Variety (May 1923)

JM NEW ACTS THIS • Thursday, May 10, 1928 at •THE TORCH-BEARERS" (9) Satirical Comedy Cfi Mint.; Full Stage (Special) PaVace r«Lui» *•*▼ . Bo **"i! Mr*. J I-»uro P»nu*nellI..AU«>a Bktp^rlh Florence •••••••••• HoM , W i^r£iS£ Dr. Ho»sfro«a tt...#- A. curt U» Twiller Booth Howard Mr Si»inll.-r...... Qeors* Warrington Mr., ffii uort ™i: ffilK *oV ..tha HtM» Manager; Fred Matney George Kelly, of the family that also boasts of Judge Walter C. wrote "The Torch-Bearers." He had an idea that somebody would write a satire on the Little Theatre movement and he might aa well be ilrst. Having scored previously with his vaudeville material he was well Qualified, but after the playlet opened its producers believed it too good and In agreement with the tall Mr. Kelly, it was made mto a delightfully humorous three-act comedy, which opened early in the season at the 48th Street Theatre, then moved to the Vanderbllt for a moderately good run. As a play, "The Torch-Bearers" was rrever a big money draw, prin- cipally because it evoked a differ- ence of opinion. The Initiated en- Joyed it immensely and failed to understand why It did not pull big attendances. The answer was that a percentage of the audiences did not really understand the bumor. That appeared true both in Nfcw York and on the road, although the play made a season out of it. Its producers, Rosalie Stewart and Bert French, have taken the second act of the play—the orig- inal vaudeville act—and are pre- senting it in the two-a-day. In doing so they have brought from the original cast two of the leads, Mary Boland and Alison Skipworth. hoth featured. Miss Boland did not quite know how to take Monday night's plaudits, when she and Miss Skipworth bowed from each side of the apron. Miss Boland has long been of the „ legitimate. She is the jo/ of "The Torch-Bearers" as the young so- ciety matron making her first ama- teur appearance. The role is one of the happiest in her career and it is quite likely she will be willing to continue with the playlet on tour, though the show may again he sent out as a regular attraction. John Drew, whose former leading lady she was, saw "The Torch- Bearers" at the Vanderbllt last fall and was treated to an agreeable surprise with Miss Boland's play- ing. He asked why she had not embarked in* that class of light comedy 15 years before. A short film with descriptive matter was run before the act, ex- plaining the amateur show was to he given in the town hall for the I benefit of the Seamen's Home. In the play the Horticultural Hall was named (that being an assembly place in Philadelphia whence the Kellys come). The action takes place back stage during the presen- tation of the short play with all the little errors and mishaps that be- fall an amateur show performance supplying the laughter. The tripping over the baton is the big laugh of the act as it was In the play, while the satire found punctuation with Mrs. J. Duro Pampanellis remark: "I don't think the audience noticed it." Miss Skipworth much amused as the boss of the works, while Fred Mat- ney stood out from the others as the blundering stage manager. Perhaps the vaudeville version Is more travestied than in the play, for when Miss Boland appeared through the door to say:' "There's something the matter with the cur- tain," the line which climaxed the fun was half lost In the laughter of the audience. Her appearance should be delayed until the house Is quieter. The act Is one of the funniest playlets in vaudeville, particularly for tnose who did not see the play. < Ibee. MR. 8WEENEY and MASTER WALTER Comedy Act 18 Mins.F One American Roof This is Fred Sweeney, formerly of Mr. Duffy and Mr. Sweeney. An adult assistant is programmed as Master Walter. It's a nut act, and a funny one with plenty of sure- fire laughs. A certain quaint hash marks the turn and the method of securing laughs. There's consider- able hoke, some of it familiar, but the way it's presented and sold takes the act out of the regulation run of comedy teams in "one." Sweeney Is on first with a make- up that includes a battered high hat, an umbrella, a lantern, walrus mustache and nondescript Prince Albert. There's an announcement about Master Walter, following which Sweeney does a comedy chink number. Master Walter en- ters with a comedy kid make-up. Sweeney's efforts to coax Master Walter into doing a recitation holds plenty of hefty comedy, winding up with a whang when Sweeney black- jacks the elocutionist to choke off the recitation. The old one about not being able to help him up, but he will lay down alongside of Sweeney allows the opportunity to recline on the stage, illustrating the ancient gag. The business of the pair eating lollypops, with cross fire, as in the Duffy and Sweeney act next. Dur- ing this exchange Sweeney in dis- cussing a soft job with Walter ob- serving nothing could be softer than laying there and telling gags, or something to that effect, unless they went over to the hotel and phoned the act over. This was also in the Duffy and Sweeney act. A travesty imitation of Jolson by Sweeney, who incidentally executes a first-rate one-handed spring, and comedy business with a. unicycle during which Walter does some clean cut trick cycling (In a very limited space in one on the Amer- ican Roof) are also included in the list of specialties and bits. The act is different, Sweeney's eccentric character and Mister Walter's nance kid being away from.the cut-and-dried for vaude- ville. It was next to closing on the Roof and was a laugh from start to finish. Bell ff "WORLD OF MAKE BELIEVE* (7) 22 Mins.; Full 8tsge (Special) Palace Hockey and Green have some- thing of an idea In "World of Make Believe." a phantasy. It might have been made into a big flash act. Instead it might do for once around in an early spot as here (No. I), but hardly more. The setting is the Land of Amuse- ment, where dwell the spirits of musical comedy, burlesque, opera, circus and drama, all declaring themselves the best of their field. The place Is presided over by a per- son who looks like Diogenes. He explains to an Inquisitive lass (Nola St. Clair) about the various spirits. One by one they trot forth. Miss St. Clair Is featured and makes herself liked, especially with a burlesque bit. Tillis and La Rue as "Musical Comedy" went over nicely at the start with an acro- batic dance. The girl is particu- larly neat in her work and is easy to look upon. "Drama" was a weak spot, the comedy matter register- ing hardly at all. "Circus" had a tumbling clown, with St. Clair teaming for that bit. "Opera" and "Burlesque" followed, neither im- pressing. Reappearances in changed cos- tumes for the finale brought each character on for a small bit, Miss St. Clair then saying she was em- powered to give the crown to that division of amusements deemed the leader. The crown went to herself, she disclosing herself as "Vaude- ville," and the word was projected on the sky above the temples of amusement. An all-star cast was billed, that claim being most exaggerated. The others were Charles Gibney, Flor- ence Mackie, Martha Hons and Al- fred Florenz. Ibee. HELEN 8TOVER (2) Songs 10 Mins.; One B. F. Keith's, Syracuse, N. Y. Syracuse, May t. A powerful soprano is that of Helen Stover, who made her vaude- ville bow at Syracuse, Monday, in the No. t spoL Miss Stover had some difficulty at her opening mati- nee with her lower register. The notes were throaty, probably due to careless control. She opened with the traditional, "My Hero," starting the song off stage, perhaps as tried and true as the song itself. "The World Is Waiting for the Sunrise," another number worked to death in vaude- ville (it was even sung In Lou Tellegan's "Blind Youth" last week), followed. Next came "Lindy Lou," Miss Stover's best. "Carolina" was worked in and on Its heels came an operatic aria. The finale was a new number by her accompanist, Mr. Brunice (so she named him; the program was silent), "I've Made Up My Mind to Forget You." It's a typical ballad, jazzed up on the second chorus. Miss Stover was over made-up Monday. Facial expressions designed to be dramatic became grimaces. Bahn. McKESSICK and HALLIDAY Colored Comedy Songs. Talk. Dances 10 Mins.; One 23rd St. Straight and comedian, both col- ored. Comic works under cork in eccentric suit of clothes. The turn, after an opening double song "P.ow Wow Blues," revolves mostly about an old song, "If He Comes in I'm Coin* Out." It serves as the back- ground for hoke comedy around the old "ghost" bit from burlesque. A bit of stepping is Interpolated before the Lost bit and a strut goes with the'firat. Both arc fair enter- tainers in a vehicle evidently con- structed with nothing beyond the small time in view. As such it about passes. Con. SYRACUSE COLLEGIANS and DOT KINNE (12) Syncopation 25 Min.; Full Stage B. F. Keith's, Syracuse, N. Y. Syracuse, May 9. Far better than the average home talent contribution to the cause of jazz was this effort by this combination of Syracuse University syncopation devotees at Keith's, I Syracuse, the last half of last week. The single fault of the eleven-piece orchestra was the lack of variety in numbers. The jazz selections were of the same general run; the use of one or two non-syncopated melodies would have given welcome relief and proven less wearisome to the audience. As It was, the Collegians surfeited the folks down in front with jazz. There was, however, In the ar- rangement of the* selections for the band some keen musical showman- ship. Alternating reliance tfpon four saxophones and upon two cornets and a trombone for the high lights of the featured compo- sitions was a big asset. Miss Kinne. a dancing and sing- ing co-ed, with emphasis upon the singing, made a good impression, and looks like real vaudeville ma- terial. Indeed, the Collegians themselves, by making the sug- gested changes in their program, could easily get by on any bill. The combination has youth, looks, gin- ger and a real knowledge of music. Miss Kinne's best bet is ■ the "blues" type of song. She has a wicked strut and a wicked eye to back up a saucy personality. Her voice is not strong, perhaps, but it is decidedly better than that of some vocalists who have been here with orchestras this season. Bahtu MISSES LEONARD and BARNETT Songs and Piano 17 Min.; One (Special) Majestic, Chicago Chicago, May t. Freda Leonard and Jewell Bar- nett are not a happy combination inasmuch as Miss Leonard's cabaret style needs a contrasting foil in some modest little girl at the piano. It cannot be styled a single with pianist for Miss Barnett sings in every number. There Is quite some talk in the act, making it a double in all that the term means. Miss Leonard is venturesome and must be credited for some new ideas (though they are not particularly effective. Her entrance is novel and several bits are bids for pop- ularity through originality. Miss Barnett takes her seat at the piano and after a moment's wait, Miss Leonard, appears, leaning against the front wing. "Where's your pep?" inquires Miss Barnett. "I've lost it," is the reply. "You mustn't be grouchy" is the response. After entering upon the first song Mids Leonard walks to center of the stage with heavy footfalls. "Is some one following you?" asks Miss Bar- nett, which is a good laugh. At an- other time Miss Leonard starts to kid with men in the front rows. Miss Barnett warns her that she must not do such things; that she don't know the men she is address- ing. "Give me a little time and I will" she replies. On still another occasion she stoops down while singing a part of one song. The jest about only needing time to get acquainted is characteristic of the offering. The greatest ap- plause came with concluding lines of a broad lyric. Miss Leonard can put over that style of song and Miss Barnett eontributes Importantly to the harmony. I<oop. CHARLES ROOT'S STEPPERS (4) Dancing Act 10 Mins.; One Jefferson Four boys in tuxedos do a routine of soft shoe steps, working singly, In pairs and ensemble, in formation and in line. Following this, two do an eccentric dance; the other duo shows n medley routine of waltz, essence, Irish jig and drum beats. The f<»nr finish ensemble in a fast simultaneous dance. They are not star dancers, but are youthful and seem to enjoy their work Right now they ire sure fire for tm 'II lime No. 2. SAM E. MANN Songs and Talk 12 Mins.; One American Roof Sam E. Mann works In black face. He has a real asset in a resonant voice utilized to excellent effect in an imitation of Al Jolson crooning a mammy ditty. He also does Can- tor well. An opening number has Mann announcing he was an usher at the Winter Garden and as he took patrons '"own the aisle he studied Jolson and Cantor's style. There's a bit of talk with the Jolson imitation. Mann has a lot more studying to do as regards gags. In addition to the jolson and Can- tor imitations, he does a couple of pop numbers, delivering them very well. His songs will put him over surely in the pop houses, his voice and delivery insuring that. The ease and skill that comes with experience should remedy the defects in his monolog delivery as h* goes along. Right'now he's set nicely.for No. 2, a spot which he filled creditably on the Root BcJL GRABLER REVIEW (5) Piano, Songs, Dances 12 Mins.; Full Stage Special Drop and Cyclorama 23rd Street This review is a novelty in one re- spect. It has no prologue nor at- tempt at a story. The numbers just follow each other. The cast In- cludes a man and woman dancing team, a male solo dancer, a girl singer and a male pianist. The pianist, in one number dou- bles as a "dame" for a comedy adagio travesty. It is the solo dancer does some acrobatics, the pair getting mild laughs on the dif- ference In size. The mixed dancers are the class. They have three specialties, open- ing with a corking adagio, follow- ing with a Russia double and doing a third double for the curtain. The solo dancer stopped the act with his Russian acrobatic single, consisting mostly of "hock" and floor steps. The pianist was "on" after the double dance, .in which he appeared. Previous to that number the piano stood unoccupied. The girl singer did well with "Buy My Flowers," which suited her voice and personality, but was away off with a pop song that required the jazz delivery. The specialty people are o. k., but the act needs production and an au- thor, to follow the other reviews. Lacking a "name" it won't gel be- yond three-a-day circles. It's just a straight dancing turn in its pres- ent shape. A eyeflorama, special drop and picture frame prop represent a good production. C&n. BRODERICK, WYNN and Co. (3) Dancing and Musical Revue 15 Mins.; Full Stage (Special) Majestic, Chicago Chicago, May 9. Jack Broderlck is a dancing violinist who surpasses 1 most of them inasmuch as he Is not Only a highly entertaining one, but an ex- cellent dancer, essaying varioift styles. Rose Wynn is a clever dancer and a cute girl. The com- pany, a male pianist, plays selec- tions between dancing numbers and accompaniments for all but one number. As all three are young, the offer- ing is billed as "Youthful Person- alities" .with both words appro- priate. Quite an elaborate Setting with an arrangement In the rear by which a curtain ascends and de- scends, adding to the effectiveness of the introduction of the dancers for their various numbers. Broder- ick's first solo on the violin is "Mighty Lak a Rose," played very low and in such contrast to the usual thing of this kind that it is very effective. His next is dancing while playing violin. For one num- ber Miss Wynn is shown at rise of curtain in rear in a contortion at- titude and then does classical danc- ing with a contortion tinge. The pair do classical, jazz and Egyptian dances, making changes of costume. It is a dancing revue which is quite as entertaining in every way as many of those with half a dozen people. Loop. — • , ' ' LANG and BENNETT Songs and Piano 6 Min.; One City Two men in tuxedos singing pub- lished numbers. Apparently a pub- lishing house duo. Should not be i considered seriously as an act. Mart. MANHATTAN SOCIETY ORCHE8TRA 24 Mina.i Full Stage Broadway. ▲ dance music organisation of Id or* IS making its appeal en s, basis of straight syncopated musta, The offering: has no special appeal aside from its popular style of, music The Instrumental make is as usual w^th all the emphasis on the brasses, backed up with %9 energetio worker of the traps, aa expert banjoist and a xylophone, all of which help to put the accent on the high spots of rhythm. The players are led by a violinist who works a solo Into the middle of the routine, a number of ballad* like quality that broke up the monotony of the rags and gave the program variety, a desirable quality of change of pace. The rest of the offering Is straight jass dance music, but delivered with a swing that commands the 'tapping foot The Broadway audience was slow to warm up, but the Jazs ■" appeal got to them and there were three genuine encores before they were allowed to get away. Summing it up the Manhattan outfit measures up as an ideal num- ber where the musical goods are ' demanded and price precludes an' organization with an expensive name. Rush. _ J i WALTER PERCIVAL and Co. (2) "Stranded" (Comedy Sketch) 18 Mins.; Full Stage (Special) State "Stranded" was formerly called "Egg in the Bag." It's a comedy sketch away from the usual run of playlets in that it is distinctly human in its story. None of the conventional running in and out of nonsensical situations or prepos- terous comedy business that as a rule marks the garden variety of vaudeville sketch. Any traveling man can vouch for the authenticity of the sentimental chambermaid who falls in love, with the "ham", actor; and the ham actor inci- dentally is remarkably well char- acterized by Walter Percival. The chambermaid is also a legitimately conceived type. Neither Is over-' done and both are played in an easy, reposeful fashion. A slice of life, the tale moves with the precision of an adding machine. The stage setting, too, carries a sense of reality that is seldom" achieved in vaudeville and It's all done with simple effects. Skill- fully interwoven with the comedy there's a note of pathos that gets over. A welcome addition la "Stranded" and should keep busy. Walter Percival does the best work of a long vaudeville career in it and his support Is flawless. Bell HELLER 8I8TER8 Songs. Dance. Music 14 Mins.; One 23rd St. Two girls of refined appearance open with an introductory song, following which one goes to the harp to accompany for vocal duet of old. song favorites. Another duet to orchestra accom- paniment had a bit of a dance. After a change one girl In abbre- viated costume of skirt and breast- plates returns for a short classical dance, while the other changes to a gold evening dress for a harp solo, which is the high light of the turn. The dancer In white costume joins the harpist for another bit of vocalizing. The harpist has personality and the voice necessary for this type of turn. The other girl's alto sounded consistently flat. Both try for the popular delivery on several songs, but lack the ease of experience for It T*ie act is routined intelligently, but the talents of the girls as a team don't quite measure up as re- gards the singing. For vaudeville they should improve with experi- ence, when they may advance. Just now the turn is a light No. 2 for the intermediate bills. They werit very well In that spot at this house. Con. TO TO HAMMER and CO. (1) Contortionists 10 Min.; Full Stage (Special Set) Cit y Man and woman, both capable benders. The male member does the major portion of the work with his partner sufficiently capable to han- dle her own portion. The great eat amount of work is done on a small platform In the center of the stage. It is mostTy worthwhile. For house* using this type of act It will fill the bill. Ilart.