The New York Clipper (January 1920)

January 21, 1920 THE NEW YORK CLIPPER 11 LILY LENA Theatre— Butkwick. Style— Singing comedienne. Tim*—Sev ente en minutes. Setting— One. Idly Leas,, the English comxWwww.- U - back with all her pleasing personality; coupled to which la a voice that by no means la the beat we have heard, and yet, withal, pleases. Also, ahe haa a nicely arranged cycle of special numbers. ' She opens with a number entitled "She,'. « wbia, banc, crash, slam. Cos- mopolitan Girl." This la followed by a character number called "We do it - much different in Lancashire." After a - wait of about thirty seconds la which time she changes costumes, donning a very nifty, aviator effect, she offered a number called "I could learn' to be a goody little boy, with a good little girl like yon." Her last number, which also carries with it a change of costume, la • number in which she tells what she and her aweetheart do in the different rooms of her- apartment, ■ As can easily be surmised, the audience expects a sug- gestive finiah, bnt it isn't there. Miss Lena should find the going very easy- here,, for ahe haa the mysterious something that audiences like and, with the addition of one or two up-to-date American comedy numbers, we shall not be surprised to Bee her become a big favorite. S. K. [new acts and reappearances EZUMA BROTHERS Theatre— Greenpoint. Style— Novelty. Time—Twelve minutes. Ssttinf—Four specie*. Before an elaborate drop representing a pagoda in old Nippon, over the door of which are draped small American and Japanese flags, these two boys offered a novelty acrobatic and perch act. They are dressed in blue with white slippers and red trimmings at neck, waist and wrists. They make a neat appearance. Their routine consists of some hand- balancing, a few tumbles and some perch work. The slighter of the two does the major portion of the work, the other being the understander. Their work is fast, well done and put.across without any stalling. Some of the stunts are sensational. One of them was on the top rung of an aluminum frame, wnere the top mounter balanced on the shoulder of the understander, and with one leg over the rung, and his arms clasped around that leg, spun around rapidly for about a minute. There were several others on the same style as this, each one of them coming in for individual applause. The act will make a dandy opener, anywhere. S. K. McMAHON AND CHAPPELLE Theatre— Athambra. Style— Talking. Time— Twelve minutes. Setting— In one (special). . One of the most difficult things to do in vaudeville is to offer a straight routine of talking without any song or dance relief, and get over well. And, with the routine contained in their ■' present Bet, McMahon and Chappelle will never do that. In fact, it is doubtful as to how long the act will last on a big time bill, even in a second spot, where it was reviewed at this house. , The pair use a drop showing the ex- terior of a railroad station. They are supposed to be show folk who have Just missed their train.- The talk brings in a number of gags on marriage and pro- hibition. Host of the gaga have been done to. death by. this time, while the others are only fair. The act will do for the small time only, bnt with a better line of talk, may fit in where it was reviewed,- for the pair can deliver their patter welL ~ o. jr. h. TIP TOP FOUR Theatre—Proctor's 284 Street Style— Quartet act. ' Time— Four t een minutes. Setting— One. This act was originally known aa "The Toot Sweet Quarter," and was taken out of "The Toot Sweet Revue." When reviewed several months ago, they. apt. pes red in uniform, two of them, as petty, officers of the Navy and two aa dough- boys. When they discarded the old name, they also left behind the uniform and now appear in civilian clothes. Somehow, the impression is gone The' act does not- appeal so much now as it did then. Perhaps it was the uniform, to-which the reviewer haa- always-been partial; perhaps it waa that.their voices were better. However, there are only two members of the'act that can really sing and they are the bass and the little black-haired tenor. Of the- two, the latter was the favorite; with the audience. The routine consists of a medley of numbers, popajp. .and operatic, with which they open; followed by a harmony number for which a popular ballad waa used. Then comes a solo by the bass and they close.with an Irish number in ' which the tenor carried the lead. This last was encored and so well did the audience like- the little fellow's singing that they wanted him back again. For an encore they nsed an old comedy number, almost extinct now. The big fellow should discard the ridiculous cos- tume he wears, as it makes him look foolish. Also, why not give the other good singer in the act a solo. With a. little toning down and the Improvement of the two men- who stand first and third from the stage right, the act will find the going easy. 3. K. "LAST NIGHT" Theatre— Alhamtra. Style— Musical comedy. Time— Twenty-eight minutes. Setting—Full siage (special). Lawrence Schwab is the producer of this act, which features two complete vaudeville acts. They are Cavanaugh and Tompkins and Clinton and Booney. Both teams, have already toured on the Keith circuit. Earl Oavanaugh is the featured comedian and Clinton and Booney are programmed with him. The rest of the cast, includes a chorus of four well-built girls' and a man known in the act aa Mr. Gates. The offering has a thin plot, contain- ing something about "Last Night" The scene is laid in a restaurant or cabaret which is owned by Cavanaugh and his wife. Everybody seems to be afraid of having some one else discover where they -were the evening before, or some such thing. It was difficult to grasp what it was all about. Bnt fat contrast to the thinness of the plot the lines are clever and, as handled by Cavanaugh, prove excellent laugh- getters. Clinton and Booney put over a few songs and dances and Julia Booney offers a single specialty in an imitation of her brother Tat. When reviewed, ahe stopped the show cold and was compelled to take two' encores. - 8he did three dif- ferent "dances, a la Pat in each number - and did them excellently. Mlaa Tompkins and "Mr. Gates" also sing well. The chorus dances nicely, shimmies wickedly and sings In the usual chorusy manner. . All In all, trie act is presented nicely, and the cast is capable. - G. J. H. NATTIE FERGUSON & CO. Theatre— Oreenpoint. Style— Playlet. Time—TMrty min ute *. - Setting— Pour. The' scene is set to represent the dining room, of a boarding house, with, the table set for one. Mrs. O'Penny- whacker runs the house of unpaid bills, assisted by' bee daughter. Their star boarder is ss artist, who, however, has no.Job and owes a large bill. The time for settlement baa come, says Mrs. O'Pennywhacker, and ebtTU have her money or out goes the boarder. The girl gives him some money with which to pay the bill, bnt he, being truly an artist and a gentleman, refuses it. Mrs. O'P. then enters and aces the money on the table. Naturally enough, ahe wants to know where it came from. Soon ahe gets the story. Her daughter had gone through an -old trunk and found a min- iature, which ahe had pawned for $25. Mrs. O'P is furious and wants to drive him out but he forces her to listen to him. He tells her that he received some money that morning as an advance on a Job he had in prospect Thirty dollars is the sum. But passing a pawnshop, he saw in the window a picture he Just had to have and so be bought it for thirty dollars. It is a picture of his mother. Mrs. O'P. takes the picture to look it over and finds it is the stolen one. that of her dead slater. One needs go no further. Only too happy at having found her nephew, all is forgotten and forgiven. The artist gets the Job and the girl he wanted, and everybody Uvea happily ever after. Allan Dinehart is responsible for this playlet in which comedy predominates, with just a touch of pathos to make it really human. Mies Ferguson is capital as Mrs. O'Pennywhacker and her char- acter is made into a somewhat cranky but lovable old Irishwoman. The daughter's role is nicely handled. But the artist has a stoop in his shoulders and a listless tone in his voice that should be eliminated. Otherwise, O. K. S. K. THREE DONALDS Theatre— Keenest. Style— Danciny. Time— Fourteen minutes. Setting— Full stage, hare. The Three Donalds have a «i*wMng act that should shortly move into the better houses. The main feature is the dancing of the male member, who has uncovered a few new bock steps and some specialty steps worth watching. The opening is ordinary— flirtation song, followed by a trio dance. Then comes a nymph dance by the two girls. This is a rather pretty number,' well done. The man follows this with his specialty, which is the big'thing in the act. They close with a number in which the girls, dressed in costumes that look like modern bathing suits, combined with Egyptian effects, showed some kick- ing and trick steps to advantage, being Joined by the man, who uncovered a few more steps that brought forth unstinted applause. The turn should find little difficulty in getting alone for, although following the routine adhered to by most dancing acta, the people in it especially the man, showed ability that should place him far ahead. The girls look very pretty, wear their, eoaturnea and dance weO. 8, K. ZOMAH Theatre— Butkteick. Style— M M reading. Tims— Twenty-five sswWs sss Setting— Four, spsois l . Zomah is a woman, tall, well built and with rather pallid features, offset by s mass-of Jet black hair. Her general ax*, pearance is in keeping with the style of the act ahe p res en ts, namely, a deta- onstration of nay chic powers. Unlike most mind reading acta, the man who works with Zomah doea not ask -her a question throughout tha> en- tire performance. Also, he watte all through the house, starting tress the. gallery. Now, instead ot the ssaa say- ing. -What have I here," eta, ft to Zomah wha does the.talking, by Bay- ing "Ton have Jut'taken in your hand," and then mentioning the article tad describing It in any way the owner may wish. The people.in the audience are allowed to put questions to Zomah per- sonally. Not content with the answering of. questions, description of articles and the like, Zomah continues further and offers something that haa-not been ssen in any other mind reading act the writer haa ever viewed. The man takes a pack of cards, calls two men out of the audi* ence, asks them to shuffle the' pea t s boards and deals two hands of -Sevan Up." Zomah then tells how many tricks each player has and who- will win the game. She also plays the hands for both, telling them what cards they will play. When reviewed, this act not only amused the audience, but amased and mystified it It is an act that will do likewise wherever shown. The writer haa seen many mind reading acta, bnt this one outdoes them all. 8. K. JEWEL AND RAYMOND Theatre— Audubon. Stylo—Singing and dancing. Time— Fourteen minute*. Setting— In OS« (special). Until the end of the set the audience is led to believe that the members in it are really a mixed pair, the boy being, apparently, fourteen years old, with his hair cut In pompadour style. However, bis partner, who looks as though ahe is also in her early 'teens, announces that "he is a ahe" and "his" name is Gladys. The girls use a routine of songs and dances, the latter being very good. The one who takes the part of a young boy doea very well except for the fact that she gives the impression that the boy la of the "poor-Uttle-rich-boy" type. Other- wise, the deception works well. This same girl doea a very good eccentric dance in one part of the act The other • -little miss also dances well and delivers a few "kid" songs to good advantage. All in all, the turn pleases and should find no difficulty in getting over. O. J. H. EMERSON AND LYLE Theatre— Keeney't. Style— Comedy. Time— Twenty minute*. Setting—One *p octal. Lew Pistel, formerly of Pistel and Cashing, has taken unto Mssffiaf a new partner, who in height build and ap- pearance closely resembles Ms former partner. There Is only one difference: the new partner haa the ability to keep a straight face, no matter what Pistel may any. Disguised as Emerson and Lyle, they are breaking in their vehicle. With a drop that looks brand new, a new wheelbarrow and a few new gags, the turn in its present state Is very good. - -Pistel is aa funny aa ever and his partner helps him along nicely. The act should resume where the old one left off for the present .condition it is in.makes it even more desirable than it ever waa. Cat