22

HIPPODROME. "Gypsy Life" became the second part

of "Under Many Flags" at the Hippo­drome Monday. It is a dramatic spec­tacle in three scenes. "The Gy*psy (amp" portion is where the circus acts show. Nearly all are new to the Hip.

Despite a very disagreeable night, the Hippodrome held a nice "attendance. When the circus portion pranced into view, the house keenly enjoyed the performance without any question. The circus acts are well introduced. They are listed under the heading of "Hug-gins' Grand Allied Aggregations."

Opening the circus performance were Jeanette's Elephants, four in number, including a baby elephant worked by a pretty little girl. A large animal to the other side had a woman for its trainer. The two brutes in the centre were sent through their paces by a man. The turn played fast, showing two or three new tricks in elephant training. One was where the man per­formed on a trapeze held in the mouth of a mammoth, while the big one slowly turned around on his hind legs. The girl made her pet do the "Good Night" business that Riccabonna's Horses first showed around here. The "baby" did it well, although he jumped out of the bed in a rush, and the girl just made her escape from beneath his ponderous body.

The Hip is running its circus acts much better than formerly. The stage is not so congested with turns, giving the audience an opportunity for un­divided attention. The hit of the eve­ning was easily taken by Fred Gerner and Co., with his jumpers, himself com­peting with them, and a dog that went over the high bars at their highest mark. It needs a stage something like the Hip's for" this act to show off at its best. One of the horses took the jumps so swiftly and cleanly the house nearly became enthusiastic. A woman rider had trouble in sending her mount over at the second bar, but at the fourth one her horse took it easily. The riders were Florence Galvin, Ar­thur Naylor and Thomas Kenny.

The bounding net from the top of a hay wagon is made good use of by Patrick and Francesco. One of the important items in the turn that the men hold to is the rube characters, even to one driving the team and wag­on off the stage at the finale. Geo. Holland *and Rose Dockrill have a double riding act in the ring, the only time the ring is employed. Mr. Hol­land does some nice driving, taking four abreast, but doing his most showy work in the double tandems. Each dresses attractively and looks well. The Flying Weavers closed the circus bill with aerial teeth work that is dif­ferent from the customary.

Just before the closing, three acts oc­cupied the stage simultaneously. Les Levains Trio did some hand and head balancing. This may be their first ap­pearance here. A woman understander attracted attention, while for the finale there is a rapid whirl to a head-to-head balance that brought the trio rear ap­plause. At the opposite side the Reed-ers did some strong work in balancing. In the centre Hill and Sylviany had their cycle exhibition. • * * •

VAR

HAMMERSTEIN'S. (Estimated Cost of Show, $4,550.) "Anything's a good act that will

make 'em talk," said Willie Hammer-stein Monday night, in discussing the booking for next week of "Lead, Kindly Light," described as "a modern parable illustrating the triumph of chastity." Held over on the same program for next week will be Bert French and Alice Eis with their "symbolic dance," which might be said to "illustrate the allurements of semi-nudity." In faro this would be known as "playing splits."

But let's dwell a moment on this week's offerings. The bright, particu­lar star is Clifton Crawford (New Acts), who is amply qualified to main­tain his position as headliner. Next in importance is the French and Eis danc­ing pantomime, important only through being made so by the management.

Frank Carmen, a hoop manipulator, opened and did all the tricks made familiar by others doing that style of act. Chalk Saunders, cartoonist, made a series of comedy pictures, accom­panied by constant talk. Burns and Fulton had several dancing numbers, with a whirlwind acrobatic dance for a finish.

James C. Morton and Frank F. Moore, reunited after a season, are now assisted by a little woman, Etta Wainman. They are billed as the "original chalkface musical comedy stars." That billing is somewhat vague. If it refers to being the first musical comedy stars to use the chalkface make-up, they've certainly got their "nerve" with them. Not only is it the make-up adopted by Montgomery and Stone in "The Wizard of Oz," but they use the costuming of the present stars of "The Lady of the Slipper," viz., the straw man and tin soldier. Then one takes a jab at some of Frank Tinney's stuff. The little woman is an incompetent filler, singing a ballad in a high "squeaky" voice to permit the men to change their clothes. The only thing new is a travesty on "The Whip," poorly put over. At the finish there was a suspicious bunch of applause from the rear of the house, with little from those seated in front.

Truly Shattuck, fully restored to health, was strongly welcomed. In a medley of old ballads, it is worthy of comment that "After the Ball" was given the heartiest applause. "McMahon and Chappelle, following Morton and Moore, got regular applause from all over the theatre on their entrance and exit. Delmore and Lee and Bert Mel­rose both had real spots on the bill, in the middle of the program. Mel­rose would improve his act considerably by refraining from indulging in any talk. It is a pantomimic acrobatic act and as such there is no occasion for speech.

Haydn, Dunbar and Haydn were out of the bill through Tom Haydn having a sprained ankle, and were replaced by Weedon, Dunbar and Barrows, three operatic singers. Following all the well-known acts, and with no vaude­ville reputation, the "next to closing" spot after eleven o'clock was too much for them, and the audience started out. As a result, they were intensely ner­vous and didn't do themselves justice. Carlos Caesaro (New Acts) closed.

Jolo.

KTY

UNION SQUARE. (Estimated Cost of Show, $2,850.) It's a pretty good all around show

at the Union Square this week, with four of the ten numbers coming under the classification of new acts to New York. One of the latter, a comedy sketch by George Ade entitled "Speak­ing to Father" is having its initial presentation at the house this week. The others which can be found under the New Act listing are Grace Cam­eron (reappearance), Ferns and Prim, and Mile. Berenice's Polar Bears.

The two last above mentioned were at the early end of the bill followed by the Frey Twins. Judged as a novelty, the Twins have something quite unique. Exceptionally fast, their routine looks doubly good even though the wrestling exhibition utilized for a finale is quite perceptible as a frame-up. The upper section of the house became rather enthused about the twins.

Harrison Armstrong's dramatic epi­sode under the title of "Hushed Up" filled a gap in the early part of the show quite to perfection. For the Union Square audience a tinge of melo­drama is very palatable.

One of the big hits of the evening and incidentally one of the nattiest lit­tle singles in eastern vaudeville was Madge Maitland with a pot-pourri of comedy nonsense and a few excellent songs on the low comedy order. She has a style all her own and manages to worm her way into the confidence of the house which is generally a sure route to professional success. Closing with the ballad "When I Lost You" Miss Maitland's results demanded a speech.

The Great Bernardi seems to have lost value through familiarity. His vehicle has been seen in all parts of the country. With his ability there is no plausible reason why he cannot taboo the present act for something new.

Hoey and Lee held the next to clos­ing spot, preceding Gus Edward's "Kid Cabaret," a good idea with a hackneyed bunch of dialog that has done service in all grades of houses. The parody singers took away a large portion of the honors.

The Square is advertising a 12-act >ill. Tuesday night there was a well filled out house, but not capacity.

Wynn.

GROUND BROKEN IN PHILLY. Philadelphia, Feb. 6.

The report there was a doubt about the new vaudeville theatre in Germantown being finished by Fred G. Nixon-Nirdlinger was quieted last week when ground was broken. The work will be pushed rapidly, unusual weather giving the contractors a good start..

M. W. Taylor is also rushing work on his new house, which is only a short distance away from the Nixon-Nirdlinger house, and expects to have it ready to open on schedule time.

M. Greenwald said this week that the plans for the improving of the Great Northern, which will include an in­cline to the new gallery and an in­crease of seating capacity to 1,960, were ready. Work will be started about May 1.

WINTER GARDEN. The show at the Winter Garden la»i

Sunday wasn't very weighty. It wa& made up under difficulties. No one from the new Gaby Deslys show was called in, and as most of the acts ap­pearing drew down salary for the one performance this particular program may hold the expense record of the Garden's Sunday night concerts this season.

The two newest numbers of real im­portance was a posing act, called "Mod­els De Luxe" (New Acts) that made an excellent impression, and Dolly Castles in her production number from "Man and Three Wives," though the stage was a little too large to bring the number out fully. The size of the stage also interefered somewhat with the posing turn, it having been built for smaller theatres.

It has been quite evident the past two Sundays at the Garden that the bill has missed Max Hoffmann or Sam Lehman at the head of the orchestra. The difference at the Garden has been so glaring it is entirely convincing.

A small time Tommy dancing act came pretty near being the hit of the bill Sunday. Weber and Wilson, a boy and girl, are the team. The young woman is somewhat tall, but a very good dancer, and though on "No. 3" they walked away with the applause of the night. Another small timer that brought a surprise along were Schreck and Percival, a mixed comedy acro­batic team. Opening the second part the "$2 house" seemed to enjoy this turn, that finishes with a copy of the Melrose trick.

The program opened late and closed early. There was not enough show. To pad out, over twenty minutes from "The Red Petticoat" was given. About all the Winter Garden has missed so far from the "Petticoat" show has been a po.tion of the dialog.

George White and Minerva Covers-dale repeated again. Mr. White was singing much better Sunday evening. Georgie doesn't know whether to hate or like himself as a singer. Louise Dresser sang some songs, with Dave Stamper at the piano. Miss Dresser presents so much appearance all at one time the rest of the girls who may have to follow her look somewhat in­significant.

Sydney Grant made them laugh with some stories from an old monolog while Charlotte Greenwood changed costume. They did a song from "The Man with Three Wives" and also sang another to close, which didn't go so well. • J Q

The Juggling Johnstons opened the program. They filled up the stage with themselves and their clubs. Next came Marcus Kelerman, a singer who looks something Channing Pollock as Mx. Pollock might look did he ever reach the point where he insisted upon in­flicting himself upon an entertainment seeking assemblage, as Mr. Kelerman did. Barney Bernard said he would do five minutes of the "Poker Game" stories, but did nine, and did very well besides. Pietro was there (about his twelfth consecutive Sunday appear­ance), next to closing, which started nearly a panic at the cloak room. Joe Fanton's Athletes closed. Simc.