Variety (July 1924)

ACTS THIS W( J&^«div. Jtd7 t. 1M4 KEITH'S SUMMER REVUE (31) as Mine; Full Stag* (Special Sett) B. F. Keith's, Washington Washington, July 1. Roland Ilobbina, Keith manager here, has Btarled a novelty that can very successfully be InlioUuced In Che larger Keith houses, with the box office showing just what the Idea ta worth. This surnmrr revue opened to the best Monday matinee the bouse has had in about live weeks. Bobbins has an act that is dead aure to Uii k up the gross for the w£ek. Other Keith managers, who have a «ociai younger crowd upon Which to draw, will do well to watch the result of this Washington inno- vation. The material is IS-karat. and the < nly fault to be found is that the act was readied in too short a time, with the youngsters working at break-neck speed. As the cast lines up there is plenty of talent, good dances, good voices and good looks. In the strict sense no book. The absence is noticenlile and not entirely compensated for by apecial numbers, written by Heit- muller and liaer. Young Frank Baer seems a "comer" as ;. lyric writer. and the revue gives evidence that Heltmuller may be heard of foon in a production capacity. What material w#h written is nev., but was dove- tailed in between a lot of stereotypetl atuR which didn't mean much. Virginia Selden, with a jazz stylo, had an effective number. "Though Tou Look Good, My Boy," and got across nicely. She did a Kanny Biice bit which scored heavily. She has class, style and looks, good flg- gure. and stands out in a very de- lightful way. Claudia Read, of the army social set, did the opening of a Chinese Episode in which Mary Selden and Huntington Turner were th« principal dancers. Verona Horen took the song hit. "Follow Your Heart," excerpt from a new musical show of the same title which Helt- muller and Baer have written. Mies Horen has a voice, and the number sounds as though it would strike Its stride before the end of the week. Margaret Zo!nay proved very plc- - Mresque in a solo ballet number, as well as In a Loula Fourteenth French garden minuet. Miss Zolnay la the daughter of one of the world's greatest sculptors. The staging left much to be de- sired in the way or handling the numbers, lighting and working con- tinuity. Donald MacDonald. 3rd., di- rector, made no attempt to do the thing In an original way. Even the special material was not high-light- ed. The lyrics and music were of a purely profe.«sional standard, and it would have been wise had MacDoa- ald allowed the lyric writer and composer do the whole act. rather than to fa:i b.-.ck on materials and methods that are threadbare. Mrakin. MISS PHYSICAL CULTURE Gymnastic 9 Mins.; One and Threa Earle, Philadelphia. Philadelphia, July 1. "Miss Physical Culture" first came to attention through the Bernarr Macfadden publications, the "Physical Culture" name L-«lng authorized through the itcriodicai. She is a shapely miss and In full tights makes a nice appearance. As a vaudeville act it is quite another thing. "Miss Physical Culture" opens with some talk on "how to reduce," demonstrating a few simple calis- thenics with the assistance of a chair. She also otfers to answer all (luerlcs addressed to her, care of the box odlcc, on "how to strengthen the eyes" through the medium of a .simple eyelid exercise which Is touted as being capable of eliminat- ing eye-gla.ssew in a short while. Another demonstration on how to reduce the hips, consists merely of a few "splits," the performer cau- tioiiinpT, "take it at your own risk, girls." In "three," a flight of stairs is employed for some hand-walking up and down. "Miss Physical Cul- ture" precedes this feat by the usual larceny anent "the actors back here are jo.ilous of me and I want you to applaud, etc.," after the stunt's completion. An "iron jaw" swivel whirl was the getaway. "Miss Physical Culture" has the makings of an Interesting and a good act. As Is, it will please the "family" audiences. Ahel. THE TWO DAISIES Music, Dances, Wire and Acrobatics 15 Mini.; One and Full Stage American Rocf Two girls who opened this show are evidently newcomers. They have a little of many things without con- centrating on any. The opening with the saxophones means nothing until they can play the Instruments better. The single dance In "one'' 1« a series of gyrations. Going to full stage, one of the girls does some simple tricks on the slack wire, with uncertainty. The other girl then does another dance while playing the violin, getting nothing out of either, although the violin sounded as if the player could put up a pretty good solo on It. The closing stunts of backward and for- ward limlyors Is the best thing they do and got them good returns. What the girls need is lots of practice and advice from a stage director who could routine the act. If flome of the limbers were placed properly in a routine of the dances which now mean nothing, better re- sults might he looked for. And the wire walker should prac- tice for ease on the wire. This can- not be gained In a week or two, but there la no doubt that the team can keep going (at a figure) on small time. That Is the best practice they can get. The correct blending of their sev- •13.1 specialties will also help them. li and this should be attended to at I once. Val. ~Do You Want Work? BARRY DANFORTH ~302 Loop End BIdg., CHICAGO Can Get You Plenty of It Boeklns KxicIiuItcIj with Wmtrm Ofllrr B. f. Krith Kxrhanirc, Orphrum and Weatem \'iiudFrllle MaBacrrn' AiM'a WRITE, WIRE, CALL WILLIAM BURR and DAPHNE HOPE "A Belle, a Beau, and a Balcony" (Songs and Comedy) 15 Mins.; Full Stage (Special Drapes and Props) Maryland, Baltimore This turn reported from the Eng- lish halls failed to arouse en- thusiasm locally. It consists of chatter, interspersed with songs of a conversational pattern, but neither the lyrics nor the lines are ever more than mildly humorous, while they are more often downright banal. A rather makeshift set in "three' with dark curtains for a background is apparently Intended to represent a British colonial government house The occasion Is evidently a ball. A prop in stage center in- dlcj.tes the balustrade ot the grand staircase, or perhaps it's a bal- cony. They are of the "governor's set." She declares that she is Louisiana Pond, to which he facetiously re- torts that he is Kentucky Puddle More of the same order. Miss Hope and Mr. Burr have ingratiating personalities. Their method is quiet and seemingly ef- fortless. The present material, however, will nsver do. They were enjoying their act far more than their audience, creat- ing the impression of being in on a good joke. Unfortunately they failed to share it with those out front. CHARLIE KERR and Hia Famous Players 20 Mins.; Full Stag* Logan, Philadalphia Philadelphia, July 1. Charlie Kerr and his Famous players are PhlUy favorites. They ar« the original radio band, being the first orchestra to broadcast, hav- ing built a following via WFI, the Strawbrldge & Clothier store's radiocasting station. While showing In a picture house (as a second week hold-over), their routine is strictly vaudevlUey, and ."o planned In view of a forthcoming tour. With the avalanche of bands, the Kerr aggregation possesses a cer- tain distinctive novelty, and a brand of comedy that makes it stand out alongside of the straight musical or- ganizations. - They open with "The Dawn,'" bringing the lighting effects Into play. Kerr then announces himself a la the radio manner, "This Is Charlie Kerr talking. Station L-O-G-A-N. the Stanley Co. of America." "Yes, Yes, In Your Eyes" demonstrates their aptitude for brlak dance music. (They have al- ready established themselves on the records for the Edison, Okeh and other brands). "Waters of the Minnetonka," in four-four time was announced as a "request," including "At Dawning." Interpolated In the arrangement. Kerr is up front directing through- out. He Includes a vocal comedy specialty, "Say, Say, Sadie," with the drummer doing a clown "dame." It's a corking comedy highlight. A waltz medley following introduces Victor Herbert's "Little Gypsy Sweetheart" and some excellent flutey effects. Another novelty is a picture of a jaM tmnd playing in "slow-motion'' pictures, with each member's moves very deliberate. The Idea ■ Is abandoned before it approaches any danger of tiring, the orchestra tip- ping Into a "hot" number for con- trast. An encore number was the "con- test" idea, but done in a thoroughly original manner that was productive of the necessary results. Kerr comes down Into a stage box to Judge and burlesque the stunt by applause in- terpolations. Elach member steps up In turn for a solo-, but the com- edy by-play furnished by the trum- peter requires actual viewing for proper appreciation. Description would not do it justice. This band will be heard from In the fall. Abel. ELIDA MORRIS Charaoiar Songs 16 Mins.( Two (Special Drops) 23rd Street Elida Morris was at the 2trd street the first half in a new act especially designed tor a cycle of character songs. Miss Morris styles her turn "The Spirit of Broadway," which Is her opening number, with a drop of the Great White Way as a background. Miss Morris, with glittering, strik- ing head adornment and long, flow- ing costume, stands on a platform several feet above the sUgs level. She speaks the lines of "Tho Spirit of Broadway" rather dramatically and tells of the sorrows that trail the thoroughfare. Changing to a plain street suit and In "one" she bemoans her fate as one of the girls in the big de- partment store who compares her- self with one of the othfer girls w.ho has silks, satins, limousine, cham- pagne, etc. The tag line of this number Is "Them's What's Got— Gets: What I. Takes to Get, I Ain't Got," a soliloquy that any typical Broadway "skirt" might make who lives after the fashion of a small- salaried working girl. This number caught on immensely and was ap- plauded vigorously. One of Miss Morris' best num- bers and which banged over a quick aecre was her characterization of the maid. (In costume) who was bugs on novel reading but had lost the pages of the windup, with her eager desire to know "What Hap- pened in Chapter 18?" Miss Morris was "at home" with this one, pepped it up and made her lyrics tell, increasing the effectiveness of her turn as a whole. For the finale. Miss Morris went back t0 "two," using a background of a street, with steps leading up to her flat. A clock painted on the sid^ showed the hour was late. Miss Morris appearing in formal evening attire, reciting the lines of a ballad, "Tainted Painted Rose," with the chorus being sung to applause. Barring the initial number, .Miss .Morris registered well, with the audience taking kindly to her char- acter "bits" and mannerisms. She was forced to respond to several "calls" after the act completed. (2) SHARON, STEPHENS and Co. Comedy Sketch 14 Mins.; Full Stage American Roof A cleverly-played, well-produced sketch of the overbearing wife-hen- pecked husband type, with a good comedian playing the Barnaby. At the opening the husband is sweeping up and complaining he has to sup- port the household and clean house besides, as his wife refuses to do anything but loll around during the day and go out to dinner with other men at night. The wife informs him on her en- trance she is going to dinner with a man. He is to stay home and make it pleaisant for a new roomer she has rented the extra room to. The roomer turns out to be an attractive young woman, who informs him when they meet (after the wife has gone) she is an actress, and to prove It does -a neat song and dance. She make.) the pace .ind things are getting warm, when the wife returns unexpectedly as her husband Is kiss- ing the roomer. Wifle gives the other lady the signal to exit and take her baggage .along, and tlien confesses she did not appreciate her husband until getting him with the goods. She promises reform and asks forgive- ness. He grants It on her offering to cook him some dinner. It's a light little affair, but smart and played with a speec which Is commendable. It's a perfect sketch for Loew houses and where a comedy sketch is wanted on better program can fill a not too responsible position. - Vol. SNOW and 8IGW0RTH (2) Singing, Dancing and Talking 16 Mins.; One. (Special Set) 125th St. Jack Norworth is the billed au- thor. ■ But he has no cause to grow elated, although the affair serves its purpose and In some respects pro- vides a sort of entertainment that finds ready response on the pop cir- cuits. Proceedings start in the usual flirtatious manner and lyrically. The man suggests, as they are in vaude- ville and with 15 minutes hanging heavy, they might utilize the time to advantage. Both agree to pretend their courtship is over and they are married. He produces a ring and rubs It, with the dialog calling for'a visuali- zation of a bungalow where they are supposed to make their home. A divided curtain reveals a small flat piece disclosing a replica of the dwelling in miniature. Seated on a bench the two discuss their future with one year elapsed. Give and take talk with the inevi- table quarrel punctuated here and there with a few bright lines. The rest is familiar. Audience liked the pair and re- warded their efforts encouragingly. BOB and CHRIS Comedy, Acrobatics and Dancing. 12 Mins.; One and Full Stage American Roof Bob and Chris are not new ,to vaudeville. Their pictures in the lobby show them dping their turn in evening dress rivther than the boob outfits used now and suggest that possibly they formerly appeared under different names. Their appearances call forth the biggest laughs. As slssified boobs they spend about the first five minutes in "one," indulging In talk very rarely as comic as it is mean* to be. A shift to full stage has them clowning with piano and trombone, also to Indifferent results. Finally they get to work with comedy tum- bling and acrobatics that change th«» tide of the entire act. After more but better clowning they change again to one and execute a good double dance of the nut variety. The mugging of one of the men (the clean shaven one) is first-rate, and he has the makings of a genuine clown. For an encore an impression of two German acrobatics with all the "alleups" and handkerchief tossing Inserted Is given. This, too. Is funny, although seen many times before and it gets them a strong hand and several bows. Bob and Chris have In their powet the makings of a good novelty act, and it is a pity they handicap them- selves now during the first half of I he turn with unproductive comedy "HUSK" CHARE Casino Club Enssmblo Orchestrc 16 MInai Full (SpscisI) Palace, Chieage An orchestra of nine men, who play ordinary music, although th* routine offers opportunities for nov- elty effects. They do make two ef^ forts in this direction, but fall down. The act opens with a transpar- ency, on which is painted nine in- stnfments used In the combination:' over each instrument la printed the name -ot the player. They open, playing "Hoodoo Man." Dtirlng it the transparency reveals the nins men in red dinner coats, with black stripes, lapels and grey trousers. There is a blue cyclorama and hung over the head of the drummer, in back center of btage, is a six foot "cut out" of a man (evidently made of card board and suspended by two strings) beating a drum on which is painted the name of "Husk" O'Hare. No reason for the decoration. The second number wcs "After the Storm." The lights were lowered and a few flashes to represent light- ning sent out but before one real- ized it the lights frere again on and the number was o/er. During their fourth, "Tiger Rag," a man in a tiger skin and head walked in on "all fours," and walked out the same way. It was puzzling to the audience. "The One I Love Bc'.ongs to Some* body Else" was put over with the as- Fistance of Sophie JTucl-er, who used her voice to good advan. >ge, but the orchestra wad unable to follow her. Jack Donahue also made an appearance and did a dance which called for applause. The orchestra finished with "Blue Evening Blues" —minus Miss Tucker and Mr. Don- ahue. Just a plain orchestra, with little or nothing to reco.nmend It, and by far the poorest outfit yet veen at the Pa'.ace. TWIN CITY SIX (8) Orchestra and Songs 16 Mirs.; Two (Special) 58th St. An Instrumental sextet fronted by a mixed duo with the boy as- suming the responsibility of the vo- ca'lzing. The girl Is practically meaningless, contributing but a snatch of dancing that fails to reach the average standard. The act presumably takes Its name from the band which lists' a piano, banjo, drums, trombone, cor- net, and saxophone. The combina- tion gets away by Itself for two numbers. In one of which the pian- ist waj^lea a number, and the ac- companying orchestration stands out as the musicians' best concep- tion of rendering. A "hot" inser- tion was mostly a blare and little else but sound. The male singer delivers nicely and the act hints at holding the possibilities of a standard neigh- borhood house interlude, if the or- chestra will tone down in its solo- ing and the action is quickened* Skig. MARLOWS (2) Songs and Talk 16 Mins.; One (Special) 58th St. Man and woman attempting a novel opening and going Into Ital- ian dialect for immigrant comedy that must remain within the con- fines of the smaller houses in order to secure results. The voice of the male half Is strong enough to attract attention in the smaller houses, but the woman's efforts to gain laughs re- veals little promise, besides whi"li the material is not of the best. Running too long the act was ad- ditionally handicapped and the re- turn for a comedy epilog failed to mean anything. As in similar cases it would have been better de- leted. As currently routined the turn is simply Intermediate early offering it placed with regard to Its limita- tions. .' ■- ekig. HARRY THILWIN Congs 11 Mins,; One 23rd St. (June 30) Horry Thilwln sings with a womin at the piano i)laying accom- paniment only. Thilwln is blind, but his cheerfulness and apparent desire to keep that affliction a secret were in his favor. It is doubtful if half the audience knew that he couldn't see. Thilwln appeared as one of the professional "try-outs," sandwiched between the first and second acts of the regular sho.v. He fitted in nicely with his songs, in excellent voice. Thilwln, big of stature, has an ingratiating voice noticeably lus- trous In quality. Of baritone sweet- ness, the voice was under perfect control and registered beautifully. Thllwin's voice should carry him I along in thf pop housos. ..,; "SO THIS IS PARIS" (6) Tabloid Musical Comedy 20 Mins.; Two, One and Four (Special) 58th St. A fair pop house tab of six peo- ple. It looks like a speedy get- together, the thread of plot workinff in familiar pop numbers. The juvenile has a hurry call from a mademoiselle. His friend, ths doctor, frames a trip to Paris. Presto, change, and Paris. Both men have female complica- tions in America besides the French amour who almost spoil the works, the American girls having gotten wise to the "frame." Harmless entertainment for the proletarian of the three-a-day speed. Ahcl. CODY and LEE Juggling 6 Mine; Two (Special) Two men. One works as a comic. Routine runs largely to hat tossing, .".Ithough both men have an Inning or two with Indian clubs. Nothing new In the general frame up. Good for the pop houses, but in need of a stronger finish. Mark. VAUDEVIILE SCENERY Painted Drops Fabric or Drapery Drops- Productions P. Dodd Ackerman Scenic Studios, Inc. 140 WEST 39th STREETjC i:-.i.i- '•;■«•-'■ v>-: