37 Mins.; One, Three and Full Stage. With three special scenes and a cast of nine characters, one or two of which are unimportant through necessary (and probably filled by supers), “Any Night,” one of the series of sensational short sketches shown at the Princess Theatre, is at Hammerstein’s. It’s a tale of the underworld, in this instance a possibility well knitted together into a rather importable chain, but nevertheless a possibility, and because of this, the more interesting. The cast embraces among its more important types a street walker, openly and rather baldly referred to as a “hustler,” a policeman of the brand that flourished before the Whiteman regime, a “respectable souse” and a pair of sinning youngsters. A hotel clerk, porter and a pedestrian and fireman also assisted, the two latter undoubtedly doubling, although evidencing some activity behind the scenes. The opening shows a street before a drop depicting a Raines Law hotel. The policeman and “hustler” discuss conditions, the former showing an unusual interest in the latter’s welfare. The conversation disclosed the fact that tuberculosis has been added to the girl’s lot. A comedy vein runs through her light reference to the inevitable end. The young man follows on, luring Miss Innocence to her first misstep. Then comes to “hustler’s” first “client,” the souse. The quartet enter the hotel, the interior of which comes in the second scene. The process of registering brings more comedy to the surface. The third and final scene is the bedroom occupied by the souse and his “wife,” the finale coming with a fire which threatens the building, the firemen’s arrival and their accompanying clatter and noise. The elderly souse and Miss Innocence come face to face in the excitement, and being father and child, both realizing their sin, etc., remain to perish in the flames. The “raw” situation occurs with the opening and its ensuring dialog in which the social problem is openly discussed and pictured, possibly a bit strong, although the producers evidently infer that the moral lesson contained in the theme proper atones for whatever violation of decency takes place during the action of the piece. Helen Hilton as the street walker was quite good. James Edwards as the policeman was a bit too refined in action and speech for a copper with the experience his arms stripes designated. Lorin J. Howard as the drunk was acceptable in that section of his duty, though overdoing, but his dramatic period was lost through inferior handling. Howard handled a climax much as he would a comedy point, and because of this the finale suffered and was only lifted through the timely arrival of the scenic illusion at the end of showing the fire. And in this blaze there was considerably more smoke than fire. But regardless of the existing minor faults, “Any Night” is a good feature for Hammerstein’s, where plays of this calibre can hold up. As a standard vaudeville attraction, it’s impossible. It closed the Hammerstein’s program.
10 Mins.; One. Joe Carroll saunters upon stage and quarrels with the orchestra that goes on strike. He suggests he could sing any old song if he had a piano player. Hazel Hickery, dressed as a maid, in rear of theatre, says she can play, and is invited to the stage where she is hired. She plays a good ragtime number, and also for Carroll’s songs. Each one makes a change in costume. They close with “Poor Pauline” in which considerable action is injected, although not enough of the right sort. Carroll has a good stage presence and puts his stuff over in a bluff sort of way. Miss Hickey’s chief assets are a wealth of red hair and a talent for the piano. The act went fairly well at the first show Monday night. Miss hickey was apparently nervous. After the act has been worked into some semblance or smoothness it will be right for the middle-weight time.
10 Mins.; Full Stage. E. Rousby in his production, “The Edge of the World,” gives a convincing demonstration of the evolution of light and colour projection. In place of the stereotyped stationary views accompanied by a study in near-nude femininity, Rousby offers a combination of moving colors before which a gyrating danseuse cavorts in spring-like garments, her cavorting running a lengthy second to the scenic portion of the piece. The opening shows what is supposed to be the edge of the world where the passion of color lies exhausted after the day’s labor (from the program argument). Soon the ocean, or what looks very much like it, floats into view with a rhythmic movement to be later replaced by the action of the many colors, blending together into a picturesque scenic effect. Meanwhile the danseuse (Violet Hope) keeps busy, skipping here and there to the soft strains of specially composed orchestration. The turn comprises novelty in ever sense of the world, the color scheme being especially well worked out. It’s a big improvement over the former brand of scenic art and since it held a capacity audience to the finish in closing spot at the Colonial it looks like a promising possibility.
“The Society Buds” 44 Mins.; Full Stage (Special Set). Forty-four minutes is too long for a big time vaudeville musical comedy sketch, even though a Jesse Lasky production with the popular Clark and Bergman starred. That is the only trouble just now with the act. If reduced to a reasonable time limit, this Lasky number should rank with his “Trained Nurses” which did so well for a couple of seasons, with the same couple leading. William Le Baron wrote the book and lyrics, with music by Robert Hood Bowers. Frank Smithson staged the piece. Two songs are interpolated by the principals, written by Irving Berlin. Eight chorus girls and a musical director are there. A logical story is carried to the finale. Henry Bergman as a chauffeur in love and Miss Clark as a main in the same family, impersonate their employers (who are professional dancers) to entertain a party of society buds that evening, teaching them to dance receiving $5,000 for it. The attempts of two butlers (Clifford Robertson and Vincent Erne) to steal the money furnish the grounds for the comedy and the repeated entrances and exits of the pair. One number, “Society Buds’ Day,” led by Miss Clark, is made into an extensive affair, a sort of illustrated picture series of the choristers who have an opportunity in it. This is very well put on. “My Idea of Paradise (Berlin) is a pretty song. The other Berlin number was “I Love to Quarrel with You” (used Tuesday night in place of the programed “Furnishing Up a Home for Two”). “The Chained Ankel Glide” (Bowers) afforded a chance for a neat little bit of business and satire on the prevailing short skirt. It was done by Mr. Bergman and the girls. Messrs Robertson and Erne tall and short respectively, had “It’s Really Too Absurd” for a duet number, with a dance, and from this point onward the two dancing, as the act is at present routine, is the biggest factor in it including the dances by Miss Clark and Mr. Bergman collectively and individually. The two comedians brought several laughs, and the two principals did the same, securing most of the latter with repartee, using some sure-fires such as “the first national bank.” Miss Clark looked daintily pretty and her personality left an impression. Mr. Bergman handled himself and his material as usual, excellently. The act is costumed in the Lasky prodigal manner. Until properly condensed no one concerned in the turn will know just where they are at expecting that there is enough “meat” to it. And four Class A principals. Jane Quirk conducted the orchestra.
10 Mins.; One. Stories in dialect, told with considerable unction, Miss Hight is a local product, lacking vaudeville experience. She has a fund of pretty fair stories, beginning with Irish tales and then German, also darky folk stories. Her voice lacks carrying power, and she needs stage training Monday afternoon the house was pretty well filled with friends. As a lyceum attraction who would do much better.
12 Mins.; One. The Man Who Grows. Willard, the man who grows at will has one of the most distinct and unique vaudeville novelties extant, combining an interesting study in human physiology with a semi-comic monolog that never touches the monotonous point of a lecture, and behind both a personality and delivery entirely unexpected in a turn of this nature. In evening dress, with a colored attendant in livery, Willard explains a few facts of current and past interest, giving a line on his birth, habits, etc., the spiel being well blended with comedy. Willard, who is six feet tall normally, then exhibits his growing abilities, after assembling a committee on the stage. The elongation is visible and mystifying, more so when Willard disproves the suspicion of a dislocation by freely exercising the joint muscles of knee, neck and waist while at an extreme height. Resting on one foot he elongates the other, and vice versa, following this with a display of arm growth, extending either arm a distance of about fifteen inches beyond normal length. Realizing this to be the only act of its kind in existence, a complete review is difficult, for Willard is one of that strange species of novelty that one must see to appreciate. At Hammerstein’s on a topheavy hill he was one of the evening’s hit and without doubt is valuable card, for Willard will create comment, and with the advertising possibilities contained in his exhibition, should break into the record division if properly handled.
16 Mins.; Full (Special). In addition to George Murphy and Joe Ratcliffe, Ellis Mattin is of this turn. Mr. Murphy is offering a German impersonation that will go a long way to making this act a favourite with small time audience’s. The straight is a mighty good feeder and has a nice singing voice. The act comprises a number of “bits” that have been seen before, but nevertheless are funny. The turn will stand featuring on the small time.
10 Mins.; One. Miss Williams is of nice appearance, has a few gowns and a little voice. Sunday she was so frightfully nervous it would be hardly fair to judge her work. After she overcomes her nervousness she should do for an early spot on the small time.
16 Mins.; Full. (Special). Presenting a badly written Mexican sketch of the kind applause type Miss Edwards and her company just about managed to pass. The man (company) plays two characters. A bandit has robbed an express car, escaping with $15,000. At the opening the girl’s father is just leaving to join a posse. The girl is alone in the house; the bandit appears (the same man doubling) dressed as a Mexican vaquero in holiday attire and employs an Italian dialect for Mex. The bandit forces the girl to prepare food for him and then tries to make love to her. A fight and sword duel follows, with the girl finally working the bandit over to a wolf trap which she has set near the fire place. The bandit is caught and the girl goes to collect the reward for his capture. The act isn’t there.
17 Mins.; Full Stage (Parlor) “The Kleptomaniacs.” Miss Florence and Mr. Ely are presenting the former Rice and Cohen sketch on the small time. A good laughs producing farce as ever in their hands. Barring a tendency to overplay Mr. Ely, the act can play on any bill that has a spot for a sketch.
