The New York Clipper (December 1917)

De&mper 12, 1917 THE NEW YORK CLIPPER PALACE Sig Franz and Company offer a cycling diversion in which there are many fam- iliar bits shown. La Petite Violette helps the picture with a nice array of straight cycling and Franz does several clever stunts on a unicycle. The opening stunt is a boat on wheels and then the act runs through a diversified routine of feats un- til the closing laugh-getter, which is a bed on wheels. Hermann and Shirley are in the second spot and offer their eccentric dancing skit called "The Mysterious MaBquarader," which did not do so well on account of the meaningless talk running throughout the act. The offering act depends on the eccentric dancing of George Hermann, and that is all there is to it. Roy CummingB and Ruth Mitchell are newcomers to this Douse, with a nifty little skit entitled "One Afternoon," in which Miss Mitchell shows a pretty fig- ure, sings several numbers In a dandy style and flashes her good looks all over the place. But when it came to stopping the show it was up to the eccentricities of Roy Cummings, who has proved to be a capital clown, introducing several new and original bits of down falling, sliding and tumbling through a drop, which must be banded to him as being original. Cum- mings is a sure-fire comer and gets his sonsensical songs and chatter and other foolishness over in fine style. The act is a great laugh winner and stopped the show long enough for them to take a great many bows. Charlie Grapewin and Anna Chance re- turn to play their comedy skit, "Pough- keepsie," which ran smoothly and proved a good portion of vaudeville entertain- ment. The act is- running faster than ever in its present shape and both prin- cipals are getting everything in Che way of laughter from it. Ernest R. Ball and Maud Lambert had the important position of closing the first part, although Lady Duff-Gordon was pro- grammed for it. They sang six songs as only they can, and Miss Lambert wore some beautiful wardrobe which received liberal comment from the audience, while Ernest Ball was in good voice and did great credit to his compositions. His medley won an avalanche of applause and the act finished in fine style. Lady Duff-Gordon and her resplendent array of wardrobe and beautiful models opened the second half. The act was in- troduced by William Gibson, who ex- plained its purpose and the effort to as- sist a French war charity. Her Ladyship then made a few short remarks and the set, entitled "Fleurette's -Dream at Per- ronne," was shown. Florenz Ames and Adelaide Winthrop offered their new vaudeville act called "Caught in the Jam," which at one time was seen in "Hitchi-Koo." The act is more fully reviewed under New Acts. George Rockwell and Al Wood were in the next to closing spot and were the real hit of the bill.. They were in good voice and their nonsensical chatter lust cleaned up the honors, as the audience had been waiting from the early part of the first half for a good laugh. They have added several new gags about knit- ting, the scarcity of sugar and several local advertisements before they get down to the real meat of the act. The "don't- make-me-lie-to-my-mother" line of talk was a scream and it kept up until the hoy* got through with their tin whistle and banjo stunt, which closed the act. However, the boys were in soft all the way and deserved all they could get, which amounted to the honors of the bill, and their trick rendition of "Over There" was well worth the price of admission. Dora Tdina and her players closed the show with a massive production showing four scenic settings and employing nine people in what the programme calls a T?evne Sensational." . The act held atten- tion at a late hour and is reviewed more fully under New Acts. 8. I* H. SHOW REVIEWS (Continued on page* 8 and 34) RIVERSIDE The comedy section of the bill at this house received a big uplift by the addi- tion of James Morton, who appeared as an extra feature,. introducing the acts in his clever and humorous manner. His in- timate acquaintance with the various per- formers gave him an excellent opportun- ity to introduce some comedy of a de- cidedly personal nature which was keenly enjoyed. The Three Jahns, a clever equilibrist act, opened, and their fast routine of tricks were executed without a slip. Truly Shattnck and Emma O'Neil were on second and the comedy of Miss O'Neil and Miss Shattuck'a singing put the act over in good shape. Their offering has improved greatly since last season and now is in excellent working condition. Joseph Bennett and Edward Richard's "Dark Clouds" is a sure-fire laugh pro- ducer with audiences unfamiliar with their comedy opening, but the act has been seen in all the local big-time the- atres and in consequence the dark stage dramatic opening lost some of its effect. The boys are clever dancers, however, and soon got things moving along finely. The act, after a slow start, wound up with plenty applause at the finish. Bonita and Lew Hearn's novel offering, "Bits of Musical Comedy," was well re- ceived, due to the clever comedy bits furnished by Hearn and Bonita's singing. A new opening number which she ren- dered particularly well started the act off well. The song is a good one and could be advantageously moved further down. There have been a number of changes made in "The Bonfire of Old Empires." Marion Craig Wentworth's dramatic play- let, depicting the uprising of the nations against imperialism, since it was pre- sented at the Palace Theatre. Whether on account of some slip in stage manage- ment, or the introduction of a new finale which had not been sufficiently rehearsed, the act came to a sudden stop on Monday afternoon leaving the audience wonder- ing whether or not the playlet was at an end. Whatever the cause, it needs im- mediate attention, as in its present shape, much of the value of the sketch and the excellent acting of the players is lost. Dorothy Jardon, with a rearranged repertoire of songs and Clifford Hess at the piano, opened intermission and scored the substantial hit of the bill. Opening with "Are You from Heaven t" she next sang Tosti's "Good-Bye," then "Some- where in France Is the Lily," and ended with "There's a Long, Long Trail." Miss Jardon was never in better voice and her excellent vocal method and finished sing- ing style makes her offering a delight. Felix Adler's conglomeration of non- sense, put together solely for laugh pro- voking purposes, succeeded admirably. His material is of so pronounced a "nut" type that one shudders to think what would happen if it were delivered by one who did not possess his pleasing personal- ity and charm of manner. Of personality, he has an abundance, and a singing voice with which he could accomplish wonders, if he were to devote a year of serious study under some com- petent vocal teacher. This idea has prob- ably never occurred to Felix, but it is well worth the trial. Even with an un- trained singing voice he sings a ballad well and his rendition of "Alsace Lor- raine" scored a big hit. The burlesque ventriloqnial bit which he is using for the finish is one of the most amusing things seen in vaudeville in many months. . "The. World . Dancers" In their "Evolu- tion of the Dance* .closed and held the audience in well until the finish,., W. V. COLONIAL The program ran according to schedule. Belle Baker headlined for the second week, and scored an enormous hit. Miss Baker should be adopted by Father' Knicker- bocker, and not be permitted to leave Greater New York, as the vaudeville- going public imagines that she is one of its own. The show opened with Percy Athos and Greta Read in a fast rollerskating offer- ing, that contained many good tricks and whirlwind revolutions. The man is a marvel at jumping over chairs. The opening aong could be dispensed with, as it has no bearing on the act. They started the show off in good style. One of the best lady violinists in vaudeville is little Jennie Middleton. She possesses a wealth of beauty and surely knows how to put over harmony. The "Wild Irish Rose" number was done to perfection. Bob Matthews now has his act running in tip top order. The characters por- trayed in his new skit called "The Rounder of Old Broadway," in which Matthews is the rounder, were finely drawn. Each member of the cast re- ceived a big hand. Matthews was re- membered by the Colonial assemblage and was accorded much applause when the act finished. The act is ready to hold down an important position on any bill. "Softly-the agents are calling me" is only one of the many lines that got for Felix Adler laughs that followed in close succession. His comedy songs, witty sayings and cleverly conceived ventrilo- quist bit were heartily enjoyed and heavily applauded. Adler then left to work at the Riverside. Carl Randall and Ernestine Myers were a revelation. Their dancing is superb, especially the closing number, when they offer a satire on an Egyptian fox trot. Randall is a marvel in the air, and his partner does equally well on the floor. The pair are blended into one big danc- ing carnival. The audience surely liked the act, as they gave them thunderous applause when they bowed off. After intermission came Russell Mack and Blanche Vincent, and right from the start made an impression that carried them along at a rapid gait. Mack opened with an apology that his partner was delayed and he would entertain with a few eonga. Miss Vincent then appears and seats herself at the piano; a line of cross-fire talk is indulged in, the conclu- sion of which finds them good friends again. _ They then sing pop songs that are delivered in a manner most convinc- ing. Both have personalities and voices that are bound to carry them along to the topmost rung in the ladder of fame. Just as a suggestion to Mr. Mack, he should refrain from using the "er" at the end of the lines in his songs. The act will find little trouble securing booking, as it is a gem. William LeMaire and Ed. Gallagher were a scream from start to finish with their comedy "War" offering. LeMaire has improved greatly, and Gallagher is the same straight man as of yore. Belle Baker has added a few new songs to her repertoire. The Colonial seems to be the home of Belle Baker, as each in- dividual seemed to know her personally. Seven songs were delivered, each one a hit. A scenic novelty was introduced, with Katherine Dana in songs, and Philip Morse accompanying on the flute, while flower and forest scenes changed every few minutes. The panorama did not work to perfection, causing unrest on the part of the singer. Miss Dana possesses much volume,'but very little voice quality. J. D. ORPHEUM The Darras Brothers gave the show a fast start with their routine of difficult stunts. They open with a few head-to-head bal- ancing turns, finishing with some hand- springs. A trapeze is then lowered and one of the boys does some good stunts on the flying bars that were received with loud applause. One of the most daring tricks he attempts is a balancing stunt in which he balances in topsy-turvy fashion while the trapeze is in motion. Emily and Clara Barry, formerly of the team of George Felix and the Barry Girls, are presenting an exceptionally good sister act, with a routine capably handled. In the opening song, the girls introduce themselves to the audience. Emily then dances, while Clara plays the . piano. Some comedy talk, centering on. love, is followed by a song by Emily and with Clara at the piano again, after which Emily dances. Halligan and Sykes open their act with < a song by Halligan, after which he tells some gags. The curtain rises.on an of. flee in which Halligan tries to sell Miss Sykes some real estate after finding out that aha has $1,000 in her possession. Many bright and witty sayings are brought into the skit and are well taken care of by this team. TTalHgan jg a very good com- edian and knows now to get the most out i of his work. Miss Sykes assisted him splendidly, considering the heavy cold she has. Bailey and Cowan, two clever boys, open their act with a banjo and saxo- phone duet, scoring a big hit right from the start. After the duet number, Cowan sings a Southern melody, accompanying himself on the piano, while Bailey played the banjo. They follow this with a "Liberty Song" that took the house by surprise. Then came a 'cello and saxo- Cne duet, followed by a finely executed jo number by Bailey. They finish the act with a darktown jazz selection. The pair are good musicians and have pleas- ing personalities. The act is fast going and the numbers are well rendered. Emmett De Voy and company followed, and presented their well-plnyed sketch en- titled "The Call of Childhood," written by De Voy. The story is told of a grouchy father who Is always nagging hla step- son because his mother is bringing him up on the eugenic plan. The father, who wants his son to be a man in every re- spect, does not like the way bis wife is bringing him up. The grandfather then tells the boy a sto- ry of Hallowe'en, when the spirit of cheer comes from the chimney and brings happi- ness to all concerned. Even the father, who always has been a grouch, is now smiling, and, when a party of boys pass the house, they are invited In for some cake and fruit- The father then promises that he will treat the boy right, and tens him of the things he is going to buy for him. The Cameron 81sters have rearranged their act since last week, and, in addition to getting a new fancy drop, are wearing some very neat and attractive gowns. The best appearing one is the Red, White and Blue one they wear to dance the medley of popular songs. It gives the set a strong finish and runs much smoother than it did last week. Then came Eddie Dowllng. who starts his act with a story about the Kaiser, after- ward giving a recitation about two Irish- men that went over big. After that is done he gives a few opinions of the war in the dialect of an Englishman, French- man, Turk, Italian, Hebrew, Irishman, and American. He finishes his act with an impression of Harry Lander in a good Scotch brogue. Dowling is a gifted come- dian and possesses a clear voice. With the routine he has at present be can per- form at any theatre. Gas Edwards' Song Revne will be re- viewed under New Acts. M. L.