Variety (June 1925)

» Wednesday, June W, 1938 1 ■ _i ■ ' VAUDEVILLE REVIEWS ^.■WXT*^ : ; VT" '4^Jl»l.«l«|ULB ^ 15 <— rr INTERNATIONAL ENSEMBLE (8) OP«rati« Ravna IS Mii»«i 0"» ""^ '^"*' (•?•«'■•) «tat« ' =vMi---v':. A mixed sextet of trained voices 1 gderlnff a repertoire of operatic ae- lectlona spaced by numbera by a danseuse 4nd girl vlollnlaL The sextet opens with an operatic I ' ensemble giving the voices full scqpe '' for volume and harmony. The tenor V aolos "Marcheta," which 1« worked up for another ensemtle for the In- i^troduction of a Spanish dance by •'the dancer. Another operatic en- • aemble Is planted for the Introduc- tion of the violinist behind a scrim ~ painting of "Ave Maria." with trans- parent effect, showing her garbed ' M a nun and playing the number on ' the violin v^lth the sextet carrying * the melody off stage. ''i The set goes back to "one" for a ■ * tolo by the soprano and back to full for a toe-dance by the dancer. <* X reprise of comic opera hits of the past handled as duets by three "i braces of singers is worked up for a *^ fast Unlsh with the -violinist and ^? dancer coming In on the windup for ' • speedy flnale. Thl^ '*Ct iseems to have suffered the "fault of trying to crowd In too much and is Infcllned to lag in spots. This tomr wear off with continued ': Buying. In its present shape did " Aboat fair la the getaway si^ot. :v'i-f;; C... ,>,*rff(' PALACE Chicago homecoming week in Kew Toric it looks like at the P|tl- aoe. with' half the turns making speeches, saying "It's since we were here last We're so happy to be here again. Tou've Always been so nice to us in the past We're so happy that you're •o nice to us on our return." This doesn't make for bad vaude- TiUe. at that With all the period- ical hue and yell for "new faces," the old faces get vaudeville across (if they aren't too old), and this •et of old-timers are all compara- itive youngsters. There are, for example, the Courtney Sisters (New Acts) look- ing not much changed since this reviewer, a frightened Chicago kid with his flrst act playing Htftamer- ■tein's, stood behind that famous back row and thought Florence Courtney was the niost beautiful thing his eyes had ever lit on, and applaaded for her to come back even If It held up bis flrst sight of his first, sketch. Aivl Marguerite and Gill, whom he knew not much later In Chicago —and here they are. back from all sorts of triumphant European ap- pearances—maybe seasons—look- ing in the pink of youth and the flrst flush of theatrical perfection, also saying It is so long since they wpre at the Palace and how sweet It is to come back home, etc. Clayton and Lennle, too. Where can they have been? Maybe on the Orpheum time, or possibly I>elmaring. And Herschel Henlers. Chicagoan, who not long since re- turned frpm over the water. Florence Mills (also from Chi- cago, by the way) made no speech. But she got plenty of curtain call^ for her troupe of 22, and no stingy number of bows, though the Inter- mission house lights were full up. Miss Mills carries the Vodery band of 12—eight very high yaller little steppers—peppy pips—and Johnny Dunn tap-hooflng. She, herself, does her usual range from ballads to Zulus, and it is too late now to more than repeat for- the record that she is an artist, a personality, and In h<r way of handling an audi- ence a genius. Marguerite, looking gorgeous and •working with possibly even a little brighter polish rubbed On by her whirling through the European capitals, showed a« routine with considerable character work as well as her feathery and dUflcult dancing. With Gill she opened in an immigrant number, then did a single — Impression 6f Raquei Meller; then a double Paris cafe dance, then a typical Marguerite- Gill fullstage creation, then a hot French vamp double, a red-pepper Spanish, a burlesque English, and finished with their tried and true American whizzes. Big hit. Castleton and Mack, deuclng, finished as strong as any act This two-man combination, with leg- wrecking dances and light acro- batics, at times reminiscent of tha Mandels, stopped the show. The boys work neat and nifty, silent, but slick. They get started quickly and never let down, single or double. Fred Ardath (of Chicago) re peated his comedy hit with the same act plus a few new wheezes; went strong. Henlere, little changed, goaled 'em when he got in hiph. Clayton and Liennie opened Intermission to a laughfest. Archie and Gertie Palls opened handily. Sylvia Loyal and company closed to a full and Interested house. Ijait. When Thinklnir of llolMliic , Think of AMERICAN ROOF An average eight-act hot-weather show on the roof the flret half showed a c6uple of bright spots In Tom & Kitty O'Meara. two of the neighbor's children In a dancing act assisted by the Penn Ramblers, a six-man jazz band, and Ralph Whitehead in his single turn. The O'Mearas fourthed to a recep- tion of unusual volume and closed to a speech. It developed they are from \he neighborhood and quite a few of the customers acted like former ciassnmleat of the dancers. Four fast doubles with changes of costume by Kitty Included Charles- ton, tough dance, Spanish and Texas Tommy, with the musicians in between changes. The act wowed the friendly gathering. In the second half Whitehead was the outstanding hit with his songs, stories and easy personality. White- head's engaging appearance and nonchalant delivery went big here. Several of his stories have been told around while he was In London with George M. Co'han's "Little Nellie Kelly," but they hadn't reached the roof, evidently. The show opened classlly iVIth M. Ginlaru. a Japanese Juggler, in a smooth routine, followed by Rhoda and BrocheU, a man and woman Va- riety turn. The girl plays double accordion, does a good kicking dance featuring a nice figure, and looks immense in h6r three changes. The male handles the accordion, piano accordion, piano and a bit of com- edy. A whistling bit smacked of the Arnaut Brothers. They liked them immensely here. Lang & Voelk treyed, getting con* siderable through the singing of the tenor comedian meml>er. The latter atteinpts "wop," but mislays the dialect. The comedian's chief con- tribution Is the old bit of "losing the pants." The straight has a good singing voice, uses old school meth- ods of delivery, but scores In the vocal numbers. The act lacks ma- terial and construction, being built around the excellent tenor of the comic Mayo & Newsome, a pair of young chaps, singing and dancing, failed to start anything with a routine of pop songs and a couple of dances. All the songs are delivered a la Can- tor. A uke and vocal solo number was topped off with a weak un- announced Imitation of Ike Ed- wards' callope effect A Cair soft- shoe double and an acrobatic Rus- sian double was the dancing con- tribution. One announced an Imi- tation of George White's buck and wing by the other, with the dancing obliging with two faked wings and a Russian routine. More assurance than entertainment summed them up. Brown and Rogers, second after Intermission, in a well-written talk- ing act with a new twist, were the class of that portion. The girl Is a looker and bandies dialog weU. The man Is a good foil. The singing fln> ish Is so-so. They went heavy here. Leon MItzi, man and woman acrobatic duo, closed. The girl does considerable imderstanding. handling the robust-looking male with ease. Con. vitality dominated the show from the talent viewpoint Miss Budd's famed shapeliness seems to be In- creasing with the years, and the abandon with which she flings her graceful, white form through the air is astonishing. ticavltt and Lockwood supplied most of the bill's hokum next to closing, with a new medley at the finish that features the most up-to- date hit numbers arranged accord- ing to some rather different parody methods. The Roma Brothers closed the show and Unlversal's "Up the Ladder" was the film. FIFTH AVE. Although the flrst half Fifth Ave- nue bill is a bit shy oh dancing, there is enough talent of every other description included to raise the show well up alx>ve the house aver- age. Monday night about half a house enjoyed what was probably the coolest June evening to date this year, and reflected its general com- fort In Its friendly attitude toward the various turns. Chong and Moey opened with their familiar act that threatens constantly to become of the. "dumb" variety, but sticks to singing and dancing, thus providing a big enough surprise to keep the couple's heads well above water. Miss (or the Chinese equivalent for it) Moey is doing a new "papa" number that is incongruous but particularly well sold. Following Krugel and Robles (New Acts), who socked out the show's biggest Wallop with good pop harmony and small-time gags, Casey and Warren ofTered some- thing a bit smoother if not more hilarious in the way of comedy with Paul Gerard Smith's "In the Fog." The silly Englishman stuff has very nearly been milked dry In vaudeville, and when the couple can score as they did with it and Miss Warren's pointed chorus girl characterization, credit Is due to both them and the author. Fourth, Zelaya, the pianist, whose appearance Is about half way be- tween Caruso and the corner bar- ber, but who can handle both the k'eys and bis glib line of chatter with the best of theni, brought the crowd around securely after a pre- carious opening with some heavy LIsst His attacks on Jazz may be chiefly in fun. It is true, but they are so well sold and so convincingly in their general make-up that the house orchestra, incidentally far from the worst on the circuit, .sounded somewhat sour after the finl.sh of the act Ruth Budd, given lioadlinc rating, again proved herself fo be the TAn- guay of the air. Her display of versatility as well as her terrific WINTERGARTEN Berlin, June 12. In spite of the fine weather and a mediocre summer show the attend- ance has been better than In pre- vious months. Nothing of special Interest on the current bill, and not even a regular headllner. Maggie Dickenson and Co., In a dancing act of the Ameri- can type with al>out 10 people, carry off the honors. Three Florences (two girls and a man) do a very good equilibristic, balancing and tumbling turn with success. One of the girls tries comedy. That hurts. The comedy is furnished by the American comedy roller skaters, Steele and Wlnslow, and the bar performers. Scamp and Scamp, also known In America. Navarro, a Juggler, does fairly well, considering the last Juggler In this house was Rastelli. Eclflcro, with his trained fox ter- riers. Is pleasing. A slight-of-hand performer, coloratura soprano, Three Bennos, acrobats, and the cabaret performer, Claire Feldern, who also sings In English and with the better class of audiences a good comedy success, make up the rest of the blli. the part of the sub-contractor to observe all requirements imposed by law or ordinance, as apply to compensation and liability insur- ance. 10. State that the sub-contrac- tor Is to obtain and pay for all promlts and certlflcates of insur- ance. 11. Cover the option of cutting and patching after other trades and removal of rubbish, so that no dispute will arise over such items which may cause delays at the building. Aside from the above mentioned Items which are specifically men- tioned as being of importance to the contract writer in his endeavor to draw an agreement that will avoid disputes and consequent delays, it may be remarked that the forms used by the prominent builders contain many other paragraphs, mostly of a legal nature defining the rights and obligations of the owner and contractor. PROTECTING OWNQ(S (Continued from page 6) tioned, it is of utmost importance to put the agreement into written form, speedily, with utmost preci- sion and a comprehensiveness which excludes any possibility of loss or damage to the owner. This Is especially Important to the owner who has engaged a builder to supervise the construc- tion of his building under a cost plus fee basis, which is the form of contract between the owner and the builder under which the largest buildings of today are being erect- ed. The owner of today having selected his builder as he would his physician, lawyer or backer, de- pends upon the builder's experience and carefulness to erect his build- ing, not only at the least possible cost consistent with good construc- tion, but without costly delays due to disputes which may arise from faulty contracts. ^ Main Point* .^^v::V The following are some of the' principal points which a contract for construction work should cover in order to avoid controversies and costly delays: 1. Plans and specifications should be identified In the contract and initialled by both parties to the same. 2. Any modifications in the amount or kind of work con- templated or specified should be distinctly mentioned. 3. If there Is any likelihood of the amount of any Item of work being increased or decreased, flx, if possible, unit prices for such in- creases or decreases. 4. Fix, if possible, the basis on which extra work is to be done and paid for. 6. Make provision - that no extra work Is to be done, except on writ- ten order, stating the amount to be paid for such work on the basis on which the cost of such work is to be computed. State by whom such order is to be Issued and approved. 6. State when materials will be required at the building or when the subcontractor is to have same ready for delivery or shipment sub- ject to the call of ttie builder. (This will avoid delays.) 7. If the builder's organization has an expediting department, the subcontractor should agree to give to any representative of such de- partment any information re- quested as to state of progress of shop drawings, orders given for raw material, shipment of same, state of manufacture and possible time of shipment, and to afford access to drafting room or shop for per- sonal Investleratlon. 8. In order to assure prompt service on the part of the sub- contractor. It Is In many cases Im- portant to have the contract state the mode of payment to be made by the owner and at what times or at what stages of building progress payments are to become due to the contractor. 9. State clearly the oi>llgation on K. rS PICIVRE PLANT (Continued from page S) crating In 300 leading cities of the United SUtes. Clarke estimates that of the |16.- 000,000. at least $5,000,000 wlU be net profit which will be turned into production of ten "master films" costing 1500,000 each to produce. He says a^ organisation already is at work to flnd suitable houses in the 800 cities in which the clubs will be located for the exhibition of fllms and that by the time the outflt gets ready to shoot they will have a well organised circuit for exhibition of their fllms and other Independent output "I have received overturJM from other Independent concerns for us to come In with them," Clarke said, "but In what organisation and pro- motion work I have done. Including the Ku KIux, I have never been a 'Joiner.' but have permitted others to Join with me it they thought It to their advantage." Clarke says the present outflt is In Indianapolis, would be occupied but is out to make a profit on in- vested capital with a hope of help- ing otherwise Inconspicuous movie and dramatic aspirants to a chance in the open fleld. Clarke said the old Marion Club, in Indlapapolis. would be occupied Aug. 1 by the Twentieth Century. He also said Roscoe Carpenter, his chief aide in the enterprise. Is mak- ing plans for the erection of a the- atre in Indianapolis to seat 10,000. The former Klan dictator is going to make a personal tour of the 300 cities, which will begin Immediately. WHEN MONEY TAIXS (Continued from page 3) the owner opjMrtunlty to pass upon all sub-contracts before they are actually signed. Longacre's Auditing Department attends to the flnanclal arrange- ments and takes care of the pay- ments that regularly fall due In connection with the various Jobs on Its books. At the present time we have 11 large structures under way In seven different cities and before they are completed the work of about 20,000 will be required. We always have on each Job at least one auditor and a time- keeper giving their whole atten* tion to the accounting details. They represent our financial fleld forces and report regularly to our home office In New York City. By this means there is a double check on all receipts of materials and on payments falling due for materials and labor. All requisitions and bills must flrst be approved by Ix>ngacre be- fore they are acted upon. Some- times an owner keeps a set of books, and the architect may have hla owp books, but the official records of all transactions are kept by our staff as a matter of system and also for the protection of our principals and by means of this system we have frequently effected substantial economics in carrying out large contracts, in one case sav* ing an owner |S,000 on one item. Since there are usually from thirty to forty sub-contracts awarded on structures of any Im- portance It Is evident that the need for accurate records Is a real one. We also maintain cost sheets with many sub-divisions. ti i Advances When Necwesary jt We have naturally built up dur*! ing the course of our extensive ex- perience a mutually efficient rela- tionship .with specializing sub- contractors in building amusement houses and other structures, and employ only those having reputa- tions for satisfactory work and flnanclal stability. Occasionally we flnd it necessary to advance funds as an accommodation to a sub-con- tractor, temporarily short, but thla is an exception to the rule. Sudi a service is. of course, often Talo- able to a principal and la naturally one of the factors which bulMa prestige in the contracting fleld. As an aid to the owner from th« flnanclng'angle, Longacre has been In a particularly fortunate position, through its connection with the American Bond and Mortgage Com- pany, to provide flrst mortgag* flnandng to the prospective owner who Is not In a position himself to project a theatre or other build- ing of a size to bring a profltabl* return and to provide an op« portunity for the exercising of h|g full abilities. By securing such a mortgage the owner has been en- abled to have the Investment In his property distributed to the publle^ and the public in turn has gained a flne return, on the money Invested and with not one dollar lost In such Investments. Such mortgages are usually ma- tured serially, both the Interest and amortization being taken care of out of the income from the prop- erty. Owing to our extensive experi- ence and sound flnanclal connec- tions, Ziongacre has been enabled to assume a Contract of any sis* and carry It out successfully to the mutual satisfaction of all con- cerned. TRAIHER nr POB 90 DATS . Cedar Rapids, June 23. C. C. Cox, of Waterlee, la., U waiting patiently for the iron doors to open here the last of this month so that he can Join an animal act in one of the larger circuses with which he has traveled for the past seven years. Cox Is serving 90 days in' the county Jail on a bootlegging charge^ CHICAGO'S TWIN THEAIVES J' !■ (Continued from page 8.) centuries earlier to Florence at the zenith of its culture and artlsti* exuberance and splendor, and has taken his Inspiration from the palaxsoa of the old Florentine podestas. But while the theatre is In the style otf the Florentine school, it also is in no sense a stupid reproduction. The walls are paneled in dark Italian walnut, embellished with elab- orate intarsia and gold ornament. The box frerctment, as a contrast to the dark mellow tones of the walnut, shows an antique gold and poly- chrome balcony window, hung with the richest oxblood tassels In the form of baldlchlnos. The celling is a handsome coffered one done In gold, embellished with the richest colors, all antiqued and toned down Into an effect of quiet beauty. The whole theme is one of utmost richness and refinement, and is carried throughout the entire theatre. The main lounge room In the basement, with the ladles' boudoir and the men's smoking room adjoining, is identical In iplan to that of the Selwyn, except of the ladles' boudoir, which is Georgian In style, the remainder is Florentine. The main lounge and the smoking room are reproductions of rooms in the DavanzatI Palazzo in Florence. The wall^ are finished in palmed plater in both rooms. The main lounge room, with its largo flreplace and Its wood beamed celling illumi- nated In colors, has the genuineness of the original rooms In the DavanzatI Palazzo. The furnishings of both rooms are, for the most part reproductions of the actual furniture used there. The paintings and smaller objects of decoration arc originals. The mezzanine lounge la carried out in a similar .iplrlt. The walls are of stone, and the celling is groined and decorated with fresco. In all America there Is not a more artistic, honest, worthy, sane, laud^ able, trustworthy and thoroughly progressive institution than the Twin Theatres—the gift of Sam H. Harris and the Solwyns to Chicago and a lasting monument for the LongarTe Engineering and Construction Company.