Variety (January 1925)

VARIETY NEW ACTS THIS WEEK Wednesday, January 7, 1820 VIOLET HEMING and A. E. MATHEWS *<A Unique Opportunity" (Comsdy) 12 Mins.; Full tt«9* (8p«cial 8«t) P«l«o« Violet Hemlngr and A. E. Mathews from legit make their ▼audevllle bow in thla aketch by ScftDdon Fleming and Bernard llSri>Ale. It la very fluffy vaudeville, the •tory being baaed upon the scram- bled converaatlon Idea which haa enjoyed many tranaltlona since first told about a crossed-wlre telephone conversation. The Hon. Richard Madtlgal (Mr. Mathews), has had a reverse in love and decides to lease his bunga- low. His valet inserted an adver- tisement. The ad carries a tag line which offers the bungalow to any girl willing to m«uTy the owner. The last two lines had been scribbled > on a separate peace of paper, a con- ''C«lt of the jPon. Richard and not \^lntended for publieatton. '7 Phylis Bartlet (Miss Hemlng). . ti' sent tp Inspect the bungalow by ->. the real estate agent. Richard ^'thinks she baa read the adv.'and -.vacts accordingly. Her allusions to '^kaving five children In August are '^veonstrued UteraNy by bim. until he *.'discovers she refers to her sister's .tiilldren. All of the conversation Is ^ Along these lines. Phylis refuses to h;. laave and starts to unpack when ^1 the Hon. Richard begins to unbend. ^ The crossed conversation gets >^«ome laughB but the audience seems ta be la the dark about It until* the playlet Is about half over. ■■ Misa Hemlng looks sweet and ^ tngenulsh and Mr. Mathews does as ^.iwell as to humanly possible with • role that contains few vttximins. It's the fluffiest kind of entertain^ nent but will probably sufRce for once around with the "names'* of the principal* tba only value in- cluded. It flopped nicely No. 4 at this house. Con. ADLER, WEIL and HERMAN Songs, Dance, Piano 16 Mina.| On* Palace. Billed as the sunkist syncopators this trio flashed into the Palace like a California sunset. The boys open novelly by dragging the pianist on stage while he is seated at the In- strument playing their opening number, "Back Where the Oranges Grow." "My Best Gal" is trloed next, one of the three doing a sax Imitation. "No One Knows What It's All About" is another triplet song with comedy verses. Thla is followed by a tenor rendtion of "Because They All Lrf>ve Tou," and an ensemble re- peat with heavy emphasis on the close harmony on a syncopated sec- ond chorus version. "Back to My Tennessee" pulled them back for an encore. One asks the audience If they want "Charley, My Boy"; another, "All Alont," and the pianist, "Follow th« Swallow." They%then announce they will sing all three, which they do. A touch of comedy in the first mentlosed was the opening of the piano Ud as they were pulling it across the stage with the pianist busily play- ing. The lid was a repUca of the taxi signs, which read "Rates Slashed—16 Cents a Mile." They coo'd ;'A11 Alone." the tenor hitting a falsetto' top as high as tbe Shen- andoah. A bit of jaxx dancing fin- ished off the best three-act of its kind In vaudeville. This turn Is In''for any spot on any bllL This trio has the real Rathskellar atmosphere and haven't been in the racket long enough to niia their act by having to sing a medley of "songs we have written." Real vaudeville naturaL Con, and VAUERIE BERSERE and CO. (2) The B6oby Prixe" (Comedy) 19 Mina.; Livlna Room (ftiMcial) Rivwvido (Doo. 80) Valerie Bergere's latest sketch to atart lS2fi with "The Booby Prise," written )>y Carl McCullough. Tho 'skit Is of a light, dramatic nature, domeetlc In character and having ft vein of comedy which ' caused Intermittent laughter at the Riverside last week. Miss Bergere to Mary, wife of Dr. Robert Blllinga (Robert Stevens), • who finds their many years of married life tugging at the strands which she realizes sooner or later wUl reach the breaking point. She Quietly frames her husband which does not become known until the final curtain. The doctor brings home a friend. Mr. Uttleton (Kal- man Matus), and then brags of his happy home, his wonderful wife and that Mrs. Billings Is the happiest woman in the world. The friend differs. He declares the wife Is un- happy and he can prove it. The husband and frlfnd wager $1,000 with the terms overheard by Mary. The- doctor loses his money, the l^appiness of Mary is made possible aqd" aecure through tbe doctor's realization of the truth and the , friend, "a sunshine <<octor" at so ' much a throw, goes his way rejoic- ing—with the "one thou check." The sketch has a wholesome ap- peal as there are real "Mary^ In most audiences. Just sink 7ua- todlans, who slave while hubby to away on business vamping. The cast gives admirable support. It Is not Miss Bergere's best sketch, yet 11 Is new and modem, and was well received at the Riverside. -%* Mark. MME. EMMA TRENTINI ERIC ZARDO, pianist • 20 Mins.; One and Full Stage Hippodrome. Mme. Trentinl, if she cut go up against the straia of twice dally singing, is set for vaudeville. Elapo- dally If tbe act continues wich E2ric Zardo. for this pianist equally shared honors with tbe singer as regards applause.^ despite the song- stress having something of an edge In providing three numbers to two. Mme. Trentinl obliged with "One Fine Day" from "Madame Butter- fly." "Cosl Piange Pierrot" and "Qiannina Mia," while her a<:com- panist offered Paderewskl's "Min- uet" ajid "Rhapsodie Hongrolse No. IE." Each of the flve selections clicked for full worth, especially the standard bearer spotted as tbe concluding number. The selection from the Puccini opera was rendered in full stage with the houae girls dressing the stage In appropriate costume. The remaining numbers were in "one" before drapes and a street Insert drop. Mr, Zardo formerly accompanied Belle Storey, and that his technical accomplishments are an assured asset seem well proven with this showing, though he long ago es- tablished himself. Mmf. Trentlni's voice to unusual for vaudeville. Coupled with her chic mannerisms the combin^atlon is more than capable of taking ca,:^ of itself. Bkig. LILY MORRIS ^ Songs 16 Mine.j One ".', V 'v Hippodrome ' * An importation from BngUnd and conforming to precedent In the manner of delivery and routine. Miss Morris walked on to a recep- tion and oloeed out to a response that brought her back for a brief speech and an added lyric. A bridesmaid number, eccentrlcly costumed, pnved the way for two following melodies and encore. T|ie oomedy lyric was amplified by a waltz melody «iat held more than passing merit and registered as the most powerful of Misa Morris' songs. Clinging to the proverbial style of feminine Brlttoh singles allowed three veraea and as many choruses of this ditty, aucceeded by another comedy number. For thla Miss Morris presented a normal and be- coming appearance. The conclud- ing bit was something of a cockney type and neatly delivered, minus dialect. Outside of the reception Miss Morrla earned the major share of applause allotted and deserved it. The doubt which generally over- casta all Bnglish singles as to the merit of their songs may be dis- pensed vith In this Instance for that opening song to certainly ade- quate, and what the other may lack Miss Morris makes up In delivery. Her clear-cut enunciation was especially noteworthy. In fact. Miss Morris' entire performance smacked of experlenc'ed showmanship. Undoubtedly a big time surety, it seems simply that matter of songs for Miss Morris with her current routine sufllclent to stand the strain of at least once around. The one vulnerable point listens as be- ing the second of the string. Up against a difficult assignment in appearing at thto house, of all houses. In her initial week within a major theatre. Miss Morrto ably overciCme whatever doubta there may hav^ been. She Impresses as an Bnglish comedienne capable of taking care of herself anywhere. Skiff. ROBERT EMMETT KCANK and CLAIRE WHITNEY "Room SCO" (Comedy) 17 Mins.; Three (Parlor) Riveraide This to new for the Keane-Whit- ney team. Homer Mason to credited for authorahlp. It la a combination of farce, comedy, travesty and what not, the result netting a flock of laughs that should make the act a body-of-the-blll favorite any- where. , Mr. Keane Is east In the role of an undertaker. The Undertakers' AssocUtlon Is In convention at the local hotel. Miss Whitney to the hotel proprietor's daughter, but to doubling as maid for emergency reaaona. Keane starts giving the "maid" the prop "line." Misa Whit- ney has some anappy and altogether nifty retorts of her own. The talk to fly and funny from curtain to curtain. Including * proposta scene. She to alMUt to accept but recalls In time she Is married—her absent- mindedness la explained by the fact she only became a bride yesterday and to not used to It yeL The 'phone rings and Keane's wife is on the wire explaining their-children are IIL It's a corking oomedy act and should satiate part of the bookers' denoands for comedy offerings on their bills. AbeL (4) \ f MLLE. RHEA and 8ANT0R0 aiMl Cm. (2) ,;^ ' Danoe, Acrobatic, Musical 18 Mine.; Full Stage fliverslde '' Thf^ act starts off like the usual classy terp turn with Mile. Rhea and Santoro in a flashy ballet con- ception. Joseph Mack, Jr.. then breaka^lt up with a piano solo fol- lowing it with bis own violin solo. Santoro then returns with Alex Cross (topmoiinter) for a few nlin- tttee of corking hand-to-hand lift- ing. That's an act in Itself, som^ •f tbe feats being corkern. The terpslchorean end of the act Is then again resumed by Mile. Rhea and Santoro, abe i lacludlns two . coIOB. . . "• : .-'.I -■•. ■• ■ ' • -' ' ir« a novel dWhbbiatlon of danc ' Ing. acrobatf<^ and' hiuslcif elem'e:r>ts 'and aurcr^^e on |he hefit tt lt>Uls. .aw»'.' RUTH QLENVILLE CO (2) Instrumental 10 Mine.; One (Special) State A droo with an Insert through whi-:h Miss Qlenville makes her ap- pearance accompanied by her sax- ophone. She la asstoted by a femi- nine ptonlst of more or less Im- portance. Three sele6tlons oh the reed in- strument and a solo by the as- sistant make up the routine witn no one of the numbers particularly melodioua Miss Olenvllto attempts a selection made prominent by Rudy Wiedoff and though skipping the difficult passages does averagely with It. She makes a fair appear- ance, but what tl.e act needs is the insertion of numbtrs that will mean something. Th» current rutU/ is too indifferent to ^aln der.nlte at- tention. Hklg. glELLE and MILLS ancing and Music 16 Mins.; Full Stage (Cyclerama) Palace. Robert Slelle and Anette Mills, an Imported mixed double dancing team. In a routine of double dances that seem to be efforts at Impro- vtoattons of standard dances of sev- eral American turns. Tbe routine includes nothing new nor dlflScult. the couple's greatest asset being appearance. The Cos- ter and His Girl at Hempstead Heath was an eccentric double, preceded by an "explanation" and save for the coster hat and bonnet of tbe principals, could have passed for anything. Russton dance is prolonged by an "explanation" and a request the audience clap hands at the proper moment. Several members of the Lamb's Club obliged, but the bal- ance of the boose remained mute. The dance Itself was an ordinary routine of Russian steps, supposed- ly delivered for comedy results. The business of sitting on-the floor and executing hocb steps has long ceased to be laugh accruing busi- ness over here and went for tbe end book. The dancers were a beat ahead of the house orchestra all of tbe time. Four muslctons In ^d uniforms are carried, and the act is backed by a gold cyclorama. The tatonts of the principals miss the high standards set by the home Ulent vaudeville turns by many wave lengths. This act might register in the "Intimate" atmosphere of a cab- aret. On tbe stage it's not quite big time, and certainly not a feature turn for the big tlm« bills. .■■ Con. AQEE'S PERFORMING HORSES 13 Mine.; Full (Special) Hippodrome. Probably as good a horse act as vaudeville has ever seen. Agee personally routines three beautiful aninuUs without word of command or direction by whip. The r^fason aa to their being programed as "brewery horses" Is something of a question inasmuch as the horses are not of the draught type. The-act ateo carries "Bill." the trained bull from John Kelly's "Fun on the Farm," ridden by Ike Arm- stroiu: and concludes the IS minutes the act coViBumes. Atoo Inserted Is ^ank Shields who provides a brief bit of rope spinning about midway. The horses are the attraction and work perfectly. A "grandstand" act during tbe summea months at fairs. Agee has a super-offering of the type that rates second place to none and will linger In the twice dally houses for so long as he wtobes. ' A novelty Is iTrought forth through the ring being ratoed at the rear side ^hlch gives a clear view of the floor space from any angle of the house. esi>eoially downstairs. Included In the work is the Jump- ing of the three horses In and out of barrela A final trick Is that of the trio simultaneously perching themselves within as many barreto placed upon a wagon. ~ The house earjy manifested a lik- ing for tbe turn Monday night. Spotted No. • in the running order Agee encountered no difficulty In holding up the assignment BMffi. CERVO and MORO Musical 10 Mins.; One Hippodrome Violin and accordion male com- bination. Their 10 minutes on the rostrum are not interrupted by any solo or other varlationa Both work In unison throughout, the costum- ing being eccentric "wop" and nc- eouDtlng for whatever comedy re- tui-np the act won. Got by hlcely No. t at the Hip. Apel .;!»•» V •>« |.<«i'» (rt Jj I .v; ) jn • t (li.fl 4 !.';. WEIR'S BABY ELEPHANTS Animal Act 0 Mins.; Full Stage Hippodrome. A trio of trunk toting 'minltures of the species, speedily routined by Don Darragb. The animals follow a conven- tional routine albeit omitting ther usual flrlng of a cannon and the Red Cross finish. Darragb works the three simultaneously but haa a particular bet In the centre mammal who outshines bis con- temporaries witli back kick^, and receives a spotlight for his body shaking shimmy aa the finale. Speed Is the outstanding attribute of the ict, which is in and out of the ring In short order. Spotted thir&here the presentation received rapt attention an*} pleased. Skig. SPADORA . . Comedy Single 0 Mins.; One Riverside ' Billed as 'Ttaly's leading come- dian." Spadora appeared at the Riverside last week and proved a most disappointing comedy single. He sang a little, danced a little and hid 1.11 •c- 'fiia of how a certain song was delivered. At no tfine did hto musical efforts strain any leashes artistically. His routine was ordi- nary and antiquated, with much passe today in the pop houses. / He's tall, has an Inclination to work mechanically and depiiend en- tirely upon material that relegated him to the "flop" division. That line of 'Italy's leading com- edian" was a lot for tbe man to bear, yet at no time during hto act did he given any demonstra- tion of tt>e talent that would en- title him to the rank as his coun- try's "leading" entertainer. Spa< dora at best was unfunny and bis entire routine tomentably weak. In his little announcements, and Spadora appeared full of them, bis broken dialect worked a'handicap, not overcome by any attempts at singing, dancing or "imitating." He has a number of "bits" at the piano which have long ago outlived their usefulness as laugh-getters in vaudeville. Isadora opened quietly and closed the same way. Tbe audience was left pondering over the "Italy's leading comedian" 'billing and asked themselves: "How come?" Spadora is an inspiration coming over here under a Keith contract Mark. JAMES J. CORBETT and JACK NORTON Taking the Air" (Skit) ' . 14 Mina; One * ^^' Palace. Holding himself In the publicity and theatrical spot light a» no other former champion of the ring ev^r did or has done, James J. Corbett repeatedly appears somewheres be- fore the footlights, backed up by his most agreeable presence, an as- surance that must have cohm to him naturally and an abundance of good nature that doesn't object to a little raillery pointed at him any* , how. It's the same with Mr. Corbett aa a public character which he haa remained likewise, and In the same measure with hto stage popularity. Acknowledged an authority on sports, albeit a notoriously bad picker of winners, tbe same James J. is forever In the prints, as a writer or conomentator or the inter- viewed. Thto totter edge he al ways has maintained has been big asset to his stage carrer. The latest feat of Corbett, pdssibly no less In this day than hto 'other ac- complishments In other days (of box- ing away the championship from the slugging Sullivan) was. a serial In tbe "Saturday Evening Post" That had something to do with returning Mr. Corbett last week^to the Palace, with hia totest the- atrical partner. Jack Norton, In about tbe usual two-man act the ez-champ has been assoctoted with In vaudeville. Corbett and Norton when form-, ing and starting played one vaiide- vllle week in New York, then darted right into Zieggy's "Follies" for a stay. Now they have returned from another long vaudeville trip j and probably will remain in 1 the eastern twice-daily unless Mr. \ Corbett becomes a platform lecturer '■ —or better or worse. Mr.^NojUon just before making thto presemT S^ncture; headed his own turn."* He's a comedian and as of yore, Corbett does the straight. Mr. Norton has a comical crumbling fall that Just fits into this turn. Maybe the skit was written around .it CaUed "Taking the Air," no author is listed. It ton't'difflcult to believe the act has never stopped writing itself since starting. It's of quips, croes-flre. retorts and some slapstick. The slap-atlck to at tbe flnlsh and toughable. Corbett to acting as Norton's physical instructor, trying to build him up by work In the air and exercises. Norton enters looking like Dr. Dippy. He to over and un- der-dreased for laughs. They have Just missed the offstage puffing train so they stop before the audience to talk It over. Norton looks a perfect physical vrreck afraid of Big Jim and his strength. . Corbett trtos to do something with the. debris. All he'can get out of Norton are fresh cracks. Eventually. Coi'bett says Norton must know the rudiments of box- ing to protect himself—how to bit dodge and upi>er-cyt. Corbett iUus^ trated in shadow boxing, then brings Norton up for the practical. Nor- ton rjemembers everything exoept* ing to step back to avoid the upper- cut and Is knocked out Corbett remonstrating, says they will go over the lesson once more, wtaea ; again Norton, neglectful of the up* ^ percut again to kaoed. ] Flat and with a dim sts«« la j which stars may be seen dancing ■ around to give the house an Idea of Norton's mental condition. Jim i drags the helpless wreck away. 1 It's a pleasant turn, entertaining j without too much gusto. It con- j tains besides a noted personage aa exc4llent comedian. That combina- tion with what goes with it in the publicity way make Corbett knd Norton well worth while. 8int«. and ARTHUR FIELDS LEO EDWARDS Songs and Piano >' . >. 11 Mins.; One Riverside. Arthur Fields Is the phonograph singer, totterly of the Avon Comedy Four. Leo Edwards to a composer with a number of production songs to hto credit It's a sure-flre com- bination. Fields' sympathetlo man- ner of selling bis vocal efforts, par- ticularly the ballads, assuring that The routine Includes the usual composers' medley. Fields' "All Alone" clicked. A "cross-word puzzle" idea of Fields singing "Fol- low the Swallow" and Edwards' handling "What'U I Do?" in sim- ultaneous rendition, was another highlight of the routine. They pleased lu the deuce at this house. ' ( AM. • i CCI ■i.iii .