The New York Clipper (July 1917)

July 4, 1917 THE NEW YORK CLIPPER BRICE AND BARR SISTERS Theatre— Fox's Jamaica. Style— Singing and dancing skit. Time— Eighteen minutes. Setting—One and full stage special. Lew Brice has at last been successful in securing a couple of girls who are just as adept terpsichorean exponents as be, and therefore he has no oppor- tunity of overshadowing his partners in bis act, as be has done in the past. The act opens in one, with Brice as a stage-door Johnny, singing a song about having an appointment with a girl. One of the girls appears from the right wing and he tells her of their appoint- ment, but she scorns him and refuses his offering of flowers. As she goes off her sister enters from the other wing and accepts the offering. The first girl again appears and he discovers that they look alike, after which he divides the flowers between them and says that in the future everything will be "50-50." The trio then ■ sing a song about the kind of fellow the girls want, ending with a classical dance. Brice then sings his song, "Morning Exercises," doing dance steps with it. This number is a novelty and will always please. The next scene is set in full stage, with the girls in front of an Egyptian drop. They are clad in Egyptian cos- tume and go through a routine of dance steps. Brice follows the number with an eccentric dance in the character of a student reading a book. This dance is well presented and is appreciated by the audience on account of its novelty. The next number discloses the girls in Red Cross costumes and seated in front of a tent. They do a classical dance, after which Brice makes bis appearance in an officer's uniform and, to the tune of martial music, goes through a dance routine, to the finish of the act. The act could be cut down to about fifteen minutes running time and be the better for it. A. TJ. TEXAS FOUR Theatre— Barlem Opera House. Style— Quartette. Time— Fourteen minutes. Setting— In one. A male quartette, the members 1 ok- ing spic and span in their fulldress at* tire, sing a number of selections in ex- cellent harmony and good voice. They have the right idea of how to put over popular numbers, and have an act t' at should make good on practically ny ML An outstanding feature of their act is a jazzy blue song, sung without the aid of the orchestra. Preaentday audi- ences like this sort of number. The basso of the four has a rich voice and renders a solo excellently. If the team could find a stronger finish for their act, they could greatly improve things. H. G. HOLLAND & PELTIER Theatre— Harlem Opera House. Style— Songs and characterizations. Time— Fifteen minutes. Setting— In one. Two men, in full dress, sing a duet in excellent harmony. This is followed by a well rendered bass solo. The other member of the team then gives an im- pression of Chauncey Olcott. His partner, garbed as a preacher, gives a very clever monologue, at the end of which he is joined by bis team mate and the pair exit after singing a short "amen" number. For an encore, a patriotic novelty is rendered with considerable punch. The act is an entertaining one, and the two men have good voices. The impression of Chauncey Olcott should be either im- proved or something else substituted. H. G. NORA BAYES Theatre— Riverside. Style— Singing. Time— Forty-five minutes. Setting— Special. Assisted by Irving Fisher, late of the Ziegfeld Follies, Miss Bayes is present- ing the best features of her tingle act shown at the Palace Theatre recently, and several new numbers, in which Fisher figures prominently. The first is a charming little duet, sung at the opening of the act, en- titled "Loving Me," which is followed by a clever number called "Where the Sliced Potatoes Grow." After this, Miss Bayes does the big "Around the Town" song, which was the feature of her single act. This is about the best thing Miss Bayes has done in years, and her rendition of the songs of other days, as well as the hits of the current musical plays is a delight to the ear. After this, Fisher has the stage to himself and, in the song "When You're In Love, How the Time Does Fly," displayed a voice of excellent quality and consider- able range. He has a pleasiug person- ality and makes a fine partner for Miss Bayes. The act concludes with three patriotic songs sung in a row. Fisher, in soldier uniform, sings "Somewhere In France," and Miss Bayes followed with "Laddie Boy" and "Over There," Fisher joining in the chorus. Three patriotic songs, sung one after the otner, seem-, a little too much, but Monday night's audience was not satisfied with these and de- manded more. Harry Akst continues as the pianist of the act. - W. V. LLOYD & WHITEHOUSE Theatre— LI or lem Opera House. Style—JYui skit. Time— Fourteen minutes. Setting— Full stage and in one. Lloyd and Whitehouse, a man and woman, are two original "nuts." She makes a rather grotesque figure in her old fashioned get-up and carrot colored hair while he is also made up in excel- lent nut fashion. There is considerable cross fire at the beginning of the act which is put over very originally, after which he plays the piano atrociously while the woman sings even more so. But this is all done pur- posely to gain laughs, and it seems to fulfill its mission. Suddenly, the scene shifters start tak- ing down the set and before the pair know it, they find themselves standing in one. This part of the act is pulled off cleverly and brings its desired laughs. They finish with a toreador and Car- men burlesque number.. The act is a very good one of its style. H. G. SHAW AND LEE Theatre— Keith's, Jersey Oily. Style-— Dancing. Time — Ten minute*. Setting— In one. Two young fellows, modishly attired, sing several numbers, but confine most of their act to fancy stepping. They put over their Dumber- well enough, but it is upon their dancing that they lay particular stress; and, upon it, the success of their act depends. They dance all their numbers well and, in the double numbers, work very well together. The little solo dancing that they do is done well, particularly the eccentric stuff. They go off stage with an eccentric specialty, which brings the act to a classy close. H. G. J. FRANCIS DOOLEY & CO. Theatre— Fox's, Jamaica. Style— Comedy skit. Time— Fourteen minutes. Setting— Two, special, and full stage. The most noticeable thing about the new comedy skit which J. Francis Dooley and his two associate players have se- lected for the varieties, under the title of "Pelham, Not Harlem," is its novelty. The act opens iu two, special, with Dooley doing a society "souse" character and pouring out his troubles to a fellow club member. The latter advises him to migrate to the suburbs for a change, naming Pelham as the place. A drop is then lowered, showing the exterior of a house, and it is here the woman member of the act makes her entrance in time to advise Dooley that he is in Harlem, not Pelham. After a very good flirtation scene, in which some dancing by the woman goes over well, the couple go into full stage, interior, just as friend bus- band, who is none other than Dooley's club friend, makes his entrance. Ex- planations follow, to a weak closing. Despite Dooley's personal drawing power the new act is hardly up to the standard for the two-a-day route. It can be made so, however, by strengthen- ing it in several places. A. U. CLARA HOWARD Theatre— Proctor's Fifth Avenue. Style— Singing comedienne. Time— Fourteen minutes. Setting— In one. Clara Howard is a California product that blossoms on the vaudeville stage, displaying personality and charm. She possesses a good voice and an abundance of magnetism, which enables her to quickly get the sympathy of her audi- ence. Her routine of songs is well selected and, even though two of them are of the popular variety that have been al- most done to death, she manages to render them in such a different style and way from other acts that one will pardon her for burdening them with songs they bear almost daily wherever they go. Her last number, in which she gives an impersonation of Charlie Chaplin, would lead one to believe that she bad not only watched him on the screen but also go through his stunts at the studio. This act is one of the Western turns which is really welcome in the East. A. TJ. CAROLINE GATES & CO. Theatre— Harlem Opera House. Style— Playlet. Time— Sixteen minutes. Setting— Special. "The Piker," which is the name of this playlet, is not as well written in spots as it might be, with the result that some of the lines seem a bit forced and the acting smacks here and there of ama- teurism. But, despite this shortcoming, the underlying idea of the story and the sweetness and simplicity of the theme make it a popular offering. The story deals with a young fellow who has literary ambitions which have not, as yet, materialized, leaving him jobless, penniless and owing several weeks' rent for his shabby room in a typical, cheap boarding house. The girl across the hall saves him from suicide and things begin to pick up. A revision of some of the lines will probably make the vehicle a winner. H. G. GAMBARELLI & LA ROQUE Theatre— Harlem Opera House. Style— Classical dancing. Time— Seventeen minutes. Setting— Special. This couple have a high-class danc- ing offering, well conceived and excel- lently staged. There are six girls in the act, who support the principals excel- lently. The routine of dances is as follows: 1. A dance entitled "Ninpha and Irides," in which the two principals are intro- duced and the girl's toe dancing is fea- tured ; 2. An Egyptian prayer, danced by four Egyptian maids; 3. Classique Pol- ka, n solo dance by the girl in ballet costume; 4. Neopolitnn Character Dance, with the six girls and the two princi- pals; .i. A dance of Triumph and Lib- erty, being a sort of an allegory, the six girls each representing one of the Allied Powers, while the leading girl represents Columbia, and is instrumental in freeing shackeled Belgium (the man). The dances that stand out are the Egyptian dance, the girl's solo work and the final number. The Egyptian dance Is perfectly done. The final dance stands out more for its timeliness than for any other reason, although it has been well thought out and is danced well enough. Tbe act possesses plenty of snap, is well dressed, and will present a big flash on any bill. H. G. KOUNS SISTERS Theatre— Palace. Style— Singing. .. Time—Fourteen minutes. Setting— In one. Nellie and Sara Kouns have an act of merit. At the opening, Miss Nellie is seated at the piano and starts singing tbe "Hu- moresnue." Her sister steps out and sings a counter melody to it which is put over in regular concert style. Hector McCarthy, who formerly played the pi- ano in vaudeville for Craig Campbell, then steps out and accompanies Miss Nellie while she sings a light operatic selection. Miss Sara then sings the Swiss Echo song, Miss Nellie singing the echo off stage. They next sing "The Sunshine of Your Smile," as a closing number, without tbe help of McCarthy. The act is splen- didly dressed and the young women pos- sess beautiful soprano voices. Not alone do they know how to sing without any apparent effort, bnt put the dramatic spark which'spells magnetism and per- sonality into their work. Tbe act was a big hit In the number four spot and should soon be due for a return engagement at thin house where it will doubtless be featured. S. L. H. KULLERVO BROTHERS Theatre—Palace. Style— Gymnastic. Time—Set-en minutes- Setting—Full stage. Opening the show at the Palace, these boys had things going in great style, do- ing a fast lot of feature stunts which are handled in a showmanlike manner and get results. The act opens in one, while the broth- ers are in a head to head position, play- ing mandolins. The curtain slowly rises and then they do various head-to-head tricks. One of the brothers stands on his head on a pedestal, while the other swiftly throws baseballs at him. All are deftly caught Another stunt is the clog dance of the understander, while the topmounter is in the bead-to-head position. The final trick is where one of them slides down an inclined wire on his head. Tbe act is speedy, well dressed and the stunts are nicely balanced from a vaudeville viewpoint. Tbe finishing trick seemed a real thriller at this performance. S. L. H.