On the Road With Benny

He advertised himself (as a joke) as “star of stage, screen and radio,” but Jack Benny was only one of those 100 years ago. He didn’t get into the movies until they started talking and didn’t get into radio until the networks were established and began beefing up night-time programming by inducing top comedians to go on the air.

What was Jack doing 100 years ago this month? Resting overseas, it appears. He boarded the Berengaria for London on July 17th (I can’t find that he performed while in England). It wasn’t until September 1923 that he resumed his vaudeville act in the U.S.

On Sept. 10, 11 and 12, he appeared at Proctor’s Fifth Avenue, and moved to Proctor’s Mount Vernon for the bill of Sept. 13, 14 and 15.

Jack always received decent to rave reviews, it seems. How did he do this time? Here’s what Variety of Sept. 13 had to say. I must admit I’m not up on my show lingo of the ‘20s and really have no idea what the first sentence says. Nor am I knowledgeable enough on the intricacies of a vaudeville line-up to know the significance of the second and fourth spots on a seven-act bill.

5TH AVE.
A seven-act bill that started out to be a whirlwind slowed down and then cantered in under wraps about totals the first half effect around lower Broadway. The show picked up momentum as it ran until the "World of Make Believe" entranced, followed by Frank and Teddy Sabini, who ruined 'em with hoke, but nevertheless lingered too long. At that, Alice Morley, deucing it, and Jack Benny, No. 4, could easily have changed places. The Five Remos (New Acts) in the closing spot gained continuous applause and finished with an amount to spare to result in an act that is a "pipe" closer for any small time house and can also fill the bill where the patrons are more exacting. [They were a 12-minute acrobatic act].
Alice Morley threw out the first stop sign with her high yella make-up and rag singing. An aggressive girl who steps right out and makes 'em like it. Adhering closely to her former routine, when working with the sister, the material remains refreshing enough to gain laughs and suffices for the purpose. According to the applause outburst at the finale, there is no telling where this feminine single will climb should she start out to gather new material. Certainly the ability seems to be there.
Boudini and Bernard playing accordions led off and were in no little way responsible for the amiable frame of mind the house was in for the succeeding turns. A nicely mapped out schedule of selections based upon a neat manner of rendering same and a nice appearance shapes this mixed duo as able to step into their assignment without a qualm or a fear.
Robert Emmett Keane and Claire Whitney [Mrs. Keane] secured more than the usual allotment of attention this house devotes to a sketch, and profited thereby. The story caught on immediately, and with Keane's presentation of the theme the act was "in" long before the curtain. Jack Benny succeeded, doing well enough by means of his monolog, having an assisting violin. Some of the gags connected, some didn't, but on a whole Benny entertained without overdoing.
The flash act, "World of Make Believe," brought laughter in one or two spots where same might have been deemed unnecessary, but the action was fast enough to overcome what tittering was manifested. Those present were particularly partial to the dancers, and there was a very meagre amount of stepping on the bill, so that the finale was normal, although somewhat of a let-down after what had preceded. Frank and Teddy Sabini were gravy in the next to closing position and would have been more so were they to have eliminated at least five minutes. If Teddy were to tone down it would help, too, and 26 minutes is a long time in any theatre. The Remos closed. Skig.

As a side-note, Robert Emmett Keane and Jack worked together some years later. He played director Raoul Walsh on the June 20, 1937 broadcast of the Benny radio show (Jack gave him credit at the end), then appeared with Benny on screen in The Meanest Man in the World (1943).

What about the second half of the week in Mount Vernon? The Daily Argus reviewed the show in its issue of Sept. 14. You will notice not all the acts from the Fifth Avenue were part of the bill.

MUSICAL ACT HEADS PROCTOR’S NEW PROGRAM
One of the most entertaining musical acts that has been seen at Proctor's in many months was presented there yesterday as a headline feature in the new bill tor the last half of the week. This is a melange of about every art known in Thespia and is entitled “The World of Make Believe.” It is staged with a smoothness that was refreshing and with a wealth of detail, and likewise splendor in scenic investiture and costuming that proved really impressive—distinctions that few vaudeville acts attain. It really is an act far above the ordinary and is so recognised in vaudeville, and it was announced at the local theatre yesterday that the attraction is booked for a trip across the country, and is already in big demand. A big company, headed by the talented and spirited Nola St. Claire, presents this fine act.
The bill for the last half of the week is varied and entertaining in almost every respect. Jack Benny, droll in speech and mannerims [sic], told jokes that kept the audience laughing constantly and also played several violin solos in a humorous manner. There was also a pleasing dance act by Kelly and Birmingham, some unusual acrobatic stunts by Strobel and Mertens (another European novelty), and singing and comedy by Jean Granese nnd company. "Modern Matrimony” is the name of the feature picture, a big production, with Owen Moore as one of the stars, which means some comedy of a popular order.

It would appear Jack’s next stop was Keith’s Jefferson in New York at 214 East 14th Street. He’s not in the “Bills Next Week” section of Variety, but his appearance is reviewed in the Thursday, Sept. 20 edition. There were eight acts on the bill, beginning with the Phondell Four, two men and a woman who juggled and swung clubs. Next were Ulis and Lee, a two-man musical act, followed by Dave Harris’ music act (assisted by a man and a woman). The paper didn’t have anything good to say about his Jolson impersonation. The Variety Pioneers followed with their five-person old-timers revue, and then, the paper reported:

Following them was Jack Benny, the conversing violinist, with conversation patterned along the lines formerly done by Ben Bernie. Benny has an effervescing personality and a faculty of getting over his points with a finesse that is commendable. At the start the going was a little hard for Benny, but he felt his customers out and soon had them within his grasp to do as he willed.

Jack spent Sept. 24th to 26 at Keith’s Fordham, then the rest of the week at Moss’ Coliseum on Broadway between 181st and 182nd Streets in Washington Heights before starting October at Moss’ Flatbush on the bill with the Aunt Jemima Band.

By the way, if you were wondering about Fred Allen, he was on the Shubert circuit at the time in “The Passing Show of 1922” with the Howard brothers (held over in Detroit), and writing his “A Small Timer’s Diary” humour column for Variety. The two of them tussling on radio was some years away.