The New York Clipper (February 1917)

February 28, 1917 THE NEW YORK CLIPPER 19 RUTH ROYE Theatre— Seventh Avenue. Style — Singing. Time—Twelve minute*. Setting— Bouse drop in one. Ruth Rove belongs back on bis time. She towers so far above the other big acts on a small time bill that they ap- pear even smaller by way of contrast. Her act is of the standard single sing- ing type. Although she does not seem to work particularly hard, she has person- ality to spare and wins a victory before she has tittered her first note. In her first song she asks to be taken back to Iowa and sings it with so much ginger that one can really smell the "new mown" hay that the words of the song describe. Her next number is about her experi- ences as a working girl in a "doughnut- terie," an eccentric number that seemed to tickle the audience. A song about the different nationali- ties in the audience who are all loyal to Uncle Sam is her third number and gives her a chance to demonstrate her versatility in impersonating different for- eigners. BILLY DALE TRIO Theatre— De Katb, Brooklyn. Style—Skit. Time— Eighteen minutes. Setting— Special. The name of this skit is "A Night in Paris." It opens in one, with the drop representing the entrance to the Cafe de Luxe, from which an intoxicated fa- ther emerges with his thirty-year-old son. The latter is a lawyer and, as father is in an unpleasant wrangle with a woman, he appeals to his son for advice. The young man sings a ballad while papa is seen now and then "chasing a chicken." After the song, the son persuades his father to go back to the U. S. A. Then the curtain rises on the, stage in two. Dale plays the piano while the other two members of the trio do a song and dance. The sketch is very good in spots, but its broadness would make it unavailable for big time bouses. KAYNOR AND BOSDEN Theatre—Proctor** 58th St. Styla—Singing, talking. Tuna—Twelve minute*. Setting—Two. Special. The special drop in this act is that of the front of a house, with a woman sit- ting in the parlor, singing. The mail man appears, drops a letter in the mail- box and stops to "kid" with the girl. They have some good gags in this part of the routine, but need to put them over in a livelier fashion. The man then invites the woman to go with him to an entertainment that night and while he goes off stage to change clothes she sings a number. Her voice is very strong, but the number is not one that will appeal to the average audi- ence. The man also sings a solo, the lyrics of which are poor. The idea for this sketch is novel and the two performers are neat in appear- ance and try hard to please. A couple of old gags, one about a man being named "Hen" because he lays around, should be dropped. New songs are needed. BOB QUIGLEY & CO. Theatre—Proctor** 58th St. Style— Character sketch. Time—Twenty minutes. Setting— Three. Special. The title of this sketch is "The Lit- tle House Under the Hill." The set- ting is in Ireland, and the firBt old Irish character to appear announces be has just returned from America and that he is being pestered to death witn questions. Another old-timer drops around, and the first thing be asks the American about, is the lakes on this side. He is told that the LawBon "leak" is the big- gest. Other gags along this line follow. Still another old friend appears and plays the pipes while the other two do individual dance numbers. They close with the stage darkened and the three old men asleep. This sketch is well done. The Irish dia- lect is good and a lot of the gags are sure-fire. MARCELLE JOHNSON Theatre— Loeut's Orpheum. Style— Singing. Time— Sixteen minutes. Setting—One. Marcelle Johnson possesses a most pleasing soprano voice, which is best suited to classical and semi-classical num- bers. She presents a stunning stage ap- pearance. Her first number is a classical selec- tion. At its conclusion, she discards an orange colored opera cloak and singa the next selection in a pretty black gown. Her second number is a song about a rose and is rendered very prettily. While she changes her wardrobe, her pianist, Eric Alexander, renders a piano solo. The third number—Miss Johnson now appearing in a dainty white dress—is a love song. Her closing number is a war song, in Red Cross costume. All in all, Miss Johnson's act is far above the average act on this circuit and could easily hold down an early spot on a big time bill. "WANTED, A WIFE" Theatre— Eighty-first Street. Style— Oirl act. Setting— Special. Time— Twenty-five minutes. The scene is the vestibule and lobby of a fashionable apartment house. A young millionaire, Frank Harrington, has just an hour in which to find a wife, else he will be arrested for per- jury. He enlists the assistance of the hall boy, who calls numerous girls on the 'phone. All refuse to marry him. The girl he is really in love with all the time thinks he is married to another woman, and she will have nothing to do with him. Just before the young millionaire's hour is up, however, she learns he has not deceived her and the turn closes with the two standing on the stairway ready for the marriage ceremony. This musical tabloid is above the gen- eral run of its kind. The business moves fast, the girls are pretty and the lyrics and melodies are good. LONG AND WARD Theatre— Tteentu-third Street. Style— Singing skit. Time— nineteen minutes. Setting— Full stage. The act opens in one. A man and woman singing the barcarolle are beard off stage. They enter, dressed as waifs, and complain of the heartlessness of the world and then exit. The curtain then rises upon a parlor set. The man has been dreaming that he and his wife were cast out into the world as waifs and were starving in the streets. The wife then tells her husband that she has decided that they both shall go on the stage. The; start to rehearse. He sings a Scotch song. She sings a solo selection. This is followed by a Cockney number which he renders, after which be sings two classical numbers. The act is ratber long, but, with the first scene omitted and one of the man'a numbers out, it is a passably good turn. KRAMER & KENT Theatre— Eighty-first Street. Styl9—Blackface. Setting— One. Time— Fourteen minutes. Kramer "gets" his audiences right off the bat, with the announcement that a bumblebee has just backed up against bim and pushed. He begins a song then, and his partner, Bessie Kent, comes on stage. Kramer later does some good wooden-shoe stepping, after which the two recite several parodies on famous verses. For a close, he sings a "Vir- ginia" song, with Miss Clayton on parade. Kramer puts over a song in good style, is a good dancer and does some funny business, with his partner giving him capable assistance. Kramer makes several remarks to per- {*• sons coming in late which could well be omitted. He should close his special dance with a burst of speed, Instead of slowing down and finally coming to a bait. This way of closing will usually go cold and he will not get the appause for his dancing which he deserves. TELL TAYLOR'S NEW SONGS WHEN LOVE BUILDS A WORLD OWN is number is !>v the w Btilleilly. anu-.'f.'criii truthfully vi;ti "ft it and von 11 say:- "' 1 llt.il it is thi- brat -ang I li.nf heaid 111 fellow Taylor tell- ibc itnlli." k theni N< YOU HAVE A WONDERFUL WAY OF DOING WHAT YOU DO Now what do you think about lb Great for the girts. :uul h. !:lk ' It -oimds •iri'il. doesn't, it ■>": And y/.u think a great ku k ; 'm it, with a -swell 'melodv, ' I bus i~ an ■i one a) niv. V\ v II. i;;"-is', and i an als'v In- ll-fd ,K a m: n'-." and I'll. i.-alltei the fi uit I mm it THOSE SIG HI N' H A W AI IAN BLUES In this number we ha\e one of the brsl'ol songs written in the United Staled It- eoritaiiiv, a >we ( -i; Hawaii ui _ me with the regular sliain; or can be used as a straight number. 1 II bet you have heard it. hi when- to get it. New -vou know, so let nir lit'.ir liom voii d> With . a gre.tl |.attei ehbrt vr.u didn t know ' MO IN A MAN 1 his number was an over-night hit m Chicago, and I can't begin to' tell you how big it is going. I here is a wuitdei (ulwulin made that is caHtd C"REM ON A. and that is where the boys that 'wrote it got the 'name,, for this man in the sring. If you use tins uurofii-i vou Inn get a lot out of it with trie..viulm player in the orchestra : lie II be glad to stand uj> and play the beautiful obhgato that is- w/illeii tor him in I he on hestraiiciii. Mu Grand u fc> I i s h & r CHICAGO, 11 I