Variety (April 1924)

28 VARIETY NEW ACTS THIS WEEK Wednesday, April 16, 1924 BARD and PEARL Comody Talking 15 MIns.; Ona Palace lUn l'.;ir<l and Jack Pearl are "fihdwiiiii'' tliplr act for one week at the I'alaoo, followinjj which they return to the musical comedy from whence thi'y came. The booking Is their vaudeville debut, despite they wero once "penciled" In at the Colonial, New York. At the Talace the pair took the Bt.ige at 10.52, following one of the heavle.st "names" shows of the sea- son and cleaned up. Thoy did 15 zipijy minutes of crossfire to mam- moth returns and wisely refused to be Inveigled into an encore. Pearl's "Dutch," refined and tuxedo'd, is one of the funniest characters before the public. Bard is a finished stralgnt with an nunciation and command of Eng- lish that makes Pearl's low com- edy methods stand out in relief like a cameo. Their material was a blend of old and familiar matter, but sounding brand new due to the method of delivery and one series of laughs building up Into a crescendo of mer- riment. They ran to & speech and, for vaudeville, are as sure fire as a harmony quartet. Con. THELMA and IRENE Songs, Violin and Piano 10 Mine.; Ona 23rd St. (April 14). If memory serves right. Miss Thelma Is the woman who appeared some month- ago on the big time, and after that, on the concert stage, under the name of Thelma Thel- mare. As the second tryout at the 23rd St.. she proved to be the best aot on the entire bill. She l.s fi foprano of surpas.slng vocal powers. Particularly at the semi-classic stuff is her work ef- fective. She has besides the impos- ing appearance of a prima donna and her evening gown is most hand- some. Her one big handicap Is a certain awkwardness and failure to loosen up when bowing and walking oft the stage; in fact, all the time when she Is not singing. Miss Irene Is at the piano accom- panying, and also has one or two .selections on the violin. Her work la not nearly as outstanding as that of her partner, but, she, too. has re- nr.r'd aiipenrance and stage pres- ence and fits In the picture nicely. A popular medley at the finish was possibly interpolated into the routine just because of the house. At most theatres, however. It will not be needed, particularly when the girls get to the big time, where they belong. STEIN TRIO Singing and Dancing 15 Mins.; Three (Special) &8th St. This act Is cnnlribulcd by the Stein twins, a mixed dancing team and a male midget. The latter has the appearance of a genuine kid rather than a lilll|)Utian, thus mak- ing his endeavors more effective. The Steins confine themselves to dfincing with the midget handlint.r song numbers and talk stuff to bridse the waits for changes and in- cidental to their stepping. A purple drai)o makes an attractive frame- work. They open with a vocal trio. The midget solos a second number with the twins rem.ainlng on for an acro- batic dance. The midget stays on for a 'blues" with the Stein boy fol- lowing with an acrnbatic Sfilo. The sister cuts loose with an oriental Jaz7. dance. Hoth do a tough dance that has \in comedy value when prnpc^rly worked up. The midget comes hack for a bit of monologuing with the twiriS re- turn!..-r and the trio doing some fast slipping in one for a finish. Although the trio worl; hard the act seems but a hodgepodge of ma- terial badly put together. In more than one spot It falls short of regis- tering. As a trio for the small time It may do, but a rearrangement of numbers and a little more rehearsal on the doubles should help It to a better place. UKRAINIAN CHORUS (39) Vocal 19 Mint.; Full Stage (Special) Hippodrome This I]iternatlonally famous or- ganization makes its vaudeville de- but after a conoert showing, only, on this side. For years there has been advance publicity, hailing the wonders of the South Russian har- mony singers. Morris Gest was at one time credited with having grabbed oft the tld-blt, but Max liabinoff finally confessed he had nailed that distinction. And here they are. i'or vaudeville, on their Hipp show- ing, the Ukrainians are only fair. The Russian costumes and even the folk melodies have lost their nov- elty. The troupe at the Petroushka worked exactly like it in spots, with voices seemingly as good, though not as numerous, and several other Russ aggregations have nicked the edge of the offering as an eye-opening wonder. There remained nothing, then, but for .hese singers to out- sing all other singers, and that they did not do here, though they sing very wel.'. The curtain rises on the troupe standing on three parallels, in na- tive costi'me, 13 women in tlie down- stage lin<* and rest rest men. They are directed by a jwrtly, bald-lieadel man with a dress suit that is as genuinely Ukrainian as any of the smocks and frocks, even If it came from Baxter street. He uses no baton, but. with his back to the loots and standing on a box platform, does things with his hands, whereupon there is much warbling. First a peasant song, typically Russian, good but not great. Then "Swance River," led by one of the men in the ranks, using surprising- ly good Kngli.sh, croonc 1 and hummed to an ensemble by the oth- ers. The Ukrainians never heard of "One and two"—or even of two and three; they sing interminable verses and choruses and repeats and rere- poats of everything except the brief Russ ditties that go in as stop- gaps between the longer selections. One pretty girl with a penetrating and melodious soprano led a lengthy song without stepping forward, the best thing in the program. After that It tapered with "Suzanna" and .some other gang songs, either incon- sequential or unintelligible. At no time was the hou^ ■ liTted to a de- gree of spontaneous enthufslasM. Hospitality drew courteous applause, and the work was really liked, though it failed to generate enthus- iasm, so nothing was allowed to die. But the furore, if (jne was expect- ed, failed to materialize. It can hardly be claimed that the house was dillicult, as recital features have become immortal in the Hipp, where the Sunday concerts for a generation were America's repre- sentative musical functions. It just seems that this is not a weiglity vaudeville act, finco Rus- sian stuff in Itself is no longer a thrill, and the Ukrainians' material cnnt.-iins no "kick" to reach the -amo- tions. The chorus work is fine, but Huliduod and not impressive, even in volume. The costumes are familiar. No atmosphere is created or even faked about tliLs great group of strangers, and their "attacli" is not warm or intimate. Perhaps outside New York, on the years of pre-.irrival press stuff, this chorus may develop a pull. Here it did not rise above an average freak act in apparent value. Lait, BESSIE BARRI8CALE «nd Co. (3) "Scrubby" (Comedy Sketch) 22 Mins.; Full Stag* Fifth Ave. Bessie Barrlacale, former picture star, recently appeared In vaude- ville In a protean skit. Her new vehicle, "Scrubby," Is authored by her husband, Howard Hickman, also known as film director and actor. It Is an effort not to JM taken eerl- ousiy as a stable vaudeville work of art, but one that holda plenty of laughs, some appealing: work by Mi.ss Barriscale and an unusual twist, all combining to make it a very satisfactory piece for the better houses. Hickman appears as a wealthy philosopher who has bet with a friend that he can take any little "female bum," as he puts It, and make a lady of her inside of a year. The subject presents herself when Miss Barrlacale, as a scrub girl, called "Scrubby," appears to clean up. She is an American "KIki," but still more ragged and lacking the French gamin's inherent clever- ness. She is thrilled at the pros- pect of becoming a Cinderella and only too glad to be sent away to a finishing school with all the luxuries she desires. An announcement heralds the passing of a year and with the fol- lowing scene comes the big twist. "Scrubby" comes home from school and both parties to the wager are present. She is dressed like a mil- lion and extremely pretty, but the minute she opens her mouth It is plain that the "fine feathers" adage does not hold true in this case. In spite of her Improvement in appear- ance she is more of the hol-polloi than ever. The final kick, a rather mild one, unfortunately, comes when she quiets the wrangling of the men as to which should mtrry her and try to civilize her by 'bringing her husband, the janitor whom she admired in her scrubbing days. Miss Barriscale affects a slight Swedish accent at first, but gradual- ly drops it. Tlie role is a difficult one and to her credit she shows much of the talent that was hers In films. Hickman and two supporting players lend capable support. They liked the act consideraUy at the Fifth Avenue and It should go once around the entire circuit. JANE GREEN 19 Mint.; One. Palace, Chicago. Chicago, April It. Jane Oreen comes from mtisical comedy back to vaudeville and she is » distinct acquisition In a line which has less than half a dozen girl singers of her type who rank in advance of her. She Is a young girl, of good appearance, with a pleasing voice and plain enuncia- tion, who sings Jazzy songs. She wears but one gown, a blue moire silk trimmed in stfuirrel, and de- pends upon her rendition of songs for success. She Is blond, looks good and sings one song after an- other without taking time to leave the stage until her act Is well under way. Miss Green starts off with a song about a "New Kind of Man With a New Kind of Love," and follows 1; with "Where the Lasy Daisies Grow," after which she sings one more familiar in "Mindin' My Busi- ness." The fourth is a "two-time" complaint. The fifth Is a play on the old "pig Latin" idea of school days. The last is crazy "Bipka- Ripka" combination. Miss Green makes more effort for comedy In the last than in earlier numbers and exhibits ability in this line. She em- ploys various little mannerisms which contribute to her success. ELSIE HUBER Songs, 9 Mins.; Ona Blonde songster delivering a con- ventional outlay of pop melodies by means of a powerful voice that could undergo toning dowii. The forgetting of the lyric In the final number proved fatal and left the —Singer without a chance of being rescued after building a fo-Irly Im- posing total. Four numbers In all, one a ballad, which will probably entertain In the lesser houses satisfactorily as a deuce spot offering, but hardly war- MUits a move sigtvlflca^.t^as9,i^nmppt., 'l 1,- ..:.*% TED and KATHRYN ANDREWS Singing and Dancing 18 Mins.; Full Stage (Special) Broadway. Ted and Kathryn Andrews offer a modern dancing turn backed witli t!ie usual drape and with a pii-nist. Both •• are finished performers when it comes to terpsichore, but they are as relatively unaccom- plished at singing as they are adept at dancing. A double at the opening, which lias both singing, and topping off their --"cal efforts with a snappy session of stepping, serves aa a good introductory. A single by Mr. An- drews done in perfect tempo is fol- lowed by a solo In which Miss An- drews sings a number about an old- fashioned girl. This leads up to a finely executed double, an adagio marked with form and style that measures up to the highest standards of that style of dancing. Pianist solos capably, followed by another exce.'.ent stepping double. The .couple dance eo well that their vocal limitations stand out by con- trast. The less singing they do the better. Their stepping and general c'ass will send them through any- where with honors, regardless of songs, which could be cut down to tjip opening^ong, to th^ all around iidlvantago of the act BcU, GUV and PEARL MAGLEY and Co. (4) Song and Dance Revue 25 Mins.; One, Two and Four (All Specials) The act Is considerably elaborated since last seen, although possibly not strictly new. Variety's records disclose Its last review In 1920 as the Magleys. The only similarity Is the Chinese number with the prop phonograph changing Its records from eerie Oriental music to an American Jazz to suit the tastes of the occldentally Inclined sing-sing girl. This act has the LeRouge Sisters, no small factor, with a couple of darkle lads also. They are prob- ably about 14 or 15, although their dance specialty suggests they may be over 16. The darkies up to then trot on Intermittently, bringing on the different cards announcing each successive number. The act opens with "Girls of BO Y^ears Ago," by the LeRouge Sisters in appropriate costuming, stepping out of a picture frame In "two." The familiar Chinese fantasy is of- fered by the Magleys. A "Girls of 20 Years Ago" num- ber has the sister team singing the "Merry Widow" waltz song, "After the Ball," etc. The Magleys follow with a flirtation dance number In full-stage In colonial costume. It was a pleasing interlude. The LeRouge girls depict the "girls of today" In abbreviated cos- tumes and jazz songs. The colored boys get in their specialty and the Magleys conclude with "A Romance of Spain," a cleverly conceived dance double. It's a classy act for class houses. Abel. LEON M. LION and Co |4 "Promotion" (dramatic) 20 Mins.; Final Stage (Special Sat) London, Coliseum Produced at the Coliseum, this dramatic sketch is suitable for only the very best houses. It is very frail In construction, merely an everyday episode. The whole thing depends upon the central character and Its han- dling. Should this approach medi- ocrity the bottom would go out of the tragedy and a decided flop would be recorded. The story be- gins 18 years before curtaln-rlse, when Arthur Perrln Joins other postt-fflce clerks In a revolt. Later he is made postmaster of a little town, but there his promotion ends. He Is on the blacklist. 'He sees man after man rise in the service, including his own brother, but he himself Is hidden away, forgotten. His misfortunes affect his entire family—his son's education has to be cvirtalled, his ailing wife cannot get proper attention, bis daughter cannot marry the man she loves. At the eleventh hour comes pro- motion. The old man Is wild with joy. He plans a rosy future; then he Is reminded of his neglected mall. He opens his letters and finds one cancelling the promotion. Immediately his castles crash and he rails against the Injustice of the world. In the midst of his agony a high official arrives, but the old man cannot understand and de- nounces the cruelty of the affair. At last the official, a district super- visor, gets a word In. He explains that the promotion has only been cancelled in order that a more Im- portant appointment could be made. Stunned, only half-believing the good news, the old man staggers off to tell his wife. Leon M. Lion and Austin Phillips have written a playlet almost re- markable for Its simple language. To Leon M. Lion In the part of the old postmaster goes all the credit for Its success. His support is not good, neither Mona Harrison nor Charles Lascelles conveying much beyond the fact that they have learned their lines. Two smaller parts are well played. The playlet had an excellent reception. Oore. BATTISTA and EATON "Romeo and Juliet" 18 Mins.} Full SUga (Cpeclal) Palaoo Miriam Battlsta (aged 10) an* Master Charlea Baton (aged 12) presented by Robert Edgar Long in the balcony scene from "Romeo and Juliet," mad« the vaudeville debut at the Palace this week, holding down the No. 4 position with an unusually Intelligent reading of Shakespeare's Iminortal scene. Miss Battlsta has* attained con- siderable prominence In Juvenile picture roles, principally as the child In "Humoresque." Her "Romeo" la a brother of Mary Eaton. The children played the scene as Intelligent children intelligently du reeled would be supposed to handio the roles that have taxed the his- trionic abilities of some of the greatest actors and actresses. They enunciated clearly and distinctly, but never for a moment succeeded in creating the Illusion of an adult passion. Both have good speaking voices, the girl's being unusually sympa- thetic and full toned for one of her years. Her reading of the most im- passioned lines was perfectly modu- lated. She played the scene bathed In an overhead spot with "Romeo" beneath, not so fortunate in the lighting elTects. The children held the attention of everyone for the 18 minutes they were on and were ovated Into "one" to receive flow- ers at the conclusion. The ambitious and unusual selec- tion of vehicle and their youth will make them a sure fire attraction for the two-a-day through novelty and sentiment. Con. SALLY BEERS Songs 13 Mins.; One It Is possible Ruth Roye is "pre- senting" Sally Beers or has some arrangement with this songstress, but if not the big time act Is en- titled to a royalty from her small time counterpart. Miss Beers has all the Roye mannerl.sms down to a wiggle, and even her hair cut re- sembles Miss Roye's. The difference, of course. Is small and big time. This act lacks the "front" and "cuteness" which the big time turn possesses, although Miss Beers manages to get to them. She does four numbers, three pop and one restricted, clicking chiefly on the strength of the IjtIcs. Ahcl. "THE TELL TALE HEART" Dramatic monolog 17 Mins.: Full Stage (Tabs) Victoria Palace, London. London, April 7. "The Tell Tale Heart" la a recital by Russell Thorndlke of Edgar Al- lan Poe's weird story of the same name, set to incidental music ly John Foulds, who directs the or- chestra, which plays throughout the recitation. The presentation is crude to the extreme and the musical accom- paniment Is old-fashioned, having been abandoned since the days of the music cues for the entrance of the villain and other characters. In some respects the act is an imi- tation of Charlotte Parry's "Into the Light," but lacks the human touch and minus the curse of tragedy through the fact that the Parry act culminates in a dream. Following a single line spoken from pitch darkness, asking what the prisoner has to say why sen- tence should not be passed upon him, a spotlight reveals Thorndlke In the dock, who talks steadily for the entire 17 minutes, relating the story of a lunatic who murders an old man, and pleads with the court to sentence him to death rather thaa detain him as Insane. A glaring Incongruity was in a new and highly polished "bent wood" chair In the dock. Shining as it did from a mass of sombro blackness, this article of furnlturo detracted from the realism. Russell Thorndlke Is a brother of the better-known Sybil Thorndiko and reads poorly. It Is no mean task to carry on an uninterrupted mono* log, and when attempted without a change of tempo or pitch of voico becomes excruciatingly monotonnufc He Is not likely to go very far witlt this effort. RALPH and WINNIE Talk and Songs 14 Mins.; One Ralph played In vaudeville pre- viously as Ralph Ash of Hymans and Ash, and several other two- man combinations. Winnie, his present partner, is a young woman. She does straight in the cross Are talk and Is Inclined to be a bit too forceful. Toning down the voice would be a decided Improve- ment. Otherwise she straights It excellently. Ash does comedy In straight make-up. The comedy talk Is balanced with a double of conversational songs One Is very well constructed. Its called "I Knew Her When" and Is a gag song that has the laughi strategically placed, with plenty of 'em. The other one "What Do You Know About That," is another of the gag and topical type of song. It has good lyrics and is the sort of number that can be kept up to date with verses on topical sub- jects. The team should Iron out the rough spots with a few weeks of playing and readily work out an en- tertaining fpecUlty for th* 3)ap 1 houses. Ben. (1) ALPHONSE and CO. Marionettes 13 Mins.; Full Stage (Special Set) 23rd St. Hero Is a real novelty manikin act, with continuous comedy value to any audience, the figures beau- tifully dressed and excellently manipulated. The special set is a stage upon a stage, with aide boxes occupied by dolls, which act In ex- actly the same manner aa the box occupants in the Fred Karno act, "A Night in an English Music Hall." Alphonse has a very pretty setting. In blue and yellow silk and satin. A trapeze performer (manjkin) opens and does all the tricks of the human aerialist. A Risley per- former and a Juggler next occupy the stage and duplicate their living prototypes. A lady rider on a buck- ing bronk, also does a high school menage, and an Egyptian Ballet of eight girls do the various dances of the East, coochle, shimmle, snake dance, etc., closing the act, which was greeted with continuous laughter all through, and several curtains at the finish. It Is a good sight act, besides a clever one, with good comedy through l^e jntice^ pf Ihe^anU^inf. and is kV'o* openw'tbriMiy bfio*.