The New York Clipper (October 1916)

October 7, 1916 THE NEW YORK CLIPPER NEW ACTS DONLIN AND McHALE Theatre— Proctor 1 a Fifth Avenue. Style— Talk and tonga. Time— Twelve minute* in one. Persons— Two men. Wardrobe— Evening clothes. Construction— Well arranged. Action— Smooth. Comedy— Just enough. Estimated Value— Big time act. Remarks—Mike Donlin and Marty McHale have revamped their former vaude- ville offering, using a bright line of con- versation which is properly arranged, and a well chosen selection of numbers. While the orchestra plays insinuatingly "Take Me Out to the Ball Game" a short reel shows the ex-blg leaguers on the diamond, paving the way for an easy entrance. A double version of Tacki Hula Hicka Dula is exceedingly well rendered by the two and the baseball talk following this number brought a quick response in laughs. Donlin and McHale must be commended for the in- telligent and clever manner in which they handle their dialog, both displaying much ease of manner. McHale's sweet tenor voice is immensely pleasing in a ballad number and he would do well to replace his present song with a melody like "Ire- land Mnst Be Heaven." The "punch" finish with McHale singing the straight version and Mike palling the comedy verse brought them a well earned hit. Both of the boys look perfect in their evening clothes and to their credit it must be said they need not depend upon big league reputations to get them by in vaudeville. JOSEPHINE VICTOR Theatre—Paface. Style— Dramatic sketch. Time— Twenty minutes. Setting—Special. Value— Miss Victor's name. Miss Victor is the best thing about this act and if the author had done as much for her as she does for him, it would probably have been much bet- ter. The action opens in the room of a dope fiend who is part of a crooked gang of which a girl is also a member and for whose affections the drug habitue and a safe cracker are con- testing. She is absent when the cur- tain rises, but enters shortly after- ward and tells of having been saved from arrest by a man who had told her he, too, was a crook. She praises his gallantry and shortly afterward he enters. Carrying considerable money with him, the dope fiend and safe cracker try to trim, but are defeated by the girl. It finally turns out that the stranger is a detective, and instead of arresting the girl, takes her away to his sister's home with the intention of marrying her. Miss Victor, as the girl, was splendid, portraying the part with feeling and intensity. But the plot of the piece is obvious, mechanical and slow and but little suspence is maintained. What- ever there was good about it pertained to the ability of Miss Victor and her company. But it is doubtful if this, even is able to overcome the draw- backs of the sketch itself. HENRY LEWIS Thea tr e Palace. Style— Songs, dances, talk. Time— About thirty minutes. Setting— Special. Value— A good feature. This act ran away with the Palace bill and deserved all it got, of applause. The curtain, rising, shows the gates of Heaven with St. Peter standing guard and watching for actors. He tells of how vain they are and finally announces that Henry Lewis, a Thes- pian is approaching and that he must show what he can do before being ad- mitted. The curtain then descends and Lewis enters.before the stage drop and pro- ceeds to show what he can do, which he succeeds in convincing one, is con- siderable. To a personality that is naturally funny, he adds patter, songs and dances that are more so, inter- spersed with quips and jokes that are original and new. He also introduces an Italian singer of operatic airs whose voice is of remarkably good quality and adds much to the act. The audience at the Palace received the offering with marked cordiality and assured Lewis that he is an en- tertainer of high rank. HAT .I.F.N AND HUNTER Theatre— Proctor's Fifth Avenue. Style— Violin playing and talk. Time— Fifteen minute*. Setting— House drop in (too. Value— Possibility for big time. The combination of a lady violinist and a "nut" comic is not happy, ac- cording to all the precepts of vaude- ville, but Hallen and Hunter doing this same identical thing succeed in regis- tering .effectively at the Fifth Avenue this week, so why cavil t The man's style of work and delivery parallels that of the usual comic of this type. His gags, while in some instances a tri- fle time worn, are handled effectively and drew many laughs Monday after- noon. The woman has little to do playing the violin pleasingly. Her partner's song entitled "Cut It Out" should have that very thing done to it, as he jb capable of better material. The "kind applause" thing at the finish with the usual "Yankee Doodle Lyrics," while it brings them back to several bows, could be eliminated to advant- age. The turn shows excellent possibili- ties for the better time. FARREL-J AMES CO. Theatre—American Roof. Style— Going Home. A dramatic sketch. Time— Tv>enty-ttoo minutes. Setting—Reception room. House set. Value— Good attraction for small time. The actor playing the old father in "Going Home," presumably Stanley James, is a -finished performer. His splendid work retrieves to a great ex- tent a rather weakly constructed dra- matic episode. His daughter, played by Vessie Farrell, leaves her small town, and once in the city, her feet stray into paths not so straight. The guileless old father decides to hunt her up and after managing to deceive him for a time as to the life she is leading, the truth comes. The old man is heart-broken, bnt prevails upon his daughter to go home with him and sin no more. Several little bits of comedy relief are delightfully interpolated by James. The sketch is mildly pleas- ing, bnt as it stands, is far too weak for the bigger houses. The woman playing a minor rOle performs acceptably and no fault can be found with the cast or its work. The fault lies with the vehicle. The players should endeavor to strengthen the present sketch, or replace it with one suitable for their really excellent acting abilities. NORA WHITES has joined the east of "The Girl from BrariL" ness. His partner's fast work, confined to a straight routine, is out of the ordinary. An excellent double dance with a unique finish scored heavily for them. This turn is capable of starting roost any Bhow on the big time. They are comers. CLEO GASCOIGNE Theatre— Proctor's Fifth Avenue. Style— Singing exclusively. Time— Eleven minute*. Setting— Houie drop in one. Value— Acceptable for present time. Cleo Gascoigne appearing in No. 2 position at the Fifth Avenue on Mon- day afternoon showa nothing startling in her single singing offering. The act is nicely put gogether and the changes which she makes are' dexter- ously accomplished through the me- dium of a dark stage between the numbers. Opening in Italian male character, she makes two changes. The second gown is not becoming and should be changed. Her voice is pleas- ing but a trifle weak. The selection of almost entirely all operatic melodies ia open to question. A popular ballad would help to vary the routine. With plenty of playing and a little more comfidence Miss Gascoinge should do acceptably for the present time. The use of a velvet drop would add class to the offering and create better atmos- phere for her style of work. TOM EDWARDS Theatre— Colonial. Style—VenfrilooMMt and singing. Time—Fourteen minutes. Setting— Special, full stage. Value— Good for three or four spot. Tom Edwards, assisted by Alice Mel- ville, a wrist watch and several new ventriloquist figures, msde his reappear- ance to American vaudeville and showed a splendidly arranged act- Tom is well known on this aide as a first-rate ventriloquist and he hasn't gone back any. He appears in riding habit at the opening of the act, using a news- boy figure, and puts over a clever line of patter. He then introduces Mim Mel- ville, who has a singing voice that could almost be called bass. It is a remark- ble one for a woman. She does a single singing turn and tried to do some so- prano work, bnt it spoils the novelty. Edwards then goes Into a "Put the Baby to Sleep" hit that scored heavily. ROWLEY AND YOUNG Theatre— American Roof. Style— Songs and dances. Dancing featured. Time— About fourteen minute*. Setting— House drop in one. Value—Could open -show in big houses. Rowley and Young are two young men with a nimble pair of feet and a proper taste in clothes, something rare- ly displayed by dancing turns of this order. In well made sack suits they 'open with a song, but show good judg- ment in sticking to what they do best, dancing. The individual stepping of the pair ranks with the best. An ec- centric dance contributed by the shorter of the two displayed a variety of steps commendable for their new- VAN UEW TRIO Theatre— Proctor'a Fifth Avenue. Style— Singing. Time— Sixteen minutes. Setting— Artistic fuU stage set with beau- tiful special drop. Value— Very good for emtatt time. Fine taste in dressing and a general air of refinement and class do much toward helping the Van Liew Trio to register. The act employs two -ladles and one gentlemen (the terms used in the proper sense) who render a variety of numbers both in trio and individual- ly. The songs are handled in fairly pleasing fashion. The treatment ac- corded this type of entertainment de- serves commendation for its attempt "to be different.'* With briefly ren- dered interludes on the piano, one of the female members of the act de- scribes the numbers which tbey suc- cessively sing. The pianist assists ma- terially with lota of personal magnet- ism and a pleasing rendition of an Irish song. The trio should look to their harmonizing. It could be improved. A baritone solo by the man is nicely handled. SUES AGENT FOR $50,000 Albert D. Gould, a Chicago hooking agent, with headquarters in the Kimball Building, has been made defendant in a suit iiled by the Boston Xationn] Grand Opera Co. According to the attorney for the com- pany, Samuel R. Rabinoff, Mr. Could baa visited the committees in cities where the above-named opera company has been booked to appear, and told them the or- ganization would not be able to fill Ha bookings because it was in "bad shape.** The reason for Mr. Gould's action, Mr. Rabinoff s statement declares, la plain.