The New York Clipper (May 1917)

May 9, 1917 THE NEW YORK CLIPPER 23 VAUDEVILLE ACTS (Continued from page 9) r CLAUDIA COLEMAN Theatre— Eighty-first Street. Stylfr— Character comedienne. Time— Thirteen minute*. Setting— In one. This offering of Miss Coleman's is original and well constructed, with all of her impressions neatly executed and none of them overdrawn. Upon her appearance she announces she will give her impression of various types of women wearing peculiar styles of hats. Her opening one is that of the "gossipy woman." This bit is presented in a very capable manner and is not in the least overdrawn. The second is that of "Mrs. Newlywed" going marketing. It might be suggested that the routine of talk; here be con- densed a bit, as toward the end it grows a. little monotonous. Her impression of the waitress in a cheap restaurant is the best of her numbers, the others which follow being amusing but not up to the standard set by this one. Miss Coleman does a telephone con- versation "bit," showing a young woman talking over the phone before and after marriage. Her rendition leads one to be- lieve they are true to life, especially from the amount of applause she receives at the end of her turn. Her closing num- ber is the singing of a song in the char- acters of a girl who is training her voice, and a cabaret girl. The first impression is rather crudely executed, but the latter one more than makes up for the de- ficiency. The act throughout is pleasing, but not of sufficient calibre for two-a-day houses. A. U. BARNES AND HILDEN Theatre— Audubon. Style— itutioal sketch. Time— Eighteen minutes. Setting— Special. This is an unusual and whimsical of- fering, so foolish and absurd that it is fanny. In a very pretty exterior. set, repre- senting a wood, Red Biding Hood is dis- covered. She is lost. Tip in a tree lives George Washington. He descends from his borne and explains that he is in his second childhood. The explanation con- tains some very witty epigrams and is interspersed with songs. The man pos- sesses a rich singing voice. The girl sings sweetly. The end of the act is not as entertain- ing as the first part. The dialogue has not quite the same amount of pep, with the result that the turn begins to drag a trifle. It might be well to eliminate some of the talk near the end. The song about the Cocoa Cola Tree is sung very cleverly. At the end of the act, Washington lights a lantern and shows Red Riding Hood the way out of the woods. The act is a real novelty, and with a few minutes trimmed off should find success on any bill, because the pair have talent and possess an entertaining vehicle. H. G. PANKEY AND McCARVER Theatre— Harlem Opera Haute. Style— Dialogue and song. Time— Fifteen minutes. Setting—/» one. Fankey and McCarver are a passable duo. In the first portion of their act, the blackface member of the team is dis- covered painting the drop, when the devil suddenly appears and frightens him so much that he flees. Shortly afterward he reappears in military uniform and sings a patriotic number which loses its appeal mainly because it was never intended to be sung by a comedian. The cane dance that followed was an excellent bit of business. Some patter about the war between the blackface and the straight came next, after which a couple of songs closed the act. The singing and dancing is the strong- est part of the turn. The dialogue needs revision so that it will be funnier. The gag about the quickest way of going to the hospital and also the one about the Germans' retreat should be eliminated unless this act has prior right to them over a score of others. H. G. EDDIE KENT Theatre— Audubon. Style— Blackface. Time—Seventeen minutes. Setting— In one. Eddie Kent is a blackface comedian without a darkies' accent. He has some very original monologue, with the excep- tion of the "Jewish submarine" gag and "the quickest way to get to a hospital." He sings several parodies which are clever, and, at the end of his torn, proves his versatility by putting over, success- fully, a serious patriotic number. Kent has an abundance of personality and magnetism and seems to find the going easy. He is far above the average blackface monologiat and has his audience laughing from start to finish. H. G. DOUGHERTY AND LUCEY Theatre— -Proctor's 135th Street. Style— Piano and singing. Time — Thirteen minutes. Setting— One. Two rather pretty girls, with person- ality and a most pleasing manner, are Dougherty & Lucey. Their act consists of a number of character songs by Miss Dougherty, accompanied on the piano by her partner, and the rendition of two piano solos by Miss Lucey. The first number sung by Miss Dougherty is a very pleasing ballad. Her second one is entitled, "The Story Book Ball." This is bound to please all sorts of audiences as it recalls the various stories read in Fairy tale books. Her succeeding two. numbers are popular songs. The closing number is a pretty Irish song and Miss Dougherty also executes a neat and pleasing Irish jig. Both solos rendered by Miss Lucey, at the piano, are very pleasing. The turn should prove an acceptable one for early spots in the two-a-day houses. A. TJ. VICTOR'S MUSICAL ME- LANGE Theatre— Harlem Opera Bouse. Style— Band and singing. Time— Dwentv-four minute*. Setting— Special. The first scene represents the outside of a monastery. A band, off stage, is heard playing an accompaniment to a chant which some monks sing as they enter. Next, a woman appears and sings "The Rosary." The scene then changes to a full stage, and the girl sings a number to the ac- companiment of mandolins and guitars. She next sings a balmd-in-one wlth" the house orchestra playing her accom- paniment. This is her best number and is rendered 1 exceptionally well. The drop then rises, disclosing a special full stage exterior set. A band of thirteen pieces plays a spirited number, marching in various formations as they do so. Victor appears and directs them in an operatic number, followed by a popular medley. - The act ends with a big flash, the band playing patriotic airs while the girl appears with the Flag, and the three figures of "The Spirit of '78" make their entrance. For an encore the "Star Spangled Banner" is played with a good deal of fervor. The act is not strong enongh to war- rant its running twenty-four minutes. "The Rosary" could well be eliminated and the operatic number made shorter H. G. VALLEY IS VOTED BY ADEIE ROWLAND—SOPHIE TUCKER AND MARION WEEKS A BIG HIT So do countless other great big acts. "Wolfie" Gilbert has proved his right to tho Kornelshjp of the Pecan Army. Some of his slaff officers in—Jack Inglii, Bert FiUgibbons, Carl McCullough. and Jack Rom. Here are some more hits! I'M HEARIN' FROM ERIN Gilbert and Friodland's charming Irish ballad. Tis m musical metsago from over the BROWNSKINGAL IT TAKES A LONG, TALL TO MAKE A PREACHER LAY HIS BIBLE DOWN Will E. Skidmoro's uproarious successor to "Pray for the Light, to Go Out." More than a kit 1 A BullVeyal Just Released! SWEET EGYPTIAN ROSE Superior to "Pertisn Rose," by th« nim writer.. Edgar All.n Woolf »nd Amatol Friedland. LOVE A s WONDERFUL THING A ktgUy effective stags song. Wolf* Gilbert and Anatol Friadland wrote it. It's another kit for Adele Rowland. SOMEWHERE i DELAWARE A "belter-than-the-rct" state song by Will J. Harris and Harry 1. Robinson. It has some doable Version. HAWAIIAN SUNSHINE The biggest and best of all Hawaiian successes. I— Wolfe Gilbert and Carey Morgan gave us this Hawaiian wonder-song. POLLYANNA The "glad little girl" in song, by Thos. J. Gray and Malrin Franklin. JOS. W. STERN & CO. L. WOLFE GILBERT, Prof. Mgr. 1554 Broadway. New York San. Francisco—E. S. Florintine, 111 Kearny St. P!.a i- rote tho Removal of our Chicago Office to COHANS GRAND OPERA HOUSE BLDG., 119 NO CLARK ST. MAX J. STONE, in charge