Harris, who not only knows how to put hla end stuff across but who ia a real comedian as well as singer and dancer. The act ia a sure enough flash here and proved a draw. A funny angle in connection with the en- gagement ia that the house does not admit colored'i»«opl® to any of the performances and consequently stood to lose several thousand dol- lars which could have been picked up by admitting the colored amuse- ment seekera. Hughes. k Thursdsy, April 26, 1928 "1 DORA MAUGHAN Songs. 12 Mins.; One. American Roof. A good singing voice. goiKi looks and a personality that gels over, are assets that will send Dora Mauglian ahead speedily. Starting with a pop jazz number with a *'Brook" number second, a produc- tion ■ number with a lilting waltz melody third. Miss Maughan does it liplcndidiy. It brought her hack Ifit a fourli\ iKtng. a Dixie entry. , (Tl^e (ipt jjlcased the Koof audience. ,|t, ccm do that and more in any type of hoii?e. /?'•». BIRDIE KRAMER Novelty Vocal. 14 Mina.; Ona. American Roof. Birdie Kramer is a sweet looking girl with an excellent routine of musical instrument imitations in- troduced consistantly through the medium of a lyrical hiatory of her musical family. The imitatlona Include violin, sweet potato, Hawaiian guitar and saxophone. Her violin imitation is about the best heard around. Her pizzicato picking of the imaginary strings waa a flawless reproduction. -The others wera of an equally high standard and coupled with her easy stage presence and winsome personality cinched it for her in fourth position on the Roof, where she was one of the evenings' hits. The act la a strong spot holder for the Intermediate billa and can step into an early po^Mion in the two-a-day housea C^n. JAMES DOYLE and EILEEN CHRISTIE "Tha Lobby- (akit) 14 Mina.I Thraa (Special Sat) Hamilton ' Jamea Doyla of tha former DoyU and Dixon turn haa a new partner in hla two-act Eileen Chrlatia^ a pretty girl and a pretty dancer of tha graceful aorL Mr. Doyle baa had other feminine partnera, with Evelyn Cavanaugh his first In thia two-act. They may have appeared in same turn, called "The Ijobby," but it'a doubtful if any could ex- cel Miaa Chriatie In dancing. It'a almoat a certainty none haa her carriage upon the atage. The girl owns a physical besides a facial personality. That with her good work and looka ahould aingle her out for distinctiveneas and produc- tion engagementa She may have been in a production, not being re- called as having previously ap- peared in vaudeville. Mr. Doyle, of course, is Doyle, doing the light comedian work in handling the dialog and songs, two of the latter arid also only two dances. The remainder Is talk, with MIsa Christie allowed but a minor portion of it, although equally dividing the singing and dancing numbera with her partner. It's an attractive turn of the en« tertaining kind and pleased the Hamilton audience. It does seem, though, that at least another dance number might be inserted, espe- cially since the team. appears to have arranged no encore. And it likewise seems that Mlsa Chriatie is being held back in her dancing range. The young woman suggests In the straight stepping Doyle confines the act to that she is one of those swirling whirling dancers if given the opportunity, for even in the limitations of al- most hard shoe work Miss Christie manages to get in some of those graceful sweeps that denote a fin- ished dancer of the lighter claas* A couple of new bits lend addi- tional interest to the turn while it is running. One is where Doyle, asking the orchestra to play sub- dued for his dance, dances while the musicians, going through the motions of. playing, do not play. The other is a breakaway drop. Mr. Doyle is flirting with Miss Christie upon a bench about the center of the act. He haa asked her to marry him and attempts to fondle her. They are before an apartment house front. Miss Chris- tie replies the street is no place fpv that, and when Doyle questions where is the proper place, she answers a parlor. Whereupon Doyle blows a whistle with the drop turning over and the half fold falling over the lower part of the building's front, the entire scene then represents a parlor. Usually when a man in vaude- ville often changes partners he is said to be unfortunate. With Doy'3 it is the reverse, for he haa been fortunate through his losses in se- curing Miss Christie. fitm«. LEHR and KENNEDY Comedy Sono«» Danoa^ Talk. 14 Miit&f On*. Amarioan Roof. Lehr and Kennedy are a man anl woman, the former wearing an ex« aggerated cap and doing "nut" com^ edy. The girl la a cute cutle of the aoubret t3i>e. The act opens when she puts over a pop number getting reaulta through a corking Jazz de« livery. The number la repeated with the male "Interrupting.*; Croaa- fire followa. the material being familiar gaga. While ahe ia changing he says ha will roll a cigaret one hand. After some quick motions he sticks a cigar in his mouth. Thia was good for a laugh. Upon her return in above the knee dress they duet a pop number, he aiming for comedy with "mug- ging" and nut stuff. Crossfire about "marriage" Jet the act down con- siderably. The girl's impression of Marion Harris In a Jazz blues num- ber was good for a reward while he changes to eccentric "daine" get up for some falsetto singing and trav- esty on classical dancing. The flnish saved the turn from a flop. The comedy stuff that pre- cedes drags, due to the man's lirni-' tations. This portion should be cut down considerably and the "dame" flnish injected sooner. The act was next to closing on the Roof bill but didn't belong lower than third. Qon, COLVIN and WOOD Skit 14 Mina.; Ona (Special Drop) ' : *;! Jaffaraon l| The drop givea a touch of at* mosphere to represent the interior of an author'a studio. Wood playing the writer and Miss Colvin a seeker for material. His entrance is in a smock plus an old Panama lid. He is armed with a fat bologna sausage and a loaf of bread. Some of the punch lines In tha ,^ dialogue were aimed for laughs. The ■% girl says she isn't an actress; she pays for her meals and "I've been in New York long enough to get a . couple of fur coats and a limousine." ^ But the house was amused by the man's frequent handling of the sau- ^ sage, with which he threatened to wallop the girl. The going was better when they duetted with a special lyric, and Mies Colvin displayed exceptional grace In her stepping. There is a kissing bit that included a flask, the con- tainer holding milk instead of tyooze. The act is probably new and ought 5 to improve with working, while the isj girl's dancing looked good enough t^ for soloing. For the three-a-day it is quite safe. Ibee. SIMON MEYERS (2) Comedy Talk, Songa, Danoe 13 Mina.; Ona J American Roof '^ A mixed two act The man ia /| LOUIS LONDON Songs 8 Mins.; One State "^v. Louis London is i^rcozy looliing, very presentable In "Tux toi)pod oft with a wide sombrero in iceoping witlj his western sub-billing. Lon- don is an energetic songster ami whips his routine over in a fast oi>?lit minutes. Opening with a sons? about John Barleycorn, he follows with a restricted comedy song, ".\t the Motion Picture Show." The third number is Introduced as liaving iKid its lyric written by the \ late Jack London, proving a vigor- ously written and masterfully con- structed lyric whicli London, the singer, puts over in great style. The vocalist is po3.<^essed of con- siderable person*<fiy and nn In- gratiating tenor. 'lis encore, a fox trot song, had him sporting a prop dummy as a dance partner. It was a neat comedy finish. London has possibilities if prop- erly handled. Also, if aiiy relation to the novelist, London, mention thereof wouldn't hurt. In the mam- moth Locw's State he was roundly appreciated. AheX. "FANTASY DANCERS" (4) 12 Mins.; Three (Special) State. Three men and a woman in a dance routine, although the act seemingly consists of an equally divided quartet until one of the males discloses himself a female impersonator. The disclosure did not mean much to the act and en- hanced it but little. The quartet may be an offshoot of a "Fantasy Revue" dance act. A female snake dancer, also in the itcvue aot, suggests this. The "fantsay" appellation is derived from the fantastic costumlntf effected. Tho routine includes an Idol-wor- ship dance with a prop Ido' in tho background, snake and other Im- pressionistic stepping concluding with the inevitable Russe squat dancing. Fair closers for the small time. Abel. JACK KRAUS. Xylophone. 10 Mins.; One. American Roof. Jack Kraua does a regulation xylophone turn, opening with a Hash of operatic stuff, pop material following. A slow tempo harmon- ized selection played with four hammers next; Jazzy stuff rounded ou the routine. Typical small time opening turn, with a good brand of music making it an agreeable specialty. BeW. MEYER DAVIS' LE PARADIS BAND Full Stage Kaith'a, Washington ,\ Washington, April M. Meyer Davis' Le Paradis Band's second appearance In the big time vaudeville house Monday brought forth an aggregation of players that scored individually and col- lectively, and with musical arrange- ments that have not been equalled by any of the bands appearing locally. Spencer Tupman, leader; Samuel Kerman, Ben Franklin, Frank Edson, Bob Foster, Charles Williams and Joe Smith make up the personnel. With an entire ab- sence of brass, which wasn't missed, thoy earned four encores and In- numerable calls. A production has been built aro.und the band opening with a film of the individual members. Upon raising the screen, disclosing the band, this is followed by some splendid numbers, "By the Waters of Minnetonka" combined with the sky blue water, is made a special bit with a transparent drop lowered, upon which is thrown an effective moving cloud effect. "When Hearts Are Young" as it would have been «' ne by the several composers fol- lowed and closed the act. Among the encores was a new arrange- ment of "The Song of India," which stopped the proceedings. This band will prove agreeable wherever it appears. It is named after the local dant-e cabaret in which it plays. McnKIn. Tha inmates of San Quentin Prison, in California, wish to thank the music publishers who furnished their orchestra and band with mu- sic through the efforts of George Allen a-' Prof. B. fj. Gallur, .il blackface walks on after the girl has sung an offstage song, the idea aiming at a comedy double-voiced opening which he reveals later when introducing his partner. It J missed on the Roof due to the faint 1. offstage voice. The balance con- ; sists of cross-fire with the girl, who straights in brownskin make-up. She has an excellent singing voice, ^ getting her numbers across strong. The male member needs experi- ^ ence and dir^tion before he will get results handling the comedy portion. The material, a mixture of old and new gag&t would suffice in more capable hands. The act in its present shape just about passes as a small time No. 2 turn. The monolwg should be de- livered further back of the foot- lights. The position in front of the apron kills all facial expression. Con. K. T. KUMA and CO. (3) Japanese Illusions 12 Mins.; Full Stage (Special Drops) 58th St. The name of Kuma has been he- fore the vaudeville fans for a decade. This man apparently Is an offshoot from the old family of that name. He has strung together an indiffer- ent routine of cabinet tricks with a variation of levitatlon for the finish. Some of the cabinet tricks are transparent, especially the first one. of transferring a girl from one set of boxes to another, and another in which a man assistant disappears from a mummy case. The levitatlon affair has a good detail in the final disappearance of the girl in tnlJaTFT The subject is covered by a limp covering that hang.^' about two feel all aroimd, and when it is snatcht*«i away nothing Is left. The mechanism is well conmilt 1 although t^e Cooper boom treat ment as used in the Opaip illusion suggests itself.. . Rush.