Indianapolis Times, Volume 39, Number 144, Indianapolis, Marion County, 25 October 1927 — Page 5
OCT. 25, 1927
Take Your Shock Absorbers When You See ‘Fog;’ ‘Why-in-so-Late?’ Asks Corinne of J. Francis BY WALTER D. HICKMAN
When you go shopping for thrills be sure and take your shock absorbers with you and a goodly supply of smelling salts. This prescription should be closely followed when you witness “Fog.” Here'is a mystery melodrama by John Willard, who wrote % “The Cat and the Canary,” and “Fog” is not near the play from a playwriting standpoint that the “Cat” was. “Fog” gets its real novelty from the two settings used. The first is that of a private wharf on the south shore of Long Island at night. Here is a realistic bit of stage craft. The second and third acts show the cabin of a mystery ship, the Nightbird,” and the rolling effect of the ocean has been cleverly presented. In case of all mystery plays I refuse to either tell the story, and flatly refuse to even hint at the ending. “Fog” really has no reason to it, and that is just what the author intended. He started ou to frighten everybody out of their wits, and he succeeds in that. The dialogue is not clever and it often has nothing to do with the plot, but it does keep one badly confused. Another trick of playwriting. About any sort of an acting cast could put over the screaming lines, yells and the like. What ever acting that is required in addition to the scenery and effects, it is contributed by James R. Carey, Jay Adair Young, Dorothy Lyons, Gage Clarke, George Sydenham, Fred Garland, Leslie King, Prince Singh and Robert Toms. “Fog” is not a great show. It was constructed for thrills and novelty. It is to confuse and excite.
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I know that people in the audience were yelling when I was present last night. I began to feel rather creepy, too. “Fog” remains on view all week at English’s. YOU MUST COME OVER AND MEET J. FRANCIS They are back in town. Meaning J. Francis Dooley and Corinne Sales. And you must come right over and hear Miss Sales asks J. Francis the question: “Why in-so-late.” The joke being that a man was a electrician and when he came home late one night -she asked,” “Why in-so-late?” My way of telling you that joke may be very crude, but the way that Dooley and Sales develop this nonsense it becomes a panic. These two go on their merry way successfully doing the most silly things. They take nothing for material, dress it up with tons of nonsense and the result it just a plain panic. It is probably this method of delivery which gives these people license to do about any foolish thing they think of. Some times one gets the impression that they are skating on thin ice, but you can rely upon Dooley to turn on the comedy sunshine. I think they are funny and I know that they made a wreck out of-me at Keith’s yesterday afternoon. It is remarkable with what ease . and with what good showmanship they develop a wild idea and make a comedy gem out of it. Their new act this season is quite wild and these two are a big success again. Jane Green takes the blues songs of the day and with splendid sense of refined showmanship makes them nearly knockout songs. Miss Green has a mild, but effective way of doing the Sophie Tucker blues stuff, but these two people are different in their method of doing it. Frank Jefferson is at the piano. Want to call your attention to the dance offering of Roy Sheldon, Bob Heft and Leah Lewis. This act has much charm and class. The pianist is also a good dancer and he has a corking piano number when he sings the blues of how a poor piano player feels in a dance act. The work of Miss Lewis has real charm. Her Merry Widow Waltz is done with true grace and charm. Frakson is a magician who is different. At times he wears gloves and this is seldom done. His cigaret stunt is a wonder to me. He is mighty clever with coins. La Belle Pola is a dancing monkey. The black bottom and Charleston dance by this monkey is a wonder. All the monkeys in this act have been well trained. The movie feature is Reginald Denny In “Out All Night.” At Keith’s all week. PLEASING DANCE ACT AT THE LYRIC Harry Ames and company has brought to the Lyric a series of dances that have been gathered from different lands over the globe. From Hawaii comes the hula, snakey dances from the Orient and old folk dances from Ireland; but to get pep, Ames says that he had to come back to Broadway and America. His dances are arranged as if he were on a Cook’s tour and was visiting these different places. Then he gives an impression of the Black Bottom as it was done in some re-
vue last season. The idea of the tour is carried
t h roughout the act. Several of the dances are novel in structure and are well presented. - Comes an orchestra that is billed as the “Memphis Collegians.” While nothing new or original, the boys have a “hot” orchestra. With them is a young lady who performs in the double capacity
Armstrong
of announcer and dancer. She does the Black Bottom in the clothes of seventy-five years ago. A Negro dancer of the eccentric type is with them. “The Paul Revere of Vaudeville” warns you that things are coming, evidently much as were the British. And they do. Russell and Armstrong have perhaps as “nutty” an act as ever came to this city. With their rapid one-word-cross-talk they create atmosphere. Their trapeze act is as novel as any I have seen. It is good, fast, slap-stick comedy, and lots of hokum. Edmond D’Orsay and company present a skit in the hospital. The intended father and his bachelor friend wait in the ante-room - for word about the to-be child. And “he” becomes the father of the wrong children. And the friend gets a date with the nurse. The situations become very complicated. While not a father by any means, I could imagine the man’s feeelings when the nurse told him that he had become the daddy of three girls —and he wanted a boy. The eternal question: Which do men prefer, blondes or brunets? Rubin and Malone ask that question, and try to find out. One is a singer and the other a dancer. The evolution of dances front the old polka to the very modem dance of the stage is presented with cos-
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THE INDIANAPOLIS TIMES
tumes that are changed before your eyes. These two girls are clever dancers and singers and good showmen, or showwomen, and their act is smart. The Perrys are shooting experts. Small and large objects are punctured and broken with a rifle. In conclusion the man of the act shoots small objects fastened to the head band of his partner. The rifle is over his shoulder and he looks in a small mirror. It is good marksmanship. Ward and Wilson present more hokum. Miss Wilson is a blues singer and the two wind up their act with one of these songs that has about a million verses. Comedies and news reels conclude the performance. At the Lyric this week.—(By the Observer.) “PEG O’ MY HEART” IS ON VIEW AT THE COLONIAL Age has not ddne any damage to J. Hartley Manners’ /‘Peg o’ My Heart.” This cute little comedy of much success was brought to life again to give Idabelle Arnold a chance to show what she can do with Peg. Os course Peg is the sort of thing that Miss Arnold knows how to do it well. She knows how to make Peg the adorable Irish lass that she is and when it comes time to turn on the tears Miss Arnold , knows that trick also. Miss Arnold is a wonder when it comes to making herself a juvenile.
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Here is a difficult role because too much of the Pollyana stuff would make the characterization a terrible mess. But Miss Arnold her business and she makes Peg a character that could be just.one of us. she attempts to keep the note of sincerity in the character of Peg and she does a good job of it. Larry Sullivan comes into his own this week as Alaric ,the silly old chap, you know. Here is a fine comedy performance. Bernice Marsolais is an effective and haughty Ethel Chickester. Adalaide Melnotte failed to strike the right tempo in her characterization of Mrs. Chichester. There is a false note here because Miss Melnotte does not givethe character the widely grand manners that Mrs. Chichester is supposed to posses. Milton Byron get along very weak with Jerry. There are numerous others in the cast. And I might remark that the two dogs are well behaved. There was bad handling of the lights on the opening night. “Peg” remains on view all week at the Colonial. “THE GINGER GIRLS” ARE PLAYING AT MUTUAL Fritzie White trips merrily over the boards at the Mutual this week in “The Ginger Girls” and sings many ballads. Miss White has a fair voice for this kind of song; it is very strong and has a fair timber to it. She is also a dancer of some
ability and leads the chorus out on to the runway several times. Featured along with Fritzie is Harry Clexx. Comedians as a rule nave terrible looking clothes, but Clexx goes them ofte better. Wnere he got his ideas for them I don't know, but his ragged vestments more than put him over. His comedy is like that of many comedians. He wise-cracks and slap-sticks his way through the show. He is supported by Art Mayfield, who makes a good foil as the tramp comedian. The ingenue of the company, Sylvia Pearl, who does nothing spectacular, gets across with her stunts in a wistful sort of way. Part of the time you are unaware that she is on the stag She always appears with the choiTß. One of the best scenes was laid in Spain with the chorus dancing through a snappy little Spanish dance that had an appropriate acThe chorus was well trained and although a bit beefy had a very fair appearance. Included in the company were Loretta Love, Jack Wald and Freddie Faire. The last two served in a light comedy capacity. At the Mutual this week.—(By the Observer.) Other theaters today offer: Paul Whiteman and his orchestra, at the Indiana; “Rough Riders,” at the Circle; '‘A Gentleman of Pans,” at the Apollo; “Is Your Daughter Safe?” at the Band Box; “Figures Don't Lie,” at the Ohio, and movies at the Isis.
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