Variety (September 1924)

40 VARIETY NEW ACTS THIS WEEK Wednesday, September 3, 1884.. M. B. WARNER and Co. (3) "A Box of Cigar*" (Comedy- Drams) Pull Stag* (Office) Paige* ▲ smoothly written and played crook sketch, by L. K. Devendorf and Howard Lindsay, Its author*. Produced by Lewis A Gordon, It baa H. B. Warner aa Its star and •tar player. Vaudeville, accustomed to quite more action than la found In this playlet, wlU be satisfied with the quality of Mr. Warner'* acting, for this U what hold* up the sketch Crediting the able direction here In abundance. That direction may Include the blustering command* issued Burke (Manuel A. Alexander), a head- quarters detective, contrasting nloely with the more acceptable picture Of a policeman In Chief of Detective* (Wm. E. Morris). The girt (Rita Coakley) la made to act the stool and Inveigle London Lar- rl* (Mr. Warner) at the commence- ment of the skit. Otherwise the story 1* light, but perfect la vaudeville construction, of London Larrle, who outwit* the detectives, the stool and a frame, right at headquarter*. Atmosphere was further aided by a very neat office aet supplied by the) Palace. For H. B. Warner and onoe around. "A Boa of Cigar*" is o. k. It's seldom a legit of rank entering variety la so weU fitted. Bime. HENRY'S MELODY SEXTETTE Vocal and Instrumental 41 Mine.! Three (Drapes) 23rd St. (Aug. 28) Aa array of femininity, with Con- nie Claxton. a blonde, handling the vocal assignment On* woman plays the piano, another the harp, a third the cello, while a fourth takes care of the cornet On Mis* Claxton'* first number it was extremely diffi- cult to catch but a few word* of the song. When the Instrumentalists played, th* theatre orchestra also played, and with the drums going unusually strong, the melody effect was lost There was a .focal num- ber by the entire contingent, the ber by th* entire contingent, with a tag Una Just a fair selection. Th* violin girt stepped down to th* footlights for a .vocal number by way of diversifying the program. A trio, consisting of the piano, 'cello and violin, pleased with an old selec- tion. The prima donna sang a tough song, and did better with this number than the others, although it la not suited for Miss Claxton's style. > The sooner the girls go in for harmony without a blare of house brass aad drums "the better the re- -- suits. A rearrangement of the num- bers wlU also enhance the value of the act The girls look well and dress well but they never had a chance with that theatre orchestra. Mark. JONE and LORRAINE Talk and Songs 12 Mins ; On* 8th A vs. A mixed team, with the man doing genteel Dutch of the Sam Bernard variety, offering the usual flirtation stuff and studding it with several songs. The girl essays a vamplsh title hunter who traps what she sup- poses Is a baron to the threshold of matrimony only to find that he Is not the Baron at all, but merely the titled gent's barber, who has bor- rowed the nobleman's car for a Joy ride. The crest en the car fooled her. \ The Idea is not entirely new in vaudeville plots; neither is much of the small talk that threads out the skit; yet they manage to gain some laughs through the dialect of the man and the rough handling of th* woman. A 'Vamp number" by the woman and Sam Bernard's former Music Box hit "They Call It Dancing " fit nicely Into the scheme and were well received. Did nicely In the trey spot With more comedy It could hold up In better spotting. As It stands It may be acceptable for a similar position on the Interme- diaries. Do You Want Work? HARRY DANFORTB 302 Loop End Bldg., CHICAGO Can Get You Plenty of It ■fcias Bxxeleetvel* with Western o*V* U W. Ksttfc Baehaae*. Orpbesa* as* ruins VasdevHI* Maaacan' ass's WRITE, WIRE, CALL ' AUNT JEMIMA snd Ce. (2) 8ongs 16 Mins.; On* Hippodrome San* the band, but with two piano accompanists Instead, Aunt Jemima the same portly "pancake lady," clicked pretty on her big time debut as a "single" turn. Frank DuBord snd Harvey Schloeman, In the bakers' get-up that waa the costume Idea of the Jass band for- merly, man the two grands, con- tenting themselves solely with the accompaniments. Aunt Jemima Is aa ever the cheery purveyor of pop songs. Sn* Introduces herself with a special number, following thla with a cycle of up-to-the-minute and carefully selected published numbers. "Gold- en Ray of Sunshine" was Intro- duced with a specially written verse that made It aound restricted. "It Had to Be You" was exceptionally sold. She encored with "Charleston" from "Runnin* Wild" and accom- panied It with a dash of actual dem- onstration of the difficult step. (This number suggests the Idea of including a dance specialist, pos- sibly a darkle, to actually do the "Charleston," a mighty flashy terp number, on the stage, although the act aa It stands suffices for any grade.) "New Kind . of Man" was another encore. Her piano team handles a pop medley number In concert for the interlude. Aunt Jemima Is "In" as a pop song specialist Abel. MONTAGUE LOVE Monelog 13 Mins.; One v Broadway Montague Love, former screen star, and sometime leading man in pictures, is making a vaudeville appearance In a monolog, based on the old lines, of the type of talk that picture personalities usually give to audiences when tbey make a per- sonal appearance. It has all that "dear public" bunk that ha* been satirised time and again, on and off the stage, and worked overtime in fiction. After his "dear public," Love launches Into time-worn alleged funny annecedotes, taking the old "on my way to the theatre" man- ner of Introduction, then recites also. First he tendered, "Only an Extra Girl," and Anally he gave the au- dience "Boots." That "Boots" thing is getting to be almost as bad as "Qunga Din,", and to think that Kipling la responsible for both makes It all the worse. In the unsophisticated communi- ties Montague Love may be able to get by, but at the Broadway Mon- day afternoon he executed a neat flop. There should be some allow- ance made because of a cold, and maybe also the heat on Labor Day, but even were he without that hia material would never entitle him to a place In the better houses. Fred. I NOBLET snd HELD Comedy. Tslk snd Songs 12 Mins.; One - American Roof Two women, one a red-head do- ing nut comedy reminiscent In deliv- ery of Winnie Lelghtner. The turn opens with an "Interruption" by the nut of the straight woman's solo. This Is followed by crossfire, most of the gags sounding familiar and of the get-back variety. The commedieiine solos "Ray In His Little Chevrolet," getting It over nicely, while her partner changes dress to return for a double-voice version of "Dear Old Girl," with a yodling finish. More crossfire lead- ing up to a double song for the fin- ish. The act is bjjilt for small time consumption, with the present ma- terial, and qualifies as an early spot- ter for the small time bills. Original material would -help them climb. Con. THE 088MANS (2) Instruments! 15 Mina; One (Special) 23d St These boys are banjolsts of re- markable ability that remain on for their entire repertoire and handle all of their numbers In a manner that bespeaks well-trained musi- cians. Opening with a medley of waits numbers, they follow with "Wooden Soldiers" and wind up with a potpourri of Southern melodies. Working a block-out lighting ar- rangement that gives them the sem- blance of negroes for a, .hot Jassy wind-up. The boys make a neat appearance and are good showmen. Should have no trouble In scoring oa th* better grade bills. MME. TENKAT8U and GEISHA GIRLS and CO. (10) Magio; Danes 22 Mina; Full Stag*. Hippodrome This Is a Japanese Importation, highly touted. Bight pretty geisha girl* assist Mm*. Tenkatsu. A cou- ple of men and on* or two other people complete th* personnel, diffi- cult to fix exactly through their in- termittent appearances and exits with no ensemble farewell. The Japanese madam* make* her entrance from th* audience, coming down the center aisle and ascending a bridge and runway placed over the orchestra Pit by house attend- ants. Other than the "effect," It meana little to the act The "magic" consists of some ele- mental prestidigitation. The geisha girl* In native costume with strik- ing native coiffure* do their en- semble dancing. An exceptiona.lv pretty girl follow* with a specialty of descending Into the audience to have her thumb* securely tied by an audience member. Her specialty on the stage Is making her locked thumbs encircle various solid ob- jects like poles, th* arms, etc. The geisha girls ufore Introduced by ah attempt at a cabinet Illusion but the explanation waa so obvious It added little to the entrance. An- other cabinet illusion was that of changing the Identities of the three figures In the weird costumes. The kingpin la the waterfalls ef- fect seen In vaudeville many years ago but not recently, which adds, nuance to it It was cleverly ^forked. The color, the atmosphere and the personnel, combined with the actual routine, qualifies this act as a flash for the better housea AbeL ' Rendezvous' PAUL MALL Blackface Comedian 14 Mina; On* Americsn Roof Here is one for the scouts to take a peek at. A youngster, evidently an ex-song plugger or a cabarat en- tertainer, w^i a corking pair of pipes and considerable personality under the cork. He opens a la Lou Holts, carrying a banjo and sings "Dumb, Dumb, Dora," which. If memory serves us rightly, was also used by. Holts at the Palace recent* ly. However, It la a published num- ber. * ' The song 1* followed by a well- written topical monolog on the usual sure-fire topics such as marriage, sex, etc. Although containing some released gaga the delivery sells It Immensely. A comedy closing song sung to banjo accompaniment with several extra verses, pulled him back for another song, "Red-Hot Mama." Mall Is, a comer without doubt He has a singing voice that is sure fire for any vaudeville house, and a personality which' will grow more unctuous with experience. His pres- ent dressing scheme of flat hat and red Jacket Is okeh. One or two tricks of speech which are colloquial can be eliminated from his routine, and' he will be ready for the vaude- ville heights. An encore was a cork- ing Jazz dance, putting the young- ster In the versatile class and well spotted as a surprise. . Sure fire, next to closer, as is fpr the Intermediate "houses, and couldn't miss in an early spot on the big time bills. Con. DON SANG and AH CHUNG Songs 15 Mins.; On* 5th Ave. Tenor and barltpne, both Chinese, working In Chinese costume. For an opener they introduce a Chinese love song In their native tongue by way of contrasting their ability to handle American pop numbers that make up the remainder of their rep- ertoire. Both have good voices and harmonize well. * Following up the Chinese number with a jass song, they went into a ballad and a Scotch song and High- land flng for a finish. Played to good returns In fifth place, and undoubtedly an enter- taining novelty for any of the me- diums. SaV , <. . JOYNER snd- FOSTER BLACKFACE Songs, Talk and Dane** 13 Mina On* American Roof Tall man and slender companion In blackface combine a routine of gaga, songs and dances which, summed up as a whole, classifies them for the pop houses. The act could stand a rearrangement of talk and songs, which would make the present turn stronger than It la The men did fairly well a-top the American. Jfarfc. CHA8. KALEV sua Orchestra (10) Music snd Singing 15 Mins.; Pull Stage Orpheum, Los Angeles Los Angeles, Aug. It. Chss. Kaley, former soloist with th* orchestra at Cocoanut Grove, has an organisation of musicians who hsvs been together for but a short time, playing at th* Ren- dezvous cafe. They were booked In here on short notice, with th* outfit collec- tively having no previous stags ex- perience. Their routine of Ave number* scaled from the sym- phonic dance arrangement to the hot jass tunea The men have a sense sf rhythm and the proper faculty of interpolating their ar- rangement* to get the beat of re- sults. . The reed section Is very strong with the three youths In that di- vision supplying plenty of enticing melody on their saxophones and clarinets. The trumpet player la a whlss at his art, getting many a mean and significant wall out of hla instrument, when playing the "low and hot" and holding himself la check most subtlety when do- ing his symphonic chores. Kaley la a good looking youth, well- mannered and with personality to spare. He Is the violin leader, per- forms, without effort, and when making the vocal interruptions dur- ing the rendition of a selection, registers In nice fashion. He has a voice far above the average band soloist and does not endeavor to us*' it too much. Kaley, on the violin, aided by two of the men who play reed Instruments, switch- ing to 'cellos, put over a corking good specialty In the next to final number. i Though primarily organised for dance purposes, this outfit with a little more stage seasoning should find themselves capable of filling either Job of the two they might choose In more than sdequate fashion. Una. HYAMS snd MelNTYRE -Willie Spinch" Comedy Sketch 21 Mina; Full 8t*g* Fifth Ave. John Hyams and Leila Mclntyre. long identified with some of the sweetest and most refined sketches of vaudeville, have gone in for a radical departure in their latest skit, "Willie Spinch," by WlUie Collier, who authored and produced. Mclntyre as a red-nosed low com- edy tragedian, has corns to aid two girls in putting on a play which one of them wrote. H* Is a distinct sur- prise if not a revelation, as funny as any of the character actors in vaudeville and has been fortunate In lining up a sketch with ample op- portunity for clever lines and com- edy punches, the hoke being inserted Just where it will do the most good. The sketch has a surprise finish when the plumber Is enlisted to play a butler during the rehearsal. Mc- lntyre has Insisted upon re-wrlting the script, the new version calling for the butler being handeftffed. The plumber Is placed in bracelets and his bags examined—as the script calls for—the lady of the house dis- covering most of her silverware In the bags. Mclntyre thereupon re- veals his true Identity as a detec- tive and the rehearsal as a ruse on his part to apprehend the criminal whom he has been trailing for a year. The young girl In the cast—prob- ably a daughter of Hyams and Mc- lntyre, Is one of the most beautiful blondes seen on the vaudeville stages In many moona I The business and dialog through the turn to the denouement pulled consistent laughter with the sur- prise finish good for several cur- tains. Hyams and Mclntyre look set for the best of the bills with their 1925 model sketch. Con. ROGER WOLFE ORCHESTRA (12) Hippodrome Thla band, organized by Roger Wolfe Kaha, Otto H. Kahn's son, has'played everything from danoa hall to musical comedy, at present at the Hotel Btltmor*, New York. from where It la doubling into vaudeville, their newest field of en- deavor. This Is the second week for the band at th* Hip, th* book- ing having been personally arranged by the banter and K. F. Albee over the telephone. Arthur Lange actually conducts the orchestra, which la In reality Lange'a own combination. They ar* programmed as working "by permis- sion of John McK. Bowman, Hotel Blltmora" Roger Wolf* Kahn is at present In Europe. Lange is the peer of dance muslo arrangers This Is displayed with his routine, which, bears an ultra stamp In the rendition of the va- rious arrangements. The six num- ' bers are done as programmed, open- ing with Lange'a own "By th* Lake." a symphonic tone poem, fol- lowed by "Susquehanna Home" "JuSt One Arabian Night" "Ador- ing You," "Llmehouse Blues" and i "St. Louis Blues," the latter In the | nature of an encore. m The band is a crack combination. If is "too wall known and too much of a standard to require further analysis as to Its superb reed sec- tion or Tommy Gott's torrid trumpet proclivities. The personnel consists of - Gotj, snd Earl Oliver, trumpets; Kenneth Whltmer, traps; Raymond Romano, piano; D. Romeo, banjo; Eph Han- naford, trombone; Owen Bartiett Morrla Payee and William Frezlse, saxes; Lucoo Liggy, violin; Arthur Campbell, bass, and Arthur Lang*, director. ■ The vaudeville routine is a de- parture from the usual. They do three "arrangement" numbers la succession, with "Adoring You" from the current Ziegfeld "Follies" almost of that order also. Two "blues" follow In succession there- . after. The rearrangement of th* routine might be tried with interest- ing results. Either way,' musically and other- ' wise, it's a worthy dance orchestra, and as long as they like hands In H vaudeville thla combination will stand up. Abel. THE FOUR HORSEMEN Male Quartet 15 Mina; Three (Special) 23rd St. "* A comedy quartet, with men es-, saying English dandy Jockey. Dutch comic and hick cabby. The action IS set In a stable, explained by an Introductory In which they are an- nounced as the Four Horsemen. The melodramatic prolog contrasts the ensuing buffoonery and vocalizing. Upon reaching the stable all four admit the nearest they have ever been to a horse was at a race track. The men have good voices, handle all their numbers as ensembles, and manage to crowd Into them a har- mony wallop that won many recalls. The numbers are Interspersed with clowning that helped lots, and reg- istered the act as ope of th* out- standing features of th* bill ELIZABETH BROWN and 8EDANO { Danqs Rsvus 18 Mina; Full Stage (Specisl) 5th Ave. Miss Brown and her partner ara . dancers, who** fort* is acrobatic, ,, and consequently It Is the acrobatl* , numbers that stand out in their pre*- , ent danoe flash. They are assisted , by an unbilled string orchestra of. ; five pieces, which not only furnishes . adequate accompaniment for th*'. dancers, but also gives a splendid ao- count of Itself In two solos while ths J dancers are making changes. After a brief Instrumental intro- ductory Miss Brown and her partner* glide on for a delightful waits num- I ber. The. orchestra follows with a selection, after which ths danoera < return for a snappy tango. Another I selection by the orchestra a diver-- tissement by the dancers, a Jass tea i datice by Miss Brown and another '■ fast double by both works the act up • to a snappy finale. m The offering has been mounted and -1 costumed with a lavish hand that j clicks from a sartorial angle, with el the dancers at all times proving'^ worthy of the background. Was nearest to show-stopper la sixth spot on this bill, and can duplU cate elsewhere. EDWARD BLUM Xylophonist 7 Mina; On* American Roof Edward Blum reverses, the order of musical things in his present act He closed with the "William Tell" number Instead of opening it with it, and he swung Into it fast and forte, showing mastery with the wooden sticks. Blum, evidently, did not work his entire act on the root, but what he did was done in it thor- ough and businesslike manner. Blum used no frills nor stalled. At the American, his act pleased immensely. Aforfc. P. DODD ACKERMAN SCENIC STUDIOS, Inc. 140 WEST 39th STREET NEW YORK Designers and Maker* of Highest Clan Vaudeville Productions