The New York Clipper (January 1917)

January 3, 1917 THE NEW YORK CLIPPER ALHAMBRA The names of Billy Montgomery and George Ferry did not apear in electric lights in front of the theatre, but, never- theless, this team—with the aid of an ob- scure darky and his harmonica—stopped the show on New Year's night in spite of the fact that they followed a headline act. The pair do a "nut" musical act and are very clever, although they can thank the negro for much of their success. Despite the fact that the next act had al- ready been announced by the card-boys the aplause of the audience continued, and the team finally allowed the darky to re- spond with an encore. The show had a slow start, Frank and Tobie proving rather dull in their series of dances, although the Jockey dance showed originality. George Lyons, with his harp, made the best of a difficult spot for hia sort of an act and would have gone over better fur- ther down the bill. Harold Woolf and Helen Stewart pre- sented 'Tn Two Flats," a mediocre play- let acted in a mediocre way. Charles Olcott offered his 'Comic Opera in Ten Minutes" and won a big hand, as he deserved. "Kisses," with William Gaxton, closed the firBt half. This clever offering was acted well. Gaxton puts his personality across the footlights, as few can do. Jim Toney and Ann Norman followed the intermission. Their work does not warrant them a position on the second half of the bill. Melville Ellis and Irene Bordoni had no difficulty in pleasing. Miss Bordoni's dresses and quaint manner, coupled with Kills* piano playing and eye for the ar- tistic, makes this a headline act anywhere at any time. The Gladiators closed the bill and per- formed well in the last spot. ROYAL It was clear that the New Year matinee audience at the Royal came to see Rock & White. The chorus of one of Miss White's songs took fifteen encores, and the au- dience would have enjoyed more, but the hour was getting too late. This team played the Royal in November, but that did not seem to lessen the wonderful re- ception tendered them upon their return. In fact, their popularity seems to have increased. Jimmy and Kitty De Maco opened the show in an artistic scenic novelty and acro- batic act. They received a good hand for their work in the initial spot. Hildegarde Mason and George Murray in "Right or Wrong, She's Right," pleased in their whimsical way. Their opera travesty is particularly worthy of men- tion. The Doris Wilson Trio is reviewed un- der New Acts. Hunting & Francis still get a lot of fun out of their old material. Following intermission, came Grace De Mar, reviewed under New Acta. Rock & Fulton closed the vaudeville show, followed by Chas. Ray in the Tri- angle feature, "The Honorable Algy." AMERICAN Brandt and Andrey were the openers of a fair bill at this house Monday after- noon. Their skating act put the audience in the right humor and Gillette's monkeys in a bowling alley hit them right above the laugh-and-applause belt. Mabel Harper, with her "nut" stuff, kept the fast clip going. The lyrics of her songs were good and she interjected just enough gags and business between them. The Tyrolean Troubadors offered a rus- tic dance a little out of the ordinary. Their entire act was in keeping with their scenery, which was good, but the yodling ought to be improved. Devere and Malcom opened after inter- mission. One of these men does a "drunk" that, pleased the New Year's crowd and the other did as well with a song. The late Paul Armstrong's playlet, "Woman Proposes," with its comic situa- tions, was cleverly done. The plot is built on the statement that it is the woman rather than the man who proposes mar- riage. A surprise ending has the neces- sary punch for an act of this kind, and the audience is "let in" just enough on what is going to follow the early exposi- tion. The versatile Eddie Borden, supported by "Sir Charles Dwyer," has a turn that covers a wide and a fertile field. Borden makes the best of it, for he can do a character and sing and dance. He. simply had to come back time after time and the house rocked with applause. Carl Damann's Troupe closed with their excellent acrobatic work. FIFTH AVENUE The YoungerB, in a posing act, with feats of hand balancing as a climax, opened. Both appear in white tights and perform some finely arranged statue work. Grenlee and Drayton, two colored boys, do a little singing, closing with an ec- centric dance that brought them plenty of applause. Les Valdas, in a magic performance, stalls along for about twelve minutes do- ing exactly one trick. Maybelle Best, a very pretty little miss, offered a singing and piano act and was one of the bright spots on the bill. Scarce- ly out of her teens Miss Best has a big future before her. Eugenie Blair and Company presented a dramatic playlet with a surprise finish that could be called "A Woman's Honor." Miss Blair does some very capable acting as does also her support. Hal and Francis showed class with a singing and dancing act. Both are clever and make a fine appearance. The Musical Gormans, five people, gave ane xcellent musical programme. Antrim and Tale, with singing, danc- ing and cat impersonations, held down the feature spot in good shape. The Connolly Trio, two young women and a man, gave a demonstration of the up-to-date dances and were the real hit of the bill. The act is handsomely cos- tumed. JEFFERSON Every seat occupied and every bit of available standing room taken, was the con- dition at this house at the first perform- ance on New Year's Day and the reception accorded the various acts was evidence that the show was well liked. Jack Morrissey and Co. opened the bill and presented a meritorious act, consisting of work with the lasso and whip and ex- pert rifle shooting. Mr. Morrissey proved himself equally clever in all three and the company, consisting of one man, was a good assistant. The Clover Leaf Trio, two men and a woman, received approval for the singing. Baker and Moore followed in their act called, "At the Soda Fountain," made up of talking and singing. D'Leir proved himself to be a clever ac- cordionist and won a good band for his playing. Cole and Denahy, clever exponents of terpsichore, were heartily received for their whirlwind dancing. Harry Breen, a prime favorite at this house, scored one of the big hits of the bill. He was so well liked that the audience forced him to respond to several encores and stretched his act beyond the usual monologue limit. Singers Midgets, the big feature act of the program, carried away first honors in closing position. They are clever perform- ers and fully earned the recognition ac-. corded them. NEW ACTS (Continued on page 18.) CITY When the Erst show started at 1:30 on New Year's afternoon, there was not a seat or bit of standing room unoccupied and the order to "stop selling" went to the box of- fice. Hill and Ackerman, two men and a woman, started the performance and, with their comedy and burlesque acrobatic stuff, won favor. Chabot and Dixon walked away with one of the big hits of the afternoon. Chabot is an unusually clever performer on the violin and piano. His playing of an air on the latter instrument, with hia left band is little short of remarkable, as it is given with the same effect as though played by two hands. Miss Dixon makes a pleasing appearance. The Metropolitan Trio, two women and a man, were well liked for their singing and a piano solo. Nat Carr, in his Hebrew monologue, was a favorite. Fiske, McDonnongb and Scott, two men and a woman, were seen in the Irish com- edy sketch. Lillian Mortimer and Co., three men and two women, were seen in this 'crook" sketch. Miss Mortimer did good work as Diamond Molly, but the members of her company had little opportunity to show what they could do. Ashley and Allman, in their act, "The Dawn of a New Day," consisting of some clever dialogue and two songs, pleased. Karl Emmy's Pets closed the bin and scored their usual good success with an act that has a chance to become of real feature quality. ROCKWELL AND WOOD Theatre— Pa lace. Style— Xut comedy. Time— Ttco minutes. Setting— In one. This is the first appearance in New York City of George Rockwell and Al Wood since their return from Australia. Tbey ore billed as "Two Noble Nuta Navigating the Ocean of Nonsense." If "Noble Nuts" means they are a little greater than the rest of the "nut" comedinns, it is aptly applied. George Rockwell can safely be dubbed "The King Pin of Nuts." He talks a steady stream from the time he comes onto the stage until he leaves, does practically all the talking in the act, but Al Wood, who plays an almost silent, straight man, does it so well you never lose interest in him. After fire miuutes of nonsense, which has five continuous minutes of laughter, Rockwell made an announcement about a wonderful quick change of scene and the stage was darkened for a moment while they brought out a card easel, n banjo and a tin whistle. Tbey ask for selections from the audience and play popular songs or operas, it makes no difference to them—making such an- nouncements as "The National Air of Scotland" and n card on the easel show- ing "Haig & Haig" appears. These boys can be congratulated on a big hit It was one of the biggest con- tinuous laughs the Palace audience has bad this season. This act is destined to play all the big time. | GRACE DE MAR Theatre— Royal. Style— Monologue. Time — Twenty minute$. Setting—One. Grace De Mar presents "The Eternal Feminine." That is, she gives impres- sions of different types of her sex. First, there is the woman who haunts the divorce courts to drink up the latest scandal. Then, there is the married woman traveling alone. Next, she de- picts the lady strap-hanger. The switch- board operator is also depicted. Miss De Mar la clever, but twenty minutes is a long time for this sort of an act unless interspersed with dance, song or novelty—which this is not. The impressions arc good, especially the girl at the telephone board. The orchestra is kept busy throughout the act, playing pianissimo. Their play- ing U not only unnecessary but rather out of place. There is no reason why caricatures of types from life need a musical accompaniment—especially when the music has not the remotest connec- tion with the type portrayed. On the whole, the act is good, but needs trimming down before it can bo accepted aa fit.