Variety (July 1923)

,^-^' NEW ACTS THIS WEEK Thursday, July 86, 1983 » MICHELENA and HILLEBRAND Songs, Talk, Dances 15 Mins.; "^na" (Special Set) Palaca. Yora Michelena, the prima donna who haa been prominent In revue, musical comedy and even the drama for all the yeara since she made her sensational hit aa "Altna," and who has had more kinds of hard luck since thsm nimost anyone Who still can talk and walk seems to have hit it off at last. Her new act with Fred HilleLcand. recent Icadlns: comic in "Cinders," should aet her for life. Miss Michelena. lookingr every bit as fascinating as ever; even re- turned to rompers and did a baby specialty, and she did it do<,gone nifty, too, and if she looked a day BUCK and BUBBLES and Co. (•) Coiorad Ravua i 39 Mina.; Thraa Soanas *■ , <|^ City :■■■■}■. After playing around with Nat Nazsaro for two years. Buck and Bubbles, the colored "flnds,** have blossomed forth wKh their own comi>any, consiatingr of Ave '*higli- brown" gala, their own musical di- rector and two other colored boye la the company. The act show« the hand of a gt>od producer from the start to the la«t scene. The worst fault ia that it runs for 3S minutes. It ahould have 10 or 15 cut. The girls open the act In the first Hcene, a mu<3io Bt»re, in full stage. A colored lad enters after an open- ing song and dance by the girla. over 12 just then, this reviewer is *"<* ^">™ ^^^ conversation the audi ence learns that he runs the Joint losing hlfl eyesight HiUebrand was a tower of strength.to her. keeping up a can- ister of hot talk all the way; and showing himself a bit of a vaude- ville master In the pleasant meth- ods he employed to make applause mandatory rather than spontaneous. That atull, however, was more ep- tertainlng than It wets raw., cmd may be put down aa comedy and cot aa insurance. HUlebrand enters Arst and paves the way, announcing that he is there to work up an entrance for his wife. Vera, and that she gets sick and tears hor hair if she doesn't get a lot of audible recog- nition. He keeps things alive until she enterf). singing and looking peachy, and then he brealcs her up with several punch laughs, running on and off. His individual num- ber follows and is strong. Miss Michelena, after more "working up," does the excellent comedy kid, with character as well as mere hokum, and leaves them smiling for HiUebrand, who again tears off a specialty and warms them over some for her re-entrance, telling them bow she Is undressed (how litUe!) and what she'll take cS If they "make" her. come back. A satirical "Carmen"*vamp scene, in which HiUebrand doea his moat telling eccentric comedy work and Miss Michelena's voice rlaea to its best, gets them ofL^and the prom- ised change to tighta reveals that her figure is all it used to be and all HiUebrand says it still is. He cheers them on to bring her back again and again—and they do—but she doesn't make good on his inu- endo that it is a game of "strip applause,*' so to speak. The drop used is a comedy novel- ty. HiUebrand announces he has been collecting, all through hia pro- fessional life and wheiuver he stopped on his travels, goods to decorate a^ wonderful curtain for Vera; when it comes down it is decked with towels bearing the names of the Pullman company, many hotels, turkinh baths, barber Bhop.H, etc., and it gets a howl. Here Is a new turn of headline calibre, with class, names, Ppeed, talent, laughs, a famous vdice and a famous beauty, a coraedi .n born for vaudeville, and alxjut every- thing the highest typo of audiences can ask in 15 minutes. And HiUebrand is the type of operator who, in a few more weeks of work, will improve tho comedy until it will rank with ^Imost any in vniidevillo for volume and num- ber of laughs. Lait. Buck and Bubb.es, in the raggedy clothes they wore when with Nas- zaro, apply for Joba and are aakel for an exhibition of their abilities. Follows then aome of their bits. Some new talk has been injected. The act has a character comedian, a colored chap who use* extra blacking and has white spectacles and lips painted on him. This baby is not only funny, but plays the harmonica and clarinet in the mean- eat manner i>oeslble. After seeing some of the dance work he did, and connecting the fact that he plays the clarinet it is more than pos- sible that he is the colored boy who worked with Olscn and Johnson. The girls in the act don't appear in the first scene after the opening, but are on foi< the second time in the second part in "one." In this Buck shows that he has learned to play tho saxo in addition to Im- proving on the piano. Bubbles also does a dance bit. following a '"hip" dance by four of the dusky beauties. If colored girls' pulchritude is meas- ured by their slimness, theo this quartet is a prize package. The fifth girl is apparently an octoroon, and has blonde hair. She atarta the last scene with several songs, the colored/director coming up from the pit to accompany her at the piano. The girts are intro- duced by her exploiting various col- ored productions. Buck and Bubbles do an impresoion of WiUiam^ and Walker, and considering that it is more than likely that they never saw that famous combination, the impression might be called pretty good in the dances. The finale brings the entire com- pany on with a fast song'and dance number. The revue has plenty of entertain- ment, as far a.s variety is concerned. It contains sinfeing, dancing, instru- mental and comedy. With the min- utes cut to 2b or so it'll go over. LOUIS MANN and Co. (3) « • «Tha Good for-Nothing" Skatch ' .^;, 23 Mins.; Full Stag« ^ ,- Orpheum, Brooklyn ••—.-..-', liouls Mann will add nothing to his theatrical reputation with his current revival of "The Oood-for- Nothlng." It waa produced six yeara ago by Mr Mann. Clara Ijlpman and Sam Shipman wrote It Mr. Shipman has advanced greatly as a playwright since turning out the sketch. It ia trite, mechanically constructed and depends on the old- ^t of expedients for ita situations. The idea has been worn threadhare by vaudeville authors and legit writers. The basis of the plot treats of a younger brother living beyond his means, putting on dog. with noth- ing to back up the flash. Enter older brother dlsgulahed as typical East Side stage Jew, hat over ears, whiskers, iU-Atting clothing, etc. Older brother gets cold reception from younger one, and wite orders older brother from house. After long-winded dialog, in which older brother denounces younger one, older brother throws aaide disguise. He's not poor, as younger chap thought, but a mine owttet and reeking with coin. Mr. Mann plays older brother, first with conventional Hebraic ac- cent and mannerisms and later straight. A character woman plays the mother of the two men. She's supposed to be blind. The younger fellow, besides turning down his brother, hasn't been good to his mother. More denunciation of the younger brother by Mr. Mann. The sketch creaks and its talk Is for the most part tiresome. The playlet is on a par with what paR.sed for vaudeville sketch mate- rial ten years ago. 2?ell, RQDERO and BROWN - Songs, Violin, Comedy 14 Mins.; One , City Rodero formerly dm many of the* bits he is doing witl( Mi.sH r>rown, with a male partner, Marconi Mi.is Brown starts with a bong. while Rodero works in the pit. us»irig the violin and directing tho orchestra. He punctuates her vocil effort with sneezes which cau.ses the usual ar- gument and seryos to bring him up to the stage. Some weak comedy betwoofi thi* two regarding money follows. Tlie girl does a solo while Rodeio gets a few lauglus with a music stand and stop-ladder, tho stand rising and falling either too high or too low to be reached by the man. This bit is "done with the .stage set in "two" and the oiio Is dropped after it is over, leaving Miss Brown to do a second chorus of lii>r nolo -with the stage to herHelf. Uo<ler4> returns for an individual inning with the violin, while Mis.s P.rown changes to another strtet frorlc. Tho publi.slird Dumber which tho two do on her return could be changed to a later one. Th^y finish with the song, Rodero turning hia violin bow around, with a fife con- cealed in the stick and playing it well. They'll servo for the Ihrcc-a-day bousoa. THREE SENATORS Songs and Talk 17 Mins.; One ^ 58th St. Topping the bill, this turn proved that it will have no difficulty in swamping the pop huuues. Its scope is limited to the small time, l)ut it is doubtful if it is aiming.at any higher mark. The "senator" appellation might Just as weU b(^},o^j„j^„gj,i"p anylhlnj else, although the men at- tempt lo Justify the name by sup- posedly dignified bearing and dis- cussions of timely national topics. The comedian, besides doing a very fair Hebrew statesman, lends tho best voice tolthe harmony work with a strong baritone. The tenor is much younger in appearance than his partners and is dressed, very inappropriately in a tux while they wear ordinary business suits. The third man is the bass, wit'i a good, ringing voice and an enor- mous build, which shakes like Jello when ho laughs. The talk is made to order for three-a-day patrons and the vocal work, aided by such novelties as the singing of three songs in uni- son^ makes this a good example of an act once very popular in vaude- ville, but now only occasionally seen. «REGAL REVUE" (7) Sonus and Dances 17 Mins.; Full Stag* (Special^ 58th St. Six girls are in this turn, an- nounced as "imported French beauties." One look and only half an earful are enough to tell billing errs. The gaudy costumes don't help. Net tights are worn with several changes of the outer gar- ments. One of the girls discreetly wears ankle length pantaloons dur- ing the entire act, presumably to cover legs that are not up to par in shapeliness. Judging from some of the pedal scenery in evidence, it wouldn't ^c a bad idea to have the entire chorus exhibit the same mod- esty. A man. combining dancing, Mlralfiht and comic, assists. lie is mediocre and his appearance lacks in neatness. A new tuxedo would help and a wig or aat least a toupee WDuld cover the ugly baldness. He dnoa.a fair Cohan imitation and for the rest makes an unending line of "ladies and gentlemen" announce- ments regarding the damces and songs of the girls. The latter try liard and get slight re.sult3 with some good splits and a "Kiss" song that had tho gallery going. The work lacks any semblance of polish or and savors too strongly of cheap burlesque. The best thing is the India rubber dance by one of tlte women, a contortion- i.st of unusual.skilL There is little excuse for the turn aa it stands now. even on tho worst bills. At th<5 58th Street, a far from exacting house, It barely made tl e grade, and wiser audiences are sure to call the bluff. It's cheap set in props, cast material and cvery- >thing else and vaudeville doe.su't need cheapness above all things. LAWRENCE and BURMAN Comedy 14 Mins.; One City It requires Just a little bit of pruning in the material offered by these two (•hai)s to make them worthy of a l)ig lime bill. One does a Dutch comio chara<.*ter and tho oth**r niHkes a gr«.U straight for him. —, The ni iJor"i)ortion of the material Is now. ftmny and all dellvenxl as sure-fire for laughs. Some parts, \vhorc lines such a.-^ "I asked tho boy is that sweat on your lips?*' lower the calibre of the entire offering. Both men have good voices and use them to big results toward the finish. T4iey wore a riot nexit to clo.ning hero. WALTERS and STERN Songs and Piano 12 Mins.; One 23d St. Dave Walters and Jack Stern, the former up front and Stern at the baby grand. Both have been around with other combinations. They open with a special ditty about being salesmen for Joy & Jazz, which is an effective opener and meant more than tho usual blurb about "we'll try to entertain you. etc." Both aress uniformly in white trousers and blue do'.ibio-breasted jackets and an ob- vious enerjcotic desi^^e to impress counted from the start. Thoy do a pop double number noxl. the only one in the routine, the hilir.cc of it being awaV from the l)ealon track. One number is a l>ur- ler.que on the "Sheik," another a novelty "seven veils" comedy song. oMCoring with a mock lyric ditty. Both are effective song salesmen, fultliling their Introductory nnont the Joy Si J izz idea, Ouo<lrawl)uck i.«i their inclination to ovcr-"act" the lyrics after a while. This becomes evident towardf conclusion. In tlie body of % threo-a-d,iy bill they Mhould click. Abel. AL TUCKER and BAND (S) Jazz Band 19 Mins.; Full 8taoa, Special Fifth Ava. Al Tucker haa an idea away from the ordinary for jass bands. Ha im a trick fiddler. At one time he appeared with a partner named Reed and later did a score of acro- batic manoucvera with the violin, aa a single. The present turn Is along comedy lines with all of the men in typical groteaque makeup "a la tramp" and Tucker the leader garbed aa an old time "Thespian" the men with the ex- ception of one wear old derby hate. The curtain rises on a dark stage with the band playing a synco- pated medley. As the lights go up, the appearance of the men gets a big laugh and they conclude their number to applause. Then the boys start chanting about being the "seven musical maniacs, with each of the men do- ing a bit of rhythmic recitation. The instruments used are the vio- lin, piano, saxophone, banjo, cornet, trombone and drums. All of the men play one instrument entirely. Tucker is in the limelight mostly and the outstanding musician as he haa the act arranged to enable him to thrill the patrons with his acrobatic handling of the violin. The numl)€rs are mostly of the Jazz order with an operatic offer- ing and a Sousa composition sand- wiched in to make a woU-blended progiam. Due to the style and dressing a plain yellow silk back drop is car- ried without ornamentation. Ef- fects are also eliminated but never- theless the turn scored heavily through its novelty. Should do well in the big time tK}uses. HALL and LORETTA Comedy, Talk and Song- 13 Mins.; One American Roof Appears tu b^* a gathering of makeshift gags and comedy scenes from burlesque as subterfuge for this team's \'t)cal endeavors. The man, a tenor, has a tolerable voice, while the woman appears to have a good range enabling her to excel in syncopated and ballad numbers. Their vocalization is not sufflcient to atone for the poor and old dialog. The woman enters and goes Into a disccurse about "Women's Rights" when she is interrupted by the man who says he wants to do his vaude- ville act. He springs a riddle on her which has been passe In bur- lesque for the last decade and then tells her that he will prove he is a better performer than she. The usual bet is made, with the audience to be the judge» The woman then renders a syn- copated number which gets over nicely. The man comes out, tells the gag alK>ut his "grandfather hav- ing been a Confederate .soldier who wore a union suit," does a little re- citing, finds the audience is not re- sponsive and then sings a ballad, which registered. More ancient gags 'follow. PARISIAN TRIO Balancing and Acrobatics 11 Mins.; Full Stage 58th St. A good opening turn that was the best act on this bill and'should make the big time without much trouble. Two women and a man ap- pear under the billing "Moving Inn." The idea is utilized for the balancing of all kinds of furniture, with enough comedy thrown In to make It a laughing hit anywhere. The man is featured and his work approaches, the remarkable. ATter climbing up and down a high ladder while balancing a oouch on his head, he repeats the trick aft6r adding three chairs and a couch to the couch. To make it really sensational, he indulges in some very fair acrobatics while on the ladder. The women have little to do but are blessed with considerable stage presence. The younger one looks cute and Is an agile tumbler. There are a few small time spots that need ironing, but tho two-a-day is within easy gratip. HARRY BRADEN Monolog 10 Mins.; One Broadway Braden'fl introductory music Is a dirge and his makeup Is that of tho "undertaker bit" from burlesque- tall stovei>ipo hat. black*frock coat and white makeup. He opens in a pompous, preacher-like voice with the usual line of material about marriage, women, booze a'ld the tho like. For the finish Rraden fakes a long routine of shuffling steps. Oot a little, but not enough to .support hia position. No. 4, on n snappy specialty bill. Rush. BERNICIA'8 "FAIRY TALE FOLLIES" (14^ : Musical Rsvus 27 Mins.) Full Stags; (Spatial Drapss and Settings) 23rd St. Mias BemicU kas aurrottndef herself with a clover company trha interpret the Old King Cole fairy story in excellent comedy style. Jim "\ Tenbrooke as King Colo is unctuouc f and Danny Dove, aa the Jestwv"; cleverly sings, dances and reads his - lines understandlngly, no light task In blank verse. Fred Frey's Berniclan Orchestra is an exceptionally ftne musical ag- gregation, a noticeable feature be« ing that each Instrunnent can be sep. ^■ arately and distinctly- heard. Ethel Bixby. the harpist. Is esfeeciaUy worthy. Sammy Burns produced the act excellently. Bernicia's exquisite dancing, pretty voice and appear- ance are the outstanding feature^ and her finished daintineas is accen- tuated by beautiful costumes antt elegant settings, A novelty is the movable boxed-lm^>'?' platform on which the orchestra ^ sits. / large picture In a frame 14 " by 12 feet is apparently part of the - aet, but the picture is a scrim, and when electrically lighted from tho rear fades and shows a tastefully decorate4 room with the orchestra seated. The entire platform is moved down into "tWo" for the musical numbers and then backed up into ^ full stage for the action and dances. ' A well told story, excellently hiayed, good music, novelty and rteh settings form an attraction for the best of programs. J *v HANLEIN'S TRIANON EN- SEMBLE (5) Orchestra 15 Mins.; Full Stage Mainstroet, Kansas City ■ ^:.. Kansas City, July 25. , ^,~, It was a happy choice the man- f agement of the Mainstreet made, . when the Trianon Ensemble waa selected, to see if the patrons of this popular-priced Orpheum woul<^ give their applause to the "better" class of music as enthusiastically as they had been doing to the many "Jazz" organizations appear- ing during the past few weeks. ^ ii The musicians were modestly at- tired in tux^os. which, in itself, was a relief from the clown suits and variegated costumes worn by * some of the organizations seen here In the past. The Instrumentation 'c consisted of two violins, piano, 'cello and double bass. The opening se- lection was a medley of airs from popular standard operas, including the familiar sextette from iMicia. and was a real musical treat, A violin solo was next, and Just as well received. A 'cello solo followed, and then the closing ensemble, which held the audience, without a walkout. The act closed the show and fol- lowed a bill of unusual dullness for .-. this house, there being too much , similarity to all the preceding act^, all musical, with no comedy or nbvelty, but the standard musio went over big, and tho act will ba . booked Into several of the other Or- pheum houses. Hughes. WILLIAMS and ROSCOE Songs and Dances 9 Mins.; One AmericdH Roof I Two men, colored, who go through the general formality of opening and closing with song, which they may deem necessary, but is not essen- tial, as the voices of both are Just audible. Their dance consists of the regular routine of similar acts which consists of soft shoe, buck and wing and eccentric number, single and double. Tfae work is along conventional lines, with their steps ordinary. One of the men. the shorter, at- tempts grotesque comedy during the final number, which might be dropped and the act finished with the fast straight routine instead. No. 2. STONE and HALLO Dances and Songs i * * 9 Mins.; Two 58th St. Hefty mixed couple going tlirough * a routine of dances that are neatly executed but that lack difllcult,—^ original and flashy steps. The man, in tuxedo, opens with a prolog an- nouncing what they aro to do. A rather strenuous double song fol- lows and from then on the turn sticks to stepping. The work never extends beyond the ordinary, al- though tho woman's solo danc- is graceful enough for a person of l>or size. Not much to the act. but it should be able to fit into three-a-day bills.