Variety (May 1924)

Wednesday. May 14, 1924 LEGITIMATE VARIETY 17 NEW PUYS PRODUCED WrraiN WEEK ON BlAY PLAIN JANE Musical comedy •t the N»w Amiterdam; Srcitented by Loui» I. Isqulth and Walter Irooki. Book by Phil Cook and McBlbert Moore, lyrica by Cook, tune* by Tom John- atone, ataged by Brooka. Opened May 12. Princlpala: Jo« Laurie, Jr.; Lorraine Man- ville, Klfln Finn, Alma Cheater, John M. Troughton, Ralph Locke, Helen Carrington. Lew Christy. Charloa McNauKhton, Marlon BIkl, Lester O'Keefe, Jay Gould, Dan Healy, May Cory Kitchen, Alice Nack, Jay Ger- rard, Jnck Stanley, Pearl Howell, Edna Colgne, Liane Mamet, Pauline William*. Joe I.iuiie. Jr., long a vaudeville Btar and lately credited In persistent trlcklinps hitherward with having scored in "The Gingham Girl" on tour, made his appearance a.s the lead in a musical show in New York; that was the most Important event which transpired at the New Amsterd.^nt theatre, house of his- toric musical hits, with the pre- miere of "I'lain Jane." One shudders to think what this show would be without Joe. Not that it isn't there, but Laurie is the backbone, both eyes, all the heart and the soul of it. The legs, and very nice, too, and some danc- Inpr feet and flying arms, are fur- nished by others of the populous cast. Laurie appears in what might t« termed to the trade an "Eddie Dowling" part: henceforth that sort of part will he known to the same trade as a "Joe Laurie" part. Not since the memorable days of John- ny Slavln's hits, or Victor Moore in "Forty-five Minutes," has there been such an instantaneous, spon- taneous and resounding wallop In that style of personality character- comedy. Laurie plays a soft- hearted young East Side hick, a trainer and manager of pugs. He keeps the kid light, snappy and breezy, and every time he opens his gifted mush he spills a wow. It is palpable that most of the wise cracks must have been Joe's, for tiie "book" is so far from that type of observations and Joe is so natur- ally talented at it, that it isn't pos- sible the same boys who wrote the stilted situations and feeble dud dialog could click oft the surefire gags that Laurie sells as only a man out of whose natural humor they spring could deliver them. Lorraine Manville was applauded until the house shimmied, and once she was audibly bravoed. It was apparently a well-meaning but sad- ly misguided clacque. Miss Man- ville, in a Cinderella role of the sort made famous by Louise Groody, wholesome and tuneful and appealing, was made the goat rather than the heroine of the exaggerat- fed enthusiasm, and several times annoyed patrons turned and shushed the patriots to go easy. But they insisted on stopping the fehow every time she was on, which let out a performance due to ring flown before 11 at 11:40, with many walkouts starting 19 minutes before •>at. The antl-climaxes towaurd the end Mso contributed. The story is washed up when more numbers and aynthetic "difflcultles" are present- M. The last 10 minutes could be chopped out almost enitrely to ad- vantage. Jay Gould, as the Juvenile hero, played In what seemed a new vein for him. Never of late has he been aa effective, as direct, as sympathe- tic. In a bout In the second act be was terrific In his inten.sity, and here was one fake stage boxing- battle that registered and thrilled. Charles McNaughton, in an English Billy-ass part, hadn't the faculty for padding that Laurie possesses, and his stuff was lean for want of ma- terial; the same went for Dan Hea- ly in blackface, except that he padded with moth-eaten released gags, and too much thereof. A toe-dancer (Pearl Howell, as nearly as can be gleaned from the program) hit strong. Helen Car- rington, a former Winter Garden beaut, and later in a legit part in big-time vaudeville, was a Joy as a blond vamp—if vamps there must be, let men be fools for the H. Car- ringtons, making them winner on the play. Brooks' staging is brisk and metropolitan in the dances and numbers. The book is nat so ably put on, and It isn't such an able book to put on, either, being some- thing about a girl who is about to be canned out of her attic room for back rent inventing a crazy-quill doll which, after many vicissitudes. pretty thin even for musical com- edy, becomes the Greenwich Vil- lage rage and, therefore, conquers the world. The son of the cruel millionaire doll-manufacturer, who first to.sses the rag baby in the waste-l>isket and later tries to gyp her for the rights, is kickd out because he In for her. and he licks the world champ and gets the douRh to back the doll—all iiretty frayed and all pretty diluted. Hut the number.^ and Luiirie lielp to antidote the Itronillic and often ludiciou.'ily boil- erplnto ]>:'i[. mill Uce\> "I'l.iln J.ine" stepping. In ill there is a spirit of speed and verve, if not dramatic "progress." The sets and clothes run from pretty to lavish and fine. There are eight chorines, but little leg- stuff, and not an oft-color word throughout, making the show a tid- bit for the middle classes, what would be rated a typical Casino show. But the New Amsterdam isn't exactly the Casino. This offering may stay here until the next "Follies" is readied, if that isn't too long, and should continue at another house. Rates on first sight as about a J15,00D attraction, and should outstay the summer at about that gross, unless it is driven out prematurely and can't land a house that can live at its speed. Lait. KEEP KOOL Revue in two acta and 11 scenes. Pro- luccd by E. K. Nadel. Book and lyrics by Paul Gerard Smith. Uances by Barl Lind- say. Art director, Walter Harvey. F.-at- jrlng Hazel Dawn. Charles King and Johnny Dooley. At Montauk. Drookiyn, May i:! woek. "Keep Kool," the summer revue written by Paul Gerard Smith, the vaudeville author, and produced by B. K. Nadel, formerly of the Pat Ca.sey Vaudeville Agency, is at the Montauk, Brooklyn, this week, pre- paratory to coming into the Morosco, New York, next week, for its metro- politan debut. The revue is "In" for the summer unless New York theatregoers are moronic. It is full of clever, twisty, meiaty entertainment—comedy, triv- esty and satire—and includes the other embellishments, among them the hooflest chorus seen in ages. The 16 girls are pips, lookers and dancers. They pop over a ballet that would make Tiller turn green, kick like steers and look like why-men- leave-home in their many costume flashes. Johnny Dooley has been added since the show took to the sticks. It is now in its third week. He gives the proceedings a needed low-comedy punch in addition to adding a "name" to the paper. Hazel Dawn is happily cast all the way. She debuts in a monolog in which a cleverly written parody on "Gunga Din" tells about her aver- sion to beds since Al Woods stuck the Ostermoor trade-mark on her. She also gets an opportunity to play the violin In a double with nutty Oscar Lorraine, who does a specialty in act two and also leads the or- chestra nuttlly during intermission. Dick Keeney and Ina Williams tied up the proceedings twice with their singing and dancing specialty, as did Lorraine; also Ed Tierney and James Donnelly, a pair of vaudeville pedalers, prominent throughout. The first ace scenic flashes were "Dandelion Time," sung by Bill Prawley (Frawley and Louise), from vaudeville, and Jessie Maker, the lat- ter a sweet dancer in addition to her vocal work, Frawley also handled a comedy wise cross-fire lingo with Miss Dawn in a prop taxi in a man- ner rcminiscently funny to all of the boys present who have ever picked one up. Frawley worked with Johnny Doolejr In "At the Stage Door," another satirically funny bit. It is draped around the idea of a wise rounder picking up the star of a musical show, in this case Miss Dawn, and telling her about the wild night he had in BulTalo with herself. His equilibrium and conceit are rudely shattered at the stage door when a fellow player calls her by name. ' A flash-back Idea unusually clever and funny was a satire on the styles of George Cohan. Avery Hopwood and Eugene O'Nell. The authors are seen in the Friars grill discussing the modern taste in plays. Each embellishes his style on the same plot In a series of three comedy scenes, the conversation leading up to the scene, then a black out and the scene played and cut back to the authors. O'Neil's version, a sort of hairy ape with plenty of cuss words, gave Lon Hascail an opportunity to do a Wolheim. Charley King as Cohan first wrote the act and then stepped In when Jack Waldron protested he was miscast. King's imitation of Cohan is a classic. Hopwood's version, with Claire Miller the maid. Dorothy Van Alst and Ruby Stevens as callers and Belle Dc Monde as the hostess, all in panties and negligee, was manipu- lated into a howl when James Kelso In a union suit, hifjh hat. cane and gloves arrives. Johnny Dooley as a Scotch bill collector panicked them here. "English as It Is .Spoke," with Dooley, Miss Williams and an un- programed waiter, was another howl, a seiie.<( of mi.spronoiincert words and hick dialog. A flash linalc with a winter scene and xnow effort clo.'icd the fir.st act, all of the girls in white fur-trimmed minstrel co.wtumes. Helen I'-ables scored in a contor- tion specialty as the maid in "i^liall- mar," a full-stage scenic creation of beauty with a iyi-ic similar to "Pale Haiid.s." sung by William Uodford in act two. 'Miscast," the love triangle of a prima donna. Belle De Monde; a Juggler afllnlty, James Kelso; an acrobatic husband, Johnny Dooley, and a chorus girl maid, Viola Blaney, was another comedy yell. Kelso as the Juggler, who enters to a chord from the orchestra to woo his song- bird, who sings her endearments, would tickle the risibilities of an earthquake survivor. Dooley as a German acrobat discovers his rival's presence behind a screen when the three cannon balls'he is Juggling ap- pear alternately above the hiding place. A struggle to the death re- sults in a toe-hold and burlesque wrestling match. "Fairy Tales," modernizing the Miss Mufflt and Riding Hood stories, had the former bribing the spider with gin and the latter trimming the wolf for a new fur coat. "The Yellow Peril." another pip, had a twist deliciously novel. Miss Dawn opened the scene In orthodox fashion as Vera Van Vechtan. She is interrupted by Walter Morriason, the author, who is wild because dan- delions were substituted for roses in the bit. The scene then proceeds with the principals using the flowers for necessary business and sneezing at the crucial points in the speeches. Dooley as Otokieuma is killed and falls on a couch. The girl sprinkles the couch with the flowers. Dooley sneezes himself back to life and off on to the floor for a flnlsh. "Out Where the Pavement Ends," a duet by King and Miss Dawn, threatens to bo whistled. All of the score with which Jack Frost is par- tially credited is repiiniscent, but the lyrics of Smith stand out. "The Broadway Battle Cry"; the opening chorus. "Shalimar," and "In They Go and Out They Come," a neat idea, are the easiest remembered. "Keep Kool" is brimful of novel- ties and Ideas, almost too full. Smith, in an effort to give them something new and novel, almost overreached himself, but. luckily, stopped this side of the danger line. The revue can stand some slight additional pruning, when it will be ready to stand the strictest kind of inspection by smart audiences. The tired business man Is in for a delightful evening in this one. Oon. NEW PLAYS PRESENTED OUTSDE NEW YORK CITY EASY STREET Chicago. May IJ. Comedy In four epiaodea. Story by Ralph Thomas Kettering; produced under the direction of Ralph Kettering with the as- sistance of Harry MIntum, at Playhouse. Agnes Sheridan Mary Newcomb (By kind permission of A. H. Wood*) Morgan Carr, a t>achelor... .Harry Minturn Margie Patch, from next door Nan Sunderland The Stranger Dwight A. Meade John Sheridan, Aggie's husband Ralph Kellard Jim Fischer, the station agent Kugene McGillan Bill Patch, the hootcii hound William Powell THE MELODY MAN Lew Fields' starring vehlcl*. reviewed last week at Teller's Shubert, Brook^lyn, N. T., under the title of "Henky," renamed "The Melody Man" when opening wt the Ritz. New York, this week. First known as "The Jan King." A three-act comedy by Herbert Richard Lorena, a compoalt* of the three young authors' names, Herbert l''ields, the actor-manager'a son; RIcbard A. Rodgera and Lorena M. Halt. Staced by lAwrence Marston. Jesfle Sands, telephone glr<..BIeanor Rowe Sidney, office boy Jerry Devine Ruth Davis, small time ballad singer., Louise K»tley Stella Mallory, professional managsr of the Al. Tyler Music Pub Oo..F>va Puck Al. Tyler, owner and chief composer oC the Al. Tyire Music Pub Co Walter O, PerclnJ Married t(\am— Bert HackeM Sun WhIU Rita La Mart Renee NoM RIsa Hcnkel, hla secretary...Betty Weston L>onald Clemens, student violinist Frederic March Fraiia Henkel, arranger of music wttk the company, and Blaa's father Lew rWds Dave Loeb, police court lawyer Jules Jordan A Chauffeur Joseph Torpey A Maid Sara Chapetle A Piano PUyer Jimmy Kaipper With the Playhouse capacity, and all his friends yelling for "Author, author," and Ralph Kettering mak- ing a curtain speech at the end of the second act, "Easy Street" knocked out a first night hit, "Easy Street" was first on the Wingfield circuit under the title of "Why (iirls Go Wrong" and didn't get much. It was taken oft and re- vamped and with the present cast may kick over a few good weeks at the Playhouse. The action is In a suburb of New York, played In one set neatly done. The comedy at the opening of the last act may easily be eliminated to the betterment of the show, as It was time worn and didn't belong. Mary Newcomb grave an excellent performance of "Aggie." This little lady will some day get a part worthy of her and land. Harry M4nturn's Morgan Carr, an old-fashioned "heavy" part with the sting of the "heavy" entirely re- moved by the smoothness of Mr. Minturn's playing, was most notice- able. A deal of the credit for the staging is due Mr. Minturn, who didn't give himself any the worst of the positions and spots, but he was deserving of it. Nan Sunderland brightened up every scene she was In by register- ing laughs, some put over by sheer personality. Ralph Kellard as the husband struggled through a thank- less part and pushed over a fine interpretation of the irate first party of the triangle. The piece is so hooked up it can get by on about $5,500 at most, and will probabl/ get that for about four weeks. Lawrence Marston t* credited for the staging, although the "Inside" of It is that the play has undergone restaglng and rearranging on the road and In Chicago. Alexander Leftwich took a hand in It towards the last to ready It for the RIU opening. The piece, accordingly, showe Ita Inconsistent raountlns. The action is spotty and Jumpy. The first act starts with a sip, the second sags and the last act Is lit- tle better. The title, "Henky," was derived from the music publisher's col- loquial contraction of Frans Hen- kel's name. Lew Fields, In the title role of the composer who through force of circumstances, has been forced te accept the role of arranger with the Ai Tyler Music Co., has a size- able role, but not big enough for his efforts. In the first act Sammy White, as the egoistic one-half of a mixed small-time team, runs away with things. Walter Percival, in the music pub- lisher role, predominates through- out, being cast for a difflcult part. As Al Tyler, he Is the light "heavy" in the fir.st two acta, playing the I)ilferinK tune juggler who trans- forms the great Franz Hcnkel's "Dresden Sonata" into the musical setting for his latest and greatest siiiiu success, "Moonlight Mama." Tyler is enamored of El.sa Hen- kel. his .secret.ary and the daughter of Henky. She is more or less interested in Donald Clemens, a student violinist who earns his sus- tenance a.t a member of a Jazz band i)reparatory to studying abroad. The lack of consistency, therefore, when, after having been compelled to ac-ept the attentions of Al Tyler for eronoinic rea.sona, she lu-turns from her continental jaunt happy and contented and very much in love with the erstwhile unsympathetically drawn chariclor, sounds a false note in the entire structure. The aulliors judiciously did not .xlress Elsa's affections for the yiutig violini.st. but Ihuy were not so subtle In leaving an honorable "out" for Al Tyler, "the Jazz king." The change of pace, no matter how faithful In real life, did not ring true as constructed here. EJsa returns muchly sophisti- cated and • "up-stage" to her old friends, who only six months before helped meet the landlord's de- mands. A hasty adjustment for the "happy ending" curtain discloses that Henky has been given perma- nent quarters in the Tyler apart- ment on Riverside drive and that Al Tyler has gone so" far as to out- fit the aged composer's room with a picture of Beethoven and Liszt on both sides and his (Tyler's) own likeness in the middle! The first act Is laid In Tyler's song factory. Such wheezes as "You Stole My Soul in A flat" are worked in. White, as Bert Hackett, cuts up smartly, and Eva Puck, as the professional manager, Is effec- tive. Other technical sidelights on the production will be detailed In "Clip- per'' this week. The casting fs adequate, with Puck and White, Percival and Betty Weston on a par with the star. The script Is at fault. Out- side of a few months' run, which may be swelled possibly through the convention crowds' patronage in the next two months, It Is not a hit possibility, Percival Is worthy of a special paragraph. After being with the show from the start and command- ing flattering attention on the road, he was notified by Fields the Shu- berts had "advised" giving Donald Gallaher a chance In the part of Tyler, the music publisher. The Shuberts have Gallaher under a long-term contract at a salary fig- ure exceeding Perclval's; so It Is not so much a question of Improv- ing the show or reducing the over- head as it Is to keep their contract. The Tyler role Is a difflcult one and capably handled bv Percival. A bel. PEG O* MY DREAMS P''g SuZ'inne Keener l^'"'ry itDy r(o>«ton Marie, o. P. HuiitU-y I'lhol Itoliprl.i Ileatty Monica (illb.Tta Fnuat •^rrady I'nul KIceman Alexis f'hectcr Hale •Iiirvig n»i ar FiKmtin I'na Alhrrlina Vilsk Ulanrhe I»\nv Lee Olhcra-Jo.'iei)h McCuUlon. William LtIiI, H'^nri'»tt;i llrtwutcr. tltulyw Ilnxler. Jean I-'r*rcu«on. Hflr'n H:tinc.<<. Katharine S[teii<-pr, Jiilla l.rtne, It'eh.urd I'orJ. John U. W:ilsh, chirlcs linum. Hi'hard Herndon offers this mii- ! ii il version of "I'eg o' My He.irt," the book by the original iiilhor, .1. (CuMlitmed on pitje lij) PETTIE DARLING Denver, May 9. Patrick SI Condit Mrs. Darling, "Pettie" ,... Thelma Whits Hilly Darling. "Illlllkens" .. Anthony Blair Pamela Larkin, "Pam" ,.., Oladya Georgs Hruce Uraden tieorge Barnes Henry Uurdlck Ralph D. I.*s Adam Hen Krwar Florence Burdick, "Flo Flo" .. Alice Maxoa l"'lyn c.uy U»her Casey Huron L. Blydes Margaret Mayo and Aubrey Ken- nedy have done nothing startling in "Pettie Darling," producing fon the first time at the Denham (stock) here, this week, by Thomas Wilkes. It Is a fairly worthy farce, how- ever, with a bachelor's bedroom and some risque situations taking up the second act, plenty of clean comedy and an occasional bright line. Ten years ago It would have been a knockout. "Pettie Darling" makes a delight- ful vehicle for summer stock, but It holds no hint of taking Broad- way by storm. Billy Darling, self-centered, sel- fish and fat, plays the thoroughly spoiled husband of "Pettie." The first act opens with a well-defined scrap and Pettie crying because her "BlUlkens" has neglected to remem- ber that it Is their first anniver- sary. As Biliikens spills his own troubles on the bosom of Bruce Braden, his bachelor friend, that gentleman advises him he ought to do something to start hla wife guessing. "Oo out somewhere and stay all night," he counsels. So Billikena departs in a huff, appearing in the second act In the bachelor apartment of a friend, who has Just departed for Montreal. He sends his clothes out to be pressed and takes his nightly bath. While he is in the tub "Flo-Flo" Burdick, hiding from her husband for much the same reasons a« those actuat- ing BiUlken's flight, cornea in and proceeds to make herself at home. She Is the niece of the owner of the apartment. She goes Into another room to disrobe for the night, emerging a few minutes later in a flimsy and low>cut nightgown. At the same instant Billikena emerges from the bathroom clad In nothing but a derby hat and his psijamas. The action Is faat and furious for a few minutes, with Flo-Fl« getting ready to do a faint. To tnake matters worse, she has a bad habit of losing her breath when excited, a piece of information which is "planted" in thelflrst act. Both she and Biliikens, fearful lest their reputations be shattered, summon the police by telephone; but when the officers arrive, Bilii- kens has grabbed up a bath robe and slid down the flre escape, leav- ing a piece of the robe on the win- dow sill, whUe Flo-Flo has fallen Into the breathless trance she em- ploy* in place of the regulation faint. The officers think she is dead, trace Billikena to his own flat by means of the fragment of bathrobe, and are about to arrest everybody in the house. Eventualities are avoided when Burdick, Flo-Flo'a husband, comes In and announces that he has Just located his wife at the morgue. However, she has revived. It ap- pears, and explained everything. The curtain goea down on most of the charactera doing a ollnch, The first act moves with rather extraordinary rapidity. The second slows down considerably, with a distinctly flat curtain. The third sustains the Interest adequately and ' the entire show uses up a trifle more than two hours. Anthony Blair does "Biliikens" very well, and T!.elma White plays "Pettie" with Just the right touch. J Gladys George does "Pam," Pet- ] tie's meddlesome girl friend. George " Barnes accomplishes all that can ■— be done with "Bruce Braden," not a startllngly heavy part. Ralph D. I.iee, as Flo-Flo's distracted hus- band; Ben Erway as Adam, the valet; Alice lilason as Flo-Flo, and Guy Usher as Flynn, the plain clothes man, throw much pep lnt» ' their work with Miss Mason par- ticularly, carrying oft the rather difflcult situations nicely. According to local announce- ment, Thomas Wilkes purposes starring Gladys George In "Pettie Darling," on Broadway next fall. If he does. Miss George will hardly have an opportunity to show her real worth. As "Pam" she Is clever and convincing, but the part la sIlRht. The fattest feminine na-'. is that of FIo-FIo. Howevtr, when she and nillikens decide, early In the .second art, tc take a bite of lunch together prior to touching off the fireworks, the situ ttl')n is a litle overdr;iwn, even for f.irce. Incidentally, "I'ettle Darling" is to be discarded as a title. Miss .\T.iyo originally named It "<ay It With riTjvvers." nrVKT, Vera Meyers, Biisbjr Berkeley .and a chorus were added to the Casi'V-Il lyden stock company at the City in Brockton. Miss., last wek.