Variety (June 1923)

Thursday. June 14, 1023 NEW ACTSTHIS W1E1T i- ido 1 ' «A FRIEND IN NEED" (4) Comedy Skstch 18 Min«.» Two; (Special) falsee This Lewis A Gordon sketch, by Howard Emmett Rogers, appeared at the Palace second from closing, which was far too late, even on a bill that ran almost half an hour earlier than the usual schedule for that house. , It is a satisfactory No. I turn, affording a running fire of giggles and several strong laughs. Set in a silk eye representing a hotel "Peacock Alley," it began with a talk between Nicholas Joy as a dude from Chicago and Mann Holi- ner as a chump from New York (though that excellent point ,as a comedy source seems to have escaped the author himself), in which the New Yorke. asks his visiting friend to meet his (the New Yorker's) girl and put him in right. He meets, instead, the vamp house detective, looking for mashers. It is explained and set right when he is handcuffed, after which he takes the lady dick to the Hippodrome— maybe in revenge or maybe because he's from Chicago. Joy, as the slick Chicagoan, looked as though he had just stepped off a label for "Between the Acts," and Holiner (featured) went back years to revive with much vehemence the style of part Immortalized by Ernie Truex so smoothly. The women w rt re Just "types," and officiated as such. Joy stole what gravy there was in the script, though Miss Linda Carlon, as the she-hotel-hopper, caught a few fat lines early in the running. As said above, a good No. 3 big- time sketch of the average class and caliber. La it. BROOK8 and ROSS Piano and Songs 11 Mins.; One 23d St. Two young clean-cut chaps in a piano and song routine. They enter in golf attire wearing knickers with sport shirts open at the throat. Opening with a pop song well har- monized they follow with a blues number softly cooed. A baritone solo is followed by a ctmedy song, "Oh She Lied," dou- bled to orchestra accompaniment. A corking ballad, "Wonder," also pleasingly harmonized, concludes an act that is sure fire for the inter- mediate houses and which should develop into a big time turn. The present song routine is all right, but a strong comedy nui iber would help. The dressing idea sin uld be further developed by the acquisition of a special drop to carry out the sports costumes. The open collar effect doesn't look neat. Neckties of summery hue and two- color golf shoes would improve the general effect. Both should cultivate an easy stage presence, the taller member at present striking awkward attitudes. He will acquire the necessary aban- don with experience. The voices are there, which is the most important as^et. Con. . \ TOWER and WELCH Talk, Dancing, Singing 12 Mins.; One American Roof Two young fellows who must have seen a number of shows recently, Judging by the comedy stuff offered. Starting with Val and Ernie Stan- ton's, "Horsey, Keep Your Tail Up," there's a suggestion of Callahan and Bliss and Shaw and Lee, the first In make-ups, and the latter both In make-ups and method of telling gags. Then one of the boys calls the other fellow Mike and his part- ner returns the salute with Ike, re- calling Lewis and Dody. Both are good dancers and one sings pleasantly. With an act and experience they should develop. They have p!enty of ability, but will have to secure regular material be- fore they can expect to advance. A burlesque show for a season would help a lot. Bell. HORLICK and HARRIS SISTERS Dancing 12 Mins.; Full stage American Roof. Horlick may have appeared with the Sarampa Sisters previously. The present turn classes as a like- able dancing act of the conventional type. A trio starts it, with one of the sisters doing a single in pierot costume next. An adagio by the other sister and Horlick, a single by Horlick and a double by the girls in bare legs and feet complete the routine. The turn is prettily cos- tumed by the girls. All of the dances offered landed on the roof. The act has more than enough to get It by surely in the neighborhood bouses. Bell. GRIFFIN TWINS Dancing 11 Mins.; Full Stag* %1 City. *—. Here's a capital novelty. The Twins look like children of about 12, apparently both girls, and as like as two peas, both in face and fig- ure. They have the simplest kind of a dancing routine, but they per- form astonishing neata in unison stepping. One constantly has the feeling of watching one youngste'r and her reflection in a mirror, so accurately are their movements timed. Whoever coached the kiddies has achieved remarkable results in this direction, and the startling resem- blance of the two goes to intensify the effect of mechanical perfection in movement. There is never a hint of juvenile pose or "fres' ness" about the twins. They look and work like well behaved children en- gaged in a pastime and enjoying it mightily. They enter modestly and without parade, both in Fauntleroy costume of black velvet knickerbockers and lace collars, and go ir-mediately into their dance without a word. A quick change brings them back in Egyptian dress for a characteristic number, their best, an* a remark- able bit of dance maneuvering. For the finish they do a bit of dramatic pantomine of two Roman gl 'lators in combat, ending with a pose in the huge picture frame upst g( An encore has a touc: of comedy. One of the Twins announces "Our im- pression of 'The Mermaid's Dream* " and they change to one-piece girl green bathing suits wi. top hats ar 1 walking sticks for a combina- tion cake walk and "interpretative dance.'* Well down on the City bill they scored unmistakab y and they will Co the same anywhere. Rush. WHEELER TRIO Acrobatics 10 Mins.; Full Stage American Roof Three men in a routine of ground tumbling and three high formations. Golf suits are worn, the make ups furnishing a relief from the athletic and Tuxedo outfits usually worn. The mounter is an adept at twisters, doing several that registered for in- dividual returns. One stunt which has the mounter doing a twisting somersault from the shoulders of one of the under- standers to a bridge formed by the arms of his two partners makes an especially showy and effective trick. The other two men are ex- pert ground tumblers. A line of quiet kidding conversa- tional stuff without forced attempts at humor gives the turn necessary variety. The act went remarkably on the Roof, the house applauding Insistently for an encore after the picture feature had been on for a minute or so. A fast athletic turn that can hold Its own as an opener or closer any- where. Bell. FLEMING SISTERS Musical 14 Mins.; One (Special drop) 81st St. Three pretty girls, youthful and masters of their instruments (piano, 'cello, violin) also add that desir- able asset, refinement, in appear- ance and deportment, to this mu- sical specialty which cannot fail to receive favorable attention on any bill. Their opening trio shows them each to be well grounded in the technique with their tones worthy of note. That they have practiced faithfully is apparent in the har- mony and rhythm. A duet of 'cello and piano gives the 'cellists an op- portunity for exceptional execution, and the concluding medley closes an act which should be seen in the best houses. PALACE A show that read like a great headiiner supported by a fair show, and played like the Giants in a world series—all stars. Maybe it's the easy Palace crowd that makes medi- ocre acts stand up like phenoms; maybe it's the kick In their systems when they inhale the atmosphere of vaudeville's high peak; maybe this boob reviewer is Palace-struck. Anyway, he sees a lot of unfamiliar acts that are never heard of again flash up here like champions, and sees old friends he has amiably tol- erated through years of consistent vaudeville going suddenly blaze forth as world-beaters. Of one thing he is certain: Eddie Cantor's hit was the biggest and most solid smash he has seen at the Palace or anywhere since White- man's Band. When^his name went up they whistled and cheered, and every point he made in his talk doubled them up. Cantor was glad to be back on solid ground. He said so, and most everyone knew just what he meant. And he wasn't the only one that was glad. If you can imagine a long lost brother coming home, all blacked up and full of Yiddish-African nifties, that was Eddie at the Palace. It was a perfect example of per- sonality, vaudeville's best seller. No props, no feeders, no anything but Cantor in "one," and he came in like a lion and tore himself away like a bear. He sang four songs and told twelve gags, and" had the gallery guys in his lap, the Palaces' audi- ence screaming "Yes" to his "We Have No Bananas," everyone inter- ested in his business and he seem- ingly knowing everybody personally. It was done so quickly that nobody, not even Cantor, knows how—or /why. It's an extreme manifestation of what the whiskered scientists define as "the human equation," all ex- plained by a wisenheimer named Prof. Helmholtz on a theory of "psy- chologically synchronic vibrations." But this isn't the Medical Digest, so let's dismiss it by saying Cantor showed as he had never showed be- fore, a stellar and instantaneously irresistible comedian of most de- lightful contact, registering a tri- umph rarely accorded an individual artist Glenn and Jenkins*programed, did not open; replaced by Burns and Lynn, two sap-nut variety comics with grave faces, who opened as though they were going to do a Lewis and Dody. But they warmed up after the opener and went into slapstick dancing that brought them back and sent them off to a bang. / nother new team for Broadway waa | .Meehan and Newman, deucing and cleaning, and, but for forcing one extra encore, a smash. The man does a weird acrobatic dance while MUNICIPAL FOUR Comedy. Song. Dance. Musical 15 Mins.; One, Three and One 58th St. Properly guided this malt quartet should develop into a big-time standard. T^cy have youth, voices, pep and entertaining ability which requires proper mixing to show these assets to best advantage. The title Is derived from the opening, one doing "wop" street cleaner, an- other cop.^reman and letter carrier. They reel off a pop leading into the street cleaner's specialty with a guitar. . The latter returns in straight business suit for a telling eccentric dance that ranks with the best of the legmnnia. To "three,** with th2 erstwhile copper cooing a Pop bal- lad in resonant basso, and the "fire- man" at the baby grand. The quar- tet, now all in dark blue street clothes, follow it up with some straight harmony minus accompa- niment that brought them back strong. They accepted an enKJore during which the end boy (street cleaner) injected jazz movements and the fa- miliar thumb-to-mouth strut stuff, which, however (as he did it), looked too much like thumbing his nose" at the audienco and made for unin- tended smirking. The act is speedy after the first couple minutes, and packs a lot of meat. For the present grade of vaudeville they're sure fire. Abel. AARON and KELLY Singing, Dancing 12 Mins.; One 81st St. Two colored boys in tuxedos open with harmony singing, their voices much above the average of dancer.? and blending very well. One has n freak high register used with good effect in a peculiar obligato. Danc- ing accompanies another and faster number after which, without leav- ing the stage, single and double routines of soft shoe and cceenn • dances are well executed, to the demonstrated satisfaction of the audience. The clean appearance of the team with their strict attention to busi- ness minus stalling will justify the booking of this duo on the better bills In this spot <No. 2). SOUTHERN FOUR : Colored Quartet I 14 Mins.; Ons Locw's State A male quartet of color. The boys appear in dinner Jackets and snap to their work with a vim. They hold" mostly to popular num- bers of the jazzy variety, although they have one or two little chants that sound like the real thing in old nopro music. The "Hear Dem Hells" is one of these and the ar- nn^rmnt is nicely handled. There Is a brief bit of stepping by one of tho boys that helps along. But one solo, the balance being con- certed numbers. It Is a pleasing number for the pop houses and the State's Monday ni^lit audience Wanted more when the act finished. fred. playing a mean mouth organ, and the girl does blues fairly well and a combination blues and yodel very well.' Rogers and Allen, being Allan Rogers and the impressive soprano he worked with for tome years, made it a revue for 20 minutes. Rogers should work in full stage, as he does not bear too close range very well, and he should stand by solos, as he Is a very wooden actor. Miss Allen, by the same reasoning, should ab- jure such dramatics as "My Man," done in what looked like the very set used, by Fannie Brlce in the Follies. To those who saw Miss Brice do it it was a bit'painful. It is not a sing- ing song, and Miss Allen is not an acting songstress. In the straight and strict singing business this pair reached high notes and excellent moments. They should work i.long conservative concert avenues, how- ever, to attain their best results. Sinclair and Gaspar (New Acts) goaled it. Renee Robert and Giers- Dorf Symphonists (rather high- sounding monicker, all around, for an eccentric jazz band and an acro- batic girl dancer) closed Jntermis- mission powerfully (New Acts). Flo Lewis started it off again, with by far the neatest comedy she has ever routined together, and a rejuvenated personality that is so far above the super-wise?racker she did a few moons back that she is scarcely rec- ognizable. She works with a pianist, Jesse Greer, and features a club- woman, a flapper and a soubret. Her flapper is a little behind the times, but as a stage character it shouldn't wear out for years. If she would cut a little out of every number—not much anywhere, but*Just a bit from each—she wouldn't be able to hold 'em down. "A Friend in Need" (New Acts) was down too late in the bill, but did neatly. Canova's Plastic Posing Dogs got an unusual break for this house, going on to close at 10.45, but couldn't anchor them because of the style of the act, starting with a lengthy and uninteresting film dem- onstration of what the dogs were to pose, and repeating that after each pose. And after each pose the un- faithful came to life and started up the aisles. The Lime Trio opened and scored heavily. The Palace is serving orange Juice in the Intermission again, making summer officially on. Lait. greater consideration than it re- ceives. Savoy and Brennan appeared sec- ond after intermission, going direct- ly into their cross-fire chatter, which brought laugh after laugh. Their material met with hearty approval, the comedy retorts by Savoy bring- ing result.. The team proved a draw for the uptown house and gave full entertainment value during their stay Tuesday night. Kerr and Weston, with Lou Hand- man at the piano, closed the sho * with a flash dance offering. Eflie Weston is doing some of the best dancing of her career in the present act, with her grace an outstanding feature. Kerr stepped into a hit with ease. Hart. BUSHWICK RIVERSIDE A rather light summary bill at the Riverside this week*, having Savoy and Brennan as the headiiner, with seven standard acts in support. Tuesday night business was highly satisfactory, with the Savoy and Brennan name credited with the draw. The remainder of the bill proved equally effective, with a full evening's entertainment served up. Bert Hughes and Co. started the show with basketball on bicycles. Tho turn is fast and interesting. The Riverside audience, well seated when the opening act started, gave it their strict attention, with the corn.edy work coming in for genuine laughs. The show was given plenty of momentum by this combination, with Uill Robinson, the dancing tar baby, picking it up No. 2. Robin- son received a hand on his entrance and kept the applause coming throughout his 15-minute routine. The colored boy left nothing to be desired In the way of a hard shoe dance, with the audience with him all the while. Harry J. Conley, with Naomi Ray. In "Rice and Old Shoes,*' appeared No. 8. The nicely constructed vehicle, aided by the capable character com- edy work by Conley, made good headway. As a quiet comedy offer- ing with a stamp of originality it fits Into any bill to a nicety. Piling up laughs in a consistent manner Con- ley brought the spot up to a high level, making way for Marie Walsh and Frank Ellis, a youthful couple full of life, No. 3. This act reaches the peak with Miss Walsh's dancing. Her acrobatic Oriental dance is one of the turn's big moments. Ellis leaves a good impression with a fast line of chatter, using his partner is a foil. His vo^al selection before Miss Walsh's solo dance should '.>e changed. The present number means nothing and allows the turn to sag. With youth and vlvaciousness in their favor this, pair helped to give the show its necessary pep. Bailey and Cowan, closing the first half, fallowed. Their offering comes un- der the speed heading, Lynn Cowan with his piano and vocal work add- ing an abundance oi life to the turn. Bailey's banjo work is a sure-fire asset. Estelie Davis, in support of the two boys, comes in for her share of work, the routine giving her sev- eral opportunities, especially to dis- play a crop of red hair. Bailey and Cowan proved a good selection to close a speedy first half. The Intermission Tuesday night ran 23 i.iinutes, during which a Topics reel and a cartoon comedy were shown. The second half con- sisted of three acts, with Charlie Oleott and Mary Ann starting it off. With songs of a different style tha.i had been brought into »ilay earlier in the evening the couple fared nicely. Oleott assigned the greats- portion of the vocal work to his partner, who carried it oft v. 1th little difficulty. Mary Ami appear* to have a good jtyle for character numbers and should be Riven more opportunities n'ong that line. Her "Pig Tails" «■' i Ion Js worthy of The Avon Comedy Four probably were responsible for most of tho lightweight attendance on view Monday night, although the cus- tomers more than balanced in re- sponse and applause what they lacked in numbers. The returns were consistently good from start to finish, and the attention centered throughout. Lady Alice's Pets elic- ited much response from the femi- nine contingent Roxy La Rocca's masterful harp play was cannlly spiced with show- manship. His change of pace from sympathetic, sentimental classics to zippy jazs was gauged with shrewd salesmanship, and the swaying of the house with the community chorus whistling, always healthy gang stuff, clinched It beyond a shadow of a doubt. Jack Norton and Co.'s "Recupera- tion," "a healthy comedy" by Hugh Herbert, whaAgetJ 'em on the strength of the lines, and the feat- ured ccmedian's Intermittent keeling over and hollow-chested cackle were sure-fire for a periodical punch. Claud* and Marlon, "still arguing," found much response, Marlon's ag- gressive comedy being chiefly re- sponsible, although the man main- tains an effective henpecked appear- ance to heighten the contrast. Franklyn and Charles Co., with their song and dance opening and undeniable acrobatics for the closer, scored per always/ Wright and Dietrich, following intermission, connected with their optimistic song cyele delivery. Wright's tenor has* a sincere ring that impresses, and while the lyrics are given chiefly to the pollyannalsh, the sentiment is meritorious and always pleasing. The couple are possessed of consid- erable unction, an ingratiating asset. The AvowComedy Four, starting Joe Smith and Charles Dale, did the "Hungarian Rhapsody" act. support- ed by Arthur Fields and Harry Goodwin. Fields is a recent addi- tion. He is also known as a disk record maker, and impressed decid- edly with his vocal efforts. The quartet was an unqualified wow. The comedy would make even a Ku Kluxer In ugh, and the close harmo- nizing for the finish is an added clincher. Ted Lorraine.and Jack MInto, with Mile. Elna Hansen, closed with a flash song and dance revue. Miss Hansen has succeeded Miss Davies, formerly In the set; otherwise the routine is the same as when the turn was formerly Lorraine, Cagwin and Fitzgerald. They held most of the house. Alcl BRIGHTON Talk about your audiences who start to laugh when they buy their tickets. The Monday night bunch at the Brighton, Coney Island, topped that—they were laughing before they laid down their Jack on the box-office ledge. Even the ones who arrived via the B. R. T. were laughing, as well as the more fortunate aristocrats who negotiated the journey to the shore In autos. And anyone who can finish a ride on the B. R. T. and exit laughingly—give 'em credit, boys, as Al Reeves and the guys who run the auto finance concerns say. Their sense of humor must be hitting on all six, anyway. It's the fifth week of the Brighton and the house has not struck its seasonal strids yet Likewise over- coats and straw hats are not con- ducive to overflow houses at the beach with the thermometer in the midst of a bear movement that made the overcoats necessary and the straw hats foolish. "Time-table" billing may break the hearts of headllncre elsewhere, but George Robinson still remains the head liners' staunch champion. Of the eight acts, six were in the electrics in front of the house, ail but the opening and No. 2 acts, also occupying feature space on the 24- sheets. No fault to And with the show-** except possibly that although It held six "names," most of 'em have played around the city so often they'\e grown over-familiar to the regulars. Adelaide and Hughes, closing the first half, glided smoothly through their routine of ballroom dances with the adeptness and skill that hgve kept them at the top so long, topping off their repertoire with tho "KIop. ment of the Toys" panto. This is art with a cap A, possessing form, style and flnesae. The talk used by Johnny Hughes for s> breathing spell had him remarking that Mr. Daly, the accompanist, had a nice disposition—always thp same - always gronrhy. That ouip was