Cohan and Collier

Dialog based humor, self-deprecating in nature. Musical comedy.

"Hello Broadway"

There was a succession of laughs whenever Cohan and Collier were around.

Much of the dialog Mr. Cohan has written for himself and his co-star reads as though it had been fashioned for an evening of fun at the Friars. But the audience will "get it," for Mr. Cohan has the knack of humorously "panning" himself. No one will miss that, though some of the audience does just get in from Five Corners. The first act did not promise over much at any time, due mainly to the absence of a striking song success in that section, which was saved through the two stars blacking up on the stage, doing an old-fashioned song and dance under the cork. The finale of the first act, when "The Irving and Berlin Melodies" was sung with Mr. Cohan leading, left an indelible impression, as much among the first nighters for Mr. Cohan's open admiration for Mr. Berlin, as expressed by him lyrically in this number, as for the song arrangement, although this number was one of the three that stood out among the others. But the first act did possess "speed," and that's what Cohan might tack onto his name. Collier did a "dame" as "Innocent" and Cohan played opposite as Leo Ditrichstein. This pair indulged in some rough comedy that didn't seem so rough, as they did it, while Cohan has added accomplishments through doing "falls." If Collier tripped Cohan, Cohan flopped to the stage and did it well. While "Hello Broadway" is short, a regular musical hit, and it might, as Mr. Cohan said in the song, be well to have Mr. Berlin write one, it doesn't need music. There is too much good fun, besides Mr. Cohan and Mr. Collier (who could not have improved upon his showing) to miss anything. It won't leave the Astor before all the New Yorkers who want to laugh at good, intelligent, clean, fast comedy will have seen "Hello Broadway," and that's going to take a long while.

Variety, 37:37 (01/01/1915)