Variety (January 1924)

VARIETY NEW ACTS THIS WEEK u^.-'rrfr3Bf3P3:'Hni«B^3?!"j??TSSfT7C^Ti*4,«' r;*««*v»\»^ry- Thursday, January 10,1924 1 f 8ESSUE HAYAKAWA and Co. (3) "The Samurai" (Dramatic) 23 Mint.; Full Stage (Interior) Coliteum, London London, Dec. 25. Consklcrlns tlip restrictions Sos- sue Ilayukawa imposes upon pUty- wriglits, the new vehicle provided for him l>y William Archer la Ideal. In h!a former sltetches that the Japanese liero niu.st not marry the white Birl seemed to hinder the au- thor's ImaRltiatiDns, but It ta now used as a means for bringing about an extra degree of tragic intensity. The Bcene Is the sittinK-room In Count Alexis Korsakoff's suite at the Hotel de lUissio, Nice, and the tlm« the carnival season of 1910. A ball Is about to begin In the hniel. Varvara^Korsakoff's daugliter. has to shoyTiim her ro.stumc. While they ai/e chatting, a masked fljfure robed in black enters. It is Kamiya, member of the orrior caste of Japan, who has been paying atten- tion to Vurvara of :ate. He wiidie.i to bid her g;o<xl-by because he in about to fulllll a n.lsson which can only end in his death. After she has been led away to the dance by a Husslan princess, we learn what this mission is. Uur- ine the war with Japan. Kanilya re- minds the Count, the Uussians cap- tured a Japanese colonel and put him to the torture. The order was given by Korsakoff and the victim wa» the Samurai's father. Ven- geance is now to be taken. The Russian and the Japanese fight, and the former is killed. There Is a knock at the door and ■Varvara's vo.ce cries out, "Father." Kamiya kills himself in the manner ordained by the custom of his race Provided one Is near enough to the atage to follow the argument. Ilayakawa's performance is deeply impressive. He conveys a great deal of significance in his attitudK.M and varies them with the skill one would expect from a film star. The flght Is particularly well managed, contrasting the swordsmanship of East and West. As the plot Is mainly a conflict between the hero's will and desire, the other characters are not strong Ann Trevor is able to make Uttle of the emotional Varcara since she starts at too high a i)itch to obtair' the necessary crc.s<>endo effect, and Lewis Cilbert finds Korsakoft neither weak-spirited enough to make a good coward nor tierce enough to make a good villain. CARMELA PONSELLE Songs 20 Mins.; Full Stage Palace Out of vaudeville some dozen year.s, Miss Ponselle, of the famous opera and concert family, returns about as she left, a strong single of the recital type with more than the UHU.il leaning Toward vaudeville exhiliileii by the volunteers from hef li'M in the Iwn-a-dav. A woman of flashing appearance. foiin^illy altiietl in a gown lliat would do to meet the King, MI.s-m I'onseilc took on first flash. Hei voice is full and powerful, though not as musical as some horn and bred right in vaudeville. It Is a cultured \(>ke. more mezzo th.iii soprano. Wlie used an accompanist. William Sekiherg. who attempted no solo, but made exit whenever hl.s *tar did. ^ ^ftor a, roiittno th.it included "Sul.t .Mil.'' .a vivacious Trentini selection from "Naughty Marielt.i'' and a couple of oner.i arias. Mis.s I'onselle announced "Yorzeit." a Jewish chant, ami "discovered' the composer in the audience. I'p c-ime a stout wom.in of middle age, pali'-iMv not m.ide up, as her ».■- cornpaiilst. The hc.uy nimiher uoiked up to a distinct clim.ix and brought Mi.fs I'onscile liack f<.r a lullaby by O'Hara. which she acted as well as sang effectively. This single turn hi^ the clasM for he-idllne l.illlcg out of town :in.l stands up f'lr .'iny spot at the ' MOLLY DARLING (14) Musical Comedy Revue 29 Min.; Full Stage (Special) Hippodrome Moore and Megley h" ve condensed the musical comedy "Molly Darling' Into 1'9 minutes of vaudeville revue, using the second act set from the musical. Of the original cast, Billy and HllUe Taylor, dancers; Nina I'enn, dancer; and Mary I^ne. prima don» ", are present, with JJenny and Western from vaudeville contributing their "bootblack" nnd "whisk broom" dames as special- ties. * To Introdui'e the specialties, the famill.i:- hii.'-incss of a girl telephon- ing I Violet Kollis) a filend. lyrically, about the show at the Hip|>odrome, Is used. The entrances are made from a sl.iirway. Al.ary Lane open- ing the act with "Castles Come Tumbling IJown" and aa Impression of Delvsia. tnaking an "on" change for the latter to a pretty while panties costume. lillly and Millie Taylor follow with their ■■Diiiciiig Polls" specialty, a mild offering. Their singing voices were sadly outpointed by the Hipp size and the danciilg mildly re- cei\ed. llenny and Western's "boot- black" dance next lifted the turn a bit, and the "whisk broom" bit. a clever hooting conceit, also helped. A toe dance by Nina I'enn next was the high spot of the turn, and Introduced the "Di.sc Number" from the show, giving the eight girls an opportunity for costume display as operatic originals of the record. Another dance by the Taylors, with an eccentric solo by Hilly, \ as fol- Igwcd by the house chonis of IG in a corking ballet arrangcnunt that muchly bolstered up the turn. A flash finish, "Turn t)n Your Radio." featured Nina I'enn and the 16 Hippodrome filrls in another dance that clicked. The entire com- pany being on for a dancing en- semble, backed by a replica of a radio hroadca-stlng station. The act lacks a punch, being a succession of dances introduced In- coherently, with no attempt at theme, plot or story save the tele- phoning gag. Comedy is nowhere discernible, leading one to believe that tlie producers figured Its musi- cal comedy pa.-t was strong enough to secure bookings and discount the light entertainment value. On a straight vaudeville 1)11! it will pass as a flash turn, on the other hand, prwluctlon and cast of 14. At the Ilipiiodrome it was held up by the two ensemble dances of the Hippo- drome (llrls. who also dressed the stage, making the final ensemble impresslvo in point of numbers, if nothing else. Con. Palaie, without being -•t:i riling JONES and LEE Talk and Seng* 14 Mini.; One Olrl enters with ad lin .Tix.iit chauffeur. The msn Is the latter. In comedy get-up, featuring the baro-llp atyle of chatter. In be- tireen the girl does a couple of vocal .nambera. He makes a change. to his «up- poaedly dudo outfit disclosing a trick belted ault with a fur collar trimming: also "bulldog" high yel- low shoea. It'i a laugh on sight. The hare-lip talk Is really funny and with a good straight and some heftier material the comedian could get aomewheres. As l.s, In th^ sec- ond hole they wre one of the brithtest comedy turns on the bill. ■ • Abrl. "FABLES OF 1924" (13) Revue 40 Mir.; Special Sett Palace Oeorge Choos has collected a cast of talent sans fame, a chorus of eight, and some bits frorti musical I .shows, including his own, and put , them into a flash vauile\ ille revue jtli.it gels by nicfly. Hiirns and Sar- aent ire easily the Important con- tribution, in several dances that stand out through the perfectly Ir.iined and sweet work of the girl. iKil.vthe Mroe. a soiihrette «ith a I winsoiiip personality. and ,Tnck I Henry, a l.ilented and easy comic, keep the liugh--, going pK-'asanlly and Lucille Arden as a prima does doe,s iiifiCy without stnrtKnc any one A toyland number opens, nothing very novel, except tlie rliccing of limns .iiid .Sargent, ,i sm.isj. nanny Dare steps lively in "on"" for the shift, then a series of "Hughouse rabies" .similar to tlie scene In a high-priced Broadw.iy show. The series of wedding anniversaries, a tiredncfion and co.-turno full-stage number, very much like that in |"I!aitlin:r Untller." offers vaudeville I .som'thing more lavish than usual. I A coiinlr.v courtship between Hetir.v I and .VIis.< .Mjj,. is ,■( ilelitrht. Tile liiiab; looks like liie "Oi-.inge ilrovf ' scene In the Music Box. lull 'urns into a radium eff.'Ct for the I finnle. the light nianipul.aion tiirn- I ing the performers Into blrickf.ici., also similar to a "Itattling Ruttler" bit. but ilrawing considerable atten- tlfin fro.TT vaudeville patrons. The turn closed strong enough in an early position at the I'alare Num- ber .1. This act i( a step beyond Chocs' many production turns In outlay, and is beyond any doubt as to its future in vaudeville. It went well at the Palace, and will outdo this result elsewhere. The Palace is the softest theatre in the world for some acts, but a hardboiled baby lor big .ic.ts of this st.vle. "Fables" m.iy congratulate itself on the allowing. I ■ i '* 1 I- . (I. J 1 ' I 4 :3» FRAWLEY and LOUISE, (4) Comedy Skit 19 Mini.; Two (Spatial) Alhambra Titled "Exceeding the Speed Limit" and by Paul Gerard Smith, this established duo have aurrounded themselves with a playlet that should keep them busy for a long time to come. Relating of a youth, Instilled with a wise vocabulary, who makes a pickup of the girl from a taxi, the parted drapes re- veal a series of six tnaerta of which tl interiors are picturesquely dressed and the taxi instigation an oddity. Harry Crawford is credited with having staged the act, while the melodies, of which there are three, name Jack Frost as the composer. Frawley .opens alone before the drop, where he calls a cab. The drapes part to show the taxi within which he enters to ride along until he picks up the girl, off atage. From there on the conversation is fast and with a snap attached which permits of the locale chang- ing to the girl's apartment, the stage door, back in "one" for a de- piction of Frawley watching the girl work from a box. thence the dress- ing room and the finale of both In the taxi again with a "Just Mar ried" sign tacked on. The playlet has been neatl.. pieced togelhtr with the script enfolding some chatter that in more than one Instance was too accelerated for the Harlomiles to grasp, but neverthe- less registered consistently. The routine permits Mijs Louise to make two or three costume changes while the stage episode allows her to solo a melody that clicked, liolh handle the material for its full value while the staging is I neat bit of work in itself. The taxi driver and a maid fill out th" cast. The act looks like a cinch inter- lude for the larger houses and will cash. The appearance of this cou- ple and their ability to bundle worthy material emphatically en- hances the general value. They liked it at the Alhambra, showing No, 3. dem.andlng a speech In conclusion. Skij, MARTHA PRYOR and BAND (11) Songs and Music 18 Min.; Full Stage Broadway Miss Fryor, who has been in vaudeville for several years, follow- ing her Columbia Wheel appearance, and who was In a Winter Garden production a sea.son or so ago. re- cently was at a Broadway cafe. For her vaudeville return she has the assistance of Harold Stern's or- chestra, a bunch that was formerly called the Criterion Orchestra (not under Stern, however). Also In sup- port is Marion Rich, a dancer who ap|)eared for one number with the hand, and whose bare legs were well used. Miss Pryor was stunning on en- trance, sporting a yellow vetvet frock with a tight fitting bodice (some fit), with the botto^m widely fringed with yellow marllKiu fur. Oft for a change, the band's spe- cialty was "I Love You," the hit of "Little Jesse James." There were vailations which permitted a violin speciiliy bit from Stern. On return. Miss I'ryor sang a Honolulu mel- od.w The act scored distlnctl.v on fifth In a seven-act show. Miss Pr.vor's second costume did not measure up to the first by any means. She ha.s personality, landing easily on her efforts though a turn with 12 people In supi>ort calls for something quite over the aver.age In vaudeville ,sila- rles MURPHY and BRADLEY Dancers 8 Min.; One 125th Street Miirpiiy and Itradlcy seetn [o be youthful, have a ne.it appearance, and put coMSiiler.able z^st Into .-i routine of straight dancing. The man looks well In tuxedo, and the girl shows two costumes that, ex- cei>t for the unbecoming red stock- ings nnd shoes worn with the first. are sartorially fit. The Fi)eclalty Is soft shoe steii- pitig, with the double work In this line particularly good. The man shows a new step or two. including some f.isf knee flexing and crossing that brought applause. His partner is blessed with a fair amount of what seems to be the main requi- site for a woman dancer—grace. Roth wisely avoid singing, but in- dulge In a little ope.iing speech thai doesn't hurt. The lack of novelty nnd a punch will prevent the turn from climbing much at iiresent, but as It siinds it is O K for most spots at Ihree-a- dnr houses. U. 8. JAZZ BAND (12) Musie and Specialtiee 24 Mins.; Full Stage 5th Ave. At. Moore i« the conductor of the U. S. Jazz Band. He appears in naval oOlccu-'a uniform and the other 11 musicians wear the garb of rank and file sailors. There are 12 real musicians in the act, and, besides being a crackerjack band. It's an act, for Moore owns a fine lyric tenor, built to order for ballada. In addition to playing the violin and conducting. Then there'a the pianist on the right, who has a naturally funny "pan," and who clowns pleas- antly throughout the turn. One of the clarinet players is a whale of a hoofer, and the trombone player Jazzes a pop song in good style. One of the trumpet players la a star performer. His extensive a«sort- ment of tricks figures Importantly in the generally good results se- cured. Band includes two pianists, violin, three saxophones, clarinet, drums, two trumpets, trombone and tenor banjo, and produces a vol- ume of tone that makes It sound like one of the larger brass organiza- tions. The stuff runs to pop songs, played with the modern rhythms, muted trumpets, frequent eym- phonic embellLshments and nicely interpolated modulations used by the best jazz organizations of the day. A fust tempo is maintained for most of the stuff and It gives the act speed. It might be a good idea for contrast to moderate tlie tonal volume for some of the numbers. The turn was an iinquallfled wow It this house next to closing. BrV. WELLINGTON CROSS and CO. (3) Anything Might Happen" (Farce) 20 Min.; (3 Scenes, Full Stage) Palace Wellington Cross appears In this new comedy by Kdgar Selwyn, pre- sented by Lewis & Gordon. It is produced beyond the usu.al. One scone in a taxi is splendidly done, and the rest is of the best vaudeville standards. Cross acts the part of a smart bachelor, his specialty, as he has done for years In other ve- hicles—neither brilliantly nor badly. Ho has excellent appearance, dresses with distinction, and Is unctuous and pleasant, but still has the up- ward inflection, at the end of each sentence, whether it belongs or not, which makes his delivery at times ring f.alse. The story is of a man thrown down i)y his fi;ince. His crony ad- vises him to seek adventure, any- where, with anyl>ody's girl, and, of course, he finds It with the other fellow's girl, who happens to be played by M.ary H.alliday, one of the -most beautiful creatures that vaudeville has snared in many a year. She can troupe, too, an* L. & O. had better tie her up before a lot Qf legit managers see a find or realize a mistake. The action and comedy through- out "Anything Might Happen" are In the truest vaudeville vein, yet of more legitimate order than most sketches. Authors like Selwyn .are unusual in vaudeville, more's the pity. This one-actor can play the big time at least twice and never get an adverse report, and Cro.is may be satisfied that he Is advancing In it substantially toward the goal he apparently set when he !ibaiidon-d dancing and detiimintd on an act- ing career. ^ "■ ■ '. T.nlt. "WOW WOW" Comady Sketch (3). Interior Restaurant in 2 London, December "4, Originally produced at a Green Room Club frolic this little feature is purely an Item for Intimate revue. It la of little use In a bltf vaudeville house such as the Alhambra where it made Its de-hut. Plol^there Is none or practically not the only thing if Interest In it being that €very word spoken begins with the same letter Before the tab rlse« a player speaks to the house through a mega- phone explalhing that a manager bet an author he could not write a sketch every word of which began with the same letter. The choice of letter lay with the author and he chose W. What plot these Is coniilsts of the love affair of an elderly roue for a buxom wench. The couree of their true love Is being perpetually inter- rupted by a lugubrious waiter. There Is no laugh in the sketch which is full of laborious lines such ao "Win- nie Wants Walter When Wedded." Ae far as acting goes the sketch Is passable although the players suf- fer from the stilted lines. It is mere- ly a freak and as such hne some in- terest but it is absolutely devoid of pull or puncti. Core. COL. HOUSE and CoWboye (8) Singing, talk and Novelty jau b«n4l 16 Mine.! Full Stago-Speoial Majeetiot Chicago Chicago Jan. t. Col. House and Cowboy* playeA some Junior Orpheum dates and ended up with American, Uncoln and the Majestic In Chicago, all in the way of showinK for the Or- pheum circuit. Col. House was for- merly In Chautauqua and had a band of this nature which played picture houses on the coast. He organized this band out at Denver, where Dan McCoy books presenta- tion acts for big picture houses and came Into Chicago. The act open* In one with dim lights showing a cowboy in a western scene who re- cites a prayer thankful that he Is permitting to live la the great out- doors There is no idea of the nature of the act until the lights go up ..nd cowboys enter, and what has seemed to be objects familiap to the west turn out to be a piano and drums. A practical covered wagon, which concealed the piano when the act opened In Chicago pt the American, was not so employed at the Majestic, which suggests that changes have been made In the act after a Chicago opening. Col. House recites well and sin.»« II a fine bass voice. His second song, announced as a Mexican Una favorite. Is "I.,a Paloma." The final num:.er Is "Indian Jazz" and the musicians join in vocal effort. The bam' has three numbers to it.self and all figure In the final number. The Instrumentatl in Is Sousaphone, trumpet (2). slide trombone, piano, b.anjo, drums, saxophone. Col. House I'oes not play an instrument, but le«ids. It is an ordinary ja-<;z hand, with novelty in its favor and a splendid singer in Col. House, but not good enough for big time. PAUL TISEN and ORCHESTRA (9) Selections and Dancing 13 Mins.; Full (Special) Alhambra M.ade up of stringed instruments, three violins, piano, cello and bass vijl. the act Is principally comprised of brief selections by these Russian players. Besides the Instrumental- Izing there is a vocal by a woman, succeeded with another such by a male aspirant, who tops it with a scries of steps with a second male member entrancing to hock- step on tho fast tempoed ending. The turn Is prettily dressed and a sense of perspective can bo gleaned through the various selec- tions not being overly drawn out, nor too heavy for the average ear. The company met with approval throughout, but made their mis- take In taking an encore while clos- ing Intermission, which meant the additional number was wasted on a house drifting up the aisles. The routine is comn(«ndabie for Its swiftness of movement as with the encore but 13 minutes were con- sumed. It's an episode for many of the more pretentious vaude theatres and unquestionably sure as regards the lesser houses. Bkig. CLARK and VILLANI Italian Comedians 16 Mins.; One American Roof Bddie Clark (formerly Clark and Verdi) and Phil Vlllanl have the usual tangled language routine of the genius Wop. This Is built around a government tax 8che«lule, and la funny in 8|>ots but gives no chance for nccess.ary action. This Is carried on until Clark, borrows $10 fro.m VlHairi, .and writing an I. O. U. for It, gets VlUani to sign it thus making 'Villanl owe the ten. This l« really funny. But the effect of it Is killed a moment later, when on Clark making hia exit, ■Vlllanl for no reason whatever pulls a so^b bal- lad In no way relevant, on the con- trary, he drops all his former dbilert and gets right away from his ch.nnctep. Further, on the completion of the song he goes back to his dialect, and one is glad «t the finish to see Clark kiik him behind his back hard and often, for this lapse of stage ethics. If the boys are satisfied with the sm.ill time this vehicle will do. BENNY and JASON Violinist and Singer 14 Mins.; One American Roof Benny is in the orchestra as leadi i for the singer. He jazzes thiiigH up and she upbraids him. He cllmln- up on the stage, announces his in- tention of quitting and demands hi^ pay. This leads nowhere, but may be considered something different In the provincial small-time house. The violin playing and the niiiging aie of small-time calibre, but will ric for houses of the clas.«i mentioned, I ■'4 ■nil 1 Si •I I