The New York Clipper (January 1920)

January 14, 1930 THE NEW YORK CLIPPER 11 HOWARD & CLARK REVUE Theatre— Mt. Vernon. Style — Revue. Time— Forty minutes. Setting— FuU stage (special). Jo*. E. Howard and Ethlyn Clark have done one good thins in their new act, it nothing else, and that is that they have surrounded themselves with an excellent cast. Maurice Diamond, formerly of McMahon, Diamond and Bosevere, is featured. Also, there is a young man whose last name we re- member as being King, formerly of King and Harvey. And, in addition to a number of very -pretty and capable girls, there are five young men, two of whom appeared recently with 'Frisco in his offering. The name of this act is "Chien Toy." At least, that was the way it was pro* aonnced by the cast, and it is supposed to be taken from the plot of the revue, which is built about Howard, supposed to be a famous artist, with a studio in Paris. There the scene of action is laid. Howard is surrounded by a number of young artists and models. "Chien Toy" ia the name of a masterpiece which he has just completed. In the second scene, which should be the -first, for the preceding one meant nothing to the act, they suddenly dis- cover that the masterpiece has been stolen! Is Howard excited and does he get the least bit disturbed over the loss of what is supposed to be a life-work? No! He has been in vaudeville too long for such matters to bother him. On hearing that his masterpiece was stolen, he calls his chief assistant, Maurice Diamond, aside, and tells him to let everybody do as they please with the studio for the next hour, so that they won't worry over the loss. He also says that he will paint it over again. From this part of the act, until the finish, it consists of specialties. What happened to "Chien Toy" remains a mys- tery. It is really regretful that, with such a good start for an interesting plot, the writers of the offering got oat of their dilemma in such a small-time man- ner. However, even though the plot ends abruptly, the act furnishes good enter- tainment. To describe Maurice Dia- mond's dancing would be a waste of ■space and words. Every'one knows that be is practically in a class by himself and he outdoes himself in this act Then there is a pretty girl who dances by her- self and also with Diamond, who will soon be heard from in vaudeville. King, besides playing the piano for some of the bits, also offers his "hokum" falsetto ■"Carisaima" bit, which he did when with Harvey. The four young men do some •dance bits and also go through a " "Frisco Contest," in which all imitate *Frisco. The chorus also does its work'.well. Howard and Clark themselves are not to he omitted in mentioning specialties, for they are on stage very often in different numbers. In the last bit, Howard uses a Chinese for some comedy patter in which he talks Chinese (?). At any rate, even though we can't understand ■or speak the language, we give him credit for a very good accent. The act is wonderfully costumed and those worn in the last scene are breath- taking; The finish was very weak when reviewed, but' that can be remedied. AH in all, the act is one of that kind which will get over not because of the setting, the wardrobe, the act itself or the music, but simply because of the ex- cellent people who are appearing In it Howard always had the knacks of turn- ing out an act that entertains and has done bo again. G. J. H. | NEW ACTS AND REAPPEARANCES | DOROTHY SHOEMAKER CO. CHARLES HOWARD & CO. Theatre—Colonial. Style— Playlet. Time—Thirty minutes. Setting— Tough cafe, special. The theme of this act is by no means new, the method used to exploit it is equally as old, and so is most of the dialogue. While by no means a bad act, being well written and acted, the outcome is so obvious, the disguise of the char- acter so thin, that one cannot help see through them. Miss Shoemaker plays the part of an Italian cabaret singer, which gives her a chance to show that she- has a ainging voice. The plot is this. A certain Mr. Russell, a rounder, is trying very hard to steal another man's wife, the latter being of the go-easy type. In order to further his own ends, he brings her to the worst joint on the worst aide of a bad city. There she sees how crooks love and live. Their impulses quickened by what they see, they plan to run away. But it is not to be. "Speedy," a crook, finds that Tim, the bartender, has stolen his girl and kills-Mm. The butterfly wife ia then given a lecture to the effect that "When a man loves, he will do anything for the woman he loves, and a woman will - do the same for her man." The lesson takes root and she returns to her bos- band. But hush! This is all a plot. "Cat," the singer, is a detective of the Burns agency, the bartender has not been killed at all, at all. They are all in on it. They are all in on it. They had been hired by friend husband to get his wife back. All of which is nothing different from other acts of similar situations. But if a novel ending were devised, it would help it greatly. Why not have the jazz artist at the piano turn out to be friend husband, or something like that. Might the writer also suggest that Miss Shoemaker make several changes in the dialogue, with these changes in the act will take on an entirely different aspect. All the people in the playlet do their share very well and each strives to make the playlet a nit. S. K. WILBUR MACK & CO. Theatre— Alhambra. Style— Sketch. Time— Eighteen minutes. Setting— Full stage (special). With Miss Louise Holly, Robert Dore and Bert Ewing, who appeared with him in his former vehicle, for his supporting company, Wilbur Mack is offering what is supposed to be a new act, but which is practically the same as his old offer- ing, except for the fact that the lines have been changed to fit is with the change of scene that has been given the act. These changes are enough to war- rant a new act review, however. The scene is now laid on the porch of a country home, instead of in the in- terior hotel writing room set, formerly nsed. After some preliminary patter be- tween Ewing, as a butler, and Dore, as Mack's friend, a flirtation bit which was used in the writing room is again brought into play, but in a new way. There are also a few new situations In the offering and one or two new songs. Despite the fact that most of the act is familiar, it will please again simply because of the capable cast in it Miss Holly, besides being very pretty, reads her lines excellently and dances and sings pleasingly. Mack is the type of comedian that one likes, and Dore gives very good support. The act should find it easy going in any house. G. J. H. Theatre— Fifth Avenue. Style— Comedy Sketch. Time— Thirty minutes. Setting—Tico. Charles Howard, who formerly had the assistance of Tyler Brooke and an unbilled young lady, has changed the people in his act. He now has a tall, imposing looking girl and an even taller, lanky looking youngster. The contrast between Howard and the latter is such as to cause laughter in itself. The act consists of a lot of humor be- tween Howard and the others over the way times have changed since prohibi- tion. Howard has formed the habit of getting drunk on ice cream sodas, gum drops and loly pops, and his daughter seeks to correct the habit. The young man, a waiter, in Fagan's, introduces him to a new drink called near booze, and, judging from Howard's actions, it's got an awful kick. The young maid and man offered sev- eral specialties which were nicely re- ceived, bnt it is Howard'* carryings on that put the act over. The turn is a comedy scream from start to finish. S. K. WAHL AND COLEMAN Theatre— Proctor's 1254* St. Style— Singing and talking. Time— Fourteen minutes. Setting— In one. Miss Wahl formerly appeared over this same circuit and others with Billy Tracey, the song-writer. Her new part- ner, Coleman, is a tall young man who looks neat in a tuxedo. Coleman also possesses a pleasing personality which needs time to develop, and with time, he will also learn to use his voice and de- liver to better advantage. ». Miss Wahl is a seasoned performer. Besides playing the piano well, she sings. While her voice is by no means very good, the delivery of her number* will get her over. She also puts over some patter and gets a lot of laughs. Miss Wahl is what people would call a "heavy -woman," somewhat on the style of Sophie Tucker, but, despite her size and weight, she goes through some dance bits with Coleman very lightly. The act is pleasing and can soon make a bid for an early spot on a big-time bill. G. J. H. MOLUE FULLER * CO. Theatre— Harlem Opera House. Style—Playlet. Time— Seventeen minutes. Setting—Parlor There are five persons in tl_js playlet, inclusive of Miss Fuller. It has a quietly moving plot, which, however, is of sufficient interest to hold an audience, it revolving around a young married man who has written indiscreet letters to a chorus girl and has lived to rue the day, for she has followed him and his wife to California, Through the ingenuity of his Cousin Eleanor (Mollie Fuller), the vamp is outvamped, and the incriminating epistles recovered •without the young wife ever knowing about it, so that all live happily ever after. The playlet is well written, although too epigrammatical to be natural. A woman who could shoot out epigrams as fast as did Cousin Eleanor in her first scene, is only found on the other aide of the footlights. Such speed ia "stagey." But, not to be super-critical, the audience enjoyed the dialogue, and that's the proof of the pudding. H. J. G. MABEL SHERMAN *% CO. Theatre— Harlem Opera House. Style— Singing. Time—Fourteen minute*. Setting— In three. It was difficult to recognise Miss Sherman as the same girl who appeared recently in vaudeville as one of the team known as Sherman and Dtry, because, in her act with the latter she wore a riding habit and also combed her hair differ- ently. When dressed in an evening gown, she seems to be built almost ex- actly on the same lines aa Miss Juliet and also resembles her a bit in feature*. We cannot understand the reason for Miss Sherman's electing to do a single in vaudeville, for that la what her act is. The company consists of m pianist. Miss Sherman displayed sufficient ability in her act with TJtry to be able to do a standard big time two-act. Bat, as a single, she will never do for anything but the small and better class of small time houses. She offers a number of songs in a repertoire of popular and special num- bers, and also included a selection from "Madame Butterfly," which abe announces as an impression of Geraldine Ferrer. It is in this heavy type of song that she gives the best account of herself. In singing a popular number, her voice ia just ordinary. But, given, a Ugh key, she will surely bring applause. Her pianist readers fair assistance. But the average vaudeville audience will be very grateful if he would omit the Rachmaninoff Prelude. As to the act, as we said before, it will do nicely for anything but the big time. G. J. H. ARONCY BROTHERS Theatre— Audubon. Style— Aerial tron-jou) oorobaU. Time—Tea. minutes. Setting—/* three. Of late, it baa been a pleasure to note that most acrobatic and other acta of that style have cut out stalling and do their work with more pep. The Aroncy Brothers are not exceptions. One of the two does some iron-jaw work and, in moat of the stunts, la sup- ported by one foot, hanging from a rope in midair. Tied to a long brass pole is the usual iron-jaw contrivance. This member holds this pole with his teeth, by means of the contrivance, while his partner goes through a number of stunts. All this while, the one supporting the pole is suspended in midair and the stunts are being performed at least tea or more feet above ground. This and stunts as sensational com- pose the routine of the Aroncy Brothers. They can fit into any bUL O. J. H. JEAN SOTHERN Theatre— Alhambra. Style— Singing. Time— Fourteen minutes. Setting—One (special). Jean Sothern. the motion picture star, is back in vaudeville with a new vehicle which she calls "The Evolution of a Quaker GlrL" In this routine, abe teHa in song the story of how a demure Quaker girl, changed, first to a school- girl with a lot of life, then to a cynical girl who thinks she has seen life, and then to a girl who is working in a cabaret She finally closes with a dra- matic bit In which the girl repents of her folly and wants to go home. A different number is offered for each bit, and a different costume, the change being made in view of the audience, ia a boxed dressing room set in two. While some of the other vehicles which have been used by Miss Sothern were much better suited to her type, her personality and her delivery will get her over easily with this act. G. J. H.