Variety (June 1923)

Thursday, June 7, 1923 NEW SHOWS THIS WEEK 29 theatrical emphasis. The sketch Is Id the same vein—artificial to the last degree—but gauged for a spe- cialty show where vivid effects have to be delivered In a minimum of time and there Isn't any liberty in working up delicate shadings. When you stop to think of It, 16 or 17 minutes is an extremely short space In which to unreel a complete dra- matic story, and they do that even to a boisterous but highly colored "big scene," and the novelty of hav- ing the heroine sit in a stage box and thereby make the whole audi- ence part of the play. The surprise turn at the finish is an ingenious surprise and brings about a first rate curtain. Fox was never better in his pri- vate vein of making the audience understand zippy personal gags and wise cracks touching upon side show business matters. Fox probably will never get over being a precocious youngster as long as his jolly kid- ding style lasts. Somebody ought to build Fox an intimate Little Vaude- ville Theatre and let him ad lib him- self to a fare-ye-well. The Four Phillips, risley workers, equilibrists and club jugglers, closed the show with impressive feats in head to head balances, but the forma- tions were necessarily slow, which makes it a dangerous item for bill closing. Hush. RIVERSIDE The afterpiece put on at th* con- clusion of Olsen and Johnson's turn at the Riverside Monday night saved the show from a real Brooklyn Bridge brodie. The first half of the bill was as tame as a pet cat, far too quiet and with two acts spotted second and third, that let the show down so far it was a miracle it ever recovered. Zelda Santley deuced with "im- pressions" of stage celebrities, and Tracey and McBride in a long drawn out, much too tallcy two-act of dialog,' songs and .dancing were No. 3. Tracey and McBride just missed the Bronx cheer from the balcony - ltes when they opened with get back crossfire that didn't register. The act needs shortening and re-writing. The talk can be cut down to a mini- mum. The low comedy finish is kayo, but the turn in its present shape is not big time, due either the author's fault or the limitations of the artists. Miss Santley is a bobbed haired girl with an exaggerated carriage and a series of impressions or imi- tations that bear some resemblance to the originals, but not enough to" stand comparison with some of vaudeville's excellent mimics. Her singing voice is a handicap also. The imitation of Belle Baker was reminiscent as to dialect, but that let it out. She got most with James Barton's slow dance which was also so so. A sign board with names of stars to be "requested" held up the applause a bit, but she registered but mildly. Moran and Mack following all of the talk in the No. 3 act did about as well as could be expected In fourth position. The blackface pair crossfired to fair results. The box- ing bout went well as did the slow dance of .the taller comedo, but they didn't receive their usual returns by far. Franklyn and Douglas Charles had tough sledding at the opening closing the first half, but hooked them with their travestied Apache dance and the hand to hand stuff at the finish. The many camoil- flaged acrobatic acts that followed the fashion set by this one have failed to take the edge off this corking turn. They deserve credit for originating something and how vaudeville needs originality just now! After intermission. Topics and Aesop Fables did unusually well due to the quiet prelude. Shone and Squire opened after Intermission subbing for Bevan and Flint, who failed to open due to illness. Shone is Billy Shone who has been singling In the small time houses. Miss Squire is an eye filling blonde who can wear limb displaying costumes and does, but who shouldn't sing much and does. Her voice broke on the high notes, maybe due to ner- vousness, it being a big time show- ing for the pair. The act is com- posed of "kidding." familiarity with the leader, and other hack- neyed comedy methods. It'*-not big time and won't be despite the pos- sibilities of t^ne team. May Yohe and her band next. The former Lady Francis Hope sang several of her old song successes, getting some returns. Miss Yohe has surrounded herself with an ex- cellent group of musicians and a colored boy dancer who tore down the house and Started the first healthy applause of the evening. Olsen and Johnson opened with a bit of their regular turn then went into the afterpiece which included about everybody on the bill but the "The Clown Seal" that opened the show. The colored boy from the Vohe art wan the individual hit of the afterpiece. The clowning was a riot with the comedy hungry regu- lars. The artists trooped up and down the aisles pulling hoke and making it 'stand up. Olsen and Johnson saved the show wit! their act and were as welcome as a home run with the b :J«fl full and four runs needr 1 to win. The Riverside is down to summer 'pproprintions on the cost of its p hows. About a half a houseful on he lower floor sweltered and stuck, Con. ORPHEUM Even Eddie Cantor (New Acts), doubling over from Ziegfeld's "Fol- lies," had to bow to "Kid Humid ty" at the Orpheum Tuesday night. Ed- die lost the decision to the weather man as far as attendance waa con- cerned, but hung it right on the kid's chin when it came to enter- taining those who were In. The black face running mate of Al Jol- son. or rather the late stable mate and star of "Make It Snappy,' now the Follies, went right after them with his songs and stories told a la C-tntor, and registered solidly con- sidering the anemic gathering. Can- tor is a "name," an entertainer of two rare combinations in these days when drapes and cheek have re- placed drops and talent. Cantor was programmed for next to clos- ing, bur appeared No. 4 in order to make the Follies, changing places with Frank Dixon in "Lonesome Manor.' Dixon eased through the nice re- turns. His "hick" character and wise delivery were a bang under- neath the bridge, where they all talk that way. His, "Listen, Koke!" threatens to become a Brooklyn catch line. It's a return engagement to.* the Paul Gerard Smith playlet at the house this season. The rest of the bill played fast and smooth. Lady Alice's Pets opend with the rats and cats. The association of the two natural enemies was in itself a novelty. The rats do most of the work, walking tight ropes, climbing ladders, etc. The cats are a beautiful group of Angoras. Lady Alice looks class in her evening gown, and the turn is nicely dressed and weli produced. Vincent O'Donnell, another Or- pheum face, was second. The boy McCormack sang four songs, and could have pressed it, but wisely refrained preferring to take several healthy boWs instead. Flo Lewis followed in a muchly- improved vehicle over her recent appearance in a New York house. Miss Lewis has cut the act consid- erably, much to its advantage. Her former long-drawn-out "kidding and crossfire," with her pianist haa been edited. Opening with 'Giving The turn held the house Intact, It waa a long show, running three hours, too. Milla Reuter and William Reuter were at the other end with a hand- balanclng turn that brought forth the usual formations and several new twists. A good sight act. The woman la an expert ground tumbler, and also figures aa the under - stander aa well aa the mounter in some of the tricks. Beaumont Sisters were No. 2, and although handicapped by a mess of innocuous talk contained in their sketch vehicle, by Edgar Allan Weolf, the old-timers won out handily with their old songs. That "Sidewalks of New York," "Rosie O'Grady" and "Annie Rooney" rou- tine has saved many an act. It was a herculean task to accomplish, but the good old standbys of the Tony Pastor period succeeded in making the house forget the drivel and forced attempts at comedy of the sketch. A straight singing turn, with the old-time numbers kept in as the punch, would make a much better act, minus the sketch struc- ture. Maddock's "Fifty Miles from Broadway," third, and a whang with the pretty stage setting, the competent comedy efforts of Harry B. Watson and Reg B. Merville. and its music. Likewise Olga Woods' dancing and the cute stepping of the pair of ponies in rompers. The book is awful. That cast must be a wonder in its way to overcome the effects of some of the gags. Who- ever wrote it went right down the line and grabbed every released gag in sight. The house liked the act Immensely. D. D. H. next with a bunch of new material. The Brightonites caught the better part of the points, al- though one or two floated througn the transom. D. D. H. caught a re- ception on opening and closed ex- ceptionally for a talking act. The encore could be stronger, however. It made an anti-climax following the laughs of the act itself. Grette Ardine, assisted by Tyrell and Mack, a couple of first-rate Roofers, closed the first half with a rush. The act has some excellent lyrics and music by Neville Fleeson and Albert -Von Tilzer. Dancing is Kisses Away," with candy kisses dis- ; an instant impieh- • ., m^^i-. ,i,.,.;„« intorniiuinn songs and an encore, and could have sung half a dozen more. Good two- men acts of this type are always welcome, and these boys are near the top in their line. Swift and Kelley, next to closing, were up against a roasting, restless crowd, but their refreshing little skit seemed to bring in a bit of fresh air with it. Mary Kelley has one of the sweetest voices in vaude- ville, as well as a winsome, appeal- ing manner that cannot fall to bring results. Swift is a good example of the more recent type of light comedian, working without make-up or trick outfit and depending upon legitimate delivery of material for hi.s laughs. Ted Lorraine and Jack Mlnto of- fered their neat routine of dances and songs in closing spot. Elna Hansen has taken Margaret Davles' place in the act. She does practi- cally the same bits as her prede- cessor, is pretty and graceful, but lacks the assurance that will come with experience. All the numbers have a touch of novelty, particularly the moth and flame and the jazz apache dances. "Out of the Dust." a good film feature, co-'d not hold the fight fans. Fourteen minutes waa not enough for the Americans, Foster and Seamon have a turn picked complete from burlesque, in- cluding the Dutch comedian's red nose and tricks of speech and busi- ness. They are still doing a brand of Weber and Fields. The fat straight man feeds in the recog- nized burlesque way, and the comedian pulls all the official ma- terial, including the rattle in the throat Out of their 17 minutes there is a "nance" bit that must last eight. The audience liked them immensely. Brosius and Brown, veteran com* edy bicyclists, closed the show. Rtuh. . FIFTH AVE. leader, she made.an instant imp sion, which was strengthened by her graceful dance. Her "Suffragette" character, with monolog and song which followed, slows up the act. The song contains exactly one funnv line. The "speech" also runs for the end book. The "flapper" num- ber for the finish remains, as before, the strength of the turn. It's a much better act than before, but there is room for plenty of im- provement. The production is un- usually elaborate. Rogers and Allen closed the first half in a gem of a singing turn. It is a man and woman combination, with excellent voices much above the average. Two special sets set in three and full stage serve for back- ground for "Crinoline Days," and a medley of old favorites, and "My Man." The act closes in "One," with an operatic selection. The voices are toneful and mellow, and the turn routined to find favor with any vaudeville gathering. Refine- ment is the keynote of this turn, which will hold a spot on any of the big bills. Aesop's Fables and old songs and views commemorating the Silver Jubilee followed the intermission period. Moody and Duncan next, two girls, one doing comedy in the conventional frame-up to the> oth- *er'a prim straight. The comedienne haa considerable personality. The voices are O. K. soloing, but sound- ed flat in one duet. The operatic- jazz contrast, with "one interrupting the other, made a good, strong iin- ish. They liked the act here. Kerr and Weston closed and land- ed big with their dancing. The "flapper" dance of the team didn't suffer any, although a direct con- nection with Flo Lewis and her piano-dancing partner. The solo dances and opening cane dance of Kerr and Weston will stand com- parison with any pair in vaudeville. It's a sure fire turn of its kind. About half a houseful on the lower floor, and not enough to start a fight in the balance of the house. Con. BRIGHTON It looked like a push-over for a turnaway at the Brighton, Coney Island, Monday night, but the house ! never did better than three-quarters capacity during the evening. A sul- try', torrid day in the city made the seashore look perfect for the night, and then the Silver Jubilee celebra- tion was expected to help a little. That's about what the Jubilee did apparently—a little—very little. A threat of a thunderstorm from «'> to 1) kept a lot of people in town de- spite the heat. The show was composed mostly of familiars, standard acts that guaranteed a certain percentage of entertainment. The novelty and the only thing approaching anything off the beaten path came at the elo e with the basketball game of the Cooke, Mortimer and Harvey B 1 This is played by two men on bi- cycles, and there's a thrill a sec- ond in it. To make it harder a con- siderable part of the session is played in the dark with the ball illuminated. * It's an Interesting bit of science and skill that cofcibin* a <Vith it high-class entertainment. well. Topics during intermission and . Paths News preceding the vaudeville. Emma Carus and Walter J. Leo- pold started it over again In the second half with songs. Some Of the harmonized stuff wasn't what could be called harmonious. A dou- ble dance secured gales of laughs. The solo done by Leopold at the piano could* be dispensed with, his voice falling short of ballad require- ments. The Carus act landed strongly at the finish, Miss Carus making a speech. It testified un- questionably she's a favorite in Brooklyn, her home town. > Williams and Wolfus next to closing and a riot of laughs, as usual, with their low comedy stuff. Slapperitus of the most obvious sort, but what could be funnier than the way they handle it? The trick dog who doesn't do the tricks re- calls Harry Kelly's "Lizzie" from a Winter Garden show of some years back, and the placing of "Fisher's Hornpipe" and "Yankee Doodle" while singing "Swanee River" at the Ramo time was done by Will H. Fox back in the last century. But, then, most of the piano acts have taken Fox's stuff ad lib. and it's entirely probable that Williams never saw Fox work. Nevertheless, Fox originated the triple trick men- tioned. The breakaway piano has the sort of comedy attached to it's manipulation that made the Key- stone comedies sensations a decade age A remarkable comedy turn withal. Bell BROADWAY The Criqui-Kilbane fight pictures as an extra attraction drew a full house Monday night. It was a mot- ley audience. The bill waa made up of standard acts. Willa and Harold Browne opened with a familiar type of rag picture act. The turn lacks individuality, but is capably arranged and pre- sented. The Dixie Four started slowly with three or four pop num- bers that they bellowed forth. This dusky quartet has the mistaken idea that noise is harmony. It was not until they started dancing that they began to tie the show into Chinese puzzles. With that characteristic indigo strut they created a bedlam of applause. Frawley and Louise did not click as nicely as usual. Some of the man's more subtle quips passed completely over, and he seemed to have difficulty in forcing any appre- ciable laughs out of them. Besides, his prize "Dixie" song was used later in the bill by Tom Swift, and he was forced to deliver a number less adapted to his style. This act need not worry, however, as Fraw- ky's personality, coupled with the gill's lovely auburn beauty, assures their success almost anywhere. Powers' Elephants topped and re- peated their success of a month ago at the Palace. It is needless to say anything except that they filled with wonder and delight a crowd so hard- boiled that they probably think zoos are meant only for children. Recog- nition must be given to the trainer, who is a great performer as well. The audience was Just ripe for Healy and Cross, who sang five AMERICAN The bill has a quiet, but interest- ing, start, and builds up to a strong comedy climax, the sort of comedy the American clientele likes. Per- haps it i« because the offering of material is more abundant and the bookers' choice wider,' but this early summer entertainment is a vast improvement upon the bills that have been framed for the house. It's too bad that the sea- sonal falling off in attendance cornea just at thie time. For, with shows like that of the first half the busi- ness ought to build. A Buster Keaton started the evening off splendidly with one of those rip-roaring comedies, this one the electrical trick farce. Maxine and Bobby, single man with a single dog, made an unusual starter. The work is quiet and withour parade, but the dog, a j zippy fox terrier, is wisest of his ; kind. He goes through his routine without a word of command. The trick of a somersault off a pedestal Strikes one as a new trick alU>- Sether, and all this pup's stuff is ifferent. The man works the dog wlthou'. trying any singing, dancing or talk, and the novelty appeals. Dreor. Sisters do a fairly pleasing routine of songs and costume change with too much attempted character stuff and not half enough coon shouting and blues duets. They finished/with a corking darty melody that carried them off neatly, but before that they struggled along with novelties that didn't quite add up, although both girls know the show business and work with a good dea. of energy and -aureness. The pirate song i« a mediocre starter and doesn't give the sisters' voices a chance. A rag for an opener would get them going better, and the closing blued would clinch a good impression. Their cross- fire is dull. Judeon Cole did well, leaving the house wanting more. Dan Caslar and^the Beasley Twins make a first- rate flash for No. 4. The twins look well in two costumes, both gypsy affairs, and their violin playing is smooth and finished. The dancing doesn't amount to much, but it in- troducer a change of pace and helps the general effect. The same goes for the girls' singing. Caslar is a piano-playing demon. He gets flashy effects from the Ivories, but what is the answer to turning the stage dark and lighting a cigaret in the gloom as a prelude to a solo of "My Rosary'? When the lights presently come up it is disclosed that Caslar uses the right hand to hold the coffin nail, playing only with his left. But the cigaret light- ing is the wrong way to go about the trick display. It suggests some- thing different and the audience is puzzled. They expect something like "Then My Pipe Went Out," and they get "My Rosary." They prob- ably resent being fooled. Earl Bronson is working with a woman this time. Bronson's stuff Js laughable, but the comedy punch o' the turn is rough soubret busi- ness with the musicians—a flirta- tion song addressed to the drum- mer, then a kiss for the top of the bald bass viol, and a lot of rough stuff with the leader They liked it at the American, and some of the cross talk was a riot. Bronson has a pleasing tenor voice that could have been used more, al- though the turn as Jt stands is sure- fire on this grade of time. Harry Murray and Jean Madox came through with the feature of the evening. The girl is a winner. Her characterization of the tough girl demanding to be fed '« as funny a* anything that has come to this reviewer's attention in a long time. The cross talk is packed with witty surprises, and the girl's style of de- livery Is 100 per cent. For good measure «he does an acrobatic knockabout dance that is a winner. It's a striking performance, even though it is done in comedy vein and makes most of the apache stuff look foolish for rough knock- about. Murray has improved con- ftlderabl) His feeding and leading is well timed and his tenor voice Js useful in breaking 'vp the talk. The Fifth Avenue Inaugurated a new policy this week of opening at noon instead of 1 p. m., with the early hours given over to pictures and the regular thrice dally rou- tine for the vaudeville continued. In addition to advancing the open- ing time one hour a new scale haa been put into effect for the added period, the top admission between 12 and one being 25 cents, with the balcony 20 centa and the second balcony 10 centa. The same scale is In effect between 4:15 and 6:11 as an incentive to attract buslnesa for the supper show. The first half bill Monday night opened with Bankers and Sylvera. a man and woman comedy acro- batic team. The couple display some capable work of * varied na- ture. The work la faat and worth- while, with the final feat handled by the man not sufficiently showy for the final effort Aa worked out, ita difficulty is not demonstrated. In six minutes thia couple displayed plenty of action. O'Brien and Jo- sephine (New Acta) took the No. S assignment, making fair progress, their vocal efTorta gaining the beat returns. The first real applause of the evening started with Bill Robinson, No. 3. The ebony-hued terpsicho- rean whiabang started with a rush and kept the audience with Mm every minute. He gave the show much speed. Mable Burke, assisted by Norma Ley land, came through nicely—NoV"' 4—with their <luiet song and piano offering. Misa Burke, a favorite of several years' standing at the Fifth Avenue, found many old friends present, with the entire audience displaying genuine appreciation of her efforts and those of Misa Ley- land. Billy Arlington and Co. made a bid for comedy honors—No. 5—the * low comedy efforts of Arlington and bis co-workers being credited with several laughs. The turn is com- prised of three men and a young woman, and includes bits associ- ated with this comedian for some time. The downtown audience gave their approval. Maurice Diamond and Co. in a dance offering followed. Diamond is assisted by two capa- ble, hard-working girls. Their ef- forts show expert training, with Diamond's sure fire Russian step- ping the act's big punch. Tho dance turn made way for Jack Wilson and Co., closing the show.- The Wilson turn secured its returns with the introduction of the diminutive darkey, who had things his own way. The early work brought laughs regardless of the fact that as an impromptu of- fering'It failed to contain any signs of newnesM. LOEWS.STATE Comedy was the missing element in the Htate'a bill the first half. That made the show offered a rather dreary affair that was tremendously accentuated by the fact that the orchestra chose for its overture of- fering for the bill the selection from "11 Trovatore," a long-drawn-out, somber musical aelection. At that there weren't so many present as to worry very much about, for the house at nine o'clock waa less than half filled on the lower floor. The opening act. Eight Blue Dev- ils (New Acta) waa a business-like flash at the opening for about four minutes; then the speed slipped and there wasn't a single thing stirring until Mlgnon, who appeared next to closing, stepped on the stage and tore off the applause hit of the bill. This little artiste is aa good an imitator as ever and seemingly has the knack of«acquirlng manner- isms and speech tones aa well of those that she impersonates. The audience wanted more when she left the stage. Closing the show, following Mignon. were Platov and Natalie with their par-excellent dance of- fering. It isn't an act that should bo in the closing spot, for its full value isn't sold to the audience in that position on a bill. In class, stage dressing, costuming and work this team ranks with the best that vaudeville has to offer in this par- ticular type of entertainment. Na- talie's clothes were pretty, and one gown that appeared to be brand new stood out above the rest. De- spite the fact that the team was on late, that easily captured tho sec- ond honors. After the opening act Casson Bros. and Marie (New Acts) showed a fairly neat little dance offering, even though the acquisition of Marie does not Koem to enhance the value of the act particularly. "Ham Tree** Harrington and Cora Green, col- b