The New York Clipper (November 1917)

November 14, 1917 THE NEW YOItK CLIPPER NAT NAZARRO AND CO. Theatre— Palace. Style— Gymnastic. Time— Twenty minutes. Setting— Full stage, parlor. The new offering of Nat Nazarro and Company could not be billed as former- ly, "The Acme of Athletic Artistry," because in this act "Versatility" is really paramount, which is the way the act is programmed. At the opening, three men and a woman, wearing an abbreviated skirt, are seen. They start with one of the men, who is really a boy, doing some pantomime with the girl and a bottle. Then the other two men offer a fast routine of ground tumbling. This starts the crowd applauding. The clean lifts between Nazarro and the boy next were shown and the applause was kept up. The third man, a ground tumbler, of- fered some fast flip flops. A line of comedy in the way of talk was next introduced and it led up to the woman playing the piano, the boy playing the 'cello and Nazarro the violin. Two numbers were rendered in fine style and were roundly applauded. The boy next stepped out and sang a popular rag song which went great. He then stepped into an eccentric dance which brought down the house in the way of applause and, considering this act was in the opening spot, it certain- ly was going some. A one arm lift was a revelation, but was cleanly accom- plished by Nazarro and the boy with- out any stalling. The ground tumbler then ran through another routine of intricate ground tumbling in which he introduced front and back flip flops in such fast succession that they could not be kept track of, closing the act. Nat Nazarro and Company is an act worthy of a good spot on any bill and entitled to the billing wherever shown. S. L. H. ANGER AND KING GIRLS Theatre— Royal. Style— Comedy $kit. Time— Siwteen minutes. Setting— Two drops, in one. Harry Anger and the Bong Girls are offering a hodge-podge of comedy which will lead them nowheres on the big time. The act is entitled "The Road to Hokus," and one of the girls appears in a riding habit and the other in an automobile outfit. The opening dialogue between the girls lacks comedy weight. Anger, dressed in a classy automobile outfit, then arrives on the scene and more chatter is indulged in. The talk fell flat principally because no one knows if Anger is a German dialect comedian or attempting to use a He- brew line of talk. Anyhow, the girls exit, and Anger sings a song about dancing with bis wife, but does not step to it. His de- livery in the song could be greatly im- proved. The girls, dressed in red velvet eve- ning attire, next sing a quaint number which has a good swing. They look good, wave green fans and harmonize the last note of the song. They are then interrupted by Anger, who appears with three collapsible automobile seats, about which there is some more point- less talk, after which they sit .down to sing a comedy number which has Seen much service. Between verses Anger interpolates a four-line poem which is reminiscent of Ryan and Lee, and a goat gag which is also quite old. The act went off at the end of the song in a quiet manner. What the act really needs is the elimi- nation of Anger's dialect and some up- to-the-minute material before it can stand up in fast company. It has the class but not the goods to make it fit for the regular big time, S. L. H. NEW ACTS (Continued oo Fags It) BESSIE CLAYTON Theatre— Riverside. Style— Dancing. Time— Twenty-two minutes. Setting— Special. Assisted by Paisley Noon, the Mosconi Brothers, Charles F. - Strickland at the piano, and a jazz cornetist in the or- chestra pit, Bessie Clayton is presenting "The Intimate Dance Revue of 1917," which is quite the most pretentious dance production this talented artist has ever been identified with. The act opens in one, with Noon sing- ing a brief prologue, after which the curtain rises upon a full stage setting and through an opening in a beautiful panorama' drop Miss Clayton, hand- somely clad in a blue sDk gown and bon- net, appears and dances with him. He sings again, and then Miss Clayton dances a finely executed number with the Mosconi Brothers, who, at its finish, go into their eccentric dance duet, giving Miss Clayton time to change to a blue and gold costume in which, with Noon assisting, she does her famous toe dance. With another change of costume, she dances a solo number, and this is fol- lowed by a jazz dance, done by Miss Clayton and her assistants, and ex- ecuted with such speed and grace as to be little short of sensational. Much thought has been devoted to the production of Miss Clayton's Revue, and no detail has been slighted. The set- tings are artistic, the costuming beau- tiful and the dances arranged in the most effective manner. The act, in its present shape, ia strong enough to fea- ture anywhere. W. V. THE MISSES CHALFONTE Theatre— Fifth Avenue. Style— Singing and dancing. Time— Ten minutes. Setting—Four special sets. The Misses Chalfonte, two in number, open in Colonial dress with an appro- priate song and dance, and a fitting scene in two. One of the girls follows on full stage In an exterior set, and does a dance. Her sister then follows with a song about caros. The scene is in one, and on the special drop are painted three poker hands, a straight, four aces and a royal flush. They close in two in short white dresses and dance. The act is elaborate as to scenery, and the girls dress well. They are also fairly good dancers. But the turn, as it stands, is nut apt to bring them even moderate success. A little more atten- tion to their dancing routine with a couple of popular songs in place of the ones they use, would bring them more favor than special scenery. E. W. EDDIE DOWLING Theatre— Bushtcick. Style— Stories and recitations. Time— Twenty minutes. Setting— In one. Opening with a story about the Kaiser, Eddie Dowling gives a recitation about a German boy who pleads with the United States to permit bim to enjoy the liberties of this country. It is full of pathos. Fol- lowing this bit he does imitations in dia- lect of an Englishman, Italian, Turk, Frenchman and American, depicting how they express their ideas of the war. For a finish be imitates Harry Lauder in a rich Scotch brogue. Dowling has an abundance of person- ality, augmented by a clear voice, and with a revision of his present routine will find favor wherever he appears. J. D. TAYLOR GRANVILLE & CO. Theatre— Fifth Avenue. Style— Skating. Time— Eight minutes. Setting— Full stage. This act opens in the training quarters of Taylor Granville, known as "The Goslin," situated in the basement of a bar-room. The Goslin is having a little chat with bis girl when Kid Spangle and his manager e&ter and pass sinning re- marks both abaut his quarters and the girl. A fight ensues in which "The Goslin" gets the 1 upper hand. The Kid and hi — anager, knowing that "The Goslin" would be hard to beat, then offer him a chance to frame a fight and make some easy money. This "The Goslin" spurns. The scene then shifts to the fight club and, after the routine of introducing the fighters, the bout commences. Three of the rounds go along smoothly. Then "The Goslin" discovers that they tried to dope him and he knocks out his oppo- nent. The sketch is well acted by Granville who is ably supported. M. L. BENNINGTON AND SCOTT Theatre— Greeley Square. Style— Singing and dancing: Time— Ten minutes. Setting— In one. The principal point of novelty in this act is that the man has a wooden leg, with which he dances and kicks with ability and skill. The girl sings rather badly, and seems somewhat new to the stage. They open with a song and dance, followed by a clog solo by the man. Then the girl does a recitation, and they finish with some high kicks by the man, who re- moves bis leg and manages to reach nine feet or so with his one good one. The team is well dressed and has a good repertoire. The man has several legs, one for each costume, which is something of a novelty. His kicking will carry the act across. P. K. THE GERALDS Theatre— Royal. Style— Instrumental. novelty. Time—Ten minutes. Setting— Wood set, full stage. The Geralds are a man and woman who appear in gypsy costume and offer a neat and melodious instrumental turn in which they show a novelty at the finish. They open with a violin and 'cello se- lection which started things nicely, and then offer a good banjo duet. The act finished in a novel manner with both playing a set of mandolins which are carried across the stage on a mechanical carrier. The mandolins are played much : n the manner of a xylophone and put the act over with the right punch. The act is a good act of its kind and is nicely dressed and staged. The music is good and really worth while. S. L. H. KENNY, MASON & SCHOLL Theatre— Fifth Avenue. Style— Sketch. Time— Thirty) minutes. Setting— Special. Kenny, Mason and Scholl offer a skat- ing and acrobatic act. They open with two of the men whirling around on skates while the third member of the team is swinging from one of the men's shoul- ders. They then offer a routine of diffi- cult stunts on skates and finish with a few somersaults. It is a good opening act for the small time. M.L. GREEN AND MILLER Theatre— Delancey Street. Style— Singing and novelty. Time— Twelve minutes. Setting In one. Green and Miller, a man and woman with pleasing stage presences, and a variety of talents, provide an Individual and entertaining turn. They open with a duet on horns, followed by a song by the girl, who has a pleasing voice. The man then does some sleight of hand and some clever juggling with cylinders and eggs. He also handles a pack of cards with skill. The girl next assumes the attire of a Red Cross nurse and sings a patriotic song, but, as she does it simply and without theatricalism, it ia not so offensive as this sort of begging for applause usually is. The man plays a queer shaped violin, and they close with another horn duet. The man is made up in the familiar "rube" manner, and the girl has three changes, all of which are attractive. They work well together, and keep their work so varied as to hold interest throughout. P. K. FUN IN A GYMNASIUM Theatre— Harlem Opera Bouse. Style— Athletic Time— Twelve minutes. Setting— Full stage. This act is composed of three men and a woman, who demonstrate the finer points of boxing, wrestling and punching the bag. They open their act with a man and woman swinging clubs, after which two of the men have a short boxing bout and demonstrate some famous punches. A wrestling match follows and, for a finish, the four punch the bags. This act is a good opener on the small time. M. L. PATRICK AND ROSE Theatre— Harlem Opera House. Style— Comedians Time— Ten minutes. Setting— In one. These two men have a good comedy act in which they portray the role of two soldiers in regulation uniforms and carry- ing guns. The act opens with a lot of talk of the war which is rather interesting. After some popular songs were pnt over they finish with a war song well put across. The act ia a good flash for the small time. ' M. L. EDDIE MONTROSE Theatre— AVtambra, Style— Comedy Acrobats Time— Seven minutes. Setting—FuB stage. Made up in white face, Eddie Mont- rose is an excellent acrobatic comedian who takes falls that are laugh makers. A chair and table figure as the main props and the comedian does some good work, especially in a fall from the table, in which he lands on the broad of his back. Straight acrobatics are indulged in and most of these stunts are accom- panied with ease. M. L. BROWNING AND DEAN Theatre—Proctor's One Hundred and Twenty-fifth Street. Style— Black face comedians. Time— Ten minutes. Setting—One. Browning and Dean, two black face comedians, present a comedy talking act which consists mainly of jokes. The material is rather poor, but they possess a knack in putting it over that wins. With better material, these boys should be effective as laugh getters. M. L.