Indianapolis Times, Volume 36, Number 246, Indianapolis, Marion County, 24 February 1925 — Page 5

, TUESDAY, FEE. 24,1925

FRENCH DENY HUNTING WOOD No Warrant Issued for American, Authorities Say, Bv United Press PARIS, Feb. 24.—Report a warrant had been Issued for arrest of Osborne Wood, son of Maj. Gen. Leonard Wood, In connection with the cashing of a check for $36,000 francs ($1,760), was-denied today by Director Lacamb® of the Judiciary Police and Director Chappe of the Surete Gene rale. Police commissioners at Biarritz, where Wood had been gambling at baccarat and is alleged to have cashed the check also denied the rumor that a warrant has been issued for the American. Director Chlappe has jurisdiction over all France. GUNS FLASH AT POLLS Violence Marks Opening of Chicago jCity Election—Meeting Shot Up. Bv United Press CHICAGO, Feb. 24.—Violence marked opening of the polls In Chicago's city election today, six gunmen shooting up a political meeting and turning it into a riot. None was killed or injured. Special squads of pollcement were oulered to polling places In wards where trouble was expected. In addition to electing fifty alderman, Chicago is to vote on seven proposed bond issues totalling $13,500,000, Beauty A Gleamy Mass of Hair 35c “Danderine” does Wondei for Any Girl’s Hair

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— No One Can Go Wrong in Seeing Both * Music Box Revue ’ and *Rose-Marie ’

By WALTER D. HICKMAN HEN you buy a ticket to "Th* |\jy| Music Box Revue,” you are 1 I actually buying an art gallery. Righ olf the reel, this question was asked me when I left Engllsh’B last night, “Is (his show worth the money?” The answer is given here. I pm going to answer the question as regarding myself. m Peopl ® do not " m a * ree on what * they lik ® or do a* Some like comedy, both** high Others want just while others desire gorgeous r, . expertly done, '‘.szml and with the * comedy lnciden- &• tal to the proceedings. And DOROTHY that is my idea DILLEY of "The Music Box Revue,” now on view at Euglish’s this week. Tt depends entirely upon what you desire in revues. I like gorgeous song pictures and I like my comedy incidental to the entire proceedings. Some of the comedy is purely vaudeville. Proof of that is Johnny Burke doing "Drafted.” Solly Ward (have never cared so much for his line of stuff) sputters an oration of his regular brand. But the great big comedy hit of the revue is Phil Baker (am letting last night's audience decide this) with his accordion and a chap who cracks wise to the extent of creating a fun riot. Baker is an expert on the accordion. His success rests in his method in connecting up with the audience with live wire patter. The chap in the box is a typical wise-cracker, but this team lands more solidly than anything along comedy lines with this show. There is some smart ultra comedy presented under the tit e of “Spirits of 1923,” "The Lucky Strike," "Another Good Girl Gone Wrong,” in which Florerce Moore registers better than she t oes any time in the revue (rather disappointed with Miss Moore's material); "If Men Played Cards As Women Do,” a mighty smart burlesque on the females at play; , “The Wedding Ring,” smartly played by Ivy Sawyer, Joseph Santley and Hugh Cameron, and "The Motive,” a clever idea or burlesque on crime dramas. You will agree with me when I state that the laughs in this revue are mostly keenly mental instead St being related to the “horse” brand of laughs. Real Value I go to “The Music Box Revue” to see wonderful song and dance pictures. 1 am saying it mildly when I venture the opinion that this revue is the wealthiest of all the revues when it comes to genuine beauty. For proof, I ask you to watch closely the way artistic beauty is projected in "One Girl;” the way the transparent curtain effect is used to make an illustrated movie effect while John Steel is singing; “Tell Me a Bedtime Story,” a jazzy application of a real melody and beautifully done by Miss Sawyer, Joseph Santley and numerous others; "An Orange Grove in California,” of such realistic beauty that one even inhales the perfume of orange blossoms; "The Maid of Mesh,” a dash of the spectacular; "The Fisherman’s Dream,” an undersea effect which is as pretty or more so than any stage picture I have ever seen created, splendidly done by Florence O'Denishawn, Dorothy Dilley, Evelyn Nelson and many others; "Little Butterfly,” a dash of beauty as sung by John Steel and danced by Dorothy Dilley, and the most soothing of all dream pictures, “The Waltz of Long Ago-” If this waltz number isn't stage magic, then I know nothing about stage accomplishments. Here Is a stage picture which actually elevates the mission of revues. It sings right to the heart and it delights the eyes. Miss Sawyer and Santley are the chief ones concerned with this triumph, although the general effect obtained by lights and ideas makes it even a greater triumph. Just a Though^ A revue audience is the most difficult to please. This is made doubly so when the song hits and most of the comedy has been heard in advance. You know the hit stuff trav-

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Stage Verdict “Music Box Revue”—From a standpoint of wonderful beauty this edition tops the list as the * beauty is scattered through the v entire revue and not confined to one number. For those who admire gorgeous beauty. At English's. "Rose-Marie" —Has a perfect chorus; high-class musical numbers and a s>rima donna who lias a real voice. Not to be mUsed. At the Murat. t Keith’s—Mass Venita Gould now heads the procession of those who give impressions of great stage stars. One of the joys of the season. Easy merit winner on a novelty bill. Lyric—Good all-round show. Palace—William A. Kennedy proves that Irish songs still reach tUe heart. Easy winner on the bill.

els rapidly. That is the reason that all jokes sound like they came over with Columbus or they might have been saved on the ark. Miss Moore has been identified with tw(o of the Music Box editions. She now has gone in for more 3inart. comedy than is generally associated with her. Her song . number is "Climbing Up the Scale.” John Steel is an easy favorite. He knows how to sing and has an individual way about him. He fits splendidly into all of the song pictures Just because he has the John Steel way about aim. I have tried to give you a careful impression of what is going on at English’s this week. Answer to the question: You will get more than your money’s worth when you buy a ticket for "The Music Box Revue” for the reasons I have given. At English’s all week. •I- -I* -I-"ROSE-MARIE” TURNS OUT TO BE A GREAT SUCCESS "Totem Tom Tom.” The tom toms beat and the buman totem poles dance. And how they dance. They are a riot of colors and grotesque figures, hopping, twisting, falling and swinging all over the stage, led by a ■S lithe young sprite who for sheer abandon in dancing must be com pared with one of the famed "whirling dervish es,’’ which I have always heard were the very last word in wild dancers. This dance tram- _ ber is the very high spot of "Rose t-* Marie,” at the Murat - a musical play m 1H that 18 very near IRENE all Ugh spots. PAVLOSKA This extraordinarily ur usual and perfectly executed dumber, by Phebe Bruno, and ♦he entire chorus, was such a nit las; night that the chorus, after several ercoreo, was forced to rnal.e a low urfore the show could proceed. "Totem Tom Tom” Is not the only muslctft number that more than pleases In “Rose-Marie.” In fact, the musical numbers seem ir be the most of the show. “Rose-Marie” the theme song; "Indian Love Cai!,” sung by Irene Pavloska and Guy Robertson; “Why Shouldn't We?” done by Beatrice Kay and Charles Silber, and others all seemed to be favorites. And they deserved to be. Each number is a real melody, well sung and backed up by a chorus beautifully costumed and excellently trained. Little' more could be desired. Irene Pavloska. of the Chicago Grand Opera, uses her .fine voice to advantage in the title part. She also brings a very pleasing personality to the lighter stage and easily wins her audience even though she has not yet mastered some of the essential "tricks” of the musical comedy prima donna. Guy Robertson, as Jim Kenyon, Rose-Marie’s much wronged lover, also has a real voice and a good share of acting ability. When the stage is not occupied by the lovers or one of the beautiful stage pictures employing the ensemble. Hard-Boiled Herman is on the scene. To Herman, played by Charles Silber. is allotted most of the comedy. And there is a great deal of It. Herman Is an undersized bad-man who loves to show his sixshooters, lovingly named “Genevieve and Emma," but he never draws them. He has real comedy material. I did not like his method of comedy although the laughs were frequent last night. I did like his worK m the comedy song with Miss Kay and in a screamingly* funny kissing bit with Miss Kay, Charles Meakins and several of the girls. Beatrice Kay, an Ingenue comedienne, fflso has a large share of the comedy. And she had no trouble in getting an equal share of the laughter and applause. As Lady Jane, who rune a saloon In the first scene and hasn’t forgotten It In the lass, much to Herman’s disgust, she Is at times A "scream." Phebe Brune is a charming Indian vamp, besides leading the totem pole number and contributing a whirl wind dancing specialty. Each of the mlnoi parts Is capably filled. The story is mqre Interesting than most musical shows oan boast and It all ends happily In the little dream house on the hill. You would probably have guessed that before the final curtain anyway. Credit should be given the man who staged the dance numbers in this production for he has done splendid work. He Is named in the program, David Bennett. The name is not familiar to me, but I helleve he is an artist in his work. The ensembles are beautiful. And if Bennett will produce some more chorus units like ’his one there will be no need to continue the importation of the English Tiller girls. And a word for the male oliorus which seems to be excess In so many shows. This group of tttsn look right and sing

THE INDIANAPOLIS TIMES

well. Their Mounted Police song lea by Charles Meakins was another favorite. This show shapes* up as big a hit as it was expected to be. I could Und nothing wrong with it. At the Murat all week. (By Observer.) •I* -I- -I* MISS GOULD SCORES HER GREATEST VARIETY TRIUMPH It is a pleasure to r-tcord this fact: Miss Venita Gould is having her greatest variety triumph this season. Miss Gould is the artist of impression or impersonation who brings Ted Lewis, Frank VanHovep, Will Rogers, Jean Eagles, Al Jolson, Gertrude Lawrence of “Chariot's Revue” and Ann Pennington together on the same bill. I have seen Elsie Janis do her imitations, or rather her idea of stage" stars doing certain things. She is a great artist, but when it comes to catching the voice and the individual mannerisms of each star. Miss Gould stands unequaled on the American stage. Miss Gould does more than just suggest the picture. She becomes the actual living and breathing artist that she impersonates. Every known trick of the voice is used to capture the tone of the artist. You get the actual voice of the artist. A wonderful accomplishment. Her best piece of work, of cours* is Jean Eagles in a scene from "K*tn,” and her most popular is Ann Pennington. Miss Gould is one of the finest triumphs of the evening. And what wonderful ovations she is receiving here. Paul Remos and his three midgets have an athletic offering which Is a genuine sensation. Here is a midget act which will interest adults and yet entertain the children. Jean Granese, with the aid of two men offer a singing act which is different. These three know how to put over even grand opera music by approaching it in a comedy way. James Carlisle and Isabelle Lamal have been seen here before in'“The Interview.” Still slightly entertaining. Reed and Termain, "hick” musicians, actually stop the show. Here is eccentric talent, hoakum in nature. which will please every one In the audience. Failure of direct contact with the audience handicaps Le Roy, Talma and Bosco in their magical offering. ( Jack McLalle.n does some splendid dancing on skates, but it is his comedy with Sarah that makes the act a big winner. Sergeant Franklin and company do some crack shooting with rifles. Dezso Better wrestles with himself. Comedy act. Miss Gouhl" is not to be missed this week. At Keith’s all week. •I* -I- -I* IDOKIXG OVER NEW BILL AT THE LYRIC The Lyric this week is presenting an all around good vaudeville show without any real headliner. Or at least no turn on the bill greatly overshadows the rest, although every act from first to last offers pleasing entertainment. Harry and Mary Bcranton open the show with an extraordinarily good tight wire exhibition. Next come Gold and Edwards, billed “The Dancing Frenchmen.” I cannot believe they are Frenchmen, but they are good dancers. Their dancing on roller skates Is a good novelty. Charles T. Aldrich is an undoubted artist in his line, which consists of quick changes and funpy stage effects. The most entertaining act of its kind I have seen. Barry and Rollo, two women, sing popular songs in a popular way. “The Banquet of Song and Dance” is mostly dan?*. It is a pretty little revue with a cast of seven, all girls. Shriner and Fitzsimmons, one of them as an antiquated newsdealer, were the laugh winners. As popular as their cross-flre Jokes was their singing of the topical songs of a generation or so ago. Heine’s Royal Orchestra clones the program. This organization lacks the class in appearance and staging that ig expected of vaudeville organizations today, but they scored by playing the kind of music the audience wanted. A news reel, a sportlight, and a very funny Harry Langdon comedy comprise the pioture program. At the Lyric all week. (By Observer.) •I* *!* -I* WILLIAM KENNEDY STOPS THE SHOW WITH HIS SONGS Have always had the thought that a good singing voice could stop any show. And stopping a variety show at the Palace is Just what William A. Kennedy does. No doubt about It. Kennedy know at least two things about tk# show business—sing songs with harmony and surround yourself with only clean material. Kennedy is presenting himself and company in a sketch called "An Irish Romance." In tt you will And clean ccmedy and a lot of Irish melody. Yet the success of the entire act depends upon Kennedy and his splendid voice. The comedy of the skit is Just so,so, although it has the human quality. Kennedy knows how to put over a song. He pronounces every word clearly and all of his tunes have a merry or a sentimental sound to ’em. When I was present he stopped the show "cold” and Anally had to leave the stage with the audience insisting upon more. Nellie Jay and her Jay Birds turn out to be a female orchestra which has anew way In presenting an illustrated song. Emily Earle goes In for what-ds known as song pictures of a character nature. She develops "Rose of the Underworld” into a melodramatic number. She is assisted by two men, one does some smart Russian Roofing. • Mowatt and Mullen are handicapped with plenty of pointless material. Eddie Swartz is an eccentric comedian. He Is known ss a wisecracking comedian but this man does connect radipdly with his audience. He knows how to make ’em laugh with old and some new material. His success rests in the wgy be handles his material. The movie feature is "Contraband.” At tbe’Palaos today, Tuesday and Wednesday.

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