Variety (July 1923)

KX?-, , A ^'V f: • ■'Tiy •''.If'^t'-'ws; 29 NEW ACTS THIS WEEK Thursday. July 19, 1923 .^1 LOWELL SHERMAN and Co. (2) "Lawful Larceny" (Comady Drama) 20 Mins. Full Staga Palace LoweM Slu'imjin. from the legUl- mate. has clioson th© aocond act of the A, H. Woods success. "Lawful Larceny." for Ws vaudeville debut. The choice in a happy one. The act adapts itHt'If to vaudeville admir- ably, running I'U minutes without a dull periOil. Khernmn's personality Is alHO likeable from a vaudeville angle. He is a fast working artist who can get n laugh without the assist- ance of an author merely by panto- mime. Sherman reads lines swiftly, punctuatinar them witli his person- ality and mannerisms, never failing to score. The act opens with Marlon (Olga Lee) at the telephone. The follow- ing conversation la long-winded but necessary to explain away the first act, which leads up to Marion's en- tran(*e into the home of Vivian Hep- burn (Nell Carrlngton) as a social secretary-. Marlon's husband has been trimmed for everything by Nell, and Marlon la bent upon re- venj^. Vivian la in love with Guy Tarlow (Lowell Sherman). Ouy is • crook and plays upon woniien of Vidian's typ6. He falls for Marion, who dupes him Into robbing the safe, and then sends him (or her wrap, while qhe exit^ ^I>h the loot which will clear her husband. The curtain line la pulled by Sherf^an, "My God. she's, a crook, too!" This ends the playlet, and deviates from the legit yersion, in- asmuch as the last act flnd.s the stolen sUiff returned, all but Marl- on's husband's own possessions. It doesn't detract from the value, however, and "provides 9, natural conclusion to one of the piost de- lightful comedy skits in a long time. Sherman is masterly when neces- sary and altogether enjoyable &s the crook. His confession to the girl he loves was a bit that .stands out. After Marion has promised to marry Guy they decide to tell Vivian. Vivian enters from the billiard room carrying a cue. As Marion begins to break the news to her Guy steps over and removes the cue from Vivian's hand, with an uplifted eyebrow that Is Irre- sistibly funny. Nell Carrin»Tlon and Olga Lee as the supporting players are an excel- lent selection, although neither was with the legitimate production. Lewis & Gordon, by an arrange- ment with Woods, are presenting the playlet, which will find a wel- come in vaudeville just as long as Sheiman elects to remain. It's nat- uraf and will be a draw. Von. TOM GIBBONS Boxing 26 Mins.; Full Staga , , ' * Pantages, Minnaapoiia : . . Minneapolis. July 18. Tom Ciib1»ons looks to be set as a vaudeville attraction. His start at the local Pantages Sunday could not have been more au*ii)lcious. He has i»acked them daily since. Hilled as "The Idol of the Hour," Gibbons seems to be Just tliat to the audiences he attracts. Should his following for 14 weeks loom up as successfully, Alexander Pantages picked a Ixirgain In (ribbons for 13,000 weekly wl\cn he pickeu this loser against Dempsey before Gib- bons lost to him. The Gibbons act holds shadow boxing, with demonstrations of Gib- bons' punches and three fast one- minute rounds with Bill Hart, a sparring partner. It Is fn this sec- tion Gibbons displays his boxing «kiil. Eddie Kane. Gibbons' manager. Is the announcer, and talks during the turn, but even that could never stop CJibbons on this trip. Bitrke. GEORGE and MAL LE FEVRE Dancing 14 Mint: Full Staga (Special) State Tlie punch of this dancing turn Is the flash background and cos- tumes. A full stage set is used, with several ornamented set pieces. These are encrusted with brilliants and include peacocks, trees, etc. Both of the Le Fevres wear cos- tumes covered with brilliants for their dances. The first is a double with the man of the duo In evening dress and ornamented fex or tur- ban. The head gear would give the Impression the man Is doing a Per- si.'in or some Oriental character. The woman gleams with the bril- li.'ints mentioi'.ed. The man does a solo dance, wear- ing comedy costume, and knitting while stei)ping. This Introduces soft shoe routitie with hock step- ping, knee and ankle stuff. A double starting as a tango with both In Spanish costume tapers off into an adagio with lifts, etc. Cake walk with appropriate strutting costumes for fuii.sh. Team are average dancers, the adagio being a bit below the stand- ard of the others. The brilliants on the costumes, and the light effects . make the act standard for the pop houses. JtrU. CARL SHAW (3) ;;^" Song. Dance, Musicals ^ » •• » 14 Mihs.: One (Special Drapi^s) 58th- St. . V ; Carl Shaw appears to be a pre- co<'ious youth of 16-17 o^" there- alMJUts. A nice looking youngster, ho is jmssei-ted of showinanly mas- tery in song and dance delivery, selling a pop number like a veteran and uncorking some wicked legma- nia. Backed up by a special blue hanging drape, he enters • In Eton jacket wfth "Tomorrow." rather an- tiquated as far as pop songa go, but rlpidP-Kly fold. Ditto Avith "LouisviUe I..OU," a \yric: blues which-i'ha.w whipped over in great style. He next announced that instead of proceeding with his regular act he will introduce the world's chamv pion boy harmonica player in the person of Benjamin Ko.sover. who obliged with a specialty. A voice from the audience challenged Kos- over's claim to the title and a c6l- ored lad of IS-iy ascended the ros- trum to disprove It. He did, with some flashy "blues" playing, in- cluding a slow shuffle dance to "St. Louis Blues" harmony. Shaw, having stood by idle mean- time. Is challenged by the darky again aa to "what can you do?" Shaw showed 'em with a corking acrobatic, hock dance. After final bending oiT, they were forced to an encore. Shaw was formerly backed up by a jazz band. The jczzers were ex- cess baggage, Shaw clicking indi- vidually on his own efforts as strong as before. The addition of the two youngsters is a happy idci and the tur» should prove a novelty No. 2 in the better houses. Youth is always an appealing factor. The two youngsters assisting are con- ventionally dressed and not "dude- ish" like Shaw, which Is good show- manship. Kosover, however, should be made to stand erect when per- forming and not side-inclining as is hia wont. Ahei. like^tlK HIGHTOWER and JONES Dances and Songs 10 Mint.; One American Roof Two coloreil men. who majority of their race in the profes- sion, seem to step with an a^ility and Ivg control i)osseRsed by few*^ white dancers. Their appcaiauct it neat In tuxe.«*. with flat silk hats and canes. The smaller man is the better. an<l some of his eccentric clogging is big-time stuff. * Two songs are sung between dances, bui the men need a ]ot of vocal training. as their enunciation Is bad. the wordf being- almost unintelligible. The chnracteristic darkej' step- ping c'<rr!os the tmn through, arul It can hoM u spot on any Inter- med!»fe Ui'l. EDDIE and GRACE -^ Song and Danes 11 Mins.; Ona 23d St. Colored couple, probably out of one of the colored revues, "Strut, Miss Lizzie," most likely, from mem- ory. They opened double with a song and dance, the song being ex- cels, excepting that It Is also the dance tempo. At opening he Is In blue satin overalls and his part- ner in short dresses. * His waltz soft shoe preceded her selling a pop rag, done very well and aoQordingly received. In the spotlight she looked nice, her bobbed hair being straight and unlike the racial characteristic of kinkiness. A succession of song and dance spe- cialties concluded, the act going nicely all the way. Good Xo.<2 act for houpes of this grade. Ahcl. LIGHTNER and GORDON Talking and Singing 18 Mins.; One City Two men, str.iiKht an«l comic, t^omic uses eccentric make up and does niJt Material runs from early \nrlety dnys to modern stuff that iutUlfi lip la niiuute niftier. Straight nu^hes and slams comic all oyer .'^tajjre. All lie needed was a ne\ts- p.iltor with v^luch o'd-time straight men used to wallop comodian«i with to make it perfect. Team has ubility. They'll work out big time comedy act hi time. I'ro.^ent stuff is nccs for pop houses. Straight warlilet- liallad fffe<tlve1y ;iiid both dance. Turn Went o\'!' surely next to closing nt City. , .. /*♦•/». ARTHUR ASHLEY and Co (2) Comady^ 6ong» Oramatio , 20 Mins.; Ona and Threo * v 23d St. ' Arthur Ashley, latterly In pic- tures, is supported hy Helen Clem- ent and au unbilled "bit" actor in the "Man Wlio Cama Back" expert. The act is a hybrid frame-up. In- troducing with a few hundred feet of film of Ashley and Miss Clement, with comedy titling. ' Ashley enters In "One" to Intro- duce hiH burlesque travesty of an old legit commenting on present- day ei»tertalners. A prop tomb- stone reading, "A Ham—roasted to death by public criticism—resting in pieces," Is at one end of th« stage. Ashley, top-heavy under a hairy wig, sarcastically comments (hat "art In the modern theatre lies in the buildings, not In acting." and scores Frisco's "stupid revue." Jol- son's "mammy" penchant.et al. The cUrse is taken off th* rather sharp crltlclHm by his Introductory cau- tion that this should be interpreted only as harmless travesty. _ . *^** Miss Clement Is Introduced, scor- ing with a "trondcr" balad, she in turn announcing the ^Man Who Came Back" scene. Ashle^ appeared in the p'ay and' has ft down to a nicety. Mis's Clement brieflj' re- calls the action leading up to tha: scene, ft was ah effective closer. Ashley closed W^ith a little speech of thanks. The act scored fuwjrably. and should repeat In any thrice daily house. It laclvs heart for the really big Eastern houses, but looks like a good Orpheum circuit buy. where the film actors name shou'U lount for.RpL a little at tlte gate. Abcl^ (2) "LITTLE DRIFTWOOD" (5) Skit 15 Mins.; One and Three (Special) 23d St. What a difference the personnel of an act can do to make or mar a vehicle. Tliis act. known a« "Drift- wood" a season or two back, was reviewed as a new turn by the \u\- dersigned at the 5th Ave. and deemed a rather good offering- for tho better houses. With a new cast, the act currently qualifies for the small time. The girl playing the "Dri/twood' role is ae appealing as the former player was, but that male quartet in support lacks some- thing; unction primarily. f When one remarks that now that thoy have reached the crest of suc- cess, etc., it's hard to believe. They do not impress as such. They fear some girl will enter and break up their friendship. The set Is a Green- wich Village studio, each of the men pursuing one or another of the seven arts. The girl enters In "one" before a house exterior with the elgn "Studio of Fine Arts" thereon. The studio Interior In "three" is the setting employed for the men's har- mony work and the petite chick's song and dance specialties. That diminutive lady Is the most appealing factor In the act and a sootMng optical vision. She could stand up alone or with a partner just as effectively. The turn closed the show here and should connect in the small three-a-days. Abel "JUGGLELAND'* (3) Juggling; Talk; Dance; Musical 15 Mins.; Throa and Ont Broadway "Juggleland" would ordinarily be an opening dumb act were It not for a Juvenile audience plant. He Is responsible for elevating It Into a "spot" turn (No. S here), so much so that It should find favor In the better houses. The j-oungster looks no more than fifteen, despite his long trouf=ers, and Is probably the offspring of the juggling couple who open. They look like veteraji manipulators and doubtless have been known under another name. A pretty, blue draped Interior backs up tho act. No sooner do the man and woman commence twirling the Indian clubs than the audience plant sarcastically com- ments. "I can do that." which is re- peated at various interv.-ils. He ad- mits his name is Pat Cohen and is addrtssc'd as-i'at by the man. wlio Jlnally invites him onto the ro.-^trum to show what ho can do. The cross- fire between the youngster and the man is continued for some minutes before tJie invitation. Pat, a likely younijHter, then ;nrut'< lii.s .stuff with clubs ar,d hat juggling, doing a soft Piioe solo without accompaniment and ilas-h- ing all varieties of lestmania. His enc«)re with «\ sax solo enri e,i an c.xtia recall, .^topping propee«Ui.gs. The frame-up is novel and should find general fa-vor. The juvenile shows excellent ' tiltelftgo by his sponsors. J^»l. LUa^ BENNETT and Co Boxing, Wrestling, etc._ ^^ 11 Mins.; Full Stag© City f'-.5.., "';' ' 'X','; .." . *.- . ;i. .,•;,, ,. A "strong woman" turn that Is novel If nothing else. Two huskyt women are shown punching:' the bag, each other and the comparatively fragile man. who assists. Both women have technique In wrestling and boxing and step arotind with considerable agility, considering their heavyweight slae. A thread of a plot Is introduced by having the two big girls supposedly battle for the only eligible man on the beach. A good deal of comedy Is put Into the-work through the medium of biting, scratching, hair pulling and the screaming of such remarks as, "Stand still so I can hit you"* and "I was bom with box- ing gloves on." "Yes, and you'll die the same way." The act has been playing around for some time, although It has never' been reviewed In these columns be- fore. It la^ a standard for the cheaper houses, but will hardly climb out of the small time. It Is true they do kid around a iht, but that they really maul each other considerably is shown by their gen- eral exhaustion at the finish'. BENSON. MELINO and Co. (1) Dancaa and Acrobatics .-^r 16 Mina. Two and Full Staffs American Roof A turn that Is rightfullj' acrobatic and nothing more, but that has en- deavored to step out and present a novelty dancing and comedy act. P'ourth at' the American, it' fared J>adly, only the balancing and gym- nastics at the finish saving it. Two men. presumably of foi*eign extrac- tion, and a girl. Anita Clark, com- pose the company. The oi>ening is a dance by all three, with the comic trying vainly for laughs with some old hokum. He follows with a solo eccentric dance that is even worse. The other man and girl attempt a serious classical dance that is considerably funnier than the supposed burlesque on It that Is given next by the two men. The girl does an acceptable solo on her toes, and then the men really show something In the way of acrobatics. Here is a good opener or closer wrongly changed into a No. 4 turn. Miss Clark might be allowed to danCe her solo in between the acro- batics and the comedian to clown a •bit during the stunts, but the change should be made immediately. HALL and OAKS Piano and Singing 14 Mins.; Ona . Stata Two men with opening that takes piano and singinc turn out of the regulation class. The pair enter as burglars, with darkened stage, after a bit of dialog going Into double that has to do with lifting of mel- odies from grand opera and stand- ards for pop songs. . Act becomes usual songfest, with pianist assisting In doubles there- after. A rube song with good com- edy lyrics, and medley well put together and delivered are Included In rap. For finish team play ac- companiments on ukes for one of those comedy numbers holding a bunch I : A jrr >s, most of them mildly gingery. - No time wasted with piano solos or sparring for bows after numbers. Both have voices, singer tenoring for harmony nicely. Act went very well at State. It can duplicate In any of the pop or intermediate houses And more than likely get away with It credkably In an early spot In the better houses. JBell. HARRY PUCK Songs and Piano 10 Mins.; Ona Fifth Avanua Harry Puck is back In vaudeville after a sea.<;on In "Tangerine." Puck has assembled a "single" turn that will do nicely for his trip around the two-a-day stands. En- tering In white flannels and blue coat he sings an introductory song. Then to the piano for "Chase Me, Girls, I'm Single," a nut lyric given a nut delivery. Next, a piano version of different arrangement of "II Trovatore," good f or comed y in the manner handled. A medley of songs written by Puck next included about five that could bo termed hits some years back. For an encore he told of his "Tan- gerine" engagement and 8howe<l how he played the hit of the mu- sical comedy "Sweet Lady" for the Oil hia return Puck \aiulevllle. Ho .scored the dence spot. Con. piano roils. looks set for Impressively MILLER AND MACK REVUE («) Comedy Singing and Dancing 20 Mins.; Ona, Two and Full Staga (Special Set and Drops) »laff«r8on Skins Miller and Buck Mack ar« supported by William Foran anl Bill Palmer and two women, Bessia Hoban and Lee Weaver. The act* opens with a court saene In "two."* the judge disposing of a girl prig, oner and then attempting to dinpos^^,-, of. the case of two "bums" (Millers v and Mack), the three Indulging \^ humorous dialog. ,j^ * After a comedy song and daaci^v^ there Is a close-in and one of the-i^' women made up as Queeji Ellzabethi^ and a man as Shakespeare eing a duet In one. Miller and Mack break into the scene and a funny Sliakespearean burlesque'(with Miller ue Sir Wal- ter Raleigh and Mack as Lord Essex, both still in eccentric makeup) is Interrupted by tho stage director in the audience declaring the action ia all wrong and the acting wjjrpe. This settles the tirama and the ' drop in "one" is rai«ed, showing « Turkish cliamber in full stage where the man and woman singers put' i over another duet and a dancing-" girl in the almost nude does a Turk*. iflh dance in which some clever con*; !< tortlon is shown. •v , • ■'■ ..-■■ ■■ ■ - ^ The comedy In tt)Is scene i.> of the rough clowning order with wlilch Miller and Mack are Identl- ' fled r.nd assisted by one of tho men and is productive of plenty of laughs. ' ■ ,n The finish comes in "one" with Aliller and Mack doing their eccen- tric double dance ,and the oue-mao. boxi-.ig bout, sure fire. ' 'w The act Is built for laughing i»ur- I>oses and that end i«. accomplishetL With a few weeks'of playing, speed- ^ ir\^ up here and there, and a finish which will include the entire com- pany, a*s It should in the case of a revue, the boys can build this up to a standard big-time comedy act. The Jefferson audience ate It up. (1) LORNER GIRLS and Co Dance; Song; Piano 15 Mins.; One and Four (Special) Broadway This Is a new frame-up for tlie Lorner Girls, who are assited by Phil Sheppard, at the piano. Sheppard vocally introduces Marguerite (blonde) and Rhea (brunette) in "one." To full stage, next before a pretty silver cloth box set, he at the piano. The girls alternated In dance doubles with Sheppard's planolog- ing. The dancing was marked by an evident lack of rehearsing with the blonde the chief offender, who missed her steps continuously, and was far from graceful. The planlst'a efforts did considerable to counter- balance It. The Lornera have been seen around before and to better advan- tage. Doubtlessly further rehearsing win mend matters. They closed the show passably. Ahcl. ■''A GORDON and KENNEY Variety; Acrobatic 10 Mins.; One and Full Staga Fifth Avenue « Man and women open In "one,* gIrNIntroducing partner as "Duke.** This Is followed by entrance of red- nosed comic in grotesque attire for a parody sonff and comedy dance. The act goes to full stage where each Vork on the trampoline. The man, In long, red stockings and un-> derwear, does some nifty bouncing, featuring a double somersault and double twister. The girl prologues all offals diffi- cult atunts with announcements, also contributes a aolo dance fea- turing hock steps in addition to making a pair of changes. It's an all right opener for the three a day and split week houses. . Von. ^NKlKZi and DOOLEY Variety Act 15 Mins.; One and Three (SpecialT 58th St. Mixed team, the man affecting Eton jacket with top hat and the woman In short dresses. They open in "one" but go to "three" for th*" bulk of their routine. A nice look- ing woodland set is employed. He does a little bike work, following with a Win Rogers ^mprc3.«^loTT.—hr^ eluding some of the standard K'»>r- erlsms, tho gum and the rope. The impression is rather, faithful, but the talk was pitcheil too low. He featured a Fred St<">ne imiiat .'•«< ul.'^o. The woman fills Iti with daiue work, the concluding white co'.ni scheme in western regalia, lookint; erfrctlNH. They pleased No. 3. ^ - -