The New York Clipper (January 1918)

January 23, 1918 THE NEW YORK CLIPPER 33 VAUDEVILLE REVIEWS (Continued from p*«m 7 and 8) NEW ACTS (Continued from PMd • and II) AUDUBON (Uit Half) Alfred and Pearl, a muscular couple, found the audience coming in. The offer- ing is quite a presentable one, although it exhibits nothing startlingly novel ill its routine of balancing and swinging. Another one of the warfare songs was Marie Dorr's first song. A rube number in partial get-np went over more success- fully. An Italain impersonation closed. Thomas P. Jackson and company present a playlet, the action of which tabes place in a business man's office. Enters a young woman answering his "ad" for a trust- worthy assistant. During the interview it develops that she is just out of prison, where she had been incarcerated for stealing $500 for an unworthy sweetheart. The bus- iness man refuses to employ her, but offers her $1,000 if she will enter the office of a chemist next door and steal a priceless formula for him. Her innate honesty as- serting itself, she refuses, albeit she is in dire financial straits. Whereupon it all tarns out to be a hoax on his part, his in- tentions being to test her honesty. There are a number of laughs and some preach- ments on the wily ways of the world. The audience liked it. "Pianostics," as an appellation for the next turn, bad the Audnbonites guessing. It turned out to be a miscellany of good comedy, piano solo; songs, and travesty dancing, capably projected by a skittish comedian and a long-haired musician. The "Co" of the Clifford and Co. act are a seemly blonde and brunette. A theme song extoling the various virtues of dancing is creditably song by the brunette. The dances are of the stage ballroom order, and were all ably and skillfully done. An effec- tive finale consists of the girl's hanging to Clifford's neck, and being whirled in the air. Barnes and Smythe. The latter is a tall Hebrew comedian of comical mien. The act has much that is funny, and its value is greatly enhanced by the comedian's natural- ness. "Trumpeter" is rendered by the "straight,' who discloses a pleasant lyric voice. Eccentric dancing by the elongated comedian is of the most ludicrous order. I. B. G. FLATBUSH Hardeen, who in appearance and method of working resembles his brother Houdini strikingly, held down the headline position in great style. The handcuff stuff went over with a rush, mystifying quite as strongly as it did when first introduced many years ago. Hardeen has an impress- ive manner of making his announcements and his attitude toward the committee is commendable for the fact that he refrains from any undue attempts at ill-timed comedy. The milk-can escape was the finishing trick. It sent him off to a huge sued hit. Gardner's Maniacs opened the vaudeville section after a Universal news reel had placed the audience in a receptive state of mind. It is a dog act, displaying several excellently trained canines. A man and woman put the dogs through their paces, the woman contributing some good aerial work as an added attraction. Stone and Boyle are a male duo, pianist and singer, respectively. The pianist is blind. His rendition of popular and clas- sical music, however, would never indicate his affliction. The singer makes a fine ap- pearance and has a pleasant singing voice. Byron and Langdon presented the favorite "Dude Detective" skit, which improves with age. Frank Byron's comedy song about his attempts to be a hero scored its customary hit. Dunbar and Turner, man and woman, have a bright future. Here Is a couple who can sing well, dance any old kind of a step and keep the laughs coming every minute. The woman does an eccentric dance that would get by in any company right now, including the better type of Broadway Revue. Lane and Smith, two boys clad in Postal messenger uniforms, also landed with a banc. They can sing, know how to place their comedy points effectively, and both are strong when it comes to dancing. This act could easily hold down a spot on a big time bill. The closing number, Gladys Brockwell, in a Fox picture. "A Branded Soul," rounded out a corking bill. FOLLY (Last Hall) The show was opened by Nat Burns, a dancer, who can really dance. He offers a variety of steps, announcing each one as he does it. His dances while sitting down, and on the chair, were well received. Jim and Anna Francis were second on the bill, and althongh they had a difficult spot, gradually got the audience and ended by scoring a bit. Their songs, dances and stories, together with their bits of business, sot many laughs, for which they worked hard. The girl clowns all through the act and helped put it over. Walter Daw, For Film star, and his com- pany of players, were on third. Law has a tense dramatic sketch, and, as acted by the company, scored the hit of the bill. The act will be more thoroughly reviewed in our New Act department. The bill was split here by a Fox comedy. The vaudeville was resumed by Howard and Hurst, a man and woman, who have one of the best singing turns over seen on small time. They open with a double about vaudeville and then, behind a specially constructed drop, sing and talk a number about having been partners, and having quarreled. The man wants to let by-gones be by-gones. and the talk that ensues is clever and funny. Frank Wilson, in a cycling novelty, closed the bill. He goes through a number of feats that are done by all cycling turns, and then does a number of stunts that are really difficult. He rides, and does several dif- ficult feats without once touching the handle-bars. He is a clever showman, and. bv his persistency, won over his audience. S. K. MYERS AND CHAPPELLE Theatre— Harlem Opera House. Time— Seventeen minutes. Style—Tail;, longt, dance*. Setting— Special drop in one. Myers and Chappelle are a boy and girl who offer a very neat routine of talk, combined with songs and dances. They employ a special drop, depleting the exterior of Maxim's restaurant They open with a song, after which they go through a dance. A line of talk follows, which is written around the girl's assumed ignorance of the English language, French being the only lan- guage she says she can speak. The girl then has a solo, but, as a vocalist, she needn't look for any medals. The man then comes on and falls into tbe drop, which comes down. He goes into a comedy number then and, as a finish, the two do a duet and wind up with a very neat and fast dance. The act should go well over it's present time. L. R. G. HARLEM OPERA HOUSE (Last Half) In the opening spot at the Harlem Opera House the last half appeared Eldora and company. Tbe company consists of one man in black-face, who assists Eldora in his routine of cannon ball juggling, spin- ning a huge truck wheel and tables. Tbe black-face could get more comedy out Of what he is supposed to jlo. The bill was split here by a Triangle comedy. In number two spot appeared Myers and Mulvey, who pleased immensely. The turn is reviewed fully under New Aets- After the picture appeared Murphy, Van and Kenyon, three rather robust looking men who rendered a number of selections, each one of which was greeted by rounds of applause. The finishing nnmber, with the train announcer walking through the audi- ence, got away with a big hand. After the drop had descended for the next turn their act was forced to make another bow. Ben and Hazel Mann, in next to closing spot, proved to be favorite with the H^riem- ites, as a round round of applause greeted them upon their entrance. The act is as good as ever, with Ben doing his usual nut stuff. The dialogue is well put over, as are their songs. "The Nine Crazy Kids." in the closing spot, found the audience walking out. The act still has nerve enough to use the old school room act. If there were anything exceptional in the turn it might go but. as it is, it is mediocre. Also, almost every- body who goes to vaudeville theatres has seen the act. The show was closed with a Triangle feature. "Betty Takes a Hand," which kept the audience laughing throughout. L. R. G. ZERMAIN AND VELLAL Theatre— Proctor's Fifth Avenue. Style— Dancing. Time— Tioelve minutes. Setting—Full stage. While there can be little difference in modern dancing acts of the kind made popular via the cabaret route, there is a vast difference in the way they are pre- sented, and also in the degree of grace displayed by the dancers. In consequence of this, the act pre- sented by Zermain and Vellal can be said to differ from many of its class. They are capital dancers, are very grace- ful and they present their offering most attractively. They give four dances, which they designate as "The Flirtation," "A Rus- sian Dance," "The Flowers of Joy" and "The Triumph of Love." In the first and last mentioned the dancers acted in pan- tomime, which told the story of each. The act was well received. WALTER LAW AND CO. Theatre— Folly. Style-— Dramatio sketch. Time— Txoentu-ftve minutes. Setting— In four. The name of this playlet is "The Seal of Silence," and the story deals with the inviolability of the confessional. A man has committed murder, his purpose being to get money with which to make good an embezzlement. Then be comes to the priest to confess and seek consolation. He tells why he mur- dered the man, and how. He does not know who the man is. He has a watch that he took from the body, but has not dared to open it. He gives it to the priest, who starts, for the murdered man is his brother, and the man who seeks his absolution and consolation is bis slayer. The priest tells the murderer that, although he bas the absolution, he must remember "God Watches Me Every Act I Do." The police are looking for the slayer and come to the priest's house. The murderer, his conscience crying out, con- fesses. The office upraids the priest for not telling what he knew and the priest replies, "My lips arc sealed with the seal of silence, therefore, I know nothing, absolutely nothing." The sketch is well written, and well acted. The one who plays the murderer does capital work. Walter Law. as the priest, does very well. The other two handle their small roles satisfactorily. The turn is one of the few really good dramatic sketches seen in a long time and should hnve no trouble getting bookings. S. K. EDGER BERGER Theatre— Olympic. Style— Contortion, balancing. Time— Ten minutes. Setting— In one. This boy offers a clever bit of hand balancing and contortion and, with a better line of talk, should be in an opening spot on the better small time. He makes his entrance with a valise from which he produces his parapher- nalia, namely, a few pedestals. His first stunt is kicking his feet in every man- ner and direction while standing on his hands, and then shifting his position to his head. A very good bit is balanc- ing himself upon the pedestals, remov- ing and replacing his hat with his feet while lighting a cigarette. The last stunt is good. It sounds strange, but he rests his head upon the stage and walks and dances around it keeping his face always turned to the audience. His stuff is there. What he needs is an act. I.. R. G. McANAY AND McKEVER Theatre— Olympic. Style—TaR; and songs. Time— Fifteen minutes. Setting— In one. A boy and girl enter singing a num- ber and stop after the first few lines. They then go into a lot of talk that means nothing and got them just as much. The girl, trying to do baby talk, squawks too much, and her chatter can barely be understood. She then does a solo, after which the man does a laugh number which is too old. They also go into more talk about bugs which is very poor. L. R. G- HOLMES AND LEVERE Theatre— Proctor's 125th Street. Time— Ttcenty minutes. Style— Patter and songs. Setting— One and full stage. Holmes and Levere have a splendid vehicle. It embodies everything that a good act should, cleverness, novelty, speed, personality and good dressing. The special set in one depicts a stage box with a purple curtain as a back- ground. The couple make their appear- ance in opera clothes, and discover they are too early for the performance. The usual altercation between husband and wife, which is done very naturally fol- lows. They then discover that the first act on the program is Holmes and Levere, and are disappointed, as they have seen tbem before. They fall asleep, the lights go out and the scene shifts to full stage. The man is at the piano, while the girl, in man's clothing, does a number and a soft-shoe dance that makes it hard for the audience to believe it is a girl. She then does a drunk bit. after which the man sings a comedy numher. They then go into n duet. The lights go out again, and the conple are found fast asleep, as before, in the box. having missed the show. It is a very cleverly constructed act and should be going over the hie time. L. R. G. BOB CAMPBELL Theatre— Olympic. Time— Twelve minutes. Style— Concertina plajrinff. Setting— In one. Bob Campbell is a concertina player of exceptional merit. Openinsr with a pop selection, he eoes into the "Mis- erere." whi<>h is followed by another pop numher. He then gives an imitation of the Scotch bagpipes, followed by an organ number, which should have been worked in a snot light. The last bit is played with what he calls the smallest concertina in tbe world. At the Olympic he got a good hand. L. R. G.