Variety (Jun 1929)

42 VARIETY NEW ACTS Wednesdajr. June 26, 1929 MOLLY PICON Songs 20 Mine.; Full Stags Palacs (St V) Billed as the first appearance ot the Yiddish comedienne on the Ens llsh speaking stage, it Introduces to Broadway and to vaudeville a dis- tinctly fresh and altogether engag- ing personality. Opening Saturday spotted after intermission and fol- lowing Sophie Tucker y/ho had made the first half of the bill a Tucker "at home," Molly Picon scored a definite success, forecasting a per- sonal triumph in the theatre away from the Yiddish language clien- tele. Miss Picon has been for Ave years the star of the Second Avenue the- atre in New York and her fame has long since been heralded on Broad- way. Here she Is revealed as a gen- uine artist of broader appeal than any language theatre and an enter- tainer of distinguished artistry. A little woman of strong racial characteristics in feature, she -has a world of feminine appeal, partly because of her tiny figure and still more by reason of a daintiness of method. For there is nothing of the broad hoke about tier here. Rather she gets her song effects from some subtle suggestion of comedy, not un- touched with a strain of pathos. At the Palace she gave a cycle of sim- ple numbers^ all special material composed by J. M. Rumshlnsky who also acted as her accompanist. Probably her best bit is a senti- mental song-story picturing a home- sick Russian boy in the big city of the new land, yearning for the fa- miliar life of his old country home and Its people. An honest bit of sincere character acting and a cap- ital- bit of genntne humor in Its writing and delivery. Turn opens with broader comedy number. "Love, Love, Love," illus- trating the courting manners of a Oerman, a Cossack and - finally a Jew, the first making love inspired by food and cookery, the second In- spired by vodka and the Jewish lover making love with his eloquent hands. Here she conveys a deft comedy touch in pantomime. Topical lyrics go with "Puttln' on thff Rltz," gagged up a bit with such Jlnes as "Calling l>os<:h the consom- ntSi Is puttln' on the xltz." The homesick boy follows, singer chang- ing from simple frock to man's evening clothes for the "Rltz" num- ber. Third change has her In flap- per dress for " 'Cause I'm Small," neatly made comedy number turned upon her own diminutive figure. Finish has a broader comedy twist with a play on the Yiddish equivalent ot the Kngllsh "Vo-do de'-do" style ot jazz lyric that doesn't mean anything. Unquestionably a box office mag net at the Palace tor this enerage- ment, drawing from her own loyal public. She will grow upon the non Jewish tans It she chooses to stay In vaudeville. Thus she is good business as well as being top grade entertainment on the Intrinsic merit ot her performance. Rush, llUraaret IRVING and Edna TORRENCE Songt, Dances 21 Mtns.1 One and Full frlst St. (V-P) Crying loud tor . mttterlal, Mar- garet Irving particularly so. Edna Torrence has contributed her very excellent and much copied contor tlon dance, but that's but one num ber among others. At the finish they were applauding mostly for Miss Torrence. That was obvious when apk-Iause Increased at her solo bow, and Just as obvious that the' response was tor her contortion dance. When a number that takes place at around the 12 or 16-mlnute mark In a 21-mlnute vaude act brings the applause at the finish, that number should be held tor the end, or some thing as strong to follow It. The appearance ot both women Is by far the highlight, aside from the one number. Johnny Torrence, Edna's brother, seemingly ' her younger brother. Isn't an exceptional hoofer, the same kind ot violinist, and at best when waltzing with his sister. Miss Irvlng's two pop songs In ^ her specialty spot do not suit the m singer. ■ Miss Torrence might use another If. gown Instead of reverting to the one she wore to open In, again at the finish. In between the two wear- Inga of the one gown, she strips . down tor the single dance. Lots to look at when the Misses Irving and Torrence are on the . stage together. ;^ .. Hiss Irving was last In vaude •p^Uh the Marx Bros., before that :. supporting them In "Animal Crack- ' era."' - Miss Torrence's leglt rep was . 'gathered as Nubl In "The Desert ' Song." Johnny Is last recalled as .with his sister In a vaude 'act on the small time. Bipe. .'jJRjCTfiajjni^BfiWW,^ . Daneing 13 Mins.; Ons 86th St. (V-P) . Mixed' twosome with production : acta and picture house units now «|i their oWn as a turn. - Coining steppers, with tap and Acrobatic stuff, and girl natural ■. down. ■ ■ ' ■ 'The tatter's colnedy regrlsters al- mtfst'ias well as the dancing, al' though the latter's the act. ^Copjffed In dbiice here. RUTH MIX Rodeo Revue (26) Unit 65 Mine.; One and Full (Special) Albee, Brooklyn (V-P) Ruth Mix, daughter of Tom Mix, is projected In this RKO unit pro- duced by Macldln Megley. It's a great sot-up for Tom's girl who has appearance, pep and some of her celebrated Dad's showmanship. Al- though a unit, supporters are billed Instead of submerged, which seems to have become a custom with most acts of this sort. Eight Gamby-Hale dancing girls set an ensemble bulld-up for Miss Mix's entrance on "Llndy," perform- ing horse. She puts the latter through routine paces and then out- lines the plan of her revue with an inference that her Dad is bankroll man for it, which Is Just audience stuff. From then on Miss Mix does a sort of Mistress of Ceremonies, Introducing the follow-ups and algo working in several of the ensuing episodes. Douglas Wright and Co., nifty girl and two male dancers under gro- tesque horse, "Barney Google," fol- low with travesty on educated pony stuff and some good hoofing. . The Legend of Fire," Indian fan- tasy, with song by Toby Tobias and danced by the Gamby-Hale en- semble. Introduced an effective prairie fire effect for a wallop'finish. All in attractive Indian costumes with Miss Mix an attractive Indian bride enmeshed in flames on her bridal night Back'to one Jed Dooley, Irrepres- sible c6mlc, spotted eight minutes ot drolleries and clowning with an eye-fllllng damsel, Audrey Evans. Dooley's clowning had them howling, so he' came back tor some roping stuff that also got across. Toby Tobias and his Texans, 'llr piece orchestra combination Jn cow- boy costumes, took over proceedings and sent over some hot numbers,, with "Snowball," ebony-hued male hoofer, doing a buck-strut that"rang the bell. Dooley and Ruth carried a tew minutes ot cross-flre with Dooley Introducing a talent testing ma- chine, called "Flopograph," which registered merit of the various con- trlbuttbns. The apparatus withstood Miss Mix's hick warbling, but when she began to recite, a rifle ap peared atop the machine and pol Ished her off. "Rodeo Day," sung by Miss Mix with band at high pitch ot torrtdness and everybody hoofing provided a snappy climax. Plenty ot variety and good enter- tainment In this one, which with the added' asset of the Mix name and popularity should have no trouble In mopping up anywhere. It did here Monday night. ROY D'ARCY Songs and Talk 17 Mins.; One Palace (St V.) In sum total Just another personal appearance, with the value that goes with that, meaning perhaps a certain curiosity among the picture fans to see a screen personality. As entertainment it is rather mild. Mostly because D'Arcy doesn't know vaudeville. He has been. provided with a fixed routine ot numbers which he sings In a very agreeable baritone. None of the spirit In his performance that goes with knowl- edge. That Is to say D'Arcy goes on and painstakingly goes through a shaped and fixed routine, clock-like In Its precision. Stuff was made for him and he does it as rehearsed. Instead of doing an act he has made him- self, feeling his way show by show until he has the swing of audience, reaction. Act has a cold opening, with the player walking on In evening clothes and topper and going Into rather high-brow, comedy number, 'Tve, a Bit ot Savotr Faire," that doesn't mean a thing to gag loving' vaude- ville. Next is "I Kiss Your Hand, Madame," which also Isn't partic- ularly exhilarating. 'Tm Ready to Go" Is probably a travesty on screeli villains, but lacking In pointed com- edy. Finale Is another, refenance to screen villains, and- called "Fm :Not Such a Bad Chap," made of rather mild - lines, pointing out that al- though he has been de^p dyed IiL villainy, he really has his points. Not very vigorous comedy here. All special songs, but. monoton- ously on a polite level, with polite parlor entertainer Incidental song and very polite and rather lyceuni business in the very tew words of talk. Rush. . PETTIS and Orchestra (16) Band 18 Mins.; Full (Special) 86th Strest (V-P) Jack Pettis and his group are known through recording and broad- casting. This is their initial ex- cursion Into vaudeville, and from all slants they belong. The outfit Is a combo ot string and wind Instruments, with Pettis baton wlelder and occasional warbler. A-back of curtain "Poor Butter- fly" Introduces, revealing boys at the wind-up. Pop medley, with boys vocalizing several of the refrains, follows. Then "Who's This Girl Named Whoopee?" handled tor plenty of comedy by a vocal trio culled from the band. A symphonic Jazz rendition of the Negro spiritual "Wake Up the ChlUun," was an other well rendered, bringing vo clferous returns, Frances Powell, diminutive and with baby voice, clowned dellclously through "Do Something,". with Pettis on the gag end. "Just a Kiss to Remember" tod a hot dance by Bremlsh and Brown worked up snappy concluder for the boys and sent them away to a hit. A neat appearing outfit, with merit and class for any bill. KEMPER and NOBLE Talk and Songs IB Mins.; One 86th St. (V-P) This team have,the niftiest line of hokum around In'some time. Kem- per Is a nut comlo ot production timber and the. gal with plenty «t personality Is a good feeder. Both affect collegiate get-ups. open with fast crossfire that rolls 'em oiit front, topping-this ofl with a comedy duet and satirical rendi- tion of "Sonny Boy" by the girl. When the song Is flopping because ot hoke delivery, the comic parades back ot the gal with banners die playing caricatures ot historical characters. 'When that doesn't turn the trick, perambulates with a sign requesting "those In tavo^ ot light wines, beer and whisky" to anp'aud It works for howls and sends them away to plenty ot prolonged palm slamming. Show stoppers next to shut Sat- urday nigbt. EARL LEE and Co. (3) Songs and Talk- ie Mins.; Two (Special) Lincoln Sq. (V-P) "Nance" comedy routine, with little else to sell. Fat and lean gob on shore leave. One has |20 and the other $30. Have excellent back drop with clock painted In white, indicating three minutes of eleven. Drop handbags next to white park bench. Chatter about women. One passes and claims $20 dropped. Fat gob grabs money. Girl threatens to scream for police. Thin one advises partner to give it to her. She leaves calling the boys suckers. Then the boys sing to each other, one protesting he will teach the ■Btlrer-hDW*i:o-HJVBrFor-teTrminutBr the fat lad simulates a girl, ^whlle the' teacher mauls him. One fellow goes Into medley of isongs -which have undertone of Innuendo. Girl on again a'dip, and gets the other lad's $30. Thin, gob then preaches a sermon to her. She breaks down' and returns the money. The tat gob laughs as he gives her back her stolen' garters for finish gag. Plenty of applause on rough comedy and blue business and lines. GLEN HUNTER and Co. (3) "His First Dress Suit" IS Mins.; Full Stags Palace (St. V.) . •Excellent lesltlmate actor out of element In vaudeville, with a sketch that hampers him beyond reason, not because of Hny distinct fault in Its writing but because It Isn't vaudeville. Young Hunter gives a fine per- formance In the trifling role of a boy about to be Introduced to his first dress suit on the occasion of his sister's wedding. Tailor falls to deliver the evening clothes of the bridegroom and the playlet has to do with the maneuvers of the kid to prevent tlje borrowing of his own finery. This light plot Is played out al- together in the legitimate method without a single concession to vaude hokum, ^akes a pretty pale quar- ter of an hour for an audience at- tuned to roughhouse comedy flavored perhaps with a touch ot banana peel. Sketch was written by Russell G. Medcraft, who authored "The Cradle Snatchers." Idea isn't bad but staged In the leglt manner and without the robust quality that the 16-mlnute playlet demands. It doesn't get over In this environment. Vaude will vote Hunter a dear but his sketch a dud. Rtiah. CON KENNA and Pilot Aerobatics 13 Mins.; Three (Special) 86th ^Street (V-P) Con.Kenna Is a comedy acrobat with a production bulld-up, prefac- ing his bar and pole work, enlisting a tnale assistant. An aeroplane at the opening, with thci passengers making a flight to the North iPole, until plane gets stalled in a wind pocket. They drop and find themselves at the Pole. Immediately make use of the latter tor ensuing gymnastics on trapeze, with a revolving pole stunt upon which both balance tor a thrill finish. Act Is there, with the prelim com edy getting over plenty- and aero batlcs holding attention. Well liked as opener here and can hold own in opener or closer on the best RUTH FORD Songs 14 Mins.; One Academy (V-P) A pip of a singing comedienne with delivery a la Fanny Brlce with a brace ot specials, all comedy nuin bers that get over In a big way. Her opener, "Ylddlsher Flapper,'' with accompanying raiment set her at the takej-oft with an artist model -number follow-up rolling them eiven harder. "Queen Isabella" held up and the chorus gal take-oft with a comedy dance finish brought heavy returns. Miss Ford has personality, show- manship and plenty ot novelty In her present layout to set her pretty, Clicked beyond question Ih^ deuce here. WALDRON'S "WORRIES" (14) Revue 27 Mins.; One and Full (Special) Academy (V-P) Another of the night club type ot vaude flashes. Usual line-up of snnall Jazz band an d various special "ty tfrlfstir^^ Has. IHe"vlrlue of" ftsF movement and a number ot strong contributions from the hired hands, notably a youiig nimble-tooted Ju venlle. Jack Waldron Is a wlsecracker of familiar Broadway viiftage. He m. c.'s, and bursts Into song Inter- mittently. Production okay with out eyerdazzlemeht. ^ Its entertainment quality Is agree- able this side ot convulsive reac tlons. Lanti. DELLA DESHON and CO. (4) The Dream Dress," Playlet 20 Mins.; Full (Parlor) Englevyood, Chicago (V-P) Dramatic playlet, "Hearts and Flowers" In a tenement, reeking with sobs for family and small town customers. How they cried here! They couldn't boo the vlllainess, because when she put a sad record on the victrola to accompany her mother's big moment, even a dumb- bell in the third row, with his mouth full of peanuts, smiled confidently through his tears In full knowledge that the vlllainess would either re- form or kill the old lady and go Into vaude as a freak single. "Dream Dress" Is played by four members of the defunct tfatlonal Theatre Stock Players who held forth around the corner, for two years. The theatre owner wanted rent and It was pretty hot anyway, "Dream Dress" is announced In a film trailer as a sketch "every mother will understand." Not-being mother, but simply overweight your reporter may have muffed the pregnant emotion ot this thing. Hubby dead for many years, a mother slaves at sewing In her little tenement room to support a self- centered daughter who finally be- comes engaged to a millionaire. Daughter is ashamed ot the old lady and the old lady takes it naturally. Meantime she is secretly sewing daughter's wedding dress. 'What is it made of, mother?" asks daughter. It's made of dreams," says the old lady. Daughter apparently gets a mind picture of herself parading down the aisle bare, for she smiles happily. That kind of a daughter. Then mother shows the Dream Dress. It's her own wedding gown made over. Daughter is disgusted and stamps her toot. "It's old— shabby—out of date!" she cries. "I love Its shimmering folds," re torts the mother. Then she blows up. She pans daughter up, down and across, for being selfish, con celted and inconsiderate. Daughter puts a sad record on the victrola and starts to cry after 24 lines ot dramatic script. Mother Is still raving when the record ends, so daughter walks over and starts It again. Finally the daughter sees light. She rushes to her mother and they caress. In walks the rhllUonalre. Just a little.trlfie I brought tor mother," says he, opening a box. It's a wrap. "Come to the picture show with us, mother," says he. Just one big happy family, forced into vaude by a theatre owner and heat. Delia Deshon, the mother. Is an established stock actresS. The mil- lionaire has lines that w.ould msdie anybody a wax model. The daughter and a neighbor girl doing light com- edy are pretty poor in this. The sketch Is sure tear stuft for simple spots. Binff. DeCARLOS and GRANADA Orch. Dances IB Mins. Full (Spscial) Lincoln Sq. (V-P) Uhdexterous mlddle-iaged man and Spanish type girl in regulation rou- tine of biiUroom dancers. First number straight ballroom work; second the tango, and finale, fast dance -With contortion bends and aerial whirls. An unusual man. Dresses exquisitely. Medioc :<all- room. work, but pair have f me cjMJ; GitViSJluIcker..^an.patvner.. In all three dances, instead. of maintaining a love-stare, the man is Intent on executing each man- euver. More like clever amateur showing off at a party, A likeable tellow. The audience was with him Nice costuming.. Girl tap and acro- batic dancer suffices tor changes. Orchestra composed of three man- dolins, violinist leader, xylophonlst and drummer. Fair reception Tango Is the best number. Cos- tumes flna. 6US ARNHEIM and Cocoanut Grove Orohes. (11) 26 Mins.; Full Stage Palace (St. Vaude) Gus Arnhelm . originated In' the east as Sophie Tucker made plain when called upon to Introduce him for this eastern appearance. Soph's story Is that he was one of her proteges when she presided over the Relscnweber re-vels on Columbus circle. Since then he has won Jazz band fame on the Coast, Where his Ambassador Hotel orchestra con- nection made him a radio name. It's a versatile group, strong on the crooning effects, but with a background of low-down hot busi- ness, blending of the two elements in novel ways. Arnhelm' confines himself to playing the piano and makes no attempt at the personality thing. Several of the boys sing agree- ably, notably the <bass violin, who has a sweet baritone and handles a sympathetic number capitally. Banjo player also< breaks into song. Open with "Song ot the Islands," heavy on muted trombpne effects. "Fallln' tor You" elaborately ar- ranged tor low-down and alto saxes, second with the boys megaphoning the refrain. Into "Sweet Mystery ot Life," carried by two violins and with all hands singing under bass viol's leadership. Chunky girl con- tortionist dancer had a session, Zara Lee, by name. Remarkable back- and-front-overs and splits for stocky girl, but a bit out of order In this company. "Roslta" nicely done In the croon- ing style with fascinating Jazz Inci- dentals and finishing with "Futur- istic Rhythm" all hands singing bits. That is the act's routine. It Is difficult to tell how the Palace crowd would have received It straight, tor Miss Tucker -got Into the running toward the end and sang two numbers to the band's ac- companiment. One was "Laziest Gal," with plenty of blue lyrics, and the other "Some ot These Days," which the crowd had been demand- ing during the songstress' regular act Just before. Of course, the band act wound up in a tornado of applause, on Sophie plus the band. It would have been the same If the accompaniment had been a hand organ. Rtiah. STATE (Continued tro'm page 41) accomplishes main purpose ot get- ting them laughing, no simple mat- ter Monday night with climbing thermometer. Taylor-Randall act followed. It dropped the corneay pace for the moment but supplied an exhilar- ating exhibition. This is the quar- tet that has played plenty of re- peats at the Capitol. As a full stage specialty they elaborate Peggy Tay- lor's contortion twists while posing, a sightly performance -taking on something of grace that most con- tortion dancers miss. Turn worlcs up nicely to the sure-fire climax In the flying figure eights and then the loop-the-loop series for the fly- ing finishes that always get the audience. Finish ts proof against even a heat-wilted crowd. Bert Walton has switched his monolog all around. Goes In for the disarming Intimate and confidential style now. Starts with assurance he is on for 15 minutes and what can they do about It and continues in that strain up to his dramatic recitative, "Paradise Xiost," which rather muffles the comedy splrlr. Begins again along similar line and then breaks up- monotony by pan- ning his sweetheart for comedy sur- prise when girl plant bursts In as sweetheart, angry at talk. Second plant In opposite box is introduced as Bobby Lewis, singer of the WJZ broadcasting program. Invited to sing a number while Walton parades w'ith a musket with business of see- ing that singer isn't interfered with. Walton re-established the comedy vein here In needed spot next to closing. Ernie Golden and his orchestra, closing, had a tough assignment and frame-up of act didn't help It much in the emergency. Golden Isn't very snappy In m. c. spirit, and his musi- cal selections run monotonously to descriptive numbers, where a sum- mer audience yearned for energiz- ing Jazz. Whole act Is without com-i< edy, filling In between numbers with song and dance specialty stuff. There was Paula Howard, Intro- duced as sister of Willie and Eu- gene, for one ballad number, pair ot girl adaglolsts—Cherl and Tom- aslta—who didn't get tar following the Taylor-Randall act, and Ar- thur Bourbon, fast young tap dancer who got the real attention of the act. Doesn't seem to be any good rea- son tor using three descriptive or- cjieifra numbers^all In one naif hoUr band act They were walking. In droves when orchestra went into spirited Jazz finale with young Bourbon hoofing It down center. But It was pretty late then to stage a recovery. Screen feature, "'Where East Is East" (M-G-M), Chancy subject. Business at warm weather level, about 70 per cent, . which looks strange In this always crowded house. Rush.