Variety (July 1924)

Wcdncadajr. July *»» !•■* " BmiiwiociHWT.^-'fl'v^^jWh- ■ *fir«- NEW SHOWS THIS WEXX .%vyj... •J.' ^"^z-?::^ BLANCHB mAHKLIN ami MAT VIHCEHT piano A«t 12 Kin*-; Ori« fSd St. Blandie Franklyn and Nat Vln- a,Bt are a aonrwrlUnK team. They have such hits as "Forever Blowing Bubble*,' "Ix>ne»ome," "Pucker Up and Whtetle." et al.. to their credit. In the act Vincent acoonapanies at the piano. Miss Franklyn handling the vocallxLig up front Bhe Is an attractive woman and makes a striking appearance, . wearing ^er hair m a natural wave straight hack in boyish fashion, with ears exposed. not unlike the Surratt style, but more fetching. , A slide Introduces them by name with the tag, "Songwriters in per- son." They medley their past per- formances und go into a cycle of new ditties. "Whistle a Tune" is announced as Elsie Janis' new song. Another, specially written for Kddio Cantor, "If I Could Have In My Arms," is pianologued by Vincent. A comedy number Is double-ver- sioned, followed by "Sister Hasn't Got a Chance Since Mother Bobbed Her Hair.^ Vincent announced that U the customers liked it Harry Von Tlleer wil. publish it. Harry Von Tilzer already has it, and the song l8 showing up encouragingly.. They pleased No. 2 at the 23d St. and are good fer an early spot in the pop houses. HEALEY, REYNOLDS and - SAXTON Singing, Instrumental* aftd Dancing 15 Mint.; Ona and Two State This trio, comprising two men and a girl, have a nifty early spotter for the medium houses. The girl introductories with an explanatory number worked up for a travesty on jasz bands, with the boys doing their stuff on miniature Mistruments and ^ttlng'a lot of noise out of the' pigmy Instruments. The boys remain on for an Instru- mental, violin and banjo, which clicked even better than their opener. The girl returned for ^ ckJck song. with the boys handling their Instru- ments cased in prop clocks. A Jaszy double by the boys and a fast dance by all three brought the act to a snappy finish. The trio hit nicely in the deuce spot, and undoubtedly can do aa well In this position on any of the better class bills. - > - 1 PALACE The audience Iacl<ed spirit Mon- day night. Only Morris aad Camp- l>eil got away strong In the first half. The Mosconis woke them up in Part S. and Roy Cummlngs got laughs, but again the applause was generally half-hearted. When one thinks of the show-stopping mid- season "form" of the Palace patrons, this lackadaisical attitude is worthy of comment. ^aybe it's the weather; maybe the standee per- formers who usually help fatten the clamor are al^at the beaches. Anyway, several acts were allowed to lag along and simmer out. Allan Rogers and Leonora Alien, who had lost their pianist (Charles L,urveyT somewhere between the time the program copy went to preas and the act went to bat, passed away early. .Wellington Cross and Co., in a re- peat of "Anything Might Happen," seemed spotted hard to close Inter- mission, and. had several long stretches ttetween laughs and no ear-splitting demonstration at the •nd. , Rogers luid Allen seemed slowN and Rogers worked too hard or something. The showmanship here was nothing to get up and cheer about,-at that. Last year's scenery is getting wrinkled- and flabby, and the lightmg is senseiess. though this is mid-summer. In one number tlie liphts are full up, nnd for a dressy old-fnshioned ballad the illumina- tion is dark and spotty. The rou- tine lacks novelties entirely. The jockeying for bows is obvious. Once a hiatus of utter silence intervened betweefi songs. Shaw an* Lee had left the house warmer than at most'times for that singing double. These dead-pan boys, after frequent Palace appear- ances, still click with a snap. They have some new stuff, and the bone- le.ns ankle dancing banged. Morris and Campbell, another re- current- manifestntion, and with scarcely a line changed, took the lionors of the first section easily on Joe's broad comedy and Flo's in- imitable song-selling. This reviewer would rather hear Flo Campbell sing a ballad than hear Galli-Curci MURIEL SISTERS Harpist* and Songs 15 Mins.; Ono . ^ 68th St Cbnventlonal musical duo with little outstanding to re<!bmmend It for othe.- than an early spot on the amall biUs. The girls, attired in old fashioned costumes, make an attraetlvo ap- pearance. An instrumental duet •pens the aot with ono of th« girls following with a vocal solo, accom- panio) on the harp by her sister. The vocal number prefaces a medley of Southern tunes played by both with a medley of pop airs provid- ing the closer. The girls are good musicians that know how to handle their instru- ments. The singer has the average voice that is sweet in tone but weak vn volume. ■ Went fairly well in the deuce spot on this bill. FRED and AL SMITH Gymnasts 8 Min.; Full Stage (Special) 23d St. Two young fellows in full length tights. After some iron jaw work by one (a heavy iron ball Is held while he is suspended from his part- ner on the rings) the turn goes Into one linger lifting stunts that are sure-fire for applause. Some pass- able comedy stuff is worked 1ft. The final is more iron Jaw work, this consisting of lifting one-man on a dertick-like apparatus by run- ning across stage with a connect- ing rope. The act is good, well dressed nnd swiftly played. BUk. MORRIS and KNOWNS Comedy Talk 15 iWin*.; One City. A roan and woman team with the wan doing most of the comedy and getting more than usual assistance from the woman. Ills partner is J*ll and easy to see while th" man " small and inclined to be pudgy— a comedy asset. In addition, he mugs effectively, takes several hard falls and does an eccentric dance that Soeg over. Their comedy is good and the man apparently a n.itural comedian. With development, they're big timers. ■ . - BUk. MARTIN YOUNG AND CO (4) Song, Dance and Talk 17 Mins.; Thro* (Special) 68th St A transparent drop showing Brooklyn bridge tfUces up half of the stage backing, and the other half is occupied by a house set. A man and two women enter, sing a song in one, and then go to the set in three for th« balance of the act. Why they open in one is a mystery, un- less it must be to show they have an extra drop. A number ot Mts from burlesque are used by the trio.' There fol- lows the familiar flirtation bit, the other fellow showing how it is done, etc. The straight sings a ballad and the comic becomes dramatic, reeling off a recitation about the painted woman and the Salvation Ainiy girl, both typ^ represented In - pathetic pantomime by the two women. Cli- maxing the song with a burst of barber sh0p chords, it brings the act to a close. The four appear to have stepped right out of burlesque, having re- membered numerous bits from other seasons. Th-> act has no plot, but for laughing purposes will fit on small time programs. THAT GIRL QUARTET Singers 12 Mins.; On* City. This turn was spotted down in the City bill and disappointed to a degree. Their vocal harmony isn't touched by any female turn in vaudeville and their abUlty at this sort of work is unquestioned. But their materktl at present-isn't the best and is inclined to make things drag. With a new routine of snappier stuff or maybe a few of the real old-timers such as they sang in "The Perfect Fool." The act should draw applause, because it has done it In the past There they went mildly, but with real material they're a good big time No. 2 act. 8it)fi>. ■ REICHEN'S DOGS 9 Mins.; Two 23d St Only three dogs ar* employed in Relchen's routine, but each is thor- oughly schooled to produce desired results. One is exceptionally well trained and- is employed for the kingpin stunts, also the getaway. It is either a whippet or a setter (Fred is the only canine expert ca- pable of identifying them) and per- forms some extraordlnarjr acrobatic feats, such as "hand" standing on one or both toes. In .l single finger, lifting himself up and down, etc. A comedy dog fits In nicely, and a diminutive terrier is also utilized in a couple of flashy tricks. Opened neatly at the 23d St. .^llicL sing mm aria, and lie laat aloiM. That girl has something that can't be translated into words—it's a gleam; in hight>row languag* It would be callod an "^ura." Very hot vaudeville combination, always, and it took this sort of a frigid lot in front to prove it in spades. Cross has lost Mary Halliday, the lovely girl who first supported him in "Anything Might Happen," ESdgar Selwyn's on«-acter, which is by far the best vehicle Cross has ever played in. Marion Trabue Is at- tractive in the part but too sten- torian and aggressive. There was some fumbling of lines, it seemed. The laughs formerly In the door- way seen* have dwindled, and the taxi bit either* isn't or doesn't seem as thick with giggles as it was; maybe the girl is the key to this. It is a splendid sketch, but didn't play a hundred pftr cent Monday night. ■The Mosconis goaled 'cm, Pop Mosconi now playing a regular part in the routine. He used to come on for a bow at the end, but now is on early and takes his spot in the line- up with the youngsters. The im- provement €f Verna is remarkable; every season she becomes prettier and mor* agile. She dances .like an antelope, and carries herself with a grace that is thrilling. Louis'single work, as always, scored, and Charlie came in easily, while Willie did the most sensational minute of the whole show with a triple dancing spin. Riot. Roy Cummings, with Irene Shaw, who does very,little, next-to-closed with a composite of old vaudevill* moments from the long Cummings career In "one." His falls appeared very hard, and If he didn't hurt himself he is a wonder. His yodel is still there, and the comedy with the trick soft drop wows. The Re- mos closed, one of -the sweetest midget acts of all, the little one, who looks like Cupid, winning the house quick and solid; very classy turn and would be a yeHl opening intermission. Margit Hegedus (New Acts) opened it instead, not so shrewdly placed for so quiet a turn. Three Lordons. two bar and trampoline male artists and a pretty girl who dances a bit, opened heartily and did nicely. Though seemingly replete with "names" and certainly equipped with its full quota of known and established vaudeville values, the whole show did not play up to Pal- ace speed or reach to Palae* calibre. The second half had scarcely a laug^ except in Cummings' 10 min- utes; the first half lacked dancing and spectacle entiroly and pteyed thin. Lait. "Roly Boly nrmT ar« still sareAr*, Judging from the applause Davis got when he finished the number. Davis has uuite a sympathetic ap- peal In his "Ood Bless the Ladies All the Time." which relies on iu them* of feminine importance in the war. Davis got away with five songs, which was a good score, con- sidering the night and the humidity. After Kramer and Green appeared Ashley-Dorney Co. Herbert Ash- ley's wife appears as the "Co.," and she sports about the claasiest fem- inine clothes of any act seen this season on the American. Mrs. Ash- ley shows them to good advantage. Ashley's Hebrew comedy impres- sions with the topical songs ren- dered in splendid voice by Dorney put the act In high favor. This act was one of the bright, partic- ular spots of the bill. The Hori Trio, Jap barrel Jugglers, got a lot of their comedy from the footwork with the barrel. A neat, clean act of its kind. Mark. T MMd^. ^ AMERICAN ROOF Most of the acts atop the Ameri- can Monday night had been there before. The show never seemed to get started and it ran along in a sort of lackadaisical manner, some- what is accord with the starchy weather. Tho biU had most of its musical aspect in the first half, which of- fered Preston and Tsobel, May Mc- Kay and Girls, Singer and ISdwards, and tho Floridians. In th* second half appeared Phil Davis, Kramer and Breen, Ashley and Itomey Co.. and the Horl Trio. Of the acts The Floridians and Kramer and Breen appear nndor Now Acta. By way of congesting the musical portion, Taobel of the opening turn, Preston and Ysobel, played the vio- lin; tho McKay girls (three) had Scottish bagpipes and drums; Singer and Edwards had songs, and the Floridians were a Jazs orchestra, with a man and woman featured in songs and dances. This preponderance of music In the first half naturally slammed all the comedy or the great part of it In the last half, with the Herbert Ashley-Joseph Dorney turn gamer- iil^ the most applause. Preston still retains his rubber balloon "bit" at the opening of the Preston and Ysobel act He also dishes up the same old routine that he did three years ago. As a "re- peater" at the American the act did very wiell. Miss McKay has varied her Scot- tish offering a little, but retains the "Oh, Mr. MacPherson" number, with the song done In an old-fash- ioned outfit. The act depends on the piping, although Miss McKay switches from her pipes to the bass drum for the finale. The girls did as well as they did on their previous visit Singer and Edwards got the best returns on their "blue" stuff, the "blue" in this instance referring to the lyrical construction of that com- edy number used at the close. They are also hanging on to the story about the traveling salesman and the female clerk, taboo in som* neighborhoods. The Floridians with Artie Nolan and Patsy Con- lin handling the vocal end, cIose<! the first half. Phil Davis has not improved witl "age," that "aRe" being several sea- sons around the New York houses Davis still baits his audience witl "I'm glad you IJke it, as I have eight more," giving a feeder that mighi draw on him for the entire eight songs. Davis sings fairly well, bui if he Is to continue his Eddie I^eon- ard Imitation he might give Kddie the benefit of It by giving Leonard closer Inspection the next time he has the chance. The mention of -likldie's name and the strains of RIVERSIDE Lens than half a nouse witnessed a bill overboard with singing and shy on dancing. The show was a well-dressed affair and ran to class," with tho Hull-Hlbbard act and Charles Purcell splitting tho outside type, while spaced between were Charles Judels and Gene Ford la appaal. It i«o«iv«< m ataady. polite hand that may kava bad something of relief in it. Oliver and Olsen. fourth, landed chiefly becauso of tho sure comody antics of tho woman. A natural comediennei, with her talents still to b« developed and better material an essential, it won't t>e long hefor* she becomes reoogni^d, as hav* ao many of her vaudeville sister* re- cently. Oliver is a good feed and dancer, but the act at present loses something in tho way of construc- tion and pace. Allan "Taylor and Barber cloaed with a dancing turn that held up tho position fairly well. Tho brunot features tho act with her oriental dance and high kicking. Tho blonde also is graceful and an accomplished pianiste, but tho man exaggerate* his vocal character selections until they reach the stag* of ridiculona- ness. Jerome and Newell, opening, mak* the vaudeville mistake, that ot •preadlng their efforts over half m dosen OoMs indifferently Instead oC cohoentrating on where they ar* adopt That is horizontal bar work, something not seen as often as fvr^ merly, and they are crack-a-Jaeka at it Followinc V\oxwtorth and n-ancia have feomething of the sam* com- pl^nt Ho is primarily a danoov and sh« a singer, but he vocalises to beat the band, and she steps all over were i;narie8 juuem anu ktene rura .u- r>^a€t> 'nnion Vie ,in>a •>» Jni>n '^i\.T^lo^^ "^it amaTaLTt'eU ^-^olT^, tKh. i? ^°^J^Vo"ih and her brother. It amalgamated .. „,,. .y.. ._, --,„.. .i<>. . -IZ_ hei^ fair enougit summer errtertalnment, but the abundance of dress clothes was something more than necessary and a "hoke" act would certainly have swept clean had it been pre- sented. ' Benny Rubin and his assisting quartet couldn't do it No. 8, despite «|orking ttefgre scattered friends, and the value of Miss Matthews' singing was impaired through her having to immediately follow Maude Bari, whose vocalizing successfully impressed but whose convorsation with the carried pit leader pimply gasped, rolled over and passed away. The talk should be elim- inated, for It Is' weak, at times ap- proximating inane. Further, show- ing No. 2, the crossfire served to prolong the turn to 1$ minutes, which is far beyond Its capacMy. The Ball family string instru- mentalists were well spotted and verified their standard rating by easily playing through to returns that demanded an encore, followed by the Hull-Hibbard light oomody episode that closed intermission nicely. The vehicle amounts to a frolic for this couple. It's strictly inoffensive and classifies itsolf aa being "sweet" but as played makes a certain entertaining interlude for any of tho vaudeville houses. George Herman and his contor- tioas were in the lead-off position, causing murmurs from those who were seated and a substantial re- sponse in concluding. Only three acts In the final half, which had Tarsan closing tfnd cap- ably filling the spot Tho Jodels-Ford turn came im- mediately behind the Topics film. That paved the way for Purooli, who offered a diversified and suffi- ciently lightened routine to magno- tiso his effort for premier honors of the evening. If anything, the show suffered from "class." That might have shaped better had the Rubin act been given a later position. BMg. 5TH AVE. It evidently was considerably hotter on the stage than off at th* Gth Avenue Monday night. While it was not more than slightly uncom- fortable in the orchestra, those be- hind the footlights seemed to be melting. The first half show was not up to the house's standard. It started slowly, lacked class nnd novelty, and contained only one really top-notch turn. Chief Caupolican, who had everythlnK served to him on a gold platter, fifth. The chief sang about half a dosen numbers, electrifying them with a baritone of proven Metropolitan Opera quality. His selections ran^e from "Carmen" to Victor Herbert, but it seems his best results are achieved with an Indian love lyric. Another of these mlRht be substi- tuted for "O Solo Mio," massacred so often in vaudeville. In a speech refreshingly different from the usual run of two-a-dny spiels, he thanked the audience without going into the usual hysterics about it. Following, McLaughlin and Evans* were the legitimate comedy wallop of a show rather lacking straight lauKhs. The act is a striking example that strong comic results can be obtained from Bowery stuff that does not necessarily include the vul- gar f^estures, postures and posterior wigglinir usually utilized. The t.ilk is seldom forced ttnU gains because of Its nntur.ilness. "Apartment to Let," the second company of the Reerher-Wyndham- Cooper-Browne sketch which was acclaimed at the best houses some weeks oko, was third. Once aculn it was demonstrated that an inter- mediate audience won't l.tugh at the "smart" stuff they relish in the better neighborhoods. However, the turn contains enough biting re- marks between husband and wife, flirtation bits and miscellaiieous hoke to make enough u/ it universal to put tho act across with a vaa- geance. Business not so good. Featara picture. "Reckleas-Youtlt" STATE A good bill of six acta and falr\ attendance for a warm night Mob-' day, with the house three-quarters at the laat show. Typical summer bill, ideally suited to the largio house, with coiftedy and sight f*a- tures predominating. Pour stand- ards and two newcomers on tbo atMr- act bi-ace, th* lattor b*ing H*al*y, ReynoMs and Saxton in "Tho Deuoa Spot" and Klckard and Gray in th* follow up (New Acts). Pearl Regny, assisted by Lector Sheehan and with Lew Pollock at the piano, was the smash hit of tka bill from all angles. H*r diuioaa wer* aa sure pop as ever aad hor dramatic recital of "ImmlcratieA Rose," a clever piece of patho* ta tai-* corporate in this othsrwla* Saffy dancing flash. Mias R«cay l*okad as chic as evor with ta*r Chang** of o wtum e* and with th* Mun* dogree of oaa* aaA fine*** that haa Iqng sine* ostak- lished her. 8h**han also cav* a good account ot himself from a stopping aagl* aj»d Pollock bridged one mt the wait porioda with a reprla* mt som* of his farmor hits. Th* act closed the ahow. It not onlr kald them in, but also ooppod th* kit honors ot th* bin. Tom Swift and Mary K*n«y, m» united after attempts with Individ- ual vehicle*, also scored boavOy with their oomody absurdity, "Gum Drops." Tho comedy, 4ltbough soat over in a nonchalant manner, rogla- terod in whisbang fashion, and Mlaa Kelloy's solo was exceptionally wal) received. JEelaya, Betitb Amerloan pianlat. also managed to pack a potent com- edy wallop between his selection*, registering both aa an accompllshad musician and a likeable comio. Tk« llaiaott* Do*, men. opeaed with a fast liaa ot aartal antics an a slack wiro, wkleh was served up In a novel tashioa and also had Its comedy inning. "The Bedroom Window" wa« tka feature picture. 23RD ST. When legit stars take to vaudf- ville and are put on downtown or uptown for their break-in week, then vaudeville becomes the great equal- izer Of the show business. Ethel Barrymore at the Hamilton—Rich- ard Bennett there, too—and now Lina Abarfoanell, who made her last American appearance in the aristo- cratic Lyceum of the Frohmans and Belasco. shows up at Proctor's 23d Street. Miss Abarbanell headlines there on her trial period and. shows a sketch so deftly written It permits of her purely foreign raannerlsmf and of her characteristic songs without breaking the <!ontlnuity of a narrative that holds suspense, rea- son and dialog. "At Midnight" Is Its title (New Acts). Fred and Al Hmlth (New Acts) open the show proper, following throe tryouts. and with their rou- tine of gymnastics and iron-Jaw stunts drew mild applause. Energetic Sally Beers followed, opening ' with a snappy number, deucing with a character song, fol- lowing up with another wow and then coming back for an encore, "More," which would be sauerkraut done any other way than hers. Mugging Is the Boers forte. Here she excels most of the vaudevil)* Ringers, except, of course, the singer «h« resembles in mannerisms, Ru^ Roye. Miss Beers' score was 109 per cent and the applause Justified another enrore, but she begge d off, to he followed by Page and Burman. This team of a snappy straight and a comic with a corporation of avoirdupois where the walstit a should be cleaned up. Their con.- (Continusd on page 53) 1 I 1 I J M