The New York Clipper (August 1917)

August 1, 1917- THE NEW YORK CLIPPER "THE FUTURISTIC REVUE" Theatre— "New Brighton. Style— Operatic music Time— Twenty-three minutes. Setting— Special. "The Futuristic Kevue" is composed of Countess de Leonardi, eight singers, and an orchestra leader. The act is lavishly put on with a number of set- tings of futuristic designs, from which the turn most likely, derives its name. The act opens with the prologue from "Pagliacci," followed up with rendi- tions of other arias from the same opera. Countess de Leonardi next renders several violin numbers. A medley, com- posed of arias from "Mignon," "La Boheme," and "Lucia" closes the act, while Countess de Leonardi plays, along with the singers, on her violin. The violin playing of Countess de Leonardi shows years of hard study and practice, and her solos give her a chance to display rather unusual technique. The . octette' of singers possesses remarkably good voices, and the solo numbers of the different ones are excellently rendered. As a singing act of its type, it has no superior in vaudeville. "The Futuristic Revue" is a big. flash, well put on. Hi G. RITA GOULD Theatre— Proctor's 125*fc Street. Style — Singing. . Time— Fifteen minutes. Setting— In one. Rita Gould has a rich and pleasant contralto voice and, accompanied by her own pianist, renders a varied routine that starts with a novelty number of the special song type. This is fol- lowed by a song, in which she is sup- posed to make up the words and tune as she goes along. A number telling of a modern maiden's prayer constitutes the next song of her repertoire. Fol- lowing this is a love appeal in ragtime. The act is closed by a military num- ber, Miss Gould appearing in a gray cape creation, lined with the Stan and Stripes. Mass Gould wears a different dress for each number, and each creation seems prettier and more exquisite than its predecessor. She is a stunning girl, and looks very attractive in the beautiful gowns she wears. Her repertoire is well chosen, and Miss Gould has a very acceptable sing- ing single which deserves big time recognition. H. G. ARMSTRONG AND STRAUSS Theatre—Proctor** 23d Street. Style— Man and girl. Time— Twelve minutes. Setting— In one. Armstrong and Strauss open with an Irish song, after which the man sings a number about the Kaiser. There is then a number in which he seems undecided as to which girl he should wed, Irish, Hollander, Italian or American, Miss Strauss appearing in turn as each char- acter. Some clever dialogue is inter- polated in this number. Of course, Armstrong decides upon the American girl, after which the pair, go into a Dixie number and conclude with a dance. The act is well put together. The rou- tine is good. H. G. NEW ACTS (Continued OO Page It) VIM, BEAUTY AND HEALTH Theatre— Proctor's 23d St. Style— Acrobatic. Time— Eight minutes. Setting— Full stage. This team consists of two men and a woman. The woman, hanging head downward from a horizontal bar, holds a chained ring in each hand, and the two men per- form on them. The three are skilled performers in their line and have a very acceptable act, H. G. CANTWELL & WALKER Theatre— Harlem Opera House. Style— Man and girl. Time— Fourteen minutes. Setting— In one. The man, who reminds one of Bert Fitzgibbon in voice and mannerisms, opens the act with an Italian number. He then informs the audience that he and his partner have some bright lines and some new and old jokes, after which the girl enters. There is then some cross-fire delivered in an original way that made us agree with Cantwell that some of the jokes are old. He sings a novelty song, and then the girl re-enters and there is some more cross-fire, after which the turn concludes with a song and dance. The man furnishes most of the enter- tainment in the act, but the little the girl has to do is well done. It is an entertaining skit. H. G. DREAM FANTASIES Theatre— Palace. Style— Dancing. Setting— Special Time— Twenty minutes. As the clock tolls out seven bells the curtain rises on a dark drop, supposed to represent "night." The special leader of the orchestra is singing a short in- troduction, which on Monday afternoon was lost on account of his throwing his voice up stage instead of at the audi- ence. A small opening in the curtain next allows some one to make a short speech about dreams and that, it is hoped the audience will like the act. A man and two women next offer single, double and triple dances, in a special white cyclorama setting. All are duly programmed, but are meaningless to the audience. The trio works hard and fast. The music, at times, is reminiscent of the Morgan dancers. The wardrobe is pretty, and the lighting effect is unusually well handled. S. L. H. JOHN GEIGER Theatre— Harlem Opera House. Style— Violinist. Time— Eleven minutes. Setting— In one. John Geiger, dressed as an Italian street musician, enters singing and play- ing upon a violin.. He then renders "The Mocking Bird" on the violin, with a number of variations that are differ- ent than the ones usually employed by stage violinists. On his violin, he mimics a number of things, such as a Scotch bagpipe, a merry-go-round organ, and a ukulele. He also plays several rags and other selections in a freak way. Geiger is an adept in his line, and makes the violin do everything but talk. His act is very entertaining. and quite away from the cut-and-dried violin singles that have been appearing in vaudeville. H. G. BURNS AND FRABITO Theatre— Fifth Avenue. Style— Comedy and music. Time— Fourteen minutes. Setting— In one. Harry Burns has taken a new partner in the person of Frank Frabito and, at their first New York appearance, last week, scored a big success. They open with comedy patter and give singing and instrumental music. For a finish, they play and sing two songs at the same time. They are capable per- formers, good comedians, and play their guitars well. They should go well on any bitt. B.W. LONGENETTO Theatre— Proctor's Twenty-third Street. Style— -Characterizations. Time — Fourteen minutes. Setting— Specia I. Longenetto, a woman, presents a number of character types. The first is that of a Chinese girl, singing a Chinese song. The next was, possibly, an old English servant. Some dialogue was served out that would lead one to be- lieve so, but just what it was ail about we don't know. A Carmen type was next, with an ap- propriate dance, and then a Turkish maiden was presented with the Salome gestures. A Colonial type was next, after which a Bowery tough was por- trayed. Longenetto finishes her turn with the court room scene from "Madame X," portraying both the lawyer and Madame X. Accompanying some of these char- acterizations, a man is heard singing rather appropriate music off stage. Longenetto's act belongs to an old school of vaudeville and is passe. She makes up well for the different types, but her poor rendition of dialogue, and graceless dancing mars the act to an ex- tent where nothing can redeem it H. G. NAYNON'S BIRDS Theatre— Greeley Square. Style:— Trained cockatoos. Time— Twenty minutes. Setting— Special. The scene represents a tropical forest and occupies the full stage. There are about thirty cockatoos, of variegated col- orings, making an attractive stage pic- ture. The birds are put through'ail sorts of tricks, balancing on balls, saying prayers, rolling over, marching, and other simi- lar feats. One cockatoo, called "Andy," does a bell-ringing specialty, doing a number of arithmetical problems, an- nouncing his results with precise ac- curacy by means of ringing a bell. An- other cockatoo does a number of tricks on a horizontal bar. "Daisy" and "Dandy," two of the birds, roll down a flight of steps in a rather fantastic way. One beautiful specimen of cocka- too has been taught to pose, and brings the act to a close with a series of poses in which be displays his beautiful plumage. The act furnishes an excellent novelty, and the birds are wonderfully trained. It is of big-time calibre and could score a hit on practically any bill. H. G. HILL, CHERRY AND HILL Theatre— Fifth Avenue. Style— Grotesque comedy and cycling. Time— Fifteen minutes. Setting— Special set. Full stage. Hill, Cherry and Hill (men), are very clever performers. They present an act made np of grotesque comedy stunts and straight bicycle riding. Two of the men are in tramp make- up, while the third is in a trim uniform. The latter does straight riding only, on a bicycle and unicycle. One of his part- ners does tramp bicycle work, and the third does some very clever work "walk- ing" on crutches. The unicycle stunts toward the close are out of the ordinary. They close in one, offering comedy work with a fox terrier, which proves to be a very intelligent canine. These boys are capital performers, and their act is rilled with clever work and good comedy stuff. They should have no trouble landing booking. FORD AND HOUGHTON Theatre—Harlem Opera House. Style— Man and girl. Time— Twenty-one minutes. Setting— Special drop in three. This capable man and girl team start their routine with a military number. He is dressed in military uniform and she in striking nurse attire. After the song they go into a dance. Then, dressed as farm boy and girl, they speak some lines, after which they sing a number about the different things that grow in their garden. The girl then sings a solo about a rose, and, while doing so, distributes a bouquet of roses among the people in the audience. In a souse takeoff, the man sings and dances. As a final num- ber, they sing a duet concerning their marriage and honeymoon. For the latter, they decide to tour New York and, in turn, give impressions of the dancing seen in Chinatown, the Bowery, 14th Street and 59th Street. The routine of the act is cleverly ar- ranged and has been well thought Out. The dances are well done, and the songs are capably put over. H. G. HERMAN WASSERMAN Theatre— Palace. Style— Pianist. Time— Fifteen minutes. Setting— I n two. Seated upon an ordinary dining room chair, Wasserman rendered three selec- tions, of which two were by Liszt. He possesses but slight personal magnetism, makes no play for ostentation nor stalls for bows, but certainly knows how to get a singing tone out of a piano. The lights were dimmed a trifle and on a hot afternoon he pulled down an easy bit. Herman Wasserman is an A No. 1 pianist, as far as vaudeville pianists go, and should find no trouble in enchanting the music lovers who go to the variety theatres seeking classical entertain- ment, S. L. H. WILKENS AND WILKENS Theatre— Proctor's Twenty-third Street. Style— Comedy patter and dances. Time— Eighteen minutes. Setting— In one. Charles and Adelaide Wilkens are • pair of unusually talented performers, having the art of putting over a com- edy talking and dancing act down to a fine point. They have individuality, but make a mistake in using some antique and weak gags at the opening of the act. With their cleverness and ability, they should keep away from old stuff. Once the act is under way, however, they begin to clean up, and the man does some of the best eccentric dancing seen in a long while. They close with a scream-creating bit in which the woman tries to teach the man the tango. This bit is decidedly original and sure-fire. Wilkens and Wilkens will be a bril- liant addition to any bill. L. F. BILLY AND EDITH ADAMS Theatre— Proctor's 23d Street. Style— Song and dance. Time— Ten minutes. Setting— In one. Billy and Edith Adams have a nicely costumed and snappy song and dance turn. Dressed in Tommy Atkins* attire, they open with a song and follow it with a dog dance. The man next does an ec- centric clog, after which the girl re- enters, in Scotch attire, and renders a song, followed by a dance.' He return* in full dress and, with the girl, does some fancy stepping. She then exits and returns in an attractive mandarin dress, closing T-ith a snappy song and dance. . H. G.