New York Clipper (Mar 1923)

March 14, 1923 THE NEW YORK CLIPPER 9 PALACE It would seem at first that the booker of the house has a tendency to juggle names, but two last minute cancellations, that of Segal and Carroll, and the Fair- banks Twins, whose new offering isn't quite ready, made the changes necessary, and little delays that occurred at the Mon- day afternoon show. Although but eight acts went on as scheduled, with a new Chaplin film augmeming liie vaudeville, the show ran almost an hour late, the pic- ture going on at 5:15, which means that the film will probably be taken off the bill. Van Cello and Mary, opened with ex- cellent wrisley work, the man doing the Juggling while the girl made herself use- ful in other ways. The act has a little more class than the average one of its kind. The pleasing musical outfit, J. RCsamond Johnson and His Inimitable Five, played a. variety of syncopated selections, in ad- dition to a few specialties done by different members of the cast Johnson sells his stuff for every mite that it is w6rth and the polite style affected helps the act at the "better houses. The comedy of the drummer and pianist toward the close of the act got over very good. Franker Wood and Bunee Wyde, assisted by Francois L'Eslie and George Le Voy in "All Right Eddie" a "disconnected travesty," appeared in place of the Fair- banks Twins, doing their well known com- edy bits in four scenes. "Eddy," filling in the intervals gathered his usual quota of laughs. An act that is playing New York to the limit. Miss Venita Gould in "Impres- sions," is evidently doing its utmost to wear out welcome. Miss Gould's rou- tine is familiar to most patrons of vaude- ville, the only bit comparatively new being the Gilda Gray impressioa Although a little overdone, the Lenore Ulrich im- personation is one of the best things Miss Gould has in her repertoire, and goes equally well with those of the audience who have or haven't seen "Kiki." The first half was closed by Adelaide and Hughes, in "Dance Creations," but not before a wait during which Benny Roberts, musical director played several oicores of "You've Got to See Mamma Every Night," by way of filling in the interval. The dance team did very well, despite not being ready, and truly presented "dance creations." All of theu- dances are char- acterized by a poetic rhythm of motion attained by few dancers in vaudeville. Ade- laide appeared more cute than ever and Joseph Michael Daly at the piano acquitted himself in fair style. Frank Dixon in "Lonesome Manor," opened the second half, assisted by an un- billed newsy and girl. The scene is the out-of-town newspaper stand at the north end of the Times building, and while the material by_ Paul Gerard Smith is at times obvious, Dixon does it admirablejustice, which results in many laughs. The girl from Kokomo meets a fellow from the home town, etc., neither one is flush with kale, which gives it a human interest touch, and so allows for the happy ending romance at the finish. Blossom Secley, with Benny Kelds and Company, came on in place of Vivienne Segal^ and Harry Carroll, doing their act that IS composed mostly of singing. Be- beve it or not, Miss "Seeley's vehicle was the sixth successive act in which singing was done, and in most cases it was inci- dental and done by poor singers. Miss Seeley's offering therefore did not appeal too strongly and was more or less monoto- nous. A bright spot or two was supplied by Fields and toward the close of the act, a bit of variety was added and brought the much needed relief. Frank Tinney, assisted by Edna Daven- port (in i>rivate life Mrs. Tinney), clos«l the show in a comedy offering taken from a musical comedy which scored all the way. See "New Acts." M. H. S. VAUDEVILLE REVIEWS RIVERSIDE Blanche Sherwood and Brother opened the show with a lively routine of aerial stunts that blended thrills with artistry. They showed several new stunts in this line and easily got over as one of the fastest acrobatic offerings that has ap- peared on the Riverside stage thus far this season. Polly and Oz did nicely in second spot with their songs and witticisms. Polly handles most of the numbers, with her partner carrying the accompaniment on the piano and dueting with her in a couple of the songs. Polly opens with a lively comedy song, "When She Walks She Shakes," which plants her pretty and then both go into a comic duet, "But We Love Each Other." Oz follows with an original pianologue in which he takes a satirical fling at the vaudeville pianist and winds it up with Sousa's "Stars and Stripes." Polly returns for another comedy song and botii go into a comic duet for a finish. The Eight Blue Demons, a troupe of whirling Arabians, sustained the lively pace in a series of whirlwind gymnastics that included tumbling, balancmg and other athletic feats. The troupe is one of the best that has-been seen here thus far and offer everything that is anything in their particular line of endeavor. Harry and Emma Sharrock combined mystery with comedy in their novel offer- ing, "Behind the Grand Stand." Emma essays the role of a mind reader such as is_ usually found with touring carnivals, ' with Harry working as the spieler and managing to get in some good comedy stuff. After indulging in comedy stuff of an argu- menbtivc nature, Emma goes into her mind reading stunt, which proves as great a mystifier as ever. Miss Juliet, comedienne and mimic, of-; fered a whole show in herself. Opening with her "Hats" song, she followed with her mirth provoking impression of a shop- girl at the matinee and followed with her series of impressions of footliglit favorites which embraced impressions of Lenore Ulric. George M. Cohan. Pat Rooney. Balief, Belle Baker and others. All were put over in her inimitable style and with faithful reproduction of voice and man- nerisms. Sybil Vane, the Welsh prima donna, started the second section going with a well-chosen song repertoire that featured popular numbers and earned her a decided nit at the end of the offering. "Come Along" proved a capital opening number. It was followed by "You Know Yon Be- long to Somebody Else." "Madam Butter- fly" and "My Buddy" rounded out her offering. Leon Domquc acted as Miss Vane's accompanist and demonstrated in a solo that he is an accomplished pianist Dorothea Sadlter and Company were the usual comedy treat in William De Mille's satire "In 1999," which reverses the situation by having women rule in- stead of men. A triangle is utilized to ad- vantage with the vamp as the villainess who would lure the neglected young hus- band away from the family hearth and neglectful wife, who prefers her clubs to his society. Like all good things the Duncan Sisters came last. The girls were never in bet- ter mettle, looked charming and sang their song^ in the same pleasant manner which was responsible for elevating them from the sphere of harmony singers to the stellar heights they now enjoy. They of- fered some of the songs that led to fhdr discovery as musical comedy possibilities and countered with six or seven others. The Ohaplin picture, "The Pilgrim." held them in closing spot and looked like another screen success for the comic. E. J. B. COLONIAL This is "C C C Week" here, meaning Colonial Comedy Carnival. The show lives up to the billing in the full sense of it, and credit is to be given to Johnny Collins not only for a good comedy show, but for a layout of entertainment which contained the most important thing for a successful show, and that was speed from start to finish. Monday afternoon's rain didn't keep any away from the theatre, for it was a record matinee for the house, with stand- ing room only upstairs and very few vacant seats below. A snapp>- start to the proceedings was given by Laura and Billy Dreycr with their dance routines. Billy Dreyer's solo of cuts is in a class by itself, and he does some very good tap work. Laura is at- tractive and registers with some solo danc- ing of her own. McFarlan and Palace offered a new routine of songs, having been seen here be- fore this season, and the new routine -proved to be even more effective than their former repertoire, which went over strongly. The boys are doing_ more comedy numbers now. singing with powerftil voices. The recitation is offered with a new number. Franklyn Ardell, assbted by an unbilled young lady, worked fast, but didn't let anything get by him in the way of laughs, which come rapidly and heartily. He is doing the "Wife-Saver" act which he did a few seasons back, and has added some new lines which get very big laughs. Will Mahoney stopped the show with his "nut" comedy. 'This chap is an artist among downs, and incidentally a wonder- ful dancer. It seems to us that he formerly did more than his present routine offers. The ventriioquial, Russian, and "Manunjr" bits are comedy classics. Natzy's Biltmore Sodety Orchestra, di- rected by Jacques Green, and featuring Willie Creeger, the drummer-comedian, is' one htudrcd per cent improvement over the act which we saw when this orchestra originally opened in vaudeville about a month or two back. Their repertoire is different, and the arrangements are better. Green does a violin solo, while Willie Creeger's comedy proved to be funny. A xylophone player has also been added to the act since we saw it last In closing the first half they were compdled to render several encores. Will Mahoney clowned in thdr last bit, doing-a dance while they played "Wet Yo' Thun*." Walter and Emily Walters have secured a drop of their own for thdr ventriioquial offering which went over for a riot Some new gags and also old ones, some very old ones, are noticeable in the rontine now. The "baby's cry" bit is still in, and is one of the big punches of the act The sug- gestive "Do you know any more jokes?" gag is also retained in the act. and gets a big laugh. But we wouldn't take any credit for getting laughs with smut Ida May Chadwick and her Dad were booked into the show in place of Lillian Shaw, who dropped out because of illness. The act is weak on comedy, but always strong on dancing. Some good talk ma- terial would help the act a great deaL Victor Moore and Emma Littlefield and Company were the closing act with thdr comedy classic bare-stage offering. Dad Chadwick appeared in a bit with Moore, telling the gag about the stolen gate. Charles Chaplin's latest feature, "The Pilgrim," completed the programme. G. J. H. Andy Byrnes, last with Irene Frank- lin, is back again in a Keith orchestra pit, after an absence of two years, and is now directing the orchestra in Keith's Palace Theatre, Cleveland. CENTRAL Haashe and Osd oi>ened with an acro- batic turn. They are a man and woman of the Japanese race and do the nsnal Oriental balancing and tumbling, the only novelty being the tumbling race at the Tinish. For some reason or other the nan finds it necessary to talk, which is im- fortunate. He should me signs. Following this slow opening Hattie .Althoff and her sister, seen twice before at this house, did thdr best to wake them up. and succeeded remarkably wdl. Miss .Mthoff does best with her colored bers which is strange as she has a sweet personality and could snig a sweet type of song, or a Spanish or rrench character song_ to fine advantage. Her olive com- plexion and flashing eyes, combined irith her exquisite taste in costumes do madi to put the act over, besides whicfi she fed* syncopation and gets it over naturally. Frands Renault in a soprano voice of unusual range for a female ii]qienonati>r, goes through his act and woria hanl all the wajr. Unfortnnately the spot-Ii^Iit man was enjoying a holiday of some kmd and, starting in with this act did what lie oonM to ball tip every act diat followed. The only acts that escaped were those that didn't use a spotlight Renault, kft in the dark at one time, pretty nearlyecpkided. crying "stupid foor' audibly. This tUdn't make it any easier for him. His t tMumn are of the "gorgeous" variety affected by most female impersonators, a type of gown seldom worn by women. Renault's best asset is his voice, whidi he knows how to use, and does use to good advantages Buddy Doyle, another repeat at this house, did better than during his last ap- pearance. He sings a routine of publided numbers and tries to tdl a couple of gagi. ■ the Klein Brothers attracting a good deal of attention by laughing right out loud as if they had never heard anything so {unoy before^ Doyle is best in his tmilaliaas, which he put over, to-day. In fine style to a good hand. It really is wonderful how all the acts on the Shubert time appreciate each odicr. The Klein Brothers in the audience atmost Started a riot, they langfaed so load at Moran and Wiser. In fact the bigger one threw bade his head and bayea so long and vigorously that we were goins to throw him a fiu or a lemon drop or something. Moran and Wiser are a good act even without the Kleins. Trn^ a comic in the aisle is worth two on the stage but the act belongs to Moran and Wise, and if they are getting paid for it, note the if, they should do it themsdves. After tlie intermission Libby and Spar- row went into their dancing act a good act and well done, espedally the «fanrTng of Libby in his impersonanons and the D^g Swan of Miss Sparrow. The "Oh So Helpful Klein Brothers'* could not. deKIein the chance to show themselves to a waiting world and acted as seooods in the fast fight bit that ends the act The audience applauded vodferoosly, but not the Kldns. Making a quick run the Klein (COt hade to their seats just in time to mtermpt Anna Chandler's act with their brotherly appreciation. Miss Chandler has a good act and knows how to sing. She shonM use the Kleins, whom we believe we have mentioned once before in this review, to interpret her Jewish for her. She goes over great with the accent and doesn't do so bad without it For fear no one knew who they were the dear little Kleins modestly butted into Kramer and Boyle's act and had thnr names announced from the stage. It must be great to be headliners and have your name called out Kramer and Boyle are using thdr same act and it goes as well as ever. Kramer started to pull his gags with one of those Kleins until Boyle gave him the office. Funny tiling. Jim Barton was in the house and didn't say a word. We wonder how much more the Kleins are worth as a drawing card than Barton? C C