The New York Clipper (July 1917)

THE NEW YORK CLIPPER July 4, 1917 AMERICAN The hot weather of last Monday cut into the business here, but the night audi- ence was of goodly proportions, and the bill presented was well liked. Dolly and Callame, man and woman, opened the show. They started with a song and went into a dance. The woman followed with a song, and her partner then gave a jig. They finished double with a dance. The man ia a good dancer, and ex- ecuted a number of difficult steps. The act pleased and received considerable ap- plause. Lambert and Briscoe, two men, Jew comedian and straight, opened with a Bong and went into comedy patter. The straight then rendered a song, and his partner followed with a song and dance. Then a double song and dance, and for an encore they enlisted the services of three stage hands, who joined them in the chorus of their song. These boys have good material which they know how to put over. They were heartily applauded. Sam Berk and Lillian Broderick have a good dance offering. They open with an up-to-date dance, a la cabaret, and fol- low with an acrobatic dance. Berk changes to the dress of a naval officer, and offers a mixture of jig and fancy dancing. Then they give another modern number and close with an acrobatic dance. They are clever performers, and their acrobatic dancing is better than the average. Miss Broderick makes a very pretty appear- ance, and the act received well deserved recognition. Fredericks and Palmer, man and wom- an, offer "A Vaudeville Collision," which ia rather unique. The act opens with the woman doing juggling stunts with plates, parasols and other light articles. In the midst of her work her partner breaks in and ia about to sing. They have a little argument and then have some comedy pat- ter. The man then sings and his part- ner follows 'with a song, the chorus of which she renders first in English and then in French. They finish with a song. The woman has a pleasing personality, and is a remarkably clever comedienne. They were a big bit. Pop Ward and Arthur Curran were seen in the old stand-by, "The Terrible Judge," in which Ward is the Judge and Curran appears as an Irish Biddy, an Italian and a cowboy. Ward does his comedy stuff, which includes a few dance steps, and Curran sings two songs, and gives imita- tions of a rooster, bagpipes, dog, pig, steamboat whistle and caliope. He is an excellent singer and a clever imitator. Veteran Pop Ward is a wonder. The act went big. Leonore Simonson sang four songs, in- cluding a semi-classical number, a ballad and two of the popular variety. She pos- sesses s well trained soprano voice, and reecived much hearty applause. Edward Lynch, Grace Dale and com- pany, have a pleasing skit called "The Husband's Return." It shows an even- ing at home of a young married couple who finally get into a hot argument be- cause the wife wants another dress. Re- criminations follow, and the husband de- termines to teach his wife a lesson. He leaves a note telling his "better" half that he has gone to France to join the Foreign Legion. Disguising himself, he returns, and his wife believes him to be a burglar. He later removes his disguise and the cur- tain falls with husband and wife in each others arms. Lynch, as the husband and burglar, does good work. Miss Dale, as the wife, proves that she ia a very capable actress. The "company" played the valet. The sketch was well liked. Archie Goettler and Eddie Fox have a song revue, in which they introduce four of their own songs, and finish with a medley made up of snatches from a num- ber of their song hits. They scored heavily. The" Bruno Kramer Trio, in their aerial act, closed the biU, and were well re- ceived. E. W. FIFTH AVENUE Fern, Richelieu and Fern, three men, started the bill with their club juggling and scored a pronounced hit. These boys do some very clever club work, their trio juggling and throwing being exceptionally good. They introduce some good comedy and fully deserve the approval accorded them. Arnold and Taylor, man and woman, appeared in their act entitled "Put Out." What little there is to the act serves only as a vehicle for a piano and singing skit, hot it serves its purpose very well. The woman does the singing and her partner accompanies on the piano and helps out in two of the four songs. They open with good comedy patter and have a sprinkling of it all through the act. They are good entertainers and the woman has a very fetching personality, which, added to her ability to put over a song, wins favor for her. An encore was their reward on Mon- day. Bostock's Riding School is presented by two men and two women. The act, which is shown in a circus ring on the stage, opens with a double carrying act by one of the men and a woman, with the other woman as ringmaster and the man as a down. Then follows a single riding act by the woman and a little riding by the down. The performers then undertake to show "How Circus Riders are Made." Five young men are invited on the stage for this purpose. The antics of the quintette trying to learn to ride furnished plenty of comedy and brought the act plenty of ap- plause. Frankie Fay, formerly of the team of Dyer and Fay, made his appearance with- out his old partner and found favor. The turn is reviewed under New Acts. Emily Ann Wellman and Company, two men and two wmen, were seen in "Slim Tim's Slackness," a dramatic sketch, writ- ten by Miss Wellman. The playlet tells of a young woman who has become the mis- tress of a married man and is jealous of bis attentions to his wife. Several apart- ments are robbed and the thief hides in the apartment of the mistress and over- hears a scene between her and her para- mour. He finally comes out of hiding, and, hearing the clamor in the hall, forces the woman to pretend to be playing cards with him. The police and the married man burst into the room, the former soon tak- ing leave, but the latter recognizes the thief to be bis brother-in-law. The thief gives the woman some money and tells her to leave the man as she is only harming his wife and child. And she consents. He then forces the faithless husband to act as his protector past the police. This act is among the best of the dra- matic skits that the local stage has seen. It has a good, well developed story. The acting is away above the average. Miss Wellman is one of the best emotional ac- tresses on the American stage and, as the lead in this skit, does some really re- markable work. Her support is capital, the man playing the thief having a shade the best of the other. It received hearty ap- plause at the finish. Trovato, the humorist violinist, opened n 'tb an operatic number and then went i:;lo popular music. He played number after number, finally getting to his imi- tations of whistling. He scored the great big bit of the bill, and, after responding to an encore, took a half dozen bows. Even then the audience refused to let him go until he "begged off." Gara Zora | .-csented a "T>ance of the Elements," which is noticeable chiefly be- cause of the colored picture effects thrown on the drop. The "dancer" is remarkable for the way she uses her arms and hands. E. W. CITY Marshall and Welton, in songs and dances, were only fair entertainers. The man is too mechanical in his singing, al- though his clog dancing was acceptable. The girl also does some clog dancing. They were appreciated. ' The Four Wanderers offer an enjoyable singing act. The man enters wth a hand organ, and the woman as a street singer. They both render several songs. Al- though they turn the crank of the organ and pretend it is one, when the curtains are drawn aside, a piano is disclosed with a girl in a very cramped position, playing. A second man, dressed as a policeman, then joins in the singing, and the girl who plays the piano, comes out and also ren- ders several songs. All possess pleasing voices and receive plenty of applause. Kelly and Pollack make up a duo which deserves more than passing recognition. The man is a nut, and the woman has the appearance of being English. After an opening song the woman changes to a ridiculous costume and the two entertain in a lively manner. Jean St. Anne, who, according to the an- nouncement, was invalided home from "Somewhere in France," rendered several songs in a pleasing voice. He sang songs in French and English, and each number was applauded. The "Marseillaise," sung in French, went very big. He was re- called and sang a song entitled "Some- where in France is Daddy," the proceeds from the sale of which, he said, was going to the Red Cross. The Elm Citv Four, four boys of natty appearance, offer a pleasing routine of songs. They are very good synocopators of song, and do a little stepping, too. When the four sang together, one of their voices seemed in discord with the others and, at times, several false notes were easily perceptible. The bass has a very good voice, and Bang several solos. Their work, on the whole, was liked. "One June Day" was a very entertain- ing comedy sketch. This is probably only an adopted name, a6 the performers were too good actors not to have their names mentioned in the billing. It was a clever rural sketch, requiring the services of two men and a woman. A city chap has had an accident to his ma- chine while driving through a country place, and is invited to a farmhouse, where he meets a girl. He remains two weeks and .during that time, the two have learned to love each other, although each is engaged to some one else. The act surrounds the man, who has to return home, but is reluctant to do so before telling the girl of his love. She side steps, but finally yields. The third party is the town constable and parson, who is constantly interrupting. His services (as a parson) are required in the end, however. The sketch has consistency and heart interest. It is well played, and could be seen in better class houses, if it has not already done so. Klein Brothers are natural laugh pro- vokers. They open with a song on the high cost of living, and sing several par- odies, which were appreciated. The cross-fire talk in which they indulge gets them laughs. Beaux and Belles was a high class song and dance diversion. The routine con- sists of Southern airs, songs by the girls and men, singly and together, violin play- ing by one of the women, and some toe dancing by one of the girls. The stage setting is beautiful and the offering com- mendable. S. W. JEFFERSON The show was opened by Stewart and Mercer, who performed acrobatic stunts with rapidity and ability. Their work was done with a deftness which marked them as unusual performers. George MacFadden had a very hard time trying to put over his comedy talk. His songs were liked and his line of talk was good, but they did not take at this house. Sam Harris and company presented a comedy sketch which was a scream from start to finish. The sketch is somewhat reminiscent of the Joseph Jefferson sketch, ''Poor Old Jim," in which a woman tries to cure her husband of drinking and, when he comes home drunk, ignores him and pretends he is dead. That part is too much like "Poor Old Jim" to pass without comment. But the ending is different. The sketch is well played by Harris and a woman. Harris has a most infectious laugh, which made the audience laugh with him. The Howard Sisters offered songs and a little dancing. They do too much shout- ing though, to be pleasing. They open in a Chinese number, with one of the girls pulling the other, seated in a rickshaw. The act has a classy appearance, the girls having beautiful wardrobes and carrying excellent scenery. Their Honolulu Bong was well rendered. The girls play ukeleles, and their efforts were not without appreciation. However, they need to tone down their voices, as they both present a semblance of coon shoutera. The taller of the two was especially lacking in restraint. They dance accept- ably and should they sing and not shout, their offering would be considerably im- proved. Ruby Oavalle and company sing and dance to applause. Miss Cavalle opens with a song about being a girl from Brazil, and this is followed by the man violinist, playing a selection. He is joined by Miss Cavalle, who sings. The man then offers a violin solo, and the scene changes to full stage. Miss Cavalle does some toe dancing, which re- ceived due recognition, and the other girl of the act also offers a dance. As bal- loon girls, the two dance, while the man plays the violin. The turn was appre- ciated. Bush and Shapiro put across their line of talk and rough house work. The Jew- ish comedian overdoes the slipping, and it ceases to be funny. The other tries to get laughs by pulling at the Jewish comedian's clothes, drawing his hat over his face, etc They render a few songs which get by. Charles Moratti and company, two men, in songs and piano, have a pleasing offer- ing. Moratti sings while the "company" plays the piano. Moratti has a good voice, which,* while weak at first, improves as he proceeds. His high notes were especially good. He tries to make up like Caruso, even assuming the bitter's man- nerisms. His voice showed to best advantage in his "Pagliacci" number, with which he closed. The man at the piano offers a fine solo in the course of the act. Four American Beauties closed with a laugh-provoking skit. Four tramps, one in blackface, sing and engage in cross-fire talk. They harmonize well, and received tremendous applause. They were forced to respond to an encore. The Italian im- personator has an excellent voice, and his song went big. S. W. SHUBERTS CELEBRATE 4TH There will be special popular price matinees to-day at all the Shubert thea- tres now open. GLADYS FELDMAN IS SICK Gladys Fddman, a member of the "Ziegfeld Follies," was stricken with ap- pendicitis after the performance last Sat- urday night, and is in a serious condition at her apartment in the Hotel Netherland. ELLEN DALLERUP TO POSE Ellen Dallerup, one . of the principal skaters at Healy's Golden Glades Sum- mer ice show, is to pose for a statue to be called "The War Woman." The sculptor who will do the work is a women prominent in war relief endeavor.