The New York Clipper (July 1917)

July 18, 1917 ■ THE NEW YORK CLIPPER PALACE With the Dolly Sisters topping the bill, and the Kouns Sisters on the bottom, it remained for the brother type of act to fill in between. The Caites Brothers, Duffy and Inglis and Mullen and Coogan supplied the comedy. The clean-cut hits of the bill were Duffy and Inglis, with the Dolly Sisters a close second. The bill proper was opened by the Alexander Brothers and Evelyn, who have a real novelty act in their dandy ball- bouncing stunts. The turn i& nicely dressed, speedily routined and spells class all the way. The various tricks were done in a showmanlike manner and make this act stand out as a worth-while feature. The Caites Brothers, in the second spot, opened with their comedy chatter and funny lines about the absence of light. The smaller brother has now grown to full manhood size and put over his solo dance in fine style. The older brother also offered a solo dance and, at the finish, a double stepping event brought down the house. The Greater Morgan Dancers, in the third position, offered the same act they have been doing here for the last three weeks. The dressing of the girls in this act seems more than appropriate for this weather. Jimmy Duffy and Jack Inglis, dressed in Palm Beach suits and opera hats, and smoking corn-cob pipes, were a riot Their opening number informs the audience that they have pat their wives in camphor for the Summer. They then sing a routine of special comedy songs, accompanying them with hoktun renditions on various instru- ments. Near the close of the act they take their bows with the instruments in their hands, and, after playing several hokum melodies on toy and peculiar shaped melody makers, the laughs were coming so fast that the audience could not hear the playing. The act stopped the show and the boys made a short speech. The Kouns Sisters, assisted by Hector McCarthy, returned after but a two weeks* absence and again demonstrated that they not alone possess dramatic singing ability and know how to use their beautiful voices, but, also, that they are show women who know how to handle and put over material in the most approved modern vaudeville style. Their routine of songs has been changed in the two open- ing numbers, while the dressing of the act is still the same. After intermission, the Dolly Sisters had the opening spot, assisted by a jazz band of six colored women, who have, in addi- tion to a poor lot of melodies, a red-headed colored piano player, which is something never before seen at the Palace. The act is more fully reviewed under "New Acts." Mullen and Coogan followed the Dolly Sisters with practically an of their old material, excepting the closing bit and the imitation of a swallow, so well done for years by Milo. Dressed in black tuxedo suits, they looked warm, and started off with a good comedy song. The recitation a la Victor Moore is still retained, as is also most of the old gags. Coogan does a solo dance, to fox trot music, which went over big, and Jim Mullen closed the act with a very brief imitation of one of the Morgan dancers. As an encore bit, they came oat with instruments just as had been previously done 1 by Duffy and Inglis, although Mullen and Coogan have been doing the bit for years. Gus Edwards offered the "Bandbox Bevue," in which are featured Georgie Price, Cuddles Edwards and Vincent O'Donnell. The act went splendidly, ex- cepting the imitation of Frances White singing "Mississippi." "The Edge of the World" is a posing and dancing affair, in which Miss Bettina appears before a screen upon which many colored lights are allowed to form fantastic color combinations and dainty designs as they assemble before the eye. The act is a pretty and effective closing turn, which held them in, nicely. S. L. H. RIVERSIDE There is an "all allies" bill at the River- side this week, opened by the Kanazawa boys from Japan, and closed by the Hirschoff Troupe of Gypsies. Mercedes, billed in the third position, failed to ap- pear, and his place was filled by Marshall Montgomery, an American, so the "allies" feature of the bill was preserved. The Kanazawa Boys, a clever trio, have a fine equilibrist turn and execute a num- ber of difficult feats in a clean cut and finished manner. Scarpioff, the Russian boy tenor, renders a program of classical and operatic selec- tions including the big tenor aria from "Pagliacci." The boy has a pleasing voice, light in quality but of wide range, and renders his selections in a musieianly man- ner. His vocal method, however, is far from perfect and, in consequence, in striv- ing for effects, particularly in the high register, he strains the voice badly. Selec- tions of a lighter nature, which do not make such strenuous demands upon his vocal equipment would be just as accept- able and prolong his singing career as well. His accompaniments were furnished by Leon Varvara, who also furnishes a solo, played in a rather mechanical fashion. Marshall Montgomery, assisted by Edna Courtney, filled the third position most acceptably. He has introduced some new comedy material in his always clever ven- triloquial act, which has brightened it up greatly. Marguerite Farrell, is singing the same repertoire she gave at the Palace recently, and the new songs which were so enthusi- astically received downtown duplicated their success at this house. Miss Farrell has a pleasing voice, a charming manner and a personality which will carry her far in vaudeville. Conroy and Le Maire found the going hard with their "For Sale a Ford" sketch. Whether the public is tiring of automo- bile jokes and especially those aimed at the Ford, or the general apathy which set- tles over a mid-summer night's audience, was to blame, the fact must be recorded that few laughs resulted from their ef- forts. The dropping of the car doors, the explosion of the gasoline tank and other features which were greeted with pro- longed laughter when the sketch was first presented In "Fads and Fancies" several years ago, were received in the mildest manner imaginable on Monday evening. Emma Carus, assisted by Larry Comer, opened intermission, and although she found the audience in anything but the mood for applause, by sheer hard work and forceful personality brought her some- what lengthy act to an enthusiastic fin- ish. Miss Carus is singing several new songs as well as one or two old ones, but songs wear well with her and numbers which have lost their. value with many singers are still welcomed when sung in her clever manner. Mr. Comer is a good partner for Miss Carus, and puts over one or two numbers very acceptably, par- ticularly the "Poker" song over which there was considerable controversy earlier in the season. A. Robins, with his clever imitations of various musical instruments, although next to closing, found the spot an easy one. and could easily have prolonged his .act several minutes. Not only are his imitations remarkably faithful, but bis entire act is most pleasing. Few better closing acts than HirschofTs Gypsy troupe have been seen at this thea- tre. The scenery and stage setting, show- ing a gypsy camp is good, the music ex- cellent and the dance numbers executed by the entire company of seven are far above the average. A fast routine of spe- cial steps brought the act to a rousing finish. W. V. ROYAL A bill shy on good comedy and even more shy on strength, played to an audi- ence much leas enthusiastic than is usu- ally found in the Bronx. With the ex- ception of Joseph L. Browning, the first half of the bill, containing six of the eight acts, ambled along at a alow pace. Rose Coghlan, headlining, was certainly a disappointment. - Miss Coghlan, with a company of four, is presenting a patriotic playlet from the -pen of Willard Mack and Thomas F. Fal- lon, entitled "The Deserter." The offer- ing will be reviewed in detail under "New Acts." After a Hearst-Pathe News Pictorial, the Gladiators opened the bill. These two athletes give a splendid exhibition of ath- letic strength and go through their feats in a business-like and effective way. In the second spot Adeline Francis wheeled out her "Grafonola Girl," after opening with a patriotic song, and went through her familiar routine of talking to her friend in the phonograph. The idea is, of course, very novel, and, if employed as a number in an act, would be very ac- ceptable. But spreading the Idea out over fifteen or more minutes tends toward monotony, and, although worked very cleverly, the turn is bound to drag. "Memories" would be a better vehicle in more capable hands. The skit is written around a struggling artist, whose three friends try to give him cheer by recalling days of the past and singing some of the songs they used to love in the old days at college. The dialogue in the act Is only fairly written, and the lines are read badly. As a singing quartette, they are little more than fair, and the act is not up to the standard set by other quartettes that have played the Royal. Joseph L. Browning roused the audience out of its lethargy with an exceptionally novel single, well constructed and put over. Browning has a contagious smile, which would make an undertaker laugh, and is a good enough showman not to em- ploy it too often. He uses it just at the phsycological moments, however, always getting the desired response from the audi- ence. The line of songs Browning uses are both original and clever, and, although they are written around old topics, are treated in a different way than is usually employed, with the result that they get over with a smash. The song about love is particularly worthy of good mention. Browning should rearrange his routine so that the end of his act would be stronger. As matters stand, he ends his act with a song that is rather out of his line, whereas, if he would finish with a number more- typical of the rest of his work, the final applause would be even more gratifying than at present. Reed and the Wright Girls opened in- termission with a dainty dancing and musical act. The girls dress very prettily and make charming stage pictures in their several frocks. The man has a good ap- pearance and a pleasant personality. The vaudeville bill was closed by "Rubeville," with a cast of ten per- formers, featuring Harry B. Watson as the country store proprietor, and Jere Delaney as the advance agent. Some of the comedy in this offering has seen time elsewhere but, on the whole, is very passable. Music is the act's strong point. Brasses and strings are played with equal skill, and the repertoire is pleas- antly varied. The act finishes with a little too much noise and would be Im- proved by a little curbing of the loud pedal. Delaney's dancing is a feature of the act, while much of the comedy success is due to Reg Merville. the constable, al- though he is not featured in the billing H. G. HENDERSON'S Harry Le Vail and Sister opened the show, with some fast and effective work on the rings and trapeze, the brunt of the work falling upon the girl, who forms a human trapeze upon which her brother swings. Val and Ernie Stanton have apparently done nothing to improve their act since last seen by this reviewer several months ago, although the boys must realize that their turn is in need of considerable revision and altering. Some of the gags employed by the pair are covered with moss and should be quickly eliminated for newer and brighter material. The boys have consid- erable talent and should not be satisfied to plod along with old and weak stuff. The ukelele and harmonica finish cov- ered up a lot of shortcomings and took the boys off with warm applause. The Ford Sisters and Henry Marshall came entirely too early on the bill, In view of the excellent offerings they presented. The house liked this clever trio at Mon- day's matinee and the big applause ac- corded the act was deserved. The turn will be further reviewed under "New Acts." Mr. and Mrs. Mel-Burne possess a very weak vehicle in "On the Fourth Floor," which they term their "wide-awake epi- sode," although it fails to awaken one to any great extent It is the old Idea of the husband coming borne drunk in the wee sma' hours to a patient and forgiving wife. A long cross-fire conversation ensues, which is supposed to be funny, but which, as a matter of fact, is hardly more than mildly amusing. Why so many perform- ers persist in making their comedy out of midnight jags and souse takeoffs is dif- ficult to analyze, in view of the fact that a large portion of theatregoers dislike see- ing this style of "comedy," it being more repulsive than funny to them. Praise must be given to the special set used in this act—a sleeping porch very artistically constructed. The Watson Sisters, Fanny and Kitty, gave a repertoire of popular songs which seemed to be just about what the audi- ence wanted. The song about "stingy baby" was particularly well rendered. The Italian number did not get over so well, for many acts have put it over with much better effect than did Miss Fanny. The song about the "haunted house" is a dandy number, and is put over well, but the girls would find it even a bigger hit if they would take the song more seriously. They should leave the laughing to the audience and go through the number as if they really believed the house to be haunted. The "yon tickle me" gag has been used by every small timer who could find room for it in his turn, and has no place in a big-time act. Most of the patter of the two girls seemed rather original and went over satisfactorily. Eddie Foy and His Seven Little (?) Foys headlined the bill and took big honors. Eddie Foy Is not overworking these days, and the act's value might be considerably enhanced if papa would get more actively into the game. The whirl- wind dance was a feature of the act, and the little fellow, as Charlie Chaplin, fell in for a good share of applause. One »f the girls does the brunt of the singing and goes through her routine well, Al. Herman, spending most of his time in "kidding" the audience and gossipuing about the other acts on the bill, had things all bis own. way, although, at time*. Ma comedy is entirely too vindictive. There is nothing funny in yelling to a member of the audience, "Take off your hat! Do you think you're in a barroom?" And then again: "Ton have a face that looks like Cocchi's brother." The Five Nelsons have an act that really deserves a better spot than closer. Their work with the hoops is very effective and excellently done. The quintette work with clock-like accuracy, and. with their brightly colored hoops, not only do their work adeptly, but present a pretty spec- tacle as well. H. G.