The New York Clipper (February 1917)

VebmtnilllnW? THE NEW YORK CLIPPER "THE MODELS ABROAD" Theatre— OaioniaL'.' Style— Musical comedy tab. Time— Forty-teven minute*. Setting—Special. Jacob Kaufman, a buyer of New York, stops in London while on his way to Paris to purchase gowns for a swell American ball. A Scotland Yard detectiTe is look- ing for a clever smuggler and kidnapper, who is making his way out of the country with a number of girls. He suspects Kaufman of being the man for whom he is looking. A New York reporter, a riend of Kaufman, tells the American to change bis name, and Kaufman registers as Jake Blum, thereby hoping to throw the police off bis trail. The reporter takes the girls and flees on ahead to Paris. Kaufman arrives later, bnt, in his haste to leave the hotel, forgot to pay his bill. The second scene is in a dressmaking salon in Paris. . The detective, in an- other disguise, follows and, armed with the necessary extradition papers, lands his man through a trap. He demands that Blum pay his London hotel bill. Blum's real name is on the check. The detective starts with him to the jail bnt the reporter "lifts" the papers from the sleuth's pocket He gives them to Kaufman. The detective discovers the loss, but cannot find them. As he leaves, foiled, he states it will be fifty years for the man who has stolen them. Kauf- man, with his best regards, hands them over to the Parisian coetumer. Another plot thread of minor impor- tance runs through the routine. The turn throughout is excellent. The lyrics are clever, melodies tuneful, busi- ness interesting and the dancing good. Carson is always funny and the princi- pals carry their roles well. The models are named after the coun- try's leading actresses, and in the dress- making salon in Paris they delineate, these characters, all of them being ex- ceptionally life-like. "The Models Abroad" is far above most similar acts on the big time. NEW ACTS : RYAN & JOYCE Theatre— Alhambra. Style— Singing. Time— Eleven minute*. Setting— One. According to the program, these two boys are "showing the spring styles in songs." Their numbers are all rather new and are put over neatly. Ryan does most of the singing, while Joyce is kept busy at the piano. Their first song is about Honolulu. The next number describes a girl with a cute little wiggle. Joyce then sings a song about his red hair which is a particularly good number. The next song advises girls what to do when they get married and has five or six choruses each with a good punch. A number about Maryland goes over well. For an encore they sing a gong about America in the present crisis. , The act is a standard act of its kind. It will always be acceptable as an early act on a big time bin. BENNETT AND RICHARDS Theatre— Colonial. Style— Blackface. N Time— Sixteen minute: Setting— One. Fun stage. The billing states the act will be a dramatic sensation. The stage and house are dark as the curtain rises. "She was unfaithful to me," says a voice in a high-pitched, blood-thirsty tone. "I am going to kill the man who has run away with my wife." Another voice answers. This person is evidently to be the victim. As the dramatic tenseness seems near the breaking point a shot rings out. The lights are turned on. Bennett and Richards, in blackface, move forward. The rest of the routine is comedy dancing, cleverly done, with sure-fire gags and business interspersed. The straight insists that the comedian win never make a dramatic actor, but he tries him out. This will keep any house roar- ing. The straight leans up against the stage arch and plays a mouth organ. The com- edian brings out a chair and tries to take a nap, but the music is too much for him, and he can't keep his feet still. The straight needs a new make-up. The brown derby hat wonld be more suitable for a hick character than a negro. This burnt-cork turn is a novelty. It has been well written and is well acted. LA PETITE MERCEDES Theatre— Bedford, Brooklyn. Style— Dancing. Time— Twelve minute*. Setting—Full stage. La Petite Mercedes is a pretty little dancer with an excellent idea for a high class vaudeville specialty. She opens with a Russian dance and then makes several changes of costume in view of the audience, with the aid of a frame arrangement at the back of the stage. The toe dancing is out of the ordi- nary, Mercedes being clever enough in this respect to follow any of the dancers now playing the larger circuits. As a whole the act is very artistic and should be heard from in the big houses be- fore many weeks have passed. Right now Mercedes would look very good leading a number in any $3.00 show. RAY & BURNS Theatre— Jefferson. Style— Comedy singing and dancing. Time—Ten minute: Setting— In one. This is a mediocre song and dance of- fering. While the two exhibited some dancing skill, too little of it was given to judge correctly of its value. Their comedy was not entertaining and the man would do well to eliminate the suggestive lines in bis song. Only fit for the small time at present. "PLEASE, MR. DETECTIVE" Theatre— Eighty-first Street. Style— Musical tab. Setting— Full stage. Special. Time—Twenty-two minutes The thread of plot running through in is act is shallow, depending upon a lost parse. The finder intended to re- turn it, but held off temporarily be- cause he believed he was suspected of the theft. He is later engaged as a detective to bunt down the criminal. The first thing he does is to try to get rid of the purse, which he accomplishes on numerous occasions, only to have It mysteriously find its way back to his person. The entire business in the rou- tine revolves around this point ' There are seven girls in the act, Betty Evans being the principal, and, although they will not set the world afire with their beauty, they dress neatly and their singing is good. The only special numbers are singing and this is where the torn falls down. Some novelty or novelties are needed. The routine is not overburdened with gags and a little sure-fire stuff should be introduced. As it stands it is just a plain tab, with no special redeeming feature. The lyrics are fair and the melodies tuneful. Woolsey is a good comedian and will keep them laughing with the material he has in the neighborhood houses, but the turn will have to be bolstered up to hit the big time and that is evidently what has been intended by the producer. There is a bit of flirtation business that was, possibly, "inspired" by Hoff- man's "Art of Flirtation," the famous two act The lovers are seated on a bench and the less deadly of the species reads the intricacies of wooing and win- ning a maiden. YOUNG & WALDRON Theatre— Royal. Style— Song and dance. Time— Ten minute*. Setting— One. Myrtle Young and Jack Waldron call their act an "entertainment a la class and pep." It is passably entertaining and possesses more or leas pep, although this latter quality could be strengthened by less singing and more dancing. The pair have a neat appearance and do their work in a refined, classy way. They open with an Hawaiian number after which they sing a song about the girl being an angel. This is followed by an eccentric dance done by Waldron. A song about Virginia follows this. The act ends with a catchy novelty song, sung rather cleverly, and a duet dance with which the pair exit The act is a standard act of its kind and might succeed In an early spot on big time. VAL AND ERNIE STANTON Theatre— Fifth Ave. Style— Eccentric Comedian*. Time— Twelve minutes. Setting— One. Val and Ernie Stanton are eccentric comedians, often styled for purposes of more definite description, "nuts." The boys open with a short song and dance and proceed to a routine of talk which contains enough laughing material to put them over safely. It is not what they do so much, as the way they do it. The taller of the two wean dress clothes and a high silk hat, presenting quite a swagger appearance. Hia partner affects an English eton suit and takes care of the larger part of the comedy. A harmonica and a ukulele duet with the harmonica player ragging on the weird little instrument was a young riot in a musical way. The finish, with both dancing, could be built up a bit but, for the present, will undoubtedly serve its purpose. The act as it stands is an en- tertaining number, good for a spot on any sort of bill, and should grow better all the time. Val and Ernie Stanton are headed straight for the best bouses. SALLIE FISHER ' Theatre— Palace. Styles— Musical playlet. Setting— Living room. Time— About twenty minute*. Sal lie Fisher, the always popular mus- ical comedy star, has in "The Choir Re- hearsal." by Clare Kammer, a rare little gem for vaudeville. The action takes place in tbe living room of the Tucker home, in Tuckers- town,. Mass.. in 1879. Esmeralda (Miss Fisher) is about to go out, when she en- counters a boy playing an organ. He tells her the choir wants to rehearse at her house. When she starts to leave, he asks if he can go with her, and when she refuses, he accuses her of being in love with the former minister, the Rev. Hiram Halloway. He adds,"and he was hardly any better looking than me." "I know," she says, "but you didn't notice it so much." Tbe offering sparkles with bright dia- logue, and there is a real story and heart interest • ! DORA HILTON Theatre— Tu-enty-third Street. ' Style— Singing. Time— Ten minute*. Setting— One. Dora Hilton presents an attractive ap- pearance and sings her songs in a pleas- ing manner. It is a standard singing act. Her semi-classical numbers go over to better effect than do her novelty num- bers. Her first song is sung very effectively and shows a voice of color and quality. Her next song is a "back home" song. This is followed by a Japanese number. She closes with a semi-classical waits number which is sung with considerable feeling. The- flrat number fa her beat and Is fnD of dash.'