New York Clipper (Feb 1923)

Record Details:

Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

Fdmiaiy 21. 1923 THE NEW YORK CLIPPER 9 COLONIAL Monday's matinee attendance was very big, for which Vincent Lopez was re- speosible. It will be even bigger after the '^outh-to-mouth" advertising of the show beans, for if ever a riot was scored in the fnU'incaning of the word, Lopez scored one on' Monday. Gordon and Rica were fairly pleasing in opiming the show, and cauld have gone much better if there wasn't so unich forced cotnedy on the part of Gordon. The pair are evidently anxious to htaik away, en- tirely, from the bicycle portion of their routine and have cut down on the amount of sttmts they formerly did, injecting more tallc and comedy into the act. Millard and Marlin did nicely until they went into their "Bowery" bit, and they did more than nicely, for this portion of the act brings out the best in them, and carries a real punch. In fact, in those characters they register so strongly, that it wouldn't he a bad idea to work up an act along the lines of that particular piece of' bnsiness. "The Show-Off," featuring Fred Sum- ner, was a laugh from start to finish. Once again George Kelly has scored with his satire on human nature and the vanity of man—not woman. 'The Show-OfF' is fully as good as his The Flattering Word" was, and that's sajring a great deal. The cast, consisting of Margaret O'Neill, Ber- tine Robison, and Cbrinne Cantwell, is ex- cellent Willie Solar has put on a hokum make- up, and misfit clothes, and in that outfit ahnost stopped the show cold. His trick cough and bits of business used in the de- livery of his songs were alt good for laughs. Gretta Ardine and Company have one of the best dance acts to be seen in "The French Model." Tyrell and Mack do some wonderful dance work, in the acro- batic and eccentric line, particularly one of the boys, who does some instep work that is marvelous. Miss Ardine is pretty, also shapely, and dances better than ever. Acrobatic dancing is her specialty and in this line she is in a class by herself. The act has been very well writen by Nel- villc Fleeson and Albert Von Tilzer, and excellently staged by Sammy Lee. It should carry a musical director, however, as the music and its many changes in tem- po are very tricky and the orchestra here blew up several times during the opening matinee. A director with the act would save a lot of trouble and annoyance. The second half was given a good start by Hampton and Blake, who offered a rou- tine of cross-fire, handled with great re- sults by the two. The lines are very clever, though some inclined to the "blue" order. Then came the best-liked orchestra in vaudeville, Vincent Lopez and his Hotel Pennsylvania boys. "Best-liked" is used advisedly, and if there ever was any doubt of it, it was cleared -away on Monday. The regular routine was offered, with the scenics for "Carolina Home," "Fate" and "The Natchez and Rob't E. Lee," Wolfe Gilbert himself doing the lyrics for the number olT-stage to tremendous results. It isn't any wonder that Lopez and his boys are as popular as they are, for in addition to the musical qualities, the show- manship, and the marvelous staging, there is the personality of Lopez, 4uiet, unassum- ing, and always likable. Even after at- tempting to beg off, they were compelled to take encores, and then Lopez had to beg off again before they could ^o. It was no dnch for Manno and Martin to hold the next spot, but they not only held it, but came l»ck for a speech of thanks. These two "wops" do one of the most oripfinal acts of Italian comedy. Their very attire is perfect of the peanut stand guy at home in Mulberry street on Sunday. Their offering is one laugh after another. Robbie Gordone closed the show and held them in nicdy with a very attractively presented posing offering . G. J. H. VAUDEVILLE REVIEWS PALACE The booking policy of the Palace now seems to be give 'em pJUniy of comedy and dancing, a flash act in each half, and easy on the money,' Segal and Carroll did not appear due to illness, and the man- agement palled a last minute surprise with Lew Clayton and Qiff Edwards. "Sodet/s Favorite Equestrians," James Dutton and Co., were a little nervous do- ing their first show of the week, at least Dutton plainly being ill at ease. The horses, attached to a carriage, and the trio doing various posing stunts result mostly in a pleasing picture for the eye. Some nifty soft shoe dancing was done in the second spot by Dan Stanley and Al Bimes, who opened with a song and fol- lowed widi an original version of Chinese inebriate steps, some straight soft shoe dancing and closing with a travesty on Ruth St. Denis' stuff. Both vrork smooth- ly and sell'their stejis with ease. More dancing followed in "Oklahoma," Bob Albright's act. Bob doing hb "Char- acteristic song cyde^" and then hringing on his two colored steppers for the finale. Albright has selected some good songs and is heard to advantage in all of them. As usual the dancing puts the act across strong, while the falsetto notes of Al- bright's also hit well. He scored strong- ly on the opening show. In "The Cake Eaters," by Tom Barry, Jean Adair gives a i>erformance that is really rare for vaudeville. Miss Adair is ' in the role of a mother, a little old- fashioned, who has her son bring her to an affair, her identity unknown, so that she may meet the girl her boy intends many* ing, on equal ground. She is assisted by two boys and a girl in the vdiicle which has several good laughs and many delight- ful bits of action. Vaudeville could stand many more acts of Ihis typ& Clayton and Edwards, in blackface, scored a decided hit at their initial ap- pearance here, reunited, after being sepa- rated for about two seasons. The act is practically the same as it was before with the exception of new gags and songs. The same comedy bits with the ukulele done by Edwards, and Oaytons' dancing are stiU the features of the act, which goes over better than ever. The first half was closed by Eva Shir- ley, and Oscar Adier's Orchestra, with Al RoA, dancer, in "Songs of the Moment from Syncopation to Grand Opera." "The offering takes on more polish as a vehide on the whole as time passes. Miss Shir- le/s voice apparently was hoarse Monday afternoon for she failed to sing as well as she is capable, nevertheless registered well. .^1 Roth did well as usual with his eccen- tric dancing and the orchestra, capable of holding a spot on its own, played accom- paniments as well as filled in the intervals. The final bit done by the orchestra as an encore is too much like the "Contest" done by the Lopez orchestra. A French daflydil. Emit Boreo, opened the second half, in songs and bits of com- edy of his own particular style. Billed as "Europe's Celebrated Singing Comedian," he did not miss the billing by much, and gathered numerous laughs.. Jos. E. Howard and Ethlyn Qark, in "Etching's From Life," with Tillis and La Rue, James J. Morton and others, is pre- senting one of the most pretentious and best productions of his vaudeville career, com- bining novelty bits of song, dance and music Al Lydell and Carleton Macy, in "Two Old Cronies," one a retired sea captain and the otiier a Civil War veteran, presoited two splendid characterizations. The Six Hassens, an Arabian whirlwind tumbling and acrobatic act dosed the show. M. H. S. RIVERSIDE The Monday matinee played to a slim audience. Although a rattling good bill, Fanny Brice, the faeadliner, had appeared here too recentiy to prove a "Draw/ Had the mob been let in on the kmrw that she had rearranged her routine and added sev- eral new mimbers the result may have been different Miss Brice has been snrroundcd with a coterie of clever vaudevillians who make up in entertaining'ability what they lack otherwise as magnetic features so far as attracting them to the box ofike is con- cerned. Rupert Ingalese, who has built a pro- duction around his juggling specialty, opened the show to a fair start He woria in "full," has a female pianist and two men working as lackeys and injecting a semblance of comedy into the offering. In- galese is deddedly clever in his line and does some clever juggling and balancing feats. The production idea elevates the of- fering to a sphere of dass. Markdl and Gay followed with (hdr familiar dancing spei^lty, which proved as "peppy" as ever as put over in the breaknedc speed this well mated duo work in from beginning to end. The dances are interspersed with a song or two that breaks into the routines, but it is really in the dancing, both individually and collec- tivdy, that they score with the audience. CUfton and De Rex, two female comics and dancers, also featured terpsichore in their endeavors', yet managed to sandwich in a heap of clever, clowning and songs that were material additions to their of- fering. The girls came in in antiquated balloon-sleeved c<>ats, sang and danced the sextette numher from "Floradora." Later they changed to snappy jazz costumes and "spread thdr stuff' to advantage. Yeoman and Lizzie were valuable sides to the "giggle department" in a novd of- fering by John H. Medbur^ called "The Editor of the Assassinated Press." Liz is the stenog, whose penchant for midnight supper clubs and breakfast matinees causes her to do her sleeping on the bosses' time. She slumbers through a de- liriously humorous monologue done by Yeoman, and at the finish rises to prepare for home, asking' if there is anything else she can do. Yeoman replies that she might get in earlier in the morning so that she could sleep longer. Marga Waldron, premiere dansense, ac- companied by George Halperin, dosed the first section with a delectable series of dance divertisemcnts, with Halperin utiliz- ing the waits to get over some fine musi- cal selections on the piano. Miss Waldron bowed on in a Spanish toe dance that set her pretty, followed with a tragedy dance and wound up with an eccentric toe dance. Miss Waldron displayed grace, agility and animation in all of her numbers and was perhaps at her best in the tragedy dance. Craig Campbell, the tenor, with Hector McCarthy at the piano, scored as usual with a diversified song repertoire in which he featured "Fagliacd" and two ballads which he said were compositions of his ac- companist. Oliver and Olp had an admirable vehide in "Wire Collect," by William Anthony McGuire. with a song interpolation by Arthur Behim. Fanny Brice, of course, was the hit of the bill with her sohg cycle. Most of the act remains the same as she has been do- ing earlier in the season with the excep- tion of am added Scotch number in which she injects a burlesque highland fling and a coster number, "My Bill.". They would not let her off until she obliged with "My Man." Bob Anderson and his educated polo pony closed the show. E. J. B. CENTRAL Except for the non-appearance of one of the programmed acts the show at tbe Central ran . smoothly this wed^ Jack and Kitty De Maoo, opoung the show, presiented a novdty act nitftled, "At The Gardea Party" whidi developed into a pleasing turn on the flying liaii. Herman and Briscoe on secant were rendermg, acGordmg to tbe uuhiuiv "Tropical Tones." We admit ttiat tbcj did some hot work but believe tbe word should have been "Topical." TUs pur work,- and work hard, and snooeed in getting^ puhUabed nnmhers over in a all their own. Th^ get the mott ont of every song and, buides thdr fine mode of ddivery, they . have good voice* aad harmonize WdL' "On The Platform" a do^^ Law- rence Rising originally pecfaHBK Avtbr Princess Theatre here oontainiaaHHEiWf situations ttbt finishes weait- tt;.Baav doiditful that a man wise cm ~ ~ the woman'l game would be as to allow her to pick his ^ clumsily as she did at the fiid^ Qt course the ^g line "Yon can't foof Yorker" will go much better out < than it did at the CentraL Tber i takes place on the observation of a sleeper between Rochester and Bnt falo. The man has flashed a roll at tfar ticket window and the gold-digger has grabbed a pasteboard to Chi on the diance of successful (prolpecting. She locks the door to the train, pulls all the old stuff and finally tries Ul caanromise him. by ringing the bell add *^iihij the condnctor she has been ittadted. He alibis himself with the nnd lsluib e d ash on his dgar, a fine touch. Htfry Corson Qarke and Gertrude Modgt handle the subtie dialogue in fine Ayle. Harold Gwirmi plays the conductor not too ooa- vincingly. Harry and Grace Ellsworth have tbeir singing and danring act. Miss EUaworth being particularly good in her TCcal rendi- tion of "Maggie Blues" during the oonrse of which she demonstrated tnat she has no mean vocal ability. EllswortVs fast dance drew a good baai and they finista with a fast double that gets over. Geori^ Price, billed to dose the first half, failed to appear. Cecil Lean and Cleo Masrfidd present a condensed version of ibar mniifil comedy "The Blushing Bride." Misa Mayfield was evidently suffering; from a bad cold, but back in the familiar role; with her familiar drawl, she had no trouble at all in tarrying off the honors of the afternoon, her gleaming husband aiding and abetting her m hb usual spon- taneous and expansive style. The plot of the play is involved and immateriaL Cedl Lean plays a race track follower who shakes his sweetie and falls for Miss Mayfield who b faking the part of a Quaker hat check girl. Clarke, as Christopher Pottinger, has been framed by his nephew and at the last moment tM check girl has to sub for the chorine who was to make it tough for Unde. Lean takes the part of CasarTa, the perfect alibi provided by the management, saves unkie frou an embarrassing situation, gets Gertrude Mudge, as the angry wife; Stewed and is invited down to her cwmtiy home. Lots of complications and a good many laughs all the way. Gertrude. Mudge gives a capital performance as a stew and Harry Cbfson Clarke does well by the cheating imde role. The girls are good-looking and well rehearsed. The only musical numbers that stand odt are "Goodbye" done by< Lean and Hayfidd: "Bad Littie Boys and Good Littie Giri^ done by the same pair with three dif- ferent versions each a little more danger- ous than the other; and "Rosy-Posy^ -wtSl done by Harry Ellsworth and cstaire Kaye^ as his fiancee. The tneoe is well set and adeqoatdy costumed tmt shows lade of rdiearsal, as lines were fremiently muffed. C. C.