Variety (July 1924)

Wednesday, july.S. II V^}^ R'Wfi. ii^m^ VARIETY 19 NEW PLAYS PRODUCED ^ WITHIN WEEK ON BlAY WHITE'S SCANDALS SnihirS Lyric, by B. O. d« Sylva^ Co.- ^m!^ anil curUln* moitly Importad from Tiri7.fter dSSM by arte * Weldy. .up- T>..t«p Allan, Tom P«tricol». WlnnU tKitner, Helen HudK>n, Robert Bold Will li.hoS*y, Olive Vaughn. WtULm. Sl»teni. Newton Alexander. Fred Lyon», Tom Rose. J.mw Miller. Harry Morrls.ey. Kitty Wlll- Ums Kim C ty Four. Alice Weaver. Pei«y pSlan the de Marco., de Marco Sheik.. Thea Lightner. The sixth edition of Oeo"ge White's "Scandals" is very much like the other flvu—a sprightly, light show, running to snappy-girl numbers, with plenty of thought given to new ways to undrape pretty forms and sur- round them with high-grade ginger- bread scenes. Any criticisms of this show herein contained may be regarded as strictly technical and professional. Irre- spective of them or any of them, this show will run along to the customary results until probably Christmas. This year's book Is amazingly de- void of comedy, and even some of ^he few laughs shot at had better be "elided, since they are tactless and offensive. One skit In. particular, the "dramatization" of an old stag gag. Is blunt and rude. It comes abruptly Into a broad burlesque on "Abie's Irish Rose." and Is dragged In with- out sense or feeling. A stranger Is offered his choice of sleeping on the sofa or with the baby. Next morn- ing the "baby" appears. She is a beautiful, grown-up girl. The skit doesn't even let It go at that, but insists that the lodger say, for a tag, "And I'm the damn fool that slept on the couch." It chilled an extremely enthusiastic audience and should go out at once for the sake of White, the theatre, the per- formers, the audiences and the in- dustry at large. Some other references are not in the most gracious taste, principally a wise crack about the smell of cheese In the opening number. This Is In a sister act substitute for an Introduc- tory chorus, and is otherwise clever. The girls tell the audience It has come late and missed the opener. This gives the show a start that promises much sophisticated obser- vation, but as the show runs along it begins to take on more of the Music Box atmosphere of Illustrated songs set on with costumes and trick scenes. Only a few of the skits get any- where, and one about censors' reform Is long winded and wearisome. It should be cut to the bone. The Idea was featured by White last year. A "coloratura" poem thing in a series of episodes might be trimmed down to the business and the sure gags, also, having now too much repetition. A one-word triangle bit, the word being "Ah." is a cracker. The Parisian scenes are all Bet Inside black cyclorama drapes, and most of them are rococo, eye-lntrlgoi- ing and worth while showing. A pro- gressive wedding number, the Idea *n old one, brings beautiful curtains run on different aeU of lines, with lace, sliver, gold anfl diamonds, very attractive. There are numerous others of that type, varying in de- sign for atmosphere. TMe outstanding scene and novelty 18 a m.vstic lighting effect which blots out colors and all lines on the girls, variously clad In bathing costumes and otherwise, and makes change to an illusion of marble statues. The »I»"^'?'"'"^"°"» a*"* stunning. The weitect is not entirely new. since some- I S ?.^ ■•'nllar appears In "Battling ^^i„ D .*"'' *"" another variant th«^tw '" "Nifties." But this tops ine others n mile, since the number '"? |!;«atment are far more artistic ■triklnl * '* considerably more «?»*■."?' "^' ""*'« '8 a Polies Ber- ;„ * "Y'ne curtain, this year ac- knowledged thus m the program. O^rrtL^^"'" White and the Winter one «„nfr''*' *•»* °"« »"<» accused a? thPm^K'";u'\'"'* ^*'-"' "»a1e faces cen«n^^l,''?'^> " '•"'o«'s the long tionf. ?'"''• ,".''*'■ '^ 8''-' transforma- Dief.,'«'" "'^-fashioned girls with siill,;? '""■1'''' t" m"<Icrp jazzers, red nnrt ■,T'"'^'=*"t of ''-"t ye-T-fl It cios'>lv ■'u''""'' ""^ '■'"••»■« fo'.lows vllle ifV. " u"*""' ""'"« '!^P v.iude- FOLLIES Revv. produced by Flo Zlesrald at the New Amaterdam Jun. 23. Dialogue by William Anthony Maguire and Will Roger.; lyric, by Qene Buok and JoMpb J. Mc- Carthy: Mor* by the late Victor Herbert. Raymond Hubbell. Dave Stamper. Harry Tlemer and Dr. Albert Silrmal; tableaux hy Ben All HaggUi; production .taged by Julian Mitchell. Cast: Will Roger.. Irving Fl.her. Lupino tdine, Brandon Tynan. Tom L«wl.. Phil Ryley, Alf Jame., Vivlenne Segal, Martha I^ioi'ber. Edna I>eedom, Evelyn Law. Gloria Dawn, Anil Pennington, Kelo Brothers. Hilda FergUMn. May Daw, OUen'. Band, Umdon Empir* Oirl., Tiller Olrl.. For the 19th production of the 'Follies," Flo Ziegfeld aimed to mold It along the lines of musical comedy, having In mind the success of "Sally" and "Kid Boots." Even- tually he expected to convert the "Follies" into that type of attrac- tion rather than the too costly revue (hU last "Follies" is understood to be away behind). * For the purpose of inserting «? book Into the first act, he took the show to Atlantic City. After the first performance there It was de- cided to ca^t out the book entirely. When the "Follies" opened at the New Amsterdam Wst week It was in such unfinished shape the shore trip seemed wasted. It will take another week to whip the show Into proper form. The first act developed Into a speedy session, but only after get- ' the oompiiny jijiplau'linK ^."f>ui part o'.i(n.s with the Bet an? vl' ';.,"■"•=!">• V^^. 1 .- uitifully *«he on \ .,'"".' fl"""f'. a scram. too nho-, '"^ '" '*•« routine that is M6*?i'm.s''^'l'""'" '^''" "»•' IP-"" tl'a" should be on less and get better ma- terial. Her specialty showed one ex- tremely indecent song and another that got by only on a reference to Frank TInney. The songs through- out, except the Mah Jongg and an Araby number, both falling to Rich- ard Bold, are lyrically lightweight, whether conveying sentiment or comedy. Will Mahoney scored with his mammy specialty of vaudeville fa- miliarity, well prologed. Al Jolson was in the front seat and might have been made to rise, for the whole bur- lesque Is on him, and a good-natured and shrewd lampoon it Is. Mahoney appears many other times, never as strong as in that bit, but quite able to account for himself as a revue comic or versatile gifta and apti- tudes. He will have a hard time get- ting back to vaudeville again. The revues won't let him. Early In the first half there is a broad satire on the «ld melodrama, played by everyone on a pogo stick, Allen easily taking the honors here. Patricola, with scarcely a line or a situation afforded him by anything from any script. Is again probably the hero of this year's "Scandals." He takes the heaviest applause in the finale when the company files on in clvles. Allen does the hardest work and again his make-ups get wows, and he squeezes far more out of what he gets to do than would seem possible. But he Is disad- vantaged by the stuff, itself, at times. The chorus is the prettiest White has ever had, and aa pretty as any- one has ever had. And good little workers, too. Show girls are few, and mediums and ponies featured. They do several numbers without leaders, one a mean crack at the Tiller girls, which they recite, the gist of it being "Yes, we have no Tiller glrie—we have girls In their places who have forms and faces," etc. Then they do a typical Tiller line of steps. They also handle the last scene en masse, with rhymed talk, and do it all right. Dancing is almost a negligible quantity, even such wild-fire and sure-fire hoofers as Allen and Pat- ricola doing a minimum of it. A big Congo number gives Patricola one specialty dan'Ce, and he does a few steps here and there. Allen doesn't warm a foot, except In the Pennington. The de Marcos dance two team specialties, a Spanish and an Oriental, both hotly taken, and Alice Weaver, a little cutle, dances twice on her toea, once very remind- ful of Dorothy Dllley's best steps. The de Marcos spring a band of six. nil strings. Celestials, who do a next-to-closing specialty also, and knock more jazz out of their guitars and mandolins than one might fanty such props contain. And that about cleans up the specialties. This show leaves much to be de- " sired, some of which wouldn't cost more tli.in a nickel—the current pi ice of one blue lead pencil. Hut ths i)U'.)lio i)ri)bably won't bothor .ai(OUl. trifles, anil will re- p.ir'd ti-.i.i "Srandals" about as it h.is I'll I ho otlipri. a bansj-up rovue sI;ow fill- tboso over sp'on. witli I'loiity for the eve an'l a little for Iho ear and very little for I lie brain. The clever iitKiiliP.s v.ill iliaw witliout offcnil- !n-r. In that rr'iid White li;is .i I (~ ^ Ks s,"^ (inil to none. i^n this (clltlnn RhnuM run nlon:,' until about the f.atal week-before- Chii.-trrtn.s or thereabou.s, and. bar- rinsr ii very .«!ad pr; siclent !nl year. I(bv to alioi:r the same as last year. .allowIn.T for the reiill.'o niiiaiitlcs or the Cilobc and the Ar"!'". 1-C'f- tlfts oK to a T«7 alow atart. Four men as cowboys provided the actual opening, they rociting a lyrio anent tha castlas forth Into the ocean of the book. Thla waa In "one." The curtains parted for an abrupt tableaux picture, posed by Ben All Uaggin. Coming so quickly with- out even chorus action to send the show off, the posing waa a surprise. Into "one" again Vivlenne Segal and Irving Fished la-laed "Adoring Tou." Miss Segal was a hasty ad- dition, Joining as the result of tele- graphic messages from the shore. Down there, when the changes were happening, Nancy We'.ford and Wal- ter Catlett quit. A dispute was said to have hastened Catlett's withdrawal, and other differences were reported, though denied. Harry Fox was called in at rehearsal Sun- day (last week), but was through after rehearsing less than 24 hours. It was not until the fourth num- ber that the first-nighters really got action. That waa largely through the efforts of the dancers, and it is to be said that, above all, dancing is the strength of the new "Follies." That was certainly so the first week. The number was labeled "TBrad- bury's Ranch" and It introduced virtually the entire cast with the exception of Will Rogers. Edna L«edom got something as a West- ern "moU" singing "The Great WIde-Open Spaces," contributed by the song-writing team of Dave Stamper and Gene Buck. One of the things Edna boasted about her cowboys v.-as: "And they never heard of Heywood Broun." Lupino Lane made his entrance through a trap which sprung him high In the air. In boots he looks bow-legged, "but with a song called "All Pepped Up" (Joe McCarthy and Harry Tierney) he made the first score with acrobatic and comic dancing antics. Into the scene camf the gorgeous Evelyn Lavf, the same girl who kicked her way Into note in the "Follies" of two seasons ago, when the show ran 67 weeks on Broad- way. Her reception was immense. Then came a double set of Tiller Girls, one 16 taking the Tiller name aiLd the other known as the lion- don Empire Girls. It was the Eng- lish steppers who really took the honors. They pepped up the show. Olsen's Band marched into the scene also, doubling from "Kid Boots," where they appear at the finale. Seated, the boys are classed highly; but marching about as a political band, they impressed no more than that. The Kelo Brothers walked on in "one" on- top of the dance festival and scored a neat hit with acrobatic dancing. They turned the trick al- most the same as two years ago. Although billed In the ranch scene, Will Rogers' first appearance was with Brandon Tynan In a skit called "A Couple of Senators," written by Rogers and given before a drop pic- turing the Capitol. It fell flat. A few minutes later Rogers, Tynan, et al., offered a second political skit called "Investigating Investiga- tions," the scene being a "chloride gas room at the Capitol." There was too much politics and too little laugh-getting. It remained for Tom Lewis to walk In as a witness and save the bit. He scored the Indi- vidual comedy success of the first act with his "tangent tangle" talk, used at the Lambs' Gambol and elsewhere. The first of several dual appear- ances of Ann Penningrton and Lu- pino Lane was directly ahead of the gaa chamber skit. In a number billed as "Blmlny" (the wet island some miles oft the Florida coast). They looked and worked well to- gether. Olsen's Band waa aeain present, this time seated, and they carried the melody instead of the house orchestra. Prior to Miss Pennington's ap- pearance. Lane used a dance rou- tine that included a pedestal bit. The chorus for most of the number was seated with backs to the audi- ence and yellow silk stockings as camouflage. When they arose their tights were wrinkled at the knees because of the heat, whereas In the island number they might better have been bare-legged. To provide time for setting. Miss Leedom warbled an unprogramed number, "There's Dirty Work Some- where in Denmark," a lyric along the lines of "Where Do They Get Those (Juys?" The first act finale. called "The Beauty Contest," was accompanied by a song of that name, written partly by Victor Her- bert and completed by Carthy and Tierney, offered by Fisher, It was 'the best scenic flash up to that point and It brought in all the Zieg- feld "lookers." ! Some of the pirls are out of the last "Follies." some from the edi- tion that recently came in from the road and others of "Sally." The beauty of the lot was Imogene Wil- son: labelled ".Miss New York." She cprtainlv didn't look damased. Ihoii.yh her complaint aKainst I'l'.ink Tinncy's handling w;is a smear in the rciirts. Many of the (.•tlur r'low girls will he recognized. .imons the;n the Ml.'ise.i .luliaii. ('a:!tun Itovatix. Kenda. Acker- man. <t<MMl»vin. .Mt'Uon.'ild, Pierre. Cambridge, Lloyd and Nally Hal ley. The "glorined p!rl." however, was Miss l.,aw. who .ij^ain was given n ycccption for licr dancing. I.ina U.isuuette, also in the last 'Kol- llea," apun brilliantly on her toes. Then near the close came the dou- ble set of Tiller girls. Miss Pen- nington got In the middle of each set as they entranced and went through the routine. The Tillers got the second act under way, too. Then the seoond Haggin tableaux, number two in this section of the show. Just as in the first act. "Pearl of the East" was the title given the picture, per- haps the longest posing of any of the Haggin pictures yet That was so because It became partly ani- mated. Martha Lorber as the "Pearl" attempta to escape sale In the slave market leading to a dance with Mr. Pernlkoff. The tableaux is on parhaps five minutes. During that time one slave girl with noth- ing save a blue scarif that stretched down Jfertlcally from her neck die- playea a nude breast. The girl posed sideways, with her left hand hiding her face. It was either Hilda Ferguson or Beryl Halley. Lane in "one" again drew attention with eccentric dancing. It was then that Rogers in a serge suit appeared on the apron to chat confidentially with the first- nighters. Will said he was out to stall because the show was newer than it was at Atlantic City the first night. He proceeded to plc4c out notables in front, asking them to rise, whereupon the spotlight was directed at 'em. Said Rogers "You didn't come to the 'FolUea' to see the show; if you did you'd have waited until next week. You want to see each other, to bring your present wives to see the old ones act," which was the tip-oCt that Will dldnt think the show was In siood shape, although he is sup- posed to have had a deal to do with .arranging It, also denied by BUI, who says no one can tell Ziegfeld what to do with a show. One ot the bits cut out In Atlan- tic City was a bedroom aklt of Ma- gulre's called "Revelations," aaid to he quite raw. It is expected baok in the show this week. Rogers, in asking persons to stand up, gave Broun a second mention, referring to him as a competltor- monologist. Heywood accommo- dated by rising. Will got a laugh in referring to cutting out the book: "Zleggy knows women all right, but not plot"; then. Imitating Zleggy's voice; "Zieggy told me not to pull that stuff the first night because his wife would be in front." Right after that Rogers called on nillle Burke to stand up smilingly. She did. He pushed Zleggy out from the wings a minute later, the man.xger being in his shirt sleeves. It was the first time "that bird" was ever on, said Will. He discovered Fred Stone and daughter Dorothy, leaped to the aisle and made a fuss over them, giving Miss Stone a lit- tle hug. Others called on were Richard Barthelmess, Mary Hay, Marion Davies, Corinne Griffith, Sam Bernard and Julian Mitchell (from the wings). Leon Errol was also called on. A moment later he went back-stage. Right there the shadowgraph bit from the last "Follies" was Insert- ed (unprogramed) to provide a laugh for the feminine contingent. Errol did his stew bit In the shad- owgraph, appearing before the cur- tain, although recognized even in shadow. He said he had coughed his way through many other "Fol- lies" and that he was due to appear in his own show (produced by Zleggy) in September. In the shad- owgraph number Ziegfeld's monkey, "Sally," was also used. The women yelled. "Lonely Melody" (Buck and Stamper) followed In regular order, sung by Fisher and Misa Segal. It sounded like a pretty number, though not exceptional. Perhapa In- troduced earlier and repeated. It might have Impressed more. Call for It M> far by mechanical music people indicates It la the best mel- ody in the ahow. The Tillers than made rope skip- ping an art. The Idea is one of the oldest, but the English girls are ex- ceptionally trained. To top off the number the lights went out, dis- playing costumes and ropea treated with luminous paint. "Big Glass Case" (McCarthy and Tierney) brought Lane and Miss Pennington out for a song and dance bit that got something. "The Piano Next Door," with Lane and Miss Leedom the main princi- pals, won a few giggles, then quickly grew tiresome. It Is a rough rooming-house burlesque and be- longs there, hardly In the "Follies." A Victor Herbert fantasy, a cycle of the late composer's famous mu- sical comedy numbers, wa^ finely carried out. The numbers were not strung along In full, Just enough for atmoffphere and effect. Fisher nuns "A Gypsy Love Song." Miss Pennington was cute with "I Can't Do That Sum," with a wall of po- nies behind her. "Absinthe Frappe" had the show girls for illustration. Miss Segal sang "Kiss Me Again" and Glorl.a Dawn gave "Toyland." There followed \the "march of the toys." which took in all the Tillers, which entranced down an Incline. Fach 10 was led by T.rftne and May I'aw. the girls merging for evolu- tions. Rogers' real specialty finally ar- rived. He entranced with chewing gum and lariats, appearing before a corking painted drop. "Out West." Will may have been handicapr.ed in t!i'> skits, but he sure was nt home with the ropes and scored in his own familiar style. He mentioned there was little difference In the grosses of good or had Tollies" when the season ended. Anent the ISqulty strike, he commented; "Looks like 20 per cent, of the act- ors know what they are doing and 80 per cent, don't." Referring to hia picture work In California, he Maimed he tried to bust into soci- ety by the way of polo only to get smashed up. "I'm Just two faUa ahead of the Prince of W^les." Ho kidded Zukor about the "Ten Com- mandments" and said: "You can't tell where the Lord leaves off and Jeannle Macl'herson starts," that referring to the biblical first part and the story of the picture later. For his political chatter Itogera thought; "We are the only countr.v In the world that brings calamity on ourselves every four years. Wo ought to sue the President for hard times Instead of paying him a sal- ary." Regarding Al Smith: "il« has been Governor for Now York twice. Any time the Jewish people put a man like that In he must be good." Rogers aroused applause by menCioning Smith as a candidate for the Presidency, than said: "Looks like Al would bo the lucky one. Yes, sir, don't think he will be nominated." He said prohibition waa a dead issue around Nsw York: "You can't even tall prohibition Jokes. People Just seem to settle down to steady drinking." Rogers waa next to closing. A Montmartre acena concluded the show, and the whole string of atep- pera were In action again. Included thia time waa Hilda Ferguawn. whoae "can can" got by here, but never at the Columbia if Sam Scrlb- ner knew it. The "Follies" is the "Foliiea." On reputation it will doubtieaa carry along to amaah bualneaa, though It had not been decided If the new show la aimed for all aeason on Broadway. No doubt the ahow la in much better ahape row than it was last week, for it la always in skillful hands. But with the sup- posed heavy line-up of comedinna. It certainly lacked laughs; too lit- tle comedy always has b^en a mat- ter of comment about the "Follies.' As for production, the new ahow does not shape up with its prede- cesaot^. It appeara to have more painted settings than at any time In the last 10 years. Tosof Urban did not work on the "Folllea" thia year, but Ludwlg Kalner haa de- signed and iMtinted aome sceitea that are on a par with Urban'a work, better in aome reapecta, and most of these settings are capitally set off. John Wenger provided one scene and the H. Robert Law studio also contributed. Aa for girl diaplay, Inclndlng gen- erous bare skin costumes, the show is pretty much up to Its predecei*- sora. Zleggy's beauties always draw attention. Perhapa aome newer faces would be more welcome. (Continued on page S4) A I OUT OF TOWN THE AMBER FLUID Chicago, July 1. "The Amber Fluid." a melodrama In three aot« by Arthur J. t«mb. Produced at Prln- rea. June SO Staged hy Frank Hatch. Three acta. In parlor setting. Dr. Theodore Darth Oaorife Ma.Quirrle Jaaumine Bartb Mi.. Elaine tlholeon . Natol Ml.. iMbel Rsnduliih ^ Blakemore Daunt John Stokcn Billy Drake John 8toke« Ja.par Thirteen Jaxi Harry 8hutnn A Priwn Guard Cliarle. Bauder.T "ahepbard" Charle. Monnell "The Amber Fluid" Just Isn't. The crowd that came in to pay homage went forth to ridicule. The final 15 minutes became so ridiculous It waa a farce, with 90 per cent of the audi- ence leaving, laughing at what waa supposed to be a spooky, mysterloua melodrama. The author and producers have taken everything from every mystery show, beginning with "The Bat" and running the gamut straight through, but even the aure-flre parts of those plays failed to make even the excuae of one good act The atory reminds one of Joe Cook's Imitation of the Four Ha- walians. It starts and ends no place. If thla show Is still running, it's a phenom. The plot may- have to do with a doctor, inaanely Jealoua ot hia wife, and a geniua at everything bat winning her love. He Inventa a con- coction called the amber fluid, to make death i>alnless. Then comes the mistaken Identity of a convict and the Intruder ot the doctor's domicile. Eight people In the cast. By acme acratch of the author's pen he slipped the amber fluid to everyone but the cat. The cat waa 100 per cent pertect In its stage deportment and the only one up In Its lines or who aeemed to- know what it was all about. Although the amber fluid was sup- posed to be deadly, no one died—a miscarriage of Justice. The curtain waa held until t:lS on account of the tremendous line at the box office. It could have been held until 11. It Is the only show that has ever played Chicago alt of the crltlca— agreed upon. Some one must have been tipped, as the producers are not mentioned, and everyone denies being respoa- slble. ^ ,/-.=: