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16 VARIETY NEW ACTS NEXT WEEK Initial Presentation, lint Appearance or Reappearance in or Around New New York. ( NEW AGTS OP THE WEEK j Ryan and Richfield (New Act), Colonial. Taylor and Burton, Colonial. Harry Tighe and Co. (New Act), Fifth Avenue. "Models of the Jardin de Paris," Fifth Avenue. Kendal Watson and Co., Fifth Avenue. Mills and Flynn, Plaza. Rembrandt, American. Emma Krause and her "Dutch Picks," American. Harold and Wood, Hammerstcin's. Tom Smith, Hammerstein's. Malia and Bart, Hammerstein's. Scott i>ros., Fulton. Ida Rene. 14 Mins. Songs. American. When Ifla Rene first appeared in Amer- ican vaudeville at the Colonial during December, 1905, the English girl delivered recitative songs, now in that particular line at the time. With New York at pres- ent more familiar with the work she was identified with previously, Miss Rene might have returned with similar num- bers to an advantage. Instead at the American on Monday, for her New York reappearance, Miss Rene went altogether altogether out of that course, taking up "music hall" songs, singing three "popular" selections, changing costume for each and dancing. *1 Love Hunting," "Marjorie May" and a Scotch number were the contribution, a delightful dance accompanying the latter, while Miss Rene was very prettily cos- tumed in the native dress. A pink gown in her opening song gave her a winsome look. Though the songs appealed to those who had not seen her previously, they seemed misplaced with a girl capable of a great deal more and were not over lively in lyrics or melodies Monday even- ing the exertion of the Highland dance dis- tressed Miss Rene sufficiently to cause an abrupt break in the only semi-recitation offered, "The Rook," Miss Rene leaving the stage after the first verse. The au- dience loudly applauded to inspire con- fidence and a return, but she would not come back. As a singer of music hall songs, Miss Rene is a mild success; per- haps with a "rousing" number she would do as well as anyone fortunate enough to secure a "good song." This English singer handles a song nicely and natu- rally. But Miss Rene should try just once or twice anyway a repertoire of former straight and severe numbers. A position in the first half of the program might have helped the artiste. Rime. Youna. Juggler. i5 Mins.; Full Stage. Hammerstein's. Clever juggling, balancing and object spinning after the manner of Japanese acts, the dressing and stage setting being arranged to match the idea. Youna is assisted by a rather pretty girl, neatly dressed and adding attractiveness to the act. There is a routine of tricks ordinarily introduced, but cleverly and entertainingly do,1P - ' Walt. Albert Chevalier. Character Songs. 38 Mins.; Two. Colonial. It is some years since Albert Chevalier, the English character singer, has been on this side. Upon his opening at the Colonial, Mlonday evening, the audience gave every evidence that the American public has a lasting regard for him. After four songs, and the announcement-card stand had been removed from the stage, they called for "Old Dutch." After that they insisted upon another encore. Chev- alier has several new songs, the best being "The Workhouse Man," in which he tells the touching story of an aged pauper separated from his wife by the rules of the poorhouse. He opened with, "A Fallen Star," sung over here not long since by Ralph Herz. "I've Got 'Er 'At," is a comic in the Cockney dialect. "Wot vor De'er Love Oi," brings the singer for- ward in the role of a loutish Yorkshire farmer, a character which, with its ac- companying dialect, is most unfamiliar to Americans. Chevalier is the same finished artist. His characters are made convinc- ing without trickery or the slightest touch of exaggeration. Rush. Harry Leybourne. Pianolog Comedian. 18 Mins.; Full Stage (Close in One). Colonial. Mr. Leybourne first appears in frock coat and light trousers in the conven- tional street dress and sings several songs, either accompanying himself on the piano or with the aid of the orchestra. The surprise of the act is his quick change into woman's garb near the finish. The transformation is made in a twinkling and is followed by a burlesque female impersonation. There is plenty of laugh- able material in both parts of the turn, and the Colonial audience endorsed it Mon- day evening when it played "No. 2" on • big bill. Rush. Withington Zouaves. Drilling and Wall Scaling. 14 Mins.; Full Stage. Plaza. The Withington Zouaves do not differ materially from the many similar acts. The principal feature of the Zouaves acts is the speed and dash in the drilling. The Withingtons have these necessary requis- ites. The act opens in the soft light with a quartet, of the barber shop variety, tearing off one of those moonlight things. From this it quickly goes into drilling, showing with the old formations several new and pretty movements. The bayo- net exercises arc not given much atten- tion and this is a mistake for they form a strong feature and add needed variety. A bit of pyramid building rather poorly donc ; follows the drilling. This gives way to the wall-scaling finish, fairly well ac- complished. Sixteen men besides the cap- tain, a lieutenant and a bugler are car- ried. The captain does not use a whistle for commands, giving them in peculiar non-understandable terms. That is an im- provement on the whistle. It excites spec- ulation. In the middle of the bill at the Plaza the act did fairly, which in any other house would equal good. Da*h. "The Tempest" (Melodramatic). 13 Mins.; Full Stage (Special Set). Columbia. The program states "Paul Liebler pre- sents 'The Tempest'" without listing the three people (two men and a woman). The presenter has aimed to give vaudeville something spectacular as well as some- thing dramatic. In the former he has suc- ceeded fairly well. The scene is laid in the living room of a lighthouse, shown through a screen. The light atop the tower is also seen. Part of the action takes place there. About the lighthouse a rather good storm effect is shown. This uses up the values of the offering. The story is too gruesome to be considered for vaudeville and after a short thrill at the opening is not convincing. The light- house keeper has been married but a month. On a particularly stormy night he discovers that the electric wires of the light have been cut and the oil tank tapped. There remains but enough oil to keep the light burning for two hours. Al- lowing the lamp to go out would endanger an incoming liner. The couple decide that the husband must go ashore for oil. Upon the man's leaving a horribly distorted face appears at the window. This is the thrill. The man, a half-crazy hunchback, enters and declares his love for the young wife, telling her he has come to take her away. Resisting he binds her hands, and goes up on the tower to put out the light. The woman by placing the cords over a candle burns herself free. She follows the idiot up to the tower and attempts to fight him off. The husband appears at this juncture hurling the hunchback into the sea. The sketch was exceedingly well played but it is not a cheerful bit of work and savors too much of the melodramatic to be taken seriously. "The Tempest" may play vaudeville but it will not be liked. In any event it should not close a show as it is doing this week, sending the audience away with the horrors. On the other hand if placed in the heart of a bill it would probably kill everything that fol- lowed. Path. Spissel Bros, and Co. "The Continental Waiter" (Comedy Acro- batic). 11 Mins.; Full Stage (Palace). Fifth Avenue. The act was formerly called Spissel Bros, and Mack. The frame-up of the new material does not depart widely from the old routine. The break-neck speed of knockabout and startling falls are main- tained. The stage shows a restaurant scene. A handsomely dressed vounir woman enters accompanied by a. German. Trick work with a hatrack follows. A "drunk" takes his place at an adjoining table and becomes involved in more funnv acrobatic nonsense with the waiter. The service of a meal to the Ccrnmn and girl works up to a general roughhouse, the waiter being the mainstav of the corned v. The young woman disappears in the midst of this and does not reappear. The drunk returns as the straight acrobat, doing a good line of ground tumbling, while the comedians keep laughter running with their amazing comedy falls and clowning. The number closed the show at the Fifth Avenue and scored a hit. Ru*h. Four Koners Bros. Hoop Rolling and Diabolo. 13 Mins.; Full Stage. Colonial. This is one of the best novel lie* a Ion* tne lines of hoop rolling and "dinholu" manipulation that has shown in a long time. The four boys wear knickcrbock?rs. white shirts and close-fitting waistcoats, all the costumes being uniform in, detail. They open with a strikingly swift routine of hoop juggling, made to seem spectacu- lar by the scheme of having all the men employed together as much as possible. One new trick noticeable is that of settL" up a small garden fence and thrnwv) "boomerang" twists through the gate from the opposite side of the stage. Half a dozen novel combinations are to be seen. About the middle of the act the bows change to "diabolo" throwing, having an unusually complicated series of throws and catches. For the finish they emploj four illuminated "diabolo" tops, the colors of which change like those in the illumin- ated torches used by jugglers. On the darkened stage the flying tops make a beautiful period to a capital act. Ruxh. Leonard and Ward. Songs and Talk. 18 Mins.; One. Columbia. Leonard and Ward have gotten away from the parody singing and talking Hebrew impersonation thing. The pair work as father and son. Both men do very well with the Hebrew char iter, reaching close to recognizable types. The talk is the weak portion. It is not old or gaggy, but it is not fast enough, leading into a bit of pathos and "real acting" that no impersonator, Irish, Italian, Hebrew or Swede has been able to resist since Dave War field made good in legit. Pathos in a comedy act is all right if it lasts just thirty seconds and is the means of secur- ing a big laugh. The men wisely stick to the characters throughout, even in the singing. There is, however, only one song, each sings a verse to the other. The voices are too good to be locked up and with the present material singing should be the feature. The act did verv well at the Columbia. It should improve with working. Dush. Ward and Curran. "Familiar Characters" (Comedy Talk and Songs). 29 Mins.; Two (Special Street Drop). Fifth Avenue. The change in stage setting from the full stage to the narrow confines of ■"two" and the special drop are the main poirK|r of difference between Ward and CurraivB new vehicle and their venerable "Terrible Judge.'' The material consists of patter, a great deal of i f carried over from the former sketch, and two or three songs, t una 11 making only one character change, from the "straight" to an Italian opera singer. As the straight he sings a ballad in his sweet tenor voice and later a comic number about Caruso. For the finale 'Pop" Ward gets into the singing » ec with his curious harmony and this makes a good applause finish. At other times ho is th« laughable comedian as of old, ab though some of the humor is rough to say the least. A burlesque female impersona- tion by "Pop" was the broadest soil of comedy but it got big laughs. Rush.