Variety (Jul 1927)

NEV ACTS THIS WEEK VARIETY tVlt-LIAM HARRIQAN and 00. (4) 0«int«t-Sketch ^ . 20 Mint.; FuU SUg«, SpL p«l«c« (Si, VauM fhft obvious» with tlM fuU^tUse Advantages of both. William Harrlffan, •xcellent char- »(Ot«r-Juv«nU« of many Broadway lagitimata presentations of highest an American with a war rec- eM fcarcely equaled in our annals, 0on of tb« immortal No^ Barrlgan of the deathless Harrlpan and £[art, plays in "Memories of Har- lan and Hart," produced hy Al Xiawii. floene is a saloon, with mir- H>r, rail, bar, pinochle table—^11 but the swinging haU-door. But it In 1127 and It ia a apoakeasy now. BPo make this absolute, a copper In tinlform is in there. The bartender (auperflne "typo") and an old-timer, pjao weU chosen, a stray and the ara talking about old times. Bnters a stranger (Mr. Uarrigan), who whispers. But the barkeep ■hakea his head—^Nol The remi- nisccr Is trying to piece together an ancient Irish song, but can't remember the lyrics. The turned- down patron says he knows 'em and ■Infrs 'om—"Twinkling Stars." It deviilops that he is the son of old Ned himself, whereupon two dosen bottles como out and every- body'.s in the party. The K-A famed ubjectiuns to satires on pro- hibition must have gotten a Vaca- tion for this turn, and properly so, for what talk there Is and what meets tiie eye makes a monkey out of Volstead. - After the opening song the rest is practically quintet formation, and in turn are revived to terriiic ap- plause, "McNally's Row o$ Flats," "My Mary Ann," "Maggie May," "Maggie Murphy's Homo," "Pover- ty" and, for a "grand Unale by tha entire aggregation." "Mulligan T^Ouards," with a take-oft on what might have been the original stage busineiis. A Storm of appreciative applause, and it came from the heart. Broad- way Is always soppy about old- timers anyway, at least across footlights. But Harrigan'a de- Itteanor helped enormously. He is 80 modest, diffident, upstanding and sincerely unaffected; he sings, which Isn't his forte, and he knows it and show.s he knows it. His little speech at the end, which might have been fulsome and ■ympathy-sQueesing, waa exactly the contrary—a manly little inti- mate line of thanks and explana- tion, without waving liags, capital- latng those who bavo departed or using any .shyster methods. If he revives his father's material and Utilizes his father's fame, nothing could be more Justified. He is his father's heir, owner of what good name, good will, good work and good memories hla^ father left him. Vor Ned Harrigan was a fine old soul, and he probably didn't leave him much more than those. The whole atmosphere of the turn is heart-ticklinir. The good days uhon women wore skirts and an honoat man could walk up the atreet carrying a pail of honest suds come back without offense, without regret, except that they are no more. Even those who never knew them can get the spirit in the few ^ straight - shooting speeches Harrigan wrote, Just enough and few enough. * For N«w York this is a vaade- vlllo cinch. It should duplicate everywhere cLse, because Harrigan and Hart were national, the situ- ation is national and the magnetism Of Ned Harrigan'e boy is univusai. Lait, LILLIAM MORTOM Songs IS Mine4 Ow«e Auduboa (V-P4 Ba6k ia 1922 Liniaa Morton** name found its way into the New Acj,s Hies and the reviewer at the time stated that Miss Morton had aibility. Miss Morton in the in- terim has not only brought that ability to the very topnotch of de- velopment but she has climbed high as an exceptional entertainer ta her line through attentlveness to her style of numbers and acquired a gilt-edged finish Uirough a trip to the other aide, where she added more poise, grace and confidence. Incidentally, ehe has tacked on a French mannerism for one number which etae la using aa one of the standouts in her present act Miss Morton, at the Audubon, could have remained on 25 minutes as far as the audience was oon- cemed, bnt she had to beg oft on topical numbers here, saying she had just come back from the other side and hadn't taken the time and trouble to learn them. * Miss Morton is now a finished artiste, so much so that one mar- vela at the improvement siio has made since she first introduced her inimitable Jewish characterizations. Now she blends them all, tho Hebe, straight and French conceptions, and she can step right down any- where comparisons are made'on this sort of vaude routine. Miss Morton's "bit" as the Jewish girl out riding with Sydney In the auto is a gem. She works this one and, In fact, shows unusual vim and vigor in all her numbers. She works to, with and for an audience. She is good for any time, picture or vaude houses, and need take no back seat for any of them. iShe's that good. Mark, ELTON RICH end QIHs m Song and Dance 24 Mins.; Full Stage (Drspee) Broadway (V^P) PALACE (8t. Vsude) Business was brisk, aided by un- Klton Rich has all the earmarks seasonable co*>l weather, with what of Uie experienced dance specialist. Irea.i Uke a so-ao lull but played bet- He does some sensational acrobatic I ^»»'*^" J?f }}!^}ll\f'^Jl± stepping, but for the most part he uses his energies in cIaI>orato an- nouncepieot of dances by four girls. . The quartet are nice-looking girls and havo been trained In hKrd-shoo dancing, which they do most inter- estingly, solo or in combination up to four. But their tries for leg- mania and other stylos are not so engaging. The best was a series of imitations of Pat Rooney, of course, Eddie Leonard. George ini:: from its recent state of COma. ai>iil.iuiit'd Vigorously, w ith some of the clapping for some of acta seem- ing susp.ciously vigorous. Frank Fay has struck a stouter .stri.l-' this st nson than cvvn durinir his famous run last year. Travel seems to liave broadened him. He now w»>rks before every art whtTt'us he formerly entered only in spots. There is no discounting his stand- ing with I'alaco mobs—he is the blond-liaired boy, ail right. Kvery- thlng he utters, funny or othetwise, irt Is a liowl. i;"t away \\ illj a White and Harlan Dixon, all first \ nilty in liis own act. when liis boy rate as imitations and as dances. Rich does an introductory song number and then announces the girls by name: Viola Kay, Bertha Bart, Eva French and another not caught. They do ciasilcal and then tap.s. After all four have given a first-rate military clog together. Rich does his acrobatic bit for ap- plause. Then they solo for four symbolic dances, such aa "Tempta- tion," "Frivolity,'* "Intoxication"— all of which mean nothing. Jaza stepping for a finale, with Rich do- ing remarkable spins an4 SpUts in fast routine. Turn Is brightly and expensively dressed, but much too long as it stands. Enough good material for a snappy act. Now it Is loose and scattered. Rush, an<V giii stuges were on, that broke up them ami tho h<iuse. It was "cute" from I'Yank, but it couldn't be reported in type. To see that there was no hipsu.^ linpunr (which is I-iatin for ".slip of the tonguo'— Information for the copyreader) ho rcp»\'it«d it thiTo times. lOveryone tieard him the lirst time, it wasn't offensive, but very, very naughty. the acts .^hanirhaied into these TTnftedl StatiS for Uie SUubert vaudevilla debacle, opened early, the length o£ tho Mil shoving everything up for tho night porfoi inance, and was lost to four-fifths of the housa with biS sweet roiifi:i«''. SNlvia (.'larlx. with some new stufC and Bob]).e Kuhn leading In the pit* hit off her cliarn-ter bits with per- fect results, but her opening num- ber w.TH a waste. The encore is done duet with Kuhn, Miss Clark ."itting ncross the lights and le<\dlnif tho hf>use i>rchestra. It wasn't up to the middle portion of her turn, which challenged any single neat girl-c«>mic m tiu- ink.^t for iiuality. Tho general verilict on her prc;»ent act is highly favorable. Marguerite railuH repeated her two-piano-two-vuice stuff witli Monroe Purcell. She sang five songs, all abotit lovo and nil st^ri- ous. For a gal of her proportions, she might throw in one for comedy relief if she's going to pound that one topic. I'urct'il Is overshadowed by her, but plays a strong piano. Vann.'ssi, w ith tho (lamble Boys, held down a late position with con- siderable honors, though the lady needs some uood advice. As flashy , . , ,. , . ... and fitscinating a dancer of L#atin i rankle a so sl'PP.^ in a lu ll ,yp., seen In vaudeville since Saharet. toward the blowoff. lhat ad suro .^.^..^j accom- PRANCIS ROSS and DuROSS Comedy Dsneers 10 Mins.; One American Roof (V-P) Two men and a woman in a rou ^ne built around the eccentric stepping of tlie men. This turn could bo developed Into a darh aft. It need.s rounding off and poli.shing. There are crudities, unnecessary talk and details needing correction. But thf* romody dancln.:^ is so orl!^'- inal that It gives the turn body and Worth. Recommended to the attention of production scouts. HELEN LEWIS and Melody Weavers (10) Girl Band 22 Mins.; Full Stage (Special) Broadway (V-P) Eight musicians, singer and come- dienne (Helen Lewis) and a spe- cialty dancer. Nice-looking girls, wiio know more than a little about jazz music, and* besides, have in their number a couple good for sonur specialties. Act tries for too much in the scenic and production way. Music and specialty bits would be ample, with straightforward simple appeal instead of the trick transparencies. Open with good syncopation num- ber, strong on brasses and with rich crooning sax effects. Lights go dim and back opens into water scene with Miss Lewis coming on across back in a boat, singing. At an- other time tlie back becomes a stained glass window while five saxophones and a piano accordion to a pipe organ Imitation with "The Rosary," good in iUclf but somehow cheapened by the subdued lights and the back drop. The finish is another rather boko device In an air- ship eHect In the back for "Lindy" and airship effeota. These effects contribute little value for the Investment, for the organization can deliver value without them. A tall girl and one of the max players do a nice song mimbor, with Miss Lewis In for trio harmony. Blonde cornet player looks as though she could be used for comedy, but doesn't essay a specialty. Whole orchestra is used for a brief bit of "slow motion" business that caught tho Broadway crowd. "Lindy" thing is an applause finish —second of the evening, which proves somethihit. Good stage director could tighten the routine up nnd give it emphasis. Now it is indefinite without right pacing. RiuK "RUNNIN' WltD* FOUR Singing and Dancing 15 Mins.; One 58th Street (V-P) Four colored women, apparently from the "Runnin' Wild" show. Do female quartet routine of good musical quality and finish in whoop-hurrah black . bottom for zippy getaway. High soprano and female bari- tone are only ones to solo. So- prano goes in for strietljr polite standard numbers and gets little despite a really brilliant voice. Baritone, with blues and negro spirituals, is a riot, partly for her mellow crooning voice and partly because she Is the buxom, "mammy" type In appearance. So- prano's showy style is good for contrast here, although colored performers seldonr get far with non-comedy material. This Is an exception, because it builds for the baritone's work. Quartet make one costume rhango, neat but not elaborate, and tlicn go into a jazz medley which eads to the black bottMtt finish for applaiis'^ finale. First fjiyka for No. 2 at the 5&th Street. RuaK is t* acher's pet 'round that super strli-t Palace. Put he helps "lou.son ' up" things, and the world will tell you the P.ilaco needs it. One Fay. with all lii.s misdcnHwnors, is wf)rth a d(>/.(n Uook-bilkMl and iKiiul-pickcil "patriot" acts. liroadway Is still Broadway if tlx'v'll h t it be. William HaiTi^;an and Co. (New Acts> were tlie novolty click. Clos- ing tlu' lirst part, the skit scored with a zoop. (laston and AndrcH», thv other early flash, repeat, hit nicely, the combination to< -adaglo- flying work being superior. The two assistant girla were negative. The finish Is a panto-toc-adagio Apacho-type tragedy of Marie An- toinette, probably, very effective and brilliantly danced. Prooks and Ross, doucing, are a 1927 version of \vliat once would have been called a "rathskeller act" —two boys In tiixes and one grand piano. They an^ colle^iato in ap- pearance and amateurish in opera- tion. One Is a baritone, the other a shrill tenor. Th« ir harmony is fair though parlor-like, but when the baritone recites the tlme-tattered patter of "Waiting for Ships," so notably registered by Henry Santrey and Sophie Tucker, the dramatics are silly. Didn't get much and took no encore, though there was enough to ju.HtIfy one at lhat Torino, the master-Juggler, one of WALLY and ZELLO Singing and Dancing 12 Mins.; One American (V-P) This mixed duo ro;-isf -r b* st In -Uie h oofing dt^pHrtrntni and >»^«Uira^ a likeable deucer for the present grade of bili.s. Team speciali;i:e In buek dancing, solos and doubles, tho man p.ack- ing a tflp buck solo that helps tro- mendou.sly and the girl retaliating with a too hiuk .specialty. Tho act will get over on the p^n^^'^^^^"^" Koof, flancing. JW6a* i They*U work plenty. RUSSELL and FIEtDS Songs, Cross-fire 14 Mins.; One American Roof (V-P) An old timo gagging act in which there Is little effort or concern for continuity. liOts of in(liL,'o in the matfi ial—and lots of lau^b-^- The man primes tlie customers with a rewrite on the old ditty, 'T Want My Rib." It's funny and he has the delivery ideal for such a song. The ^rl oomea on and he wants to feel if t.h<- is his misslnrr rib. Fly talk leads up to hi'^ enr ircling hor w.ust and saying, "ilow i can handle a big c ar," with the retort, "You'll have to h ivo A ll*6n.W B«- foro you ban lie this car." That's a fair sample. Also blues crooning nnd some numbers Interpolated amidst the b'^mhardment of stomacli Hhalc^rs. .Ml of which made a big hit at the MARIE STODDARD Song Cycle 15 Mins.; One American Roef (V-P> This entertainer has had plenty of experience and is a showman. .She took an audience, members of which at the start were Inclined to be disrespectful, captured their in- terest, held it and built up to a great get-away. En route she was assisted by a really clever bunch of lyrics and talk but essentially it was her personality that made a parfait out of the raspberries. Her stuff and her stylo were a little too high for the f(;rehcads at the American Roof and. It looked as If Miss Stoddard mugi^ed the works more than she would ordi- narily. Her cycle is labelled •'Entertaln- ing the. Prince,** the prince belnff Dave Windsor who she introduces (in song) to a night club, procecKl- ing to imitate the various types of entertainers familiar to the couvert joint.-^. Some of the talk weaved In be- tw^een the songs Is a bit riscjuo, y>iit as Mi5w Stoddard has red hair, and lots of it, she may get away with it where a bh>ndo couldn't, and a brunet wouldn't dare try. JACK DONNCLLV Revue ($) Singing snd Dancing 15 Mins.; One and Full American Roof (V-P) Jack Donnelly, is a baritone with a pleasing voice and a good hoofer as well. lie has surrounded him- self with four clever girls, al.so competent dancers who enliven this fla.sh with snappy dance en.scmbles, also nifty .solos hy two of the ,<;irls. A routine Introductory in "one** plants Donnelly and two of the girls for a number and dance, with the act then going to full stafirc for violin solo by another of the girls. A toe dance by another follows giv- ing way to a ballad solo by Don- nelly jylanfing a double dance by Donnelly and one of the ^irls. A comedy eccentric solo by one of the girls and a snappy fln.ale pepp(;d things up for a fast Hnish and a hit. Despite absence of scenic embel- lishment at this roof showing this fla<^h got over and can hold Its own with competitors In preset com- pany. EdbOm pliyhcd and highly-liaiiicd artiste on her li^t, she slurs the impressive- ness by attempting two .*;ongs, at wliich she is a total loss. Hor black- bottoin finish, opened by a Jazzy ditty, Is an anti-cllmnx after her pt .u (i(«k dance, as lovely and accom- plisiit d and rare n number as the hi;;h«^st-priced audience would de- • mnnd. Her fiLTiirt^ is e.Miulsite, of unusual and exotic line.s, .and she .shows it ;^'enerously. Her bends and plastic liginations, her eoiitrolTte< hni«iue, her interpretative manual gestures, all are semi-divine. The girl could ."^tt p into llie Folios i;(M-,;t>re with them and have Paris at her little feet. She must, however, not dilute the champagne with the near-beer of topical songs, which every $60 soubret can do better than she ever will. 'I'lie elntbes of that calling, too, she might well abjure, and re- main always in her Spanish plumes, IX'acock creation and tho other in- toxicating and original costumes sho shows. The hoys are snappy, nofsy, affable and good tlieatre. They supply more than enough whoop-(ip and modernity, as did l-Yaiu e.s Williams when slie and VanneH.»^i were teamed. For three musicians they top aiiy* thing of the known world for vol- ume, and vie with any trio for nov- elty. Tiio trick dancer stops the show. On the whole, with or with- out tho amendments above offered, this is a pr|me picture palace show, sure to wow and draw. i;ia<-k .and Cold, liard-working balaneors, lifters and ilying-cateh hand-holders, mado those who re- mained ga.sp. Tlio understandor is a Hercules. Much apparatus slows up tlio action, hut of their class these two men can stand up with anyonsb MILLER snd GERARD Dancers 8 Mins.; One Audubon (V-P) GEO. 3HELTON and Ce. (It) Revue 20 Mins.; Full (Special) 8Ute (V.P) George Hhclton ha.i been In vaudeville as a tr.amp monologist lie is not a sensational comic. In this new turn ho Is supported by a daneing chorus of six, three malo as.sistant.s, and an Ingenue. His comedy material, consists of familiar burlesquey bits worked in among the musical numbers. Opt fair returns. - The best part of tho act Is the six girls, who not only dance in uni'-on but lof'k pretty, Quite an array of good .seenf;ry. Too many people for the quality Involved may hinder this act's Duo'of male'hoofers. Start with j ^^^''^^ '^f "'^^ ^'^^ approval STAT6 (Vaude-Pott) Tou-don't have to wonder what nn ush< r < t tliijiks al)out sornetime.s. All you have to-do ia listen to her—' and "have to" is right: "You can't go <lo\vn there, miss— the orchestra's playing an overture - 1 said you can't go down there— Hey, ]>orothyI—My <;awd, did you H<'o her siiove m»;?—1 tl)ink people like that oughta bo thrown outa flie.'itres on their nerks The nervo of her—I'eoplu s don't seem to real- ize that they Rhould he qul^ dur- ing an overture—I lMH>a: tliat 4ame doesn't find a seat." The dame found a seat, f>ut only after hurling an ushcrct aside arifl muttering vigorously to herself. Which brings the opinion that may bo that's the reason for usher- cts. If they were ushers thoTiroaid- way gents probably would be push* ing them to one .side. if a gent is really a gent, there's something deep down within him that checks bis desiro to plant a fist in a poor defenseless gal's f'tce. Probably the fear of a holler. And the ]U'r< ^■Jii:i'^(l of lady prize lighters is so small tiiero are comparatively few Incidents llko the on« recorded^ So that T»rol»lern is f.olved. The bill this week, strongly bul- warked by recognized ttirns^, hits a very niee -average. A'Mcd to this Is "Slide, Kelly, Slide" (M-(J-M) hold- ing up the Aim eiid with the vaude- ville. There wero v v» ral eni]»ty rows In tho rear of tiie hou.se. but business still didn't miss out Mon- day evening. Quality came on right at the start song that needs no voca.l introduction other tlian they do admit tliat they aro dan' ers and that they are on to fill a stage wait or w^ords to that effect. The men appear to make a bet- ter improtsion on their respective solo (dancing) than on the double rouiirPH. allM for theif''""^ about half of the customers with Pramo and Ln Pell, nerobatlc. aiihi for the ^^^^ ^ .Senorila is a nervy little trul;. h.il- ancing hr-rs' lf atop a swaying bam- CHARLE8 DEIGHAN Acrobatics 12 Min«.; Full American Roof (V-P) Neat routine of balanelng arid boo i)oio aa well as nn a bleyele faf<fen'd til a r"«l'\ Fer a rinis'i Ha?sh slio r» voiv< s eompletely ar<»un(l j on a stiff trapezi) to loud recognl- I tion. Her boy friend Is the under- s lander. , ..^ . Wilson PIsterfl nnd 'Wnshbum. yrrrt nf thr* at*-pf4fHf-^ontort.on MU^its wilh tM->^'"'^ p.^re fj' ] i. : - ^t, .Iqm . ..1 ^vith. seemed to Indicate too rnijeh seri- ousness and nn apparent belief that one of th'^m was afraid of a slip. They 1-^1:^ d .at tiieir feet almost tlirough th^-ir flr.^t double. cers. H.ard worlcers. minutes had the crowd rootins. M^h, balance block triek the outstander. Although adhering to tho usual routine of balaof ing on ono hand line re'-ult. f)no f>f tlio slst' rs d(»es .1 male romrdy sot-so we|l. whfl** .Mi-s \Vasiil)\Hn c!i;i!k'« up tw) tlirough th^-lr f Not bad dan< 1 Their closing? H^udul^n crow< ond then tho other the rfornier j points with a Ma'1: h"tt(jm and a has an .acute sense of .•-howmanship that sells everything for top value. ffOt away nicely in opener of tliis bilL ib'dbSb pi;<no blu'-s solo. Aet t"»ok an etl« core. Forte coTrM ilv on the hill was han« (Continued on page 27i