Variety (September 1924)

edneaday. September 24, 1924 VAUDEVILLE REVIEWS 85 ly bai PALACE This week's bill »t the Palace failed to draw many Monday night, juat about theatre time the wetness *a» doing Its beet, which may have accounted for the many empties on the lower floor and boxes. The hill os paper d:dn' look like a puller and certainly didn't play like me, aver- aging- as a »low show on the whole. no's:bly due, to Ita spottiness. The 5r»t half In particular hit a alug- •iah tempo. It's all right to give them class when there are enough -wows"' concealed up the sleeve to nick the show up Qjgain, but too aaach class doean/tjhinke for • apcedy Jay-out. ■ajfc. • The comedy turygjrwere but two. After considerable Switching Of the bill following the matinee Ryan and Lee (New Acts) were next to shut from fourth. Venlta GouM closing the first half from next to closing; Mason Keener from second after in- termission to fourth; Joe Ho ware "Toy Lnnd" (New Acts) opening -after Intermission moved down from cloalng the* rat half, and Mrae. Eleo- nora de C:.*neros (New Acts) from sixth to fifth. " The reconstruction had six of the acts in the first half, with La Pllarica Trio opening in their corking nov- elty dancing turn, and Elmer Cleve. the classy xylophonist. deuclng. Van Cleve has added considerable class and production to his turn by the acquisition of an attractive black and white effect drop and colored hoofer in page boy costume. The dancer also announces the musical numbers via signs. It's a classy turn and went nicely to two be-ds. Ruth Budd, third, received little er nothing from her opening song. saxophone playing, dancing, etc., the act beginning as .usual from an entertainment angle when she as- cended to the rings. The "versatil- ity" stuff is all right but rhould be cut to a whisper. At her specialty Mies Vtudd is Hiihout a superior, hut her specialty is aerial aerobatics. Mason and Keelcr, next, in their farcical sketch "Married." were the first opportunity the house had to exercise the diaphragms. The laughs were slow in coming but they were consistent when started. The skit to the same sure-fire comedy vehicle •s played by this couple. Mmc. de Cisneros followed and wa>i heavily applauded? Flowers banded over the foots were held In the singer's arms while she encored. Miss Gould closed the first half to tumultous results, easily taking the hit of that portion*with her imita- tions. Miss Gould Is doing the best { act she has ever shown vaudeville. Howard's revue. "Toy Shop,' 1 opened after intermission and was the flash of the bill, taking heavy returns. It is a novelty Jaxx oand and dancing combination, with Joe Howard's production genbis plainly discernible, ntthough Howard 's con- tent with two numbers himself. Ryan and Lee. next, went strongly, despite a cold which made Benny Ryan's voice hollow at the back- of the house. The act is a typical Ryan and toe, which Is synonymous with bright crossfire. Harriett Lee's "Dumb Dora" is aa likeable as ever. They copped the comedy honors in then* portion. Christo and Ronald closed In band-to*hand stunts. The top mounter is evidently a boy and is used for all sorts of trick forma- tions. A burlesque wrestling bout was interesting, the turn holding them In unusually well. Con. HIPPODROME York and nearby may cave attracted a following from/ their respective communities. Much applause and deluges of flowers. A triumvirate of circus acts bunched set the bill off to a lively beginning, consisting of remarkable aerial work by the Australian Del- sos, gymnastics by Snell and Ver- non and wire dancing by the Fan- tino Sisters. Stan Kavanaugh followed with hla juggling and humorous quips. Alma Nlelson. assisted by Dan Ely. Dave Rice and the Frivolity Five, the latter a versatile orches- tra combination, registered* one of the high spots with a happy mix- ture of singing, dancing and instru- mental numbers. Miss Nlelson con- tributed at least two numbers that were out-and-out winners, particu- larly her Jass toe dance. Ely and Rice also worked hard in their step- ping and Rrrished to good returns. The orchestra pounded out unusual harmony for a s-nall combination and were in every sense a valuable requisite to this rlnssy production. Paul Remos and his midgets held the follow-up spot, with Cecil Lean and Cleo Mayfield next and clean- ing up as usual with a song reper- toire practically the same sua they have been doing around; with ine exception of the "Sleigh Ride" num- ber, for closer: Lean is still using the comedy number, "When a Wife Gets Fat." and "He's a Fan," the latter a relic from one of his early musical comedy vehicles. Lean and Mayfleld's vaude appearances will be limited to the week at the Hip. since they are .under contract for a new Shubert musical. "The Carnival of Venice." In clos- ing section of the first half, brings on the Hippodrome girls (or the first time in* this part of the program and works them neatly as am en- semble for the various specialties and especially as a .groat build-up for the soloists. Benson and Massimo opened the second part with dancing and acro- batics, in which they were assisted by Kathryn McLaughlin. Benson and the girl do an interpretative dance for an opener, later bur- lesqued by the two man, after which they get down to business In some clever hand-to-hand balancing. Ruby Norton gets the palm as the stand-out of the second half, on next. Miss Norton is doing her fa- miliar song cycle with Clarence Senna "at the ivories and credited as composer of her special num- bers. Miss Norton looks as chic as ever and brings an indefinable something to her work that makes her a winner from'the outset Her numbers are ot the hand-picked va- riety that display her voles at its best, and the bit of dancing sand- wiched in was equally refreshing. Ray Miller and his Arcadia Band followed and repeated their last week's success. Al Herman, blackface comic, clowned his way through, next to closing, with his "wise" monok-g and then trotted out a colored girl . for some snappy dancing at the finish. The Atlantic City Beauty Win- ners wound up the show. Edba. Three-hour show and easily worth the money despite absence of any outstanding smash. Just even en- tertainment, well spotted and di- verting If not particularly mealy. Rain evidently couldn't keep them away Monday night, when the shjw drew a good-sized house, on* that would have meant capacity in any other two houses along the Main Street. Four hold-overs and seven new features in the 11-act brace, the retainers being Stan Kavanaugh and Co.. juggling, in the deuce; Paul i Remos and midgets, acrobatics, fourth: "Carnival of Venice," music and dance spectacle, closing the first section, and Ray Minor's Ar- cadia Orchestra, No. >. Much local interest was centered upon the closing spectacle, a replica of the Atlantic City Pageant in which the Hip management cor- ralled a congress of a doson of the alleged prize-winning beauts, aug- mented by the Allan Foster danc- ing cuties In a colorful fashion show supervised by Mile. Marceline D'Al roy, Parisian modiste, also'alleged, who participated in It by serving In dual role'of designer and mani- kin for a aeries of drape gowns fashioned from whole cloth. In the opening. "The Evolution of Fashion," the prize winners are brought forth In period gowns and present-day frocks that prove ade- quate settings for their beauty. Mile. D'Alrpy follows with her creations. For a finale there is an- other gorgeous spectacle, "The Court of Neptune," with the winners reappearing in bathing suits and Neptune crowning Miss Greater New York (Margie Booth) Queen of Beauty. The Hip dancing girls sra utilized to advantage also as manikins. In the finale there la a Uving fountain scene, one of the 3»ost artistic attempts thus far hown at the big theatre. The ap- nearance of the winners from New elosed BROADWAY A soft audience Monday night, and the boys and girls made the most of It. Something bettor than three-quarters of a house est in and seemingly enjoyed everything. Jimmy Lucas kidded his way to definite result when showing next to shut and returned for a speech after warbling a quartet of songs, including numbers from his personal perets*tre. Conlin and Glass. Nil, also did nicely, with the kidding between Conlin snd the stage crew being especially cared for by the patrons. Conlin looks to be galloping' through the act very much unconcerned. It may make a difference at some houses but meant little here. The Two Original Powers (New Acts) opened, followed by Lucille and Cockle rNew Acts), which turned into a two-bird act routined by the woman. The bird working from the stand brought attention with Its laugh and crying bit to the extent of taking It away from the one working upon the arm of its mistress, until near the close, when the bugle finish took the entjre pres- entation up and over. Jack Denny's band, spotted fifth, played a very ordinary selection of melodies and get just about enough to sponsor for one encore.- The 10- piece combination is capable enough technically, but the routine Is prone to the lifeless and is in need of at least one number to give the boys something to hop on ' and sail through. There's been a band about every week at the Broadway, which also makes it tough for Denny, but even that doesn't' square the list of selections Monday night. Frank Richardson may be Intro- ducing something new to "Mammy" singers by carrying a small floor mat with him. Lying there through- out the first three or four songs it was the tip-off as to what was com- ing, and no one was disappointed. The number went from "the old log cabin" to yodellng, but It gave Rich- ardson a rousing sendoff and suffi- cient to follow with another semi- ballad and a fast tempoed encore that left his score anything but in the balance. Dave Apollon and Co. (New Acts) Ms*. RIVERSIDE The first half Of this weeks bill at the Riverside runs like a Broad- way revue with the only element lacking the far-famed gentle wom- en of the ensemble. After inter- mission the "class" eases off a bit and the pace slows down, but at that it's a mighty good entertain- ment. The bill measures up aa a perfect model for the big time bookers if they want smart vaude- ville. Monday night the drizzle kept the crowd down, but not the en- thusiasm. It was a typical audi- ence of regulars who whispered delightedly when the namec of Ed- die Leonard aad Belle Baker among others were announced as future attractions. Those whs) came to see Donald Brian and his partners remained to applaud snore or less perfunctorily, giving the real ap- preciation to Frank Fay and three or rour other turns with less po- tent names but with more of variety. Brian, with Virginia O'Brien and Gits Rice, was se c o nd after inter - mission. The act to disappointing aa a headlinor of quality, although the rather stilted routine and lock of Ingenuity do not do more than dim the natural lustre of the three stars. Undoubtedly the turn suf- fered by comparison with at least two of the acta in the earlier half. When the trio have to resort to "Dear CHd Pal of Mine" for the only sure-fire selling Item in their routine, there's something wrong with the construction. , Rice's ex-partner, Frank Fay foUowed them, closing the bill and smashing what was left of it to smithereens. He Is using much of the material from "Artists and Models" last year, including the side-torturing bits with two "boob" plants. Fay was in good voice and in addition to convulsing tlfe west aiders and holding 'em until after It be made them take cognizance of hto suspected vocal prowess. Fully as big n hit was recorded by Neville Ptoeson and Ann Green- way, four, with an example of the ultimate in two acta. Their stuff is as fitted to a better class vaude- ville crowd's taste as it is to their own considerable talents. Fleeson gets wonders out of hto "Usual Way" number, a song, heard sev- eral times recently otf (he two-a- day and never before making a particularly strong impression. Mtos Greenway to fascinating and' her Sadie Thompson satire hints at more than a little ability a\ genu- ine dramatics. It's a turn no one would be over- anxious to follow, but Roye and Maye did just that aad closed the first half with another tornado. This dancing extravaganza has been heralded, and certainly In speed, also in poetry of motion. It Is there. Of the four excellent girl dancers* supporting the principals Margie Flnley to an act Jn hai s erf, with some of the most nimble pedal embroidery in months Fred Holder and company of four in "Up « Tree.'* a "branch" of musical comedy (New Acts) reg- istered emphatically third. Good taste and success in getting away from the usual run of "miniature" pieces of this type are the outstand- ing features. Bob Roblson and Ranee Pierce opened after the rest period. While not exactly up to the balance of the bill In name value or ultra- ultra stuff, they scored more than satisfactorily with a vehicle that at some moments suggests t*^ not- so-far-off realms of the small time. The domestic argument bits are evergreen, particularly when so well sold out, but why the team re- tains the conventional and weak opening and closing to a puzzle. The rotation of solid solar plexus blows in the first half was started ey Clark Morrell, a young tenor who's coming like a Charlie Pad- dock. After all the lyric, falsetto, booce and semi-alto tenors infest- ing vaudeville It's A tremendous relief to hear a virile, masculine voice such as Morrell possesses. Its register to not Always perfect, the tone even occasionally nasal and the technique away off, but the sound to always pleasant, enun- ciation perfect, and. In addition, Morrell has appearance, bearing, smile and stage presence to cinch It. Dippy Diers was scheduled to open, but a juggler. W. D. Pollard (New Acts), appeared front some- where and flopped as _few at the Riverside ever have. topical numbers at the close. Miss Nelson plays the violin skilfully and the man alternates between the piano and the 'cello. Salle and Roblea got very little on their comedy, but steamed along nicely on songs. A rearrangement of the act, with more play on the vocal efforts, would help Immeas- urably. Cameron and Rock (New Acta) were followed by Bob Nel- son. He had a choice spot and found the audience receptive. Hubert Kinney has added several glrla and gone in more extravagant- ly on .dressing, making a bigger "flash" than in previous efforts. Kinney and the girls worked hJtd, displaying individual talent. Picture was "Lily ot the Dint" (Paramount). Mark. OBPBHm sWAD SHOW 10. 1 Torre Haute, Ind., Sept. 19. This city, bearing the theatrical reputation of a cold audience town because of Its proximity to Chl?ag© le ss ons In amusement sophistica- tion, opened up in support of the Orpheum Road Show No. 1. It played four days at the Indiana. Good press work by the manage- ment, which stressed the Eight Chi- cago Steppers and Dick Locke's Ar- cadians, packed the S.OM-seat audi- torium with curious ones the open- ing day. It to a Moore * Megley produred show. After the Chicago premiere, the unit moved to South Rend, Ind. From here it jumps to Bvansvllie and then to St. Louis. Engagements are to bo- lengthened to a week after the date here. Two more acts and an Increase in the jass band from seven to ten members is contem- plated. Blcknell, who models in clay, to- gether with the Steppers, makes the first act lengthy but Interesting. Al- bert Malotte, pianist, and Mary Jayne, vocalist, follow with a double. Mtos Jayne starts in A Spanish number that has atmosphere sup- plied by the Windy City Girls In a Latin-costumed* ensemble. Malotte goes over the average variety As- sembly's head with his "classicisms" on the pipe organ, but lends a wel- come touch of novelty. The one weak spot Is "Laughs, Laughs, and More Laughs." staged by George Wilson and Hilda Ward. Wilson works from the audience and the turn smacks of the four-a-day. It is a drop in the entertainment standard as a whole. Wilson, how- ever, makes good in the afterpiece. He and Ben Pierce, who features another round ot humor with Lee Ryan while the revue set to being assembled, manufacture some, real merriment during the closing whirl of melody and dance. Wilson sits in a box and nibbles at a banana as Pierce pulls the rube stuff, leading the Arcadians as a village sand. - Lucke and his hoys have the average, brass layout, the three saxes doing effective. doubling. "After the Storm" allows the young- sters A bit of imaginary Inclement weather frolic. The dr umm e r . In A fair tenor, vocalizes a portion.' He also solos earlier. . . Jane Smith makes her initial bow as "The Little Stepper" with the band. Her Irish jig strikes popular fancy Aad her enthusiasm to re- flected in the succeeding turn-out of the Steppers. Miss Jayns and Malotte have an extreme with "An Old Fashioned Waltz." The radio and phonograph are utilised as material for the after- piece. Several members of the Step- pers entertain tn duos, further spe- cialties being contributed by' play- ers of the regular acts. The whole company works hard and the show looks like a trump card in vaudeville if the proposed changes are Worked out and Wilson and Ward's stuff pepped up a bit. 'v>IM**T ooff BURLESQUE REVIEWS (Continued from page Si) program gives Dave the staging credit. Charles McNalty, Abe Gore and Dave Burt carry the comedy for good returns. McNally exited from the Mutual tost season and to % tramp comedian of ability. Joseph- ine Sabel and Ed Begler work to advantage as comedy heavies, with Frank Du TeU handling the Juv- eniles, and dance specialties by Irene Cornell and Emanuel Kramer. Pariah and Peru contribute ma- terially to the line up sod Marlon Adds bis usual Snuffy blta. proving that the crowd still loves the bobs. The show to devoid of voices but holds up strongly on the dancing The mam wea kness of the offer- LINCOLN SO* a good sport with All of that and the audience seemed to sympathize with him even If tt wouldn't applaud. Corking five-act entertainment, topped off with a screamingly funny feature picture formed the bill at the Lincoln Square* Monday night. . De- spite the rain a fairly good-sized audience was present. In fouVof the five acts was danc- ing, but the house tendered the ap- plause honors to a trio of men hilled as 'The Three Rounders" (New Acts), In harmony. George La Tour (New Acts), with an exceedingly clever juggling turn, opened. Chad and Monte Huber held the deuce spot, and did fairly well. The act Is still a small-time turn that doesn't show anything worth while In any particular. Grey and Byron landed with much better effect in the spot following But he was Their routine remains the same. The STATE The State orchestra hopped away from the classics Monday night on its overture and reeled off a number in a way that brought much ap- plause— more than some of the vaudeville acts obtained later. Nearly every act on the bill has played in Loew houses hereabouts. The show was opened by Little Plpifax and Cd. with some old- style comedy horseplay by the comic. What little acrobatics of- hiint- fered were acceptable. Dorothea I William Morns. Jr, Is on a hunt- Nelson and Co.. which included her J '"* f«P » n Canada and will remain male accompanist, did well with the for two weeks. woman stands out and, with a little more care In her -dressing, should be able to land somewhere in • produc- tion, for she has a happy faculty df putting her comedy effectively. The duo managed to hit them between the eyes at this house. Finishing the vaudeville section Hester Bailey and Co. (New Arts) showed something a little different in the way of a classical dancing turn. "Never Sfty Die." the Douglas Mac- Lean feature, furnished the comedy punch to the show and had the house roaring at both the early eve- ning and the final show, Fred. lag Is the lack of adequata a failing for which Its other virtues cannot atone. Why It to that bur- lesque producers continue season after se a so n to lavish fortunes for productions sad salaries bat not a at for books remains a mystery. Aad particularly when the leading oney-getters of the lib into are the ones strongest on the bosh end. Marion claims the present book aad lyrics aad probably as one win dis- pute baa. They ars pototlasa, thin id flaC The comedians ars forced to work with a dearth of material aad most ot the comedy scenes ars merely gags expanded tats skits. For whatever laughs there ars. the credit must go to the work of the comics and set to the material. It to significant that at the per- formance caught (Saturday ma ti- nes) ever half the sudlenee was saads up of women and children. The Columbia to evidently est on building up a apod wilt aad reputa- tion for clean en torn hisses t, Marions show warrants the confi- dence placed in It. It to clean la every deportment. THE MERRYMAKERS (Mutual) Kansas City, Sept I. to Ton Svlllna. wtta Burr Urn, am Marskall. V Quia*. **• paus Centos, Stratum, Rrd I m Sent Csotos, Asm Owes,' Attea fls lh set l s, Rm La Asm aad ikarsa of IS stria. ■any Houis, J»fci •. Aatfc ~ Three things stood out strongly In the performance given by the "Merrymakers," the second of the Mutual attractions to reach this elty, at the Empress this wash, First was the snappy work of the four principal women, second lbs sure- fire specialty by John Quigg. who got the bunch to singing, and made 'em like it; third, the bapresslve alienee which was the reward given the two comics for their repeated use of vulgar lines sad offensive motions. Hells snd damns wars frequent and others like "Ktae the Pig" and "Kill a polecat" failed to get a smite. But the women, that's a d iff erent story. / The Misses Collins and Otoea, who furnished mast of the "imakejr" stuff, are good to look at and never tired in their attempts to give the boys their money's worth. Miss Guilmette, prima donna, has a re- markable voles, snd her songs la the numbers and her specialty were given genuine applause. Rse Ls Anse to a chubby little soubret. light on her feet and a willing worker In the numbers or bits. The show to in the customary two acts snd 10 scenes, and moves smoothly, but can stand some pep- ping ap, especially In the scenes where the two Corsica monopolize. Their work to dreggy And their staff so old some of the audience spoke the lines ahead of them. Uttte can be said of the scenery, but the costumes are pretty and the wearers make a nice flash. The "Little Front Parlor" number clos- ing the first set, was the bast of the bill. It 1s a wedding number with all the women In white and the men in evening dress. The entrance is made down long stairs, center, and the scene to a pleasing one. A Hula-Hula number In the sec- ond set proved a showstopper. It was led by Ruth Olaen, who turned it Into a plekoat number with the different girls "shaking" for a <sw momenta Shortly after, and Juat before the closing, the some dancer came back, all la whits, for same solo shaking, but did not get vary far, as she had already displayed all of her wares. The comedy scenes Included the old favorites, "Somebody's Bed Room," with the numerous lovers under the bed; "Fishing tor Wom- en." "Under the Bench," with SJtrat- ton using the auger, and other bits as well known. It seemed a coincidence the pre- c ceding show uses a medley of old songs for the opening chorus, as did this one. and that John Quigg, the featured specialty act, also played the old tlmere and pleaded with the customers to sing. He flnsJly got lbs boys warmed up and they did not want him to leave. The show needs a lot of real com- edy, some new atuff; the songs, cos- tumes and women are there*' a vWsAs, Prince, manager of the Washington Square theatre at Qulncy, III., has resigned to become manager of the new Pontages hourfe In San Diego, Cat