The New York Clipper (May 1919)

May 28, 1919 THE NEW YORK CLIPPER 11 "LETS GET MARRIED Theatre— Lincoln, Jertey City. Styles-Musical farce. Time—2'irenfy minutes. Setting—full ttage. This act eonsi^s chiefly of horseplay, plus a few songs, which were not well sung at this house by the four people who take part in the act; the fault lyinf in. the diversity of, their vocal tones, which caused each of them to stag de- cidedly off key. Then, too, the orchestra at this house played so raucously and out of tempo that, as far aa the act was concerned, it wouldn't have 'mattered much even if they did sins; in key. There is much that is mirth-provoking' in this act, because it gives the two male members of the quartette a sp lend id opportunity for slapstick work. Willie Mack and Frank Byron took advantage of the drolleries that the offering afforded them, Byron scoring heavily with his "nut" antics. Although the audience at this house genuinely enjoyed every moment of this act, there is still a great deal about It that needs fixing before it can be called ready to bid for metropolitan favor;' The talents of the two girls are decidedly lim- ited, to say the least, and some nicer furniture could also be used to better ad- vantage. 'When the act - is fixed up along the lines suggested, there is no reason why Harry Sauber, who produced it, shouldn't have a meritorious small time offering that could profitably play the better ds of small booses. ML a* A. NEW ACTS AND REAPPEARANCES KHARUM Theatre— Riverside. Styie— Piano tola. Time— Twelve l is siet . Setting— In one. Kharum, judging from his name, cos- tumes, and stage manner is a native of the far east, but his piano, playing smacks decidedly of the West He is a soloist and rendered a repertoire of stand- ard and semi-classical compositions all played with a robustness of style and a tonal volume just the contrary from what one ezpecta from the musician of far off India, the house of weird and strange melodies which, when rendered by a native are soft, quiet and all com- pelling in their seductiveness. Khartun's -first selection was the fa- miliar Liszt paraphrase played with full force from beginning to end sacrificing thereby the "Jig in g tone which a more musicianJy touch could get in many of its passages. Other selections all played in the same manner followed, technique, style and artistic rendition all being sac- rificed to volume and tempo. From the standpoint of a musicianly offering there is nothing to Kharum's act, bnt the Monday night audience at this theatre enjoyed his performance immensely. He scored one of tbe applause hits of the entire Hst W. V. CHINKO AND COMPANY Theatre— Eighty-first street. Style— Balancing and juggling. Time— Ten minutes. Setting—/* three. Chinko and a girl have a novelty balancing and juggling act. The ' girl does a bit of cycling in good fashion. Chinko juggles a few balls, balances dif- ferent objects on various parts of his anatomy and displays some 'skill when he shoots, with a bow and arrows, paper ribbons held by bis partner. A rood opening act for small time, de- scribes this offering. It does not possess the- unusual features of several similar turns, but is presented in a business-like manner, and In the three-a-day houses should win favor. LB, PECK AND McINTYRE Theatre— Proctor's 6S<» St. Style— Singing and Talking. Time— Sixteen minute*. Setting;— In one. Peck and Mclntyre, two men, one in blackface and the other playing an Eng- lish character role first and then the part of a straight'man, have an act that is good only in spots. The man in -blackface perforins capably and the other does well in a "silly ass" role. It is hardly advisable to have him come ont later and play the straight man. The opening bit of talk sent the act off to a good start, but the ensuing dia- logue is lacking in real witty material. Even the opening bit was saved by the way in which it was put over. The well-known and *«m<»«i» dialogue about aeroplanes, with the popular bits about getting in, and stepping ont to fix it, is not likely to draw very much laughter, having been used so frequently. The singing is fairly good, although a good, snappy comedy song instead of the ballads would fit into the opening much better than one of tbe numbers included now. The member of the duo who Im- personates the Englishman should con- tinue in that role throughout and the dialogue should be strengthened. With a few minor changes, the turn would be vastly Improved and ready for better time. Tbe men appear to have the ability to make good. They started with a bit of talk that went well, the burnt cork performer ex- plaining to bis partner that he wu the "Black Ace." Some dialogue evolving about flying machines, was followed by a chimney song by the man In black- face. His partner then reappeared in the uniform of an aviator and explained that be had found out that the "colored" man would make a good man to take aloft with him. Some talk and a few songs rounded out the offering, a duet of a "Rose" ballad from "Tbe Better 'Ole" concluding well. I. S. JANET MOORE Theatre— Proctor's 125th 81. Time— Twelve minute*. Style— Singing. Setting— In one, special drop. Before a special blue and white striped drop, with a red background, Janet Moore, bubbling with the spirit of youth, sorrel topped and fresh from Chicago, is in town with a singing, act that Includes a few bits of patter. Her voice Is a pleasant one,' and she has a strong per- sonality. With a few well chosen tunes, a good comedy number and a new ballad added in place of the parody on an oper- atic medley, the turn will be improved. Following a comedy number with which she opened, she went into her patter and followed with a lively mel- ody. A ballad at the piano, more talk and then the operatic medley parody, rounded out the offering. I. S. EDNA»|H.AY SPOONER A CO. Theatre—r? ariem Open House. Style— Sketch. Time— Eighteen minutes. Setting—Full stage (special). ■ Edna May Spooner showed, by her work in stock, that her abilities are 1 worthy of a far better vehicle than this one. Tbe title of this sketch Is "Silver Threads,'' and Miss Spooner takes the - role of a mother. Tbe latter Is affectionately called "Major" by ner son and his pal Jimmy, who has been as one of the family for years. She is a well-known actress who took to the stage to keep her son in col- lege. The son returns and, after a happy reunion, tells bis mother that he is about to be married. He tells her also that he is bringing his bride to meet her, but seems to be ashamed of the fact that mother is an actress. He describes the girl and ber people as old-fashioned, prim Puritans, who would hold up their hands in horror at the thought of an actress. He then goes out to get the girl and "Major" and Jimmy talk it over. "Ma- jor" decides that her son shall get his wish and have an old-fashioned mother. She puts on a white wig, simple dress and walks with a cane. Her son and the girl enter and he Introduces her, and tries to hide his surprise. "Major" gets tired of the deception, though, and tells all. Sonny and the girl then exit. Also mother to weep in her boudoir. Sonny returns and gets a lecture from Jimmj on the way in which he treated his mother and repents. Later Sonny and the girl return and see mother without her makeup. The girl then recognizes her as a famous actress and tells her. she has worshipped her for years. , All then ends well. . There are quite a few weak spots in the writing of the playlet which should be improved. Otherwise the offering will never get beyond the three-a-day. O.3.B. JACK LIPTON Theatre— 125t* Street. Style— Vocal imitations. Time— Twelve minutes. Setting— In one. Lipton started his offering by sing- ing in a poor falsetto off-stage, entered in tbe middle of the number and finished in his natural voice. — The rest of the offering consisted of a number of imitations done with the voice, which included a banjo, a phono- graph and' a number of others, which be did fairly well. G. J. H. LESTER RAYMOND & CO. Theatre— Proctor's 125** St. Styi*~Juggling. Time— Fourteen minutes. Setting— Full stage. Raymond is assisted by a pretty girl, who, by the way, would do well to stick to the black-silk stockings and ber first costume, which is more becoming than the second. Raymond offered a variety of material, from piano playing to juggling and bal- ancing. He opens with the piano, play- ing two different songs at one time. The juggling and balancing feats were well done and some of them were real novel- ties. The main fault with the act is that the material is poorly arranged. After he works ont a good routine for bis stunts tbe act should go well. G. J. H. WILFRED CLARKE & CO. Theatre—Proctor**, M*. Versos. Style— Comedy playlet. Time— -Sixteen minutes. Setting— Special, full stage. Here is a comedy playlet that la acted in splendid fashion. Is woven around a Clever theme, baa excellent situations, and goes along at top speed until the very end, where, however, It peters out. The conclusion is poorly written, cornea abruptly, and lacks the cleverness so evi- dent in the earlier part of the offering. A good conclusion wDl very often save • poor sketch, but many a good playlet has been ruined by a climax which lacks quality. An eccentric comedian of quality is Clarke, and the rest of the cast la can- able. How the different members of tbe company go to the "movies" and return in the space of a few momenta la rather peculiar, but then, the general hilarity of the scene hides this small defect. Audiences will grant the writer license, as far as that is concerned. Erven the Mt. Vernon crowd, which accepted the early part of tbe piece' with evident relish, lost its enthnaiaam at the finish, and when that audience fails to approve anything, there must be a defect In a specially set scene, a window directly center stage being open so that one can see the glittering lights of an "Airdome," emporium of cinema drama in the distance, a wife is seen, St the rise of the curtain. Her friend of by- gone days calls, and then, in comes her husband. There la some clever dialogue and then the woman announce* that she desires to see "The Naughty Husband." then being featured at the airdome. Hubby objects, is fact, orders his wife not to go. She, with an air of i ' * l — , announces that she will, and then beats a retreat Said husband then explains to friend 'that the reason for bis objection is that' he has the role of the husband. A Miss Styles referred to in the dia- logue, and the future wife of the male friend then appears, when it Is discov- ered that she is the wife in the wicked "movie." Miss Styles and hubby share In the desire that the other two char- acters refrain from seeing the film In which they have parte. Meanwhile, they go to the theatre, and Hubby finds that his wife had a "fig leaf role" in a pic- ture dealing with an episode between Adam and Eve. There are a number of clever lines and an excellent situation when wlfey sees her husband in his pic- ture, be having appeared under an as- sumed name. Finally, all is cleared np and there is a happy ending. Wifey's friend of bygone days might also have been included in one of the pic- tures to complicate matters. Then, the playlet could have been lengthened no as to run about four more minutes, and a better finish have been given It Clarke's work as a comedian Is the oustanding feature of the turn. I. S. BEATRICE DOANE Theatre—Proctor** 23d Street. Style— Singing. Time— Xine minutes. Setting— One. (Special.) Miss Roane's voice is too much on the tremolo. She sings "Forever It a Long, Long Time;' the cigarette song from "Carmen.'l and "That Dear Little Mother of'Mine." She should confine her repertoire to popular songs, for her vocal equipment Is not big enough for operatic stuff. She Is a dapper young person, wears stnnning costumes and curves 'em over the plate in closing, while wearing a dazzling pair of white tights. Those tights and their contents win take ber over the small time very nicely. H. M. SMITH AND FARMER Theatre—Praetor's 23d Street. Time— Fourteen minutes. Setting— In one. Style— Singing. Talking and Music. This act would go better If the girl would let the man have the comedy part. If she would quit giggling so much. It would help both of them. Their talk is marred by her Insisting on being the audi- ence and laughing at all the gags. Furthermore, she can't sing to amount to anything, unless it might be songs of the Jass variety. The man knows how to play a cornet and should play It more. The girl Is good-looking—well say that for her—and should merely be a "feeder" tor the man. Give him more tunes to toot on the footer and they'll get by with the email time. H. M.