The New York Clipper (February 1920)

Febroary 4, 1920 THE NEW YORK CLIPPER PALACE An ideal vaudeville show, headed by Belle Baker, was received by a capacity audience, which enjoyed every moment of the entertainment. Smoking was pro- hibited in the "smoking" balcony and the management also refused to permit any one to stand along the rear rail of the orchestra floor, so as to check, as much as possible, the spread of the "flu." The Pictures opened. Al. Golem and Company then offered an act that contained many thrills. The risky work and acrobatic stunts won much applause. Golem is an athlete who whirls his top-mounter atop of a huge pole, and the act proved to be an excellent opener. Harry and Denis Da-For went over with a bang after delivering a number of songs and dances. The "Stepping" of both boys was the signal for demonstrative applause. At present, the weakest portion of the act is' the "gags" and if they were to get some timely material, with a punch, the act could hold down a more prominent posi- tion. However, they almost stopped the show. Dorothy Shoemaker and Company, in a sketch entitled "life," interested all, but it must be said in all truthfulness that the plot holds many uncertain situations. Miss Shoemaker did splendidly, and Hall McKean, as a pianist, was good. The balance of the cast did well with their assignments. Many in the audience greeted the surprise finish with applause. Mehlinger and -Myers had things their own way, and it would be difficult to find a more energetic worker than Artie Meh- linger. His songs, both comedy and 1 *« 1 '«' 1 . found a responsive audience, and with George Myers, the song writer of many sensational hits, they make up a combina- tion of high class entertainers. William Seabury and Company worked much better than last Monday and the act looked 100 per cent improved. Sea- bury is a dancer~of unusual merit and has assembled a company of girls that spell class. Buddie Cooper did excellent work at the piano. To aay the act was a hit would be putting it mildly. . "Topics of the Day" were flashed during intermission. Joseph E. Howard and Ethelyn Clark and Company has a greatly improved of- fering since its Colonial showing. The first part has been strengthened by Martin and Fabrini, who uncovered a few dances that were sensational. But, while we are writing about dancers and dances, Maurice Diamond stands paramount in this field, as he uncovered some steps that contained a world of gracefulness, augmented by won- derful poise. Howard and Clark are as charming as ever in their songs and Joe Howard, as a "Chink," was superb. The act is excellently dressed with costly wardrobe worn by six show girls who know how to carry -what they have on. The act is a corker and in the headline class. Glenn and Jenkins are new to the Palace but another visit is not far off, as the success of their act left nothing to be desired. Made np as railroad porters they go through a routine of talk that con- tained real unadulterated comedy. The music portion and the dance imitations scored so solidly that they stopped the show. This act is sure fire and wonld be an asset to any bill. Belle Baker could have stayed on view indefinitely as her songs are the best she ever offered. Seven were sung and all registered strongly. Miss Baker is an artiste all over and has a personality second to none in vaudeville. ■■ "Eili-Eili' was requested and her rendition of the Hebrew chant caused heavy applause. She stopped the show completely. George N. Brown is a master showman and held them in with his "Pedestrianism" novelty, that was. a howl from . start to finish. Comedy predominated throughout and was worked to perfection by folks from the audience, putting a climax to one of the greatest shows on record. J. D. VAUDEVILLE REVIEWS (Continued on P«r» IS) COLONIAL James and Etta Mitchell followed Kino- grams with a revolving ladder turn that is sure-fire from start to n«<«h Etta Mitchell displays one of the finest figures to be seen in tights and also performs her stunts on the trapeae and ladder excellently. Jim Mitchell kept die laughs coming with his comedy on the same ap- paratus, and also put over quite a few thrills. Coral Mdnotte and Edna Leedum have pat a lot of new material into their sister act since last seen, and were accorded a good reception here. Edna Leedum is doing "nut" comedy now, and does it suc- cessfully. Coral Mekutte holds up her end of the offering capably. The girls have arranged a fast routine of numbers and will find the going easy in most houses. Elsie PUcer and Dudley Douglas also found favor with their offering, which is pleasing from start to BtiWV Douglas manages to get a lot of laughs with his comedy, which he knows how to deliver to the best advantage. Both sing and dance nicely and feature an exceptional ward- robe, which is worn by Miss Pllcer, who makes a change for each number. Lloyd and Christie were the laugh hit of the first half with a straight talk offer- ing. Lloyd wag formerly of the Avling and Lloyd team, and, in this offering, the pair use some gags that were presented by that team before Avling passed away. Perhaps one fault with the act is that it has the audience so weak from laughing at the end that the applause cannot come as heartily as the act deserves at the close. "The Love Shop" is a George Choos act, featuring Eddie Vogt, with music by Walter L .Bosemont and lyrics by Darl MaoBoyle. The act, as far as book and lyrics are concerned, is hardly worth talk- ing about Vogt works wet, as do the rest of the cast. Most of the bits in the act have been seen in other tabs, the main one being practically the same as one In "The Little Cottage," another Choos act. It is the wardrobe of the act which really makes np the offering, and here the pro- ducer is to be given ■ credit, for he cer- tainly does show some wonderful gowns and lingerie. This idea seems to betaken from the "Parisian Fashion Frolic," but is presented in a different manner. Be- sides Vogt, there is another man, a dance couple who do fairly well, a very attrac- tive leading lady, a chorus of eight and a woman who is supposed to be the mother of the female lead. George Austin Moore sang his "blues" and "coon" numbers in excellent- dialect and also told his stories about Alexander, which went over for big laughs here. He was called back for an encore, am? rendered a new song which he is evidently breaking in. Pat Booney and Marion Bent, with "Rings of Smoke," repeated their per- formance of stopping the show. In fact, Pat now has a regular speech and comedy bit which be offers after he is called back. Booney is supposed to be in his second week at this house, but missed the per- formance from Wednesday evening to Saturday matinee last week, due to ill- ness. He seems to have fully recovered and worked with his usual speed and evi- dent enjoyment. Marion Bent always pleases, and the rest of the cast seem to catch that sprity manner from the little Irishman and also do their best. Vincent Lopes and his band cannot be omitted in commending the work of the members of the act, for they are all good. Delano and Pike closed the show with an acrobatic offering and considering that they followed Booney, held the bouse fairly welt G. J. H. ROYAL Lucy Gillette is programmed as "The Lady from Delft," and to this billing could also add "the lady that's deft." Attired in Dutch costume, she presents a very fast-moving, juggling act, in a neat and attractive blue and white Dutch setting. She is assisted by a man, also in Dutch costume and wig, who helps with the apparatus. Her routine contains no stall- ing, and, like the setting, is done in a clean manner. In addition to a good routine of stunts, she possesses a very pleasing per- sonality. Luba Meroff could be more generous to Sonia. and Ben Meroff, by giving tiem a better billing than "assissted by." For Soma's delivery of "coon" numbers is one of the best assets the act has and Ben's Russian dance gets the act a big hand at the close. He also renders a 'cello solo well. Miss Meroff delivers her numbers pleasingly. The "plant" seems to be the first to applaud and the last to stop doing so with each number in the act. This is by no means necessary and only creates an unfavorable impression at the close of the offering, when the audience learns that he is a "plant" as be then leaves his seat. Owen McGiveney was greeted -with ap- plause on his entrance, and was called back for a curtain speech after he had offered hia protean sketch, "Bill Slkea." He is an artist in his line and does not need one particular slide, which very much resembles a patent medicine testimonial and which is flashed before his act starts. Arthur Deagon also found favor with the audience, and after taking an encore, waa called back for a curtain speech. He starts off with a good comedy number and then slows down by springing some old. Irish gags, one of which Frank Bush told for years, about the Irishmen who painted their window black and slept for two days. The cabaret bit can be strengthened to advantage, but serves its purpose at present. The Spanish comedy number, especially the dance, is a great laugh bit and his finish, by doing a series of hand- springs, is sure-fire. Frank TJobson and "his thirteen sirens" were next. Dobson, to give him credit, works hard, but his work is unnatural and forced. There is an auburn-haired female lead, 'who doesn't know how to make up and is bent on advertising the fact. There is also a fat girl in the cast, who is good because of her size and the laughs she brings. The juvenile is also good. But the act seems to be slipping back.. C. B. Maddock is programmed as the pro- ducer, but, evidently, he didn't pay much attention to the act, for it isn't anywheres near the class of most of hia offerings- George MacFarlane, with Herbert Lowe at the piano, sang some songs pleasingly, told some old jokes sang some more, and, as an encore, rendered "Macushla." . Jean Adair, supported by a very capable company, offered a daxdy sketch, contain- ing both humor and sentiment, that scored a solid hit. Edwin Burke is the author of this offering, which should have been seen on the big time long before now. Miss Adair's work is excellent and her company, which consists of three men and a woman, set a very good standard. Kranz and La Salle took encores with their dance imitations and then stopped the show, which seems to be all in the day's work with these boys, who are evi- dently bound for production. Sylvia Loyal, with her trained French poodle, her pigeons and her trained assist- ant, closed the show. G. J. H. ACKERMAN AND HARMS BUY Sah Frahcisco, Jan. 90.—The Strand Theatre, Sacramento, owned by M. H. Diepenbrock, has bees sold to Aekerman A Harris for $270,000. RIVERSIDE The Four Nelsons, in a well put on hoop- rolling act, opened the show. The boys have a number of good tricks and worked well with much- speed and evident interest in their work. Two or three of the tricks went wrong at the opening performance, but the act on the whole waa enjoyable and is an excellent opener. Friacoe, the xylophonise, on second, played a number of dl sales 1 and popular selec- tions, but scored strongest with the re- quest portion of hia entertainment. Friacoe has a big repertoire and played a somber of selections called for by the audience. Zomab, an English mind-reading act, was mystifying in so far as the working methods of the act is concerned. A woman answers the question from the stage while a man makes the announcements aad works- in the audience. .The act differs from the usual offering of the sort In that the man, as he goes through the audience, asks no questions whatever of his partner,. but merely takes the various articles in his band or listens to the questions propounded by the various curious ones, and tile woman unhesitatingly answers. Fifty or mote questions were answered on the opening performance without a slip. George Ford and Flo Cunningham dht excellently, more on account of their pleat- ing personalities and entertaining ability than their material, which could well be improved. The title of the act, "Even As Yon and I." leaves a wide scope for the introduction of almost anything in the way of material, and some new and timely talk would be a big improvement. Sophie Tucker and her new kings of syncopation closed the first half of the bill and scored the big hit of the show. Miss Tucker's new act is a finely mounted and georgeoualy costumed affair, and furnishes a fine setting for the introduction of a half dosen or more new songs and some up-to-the-minute Jazs playing by the band. Miss Tucker pnt her songs over with til her old singing charm, and was compelled to respond to innumerable encores and make a speech at the finish. After "Topics of the Day," in the second half of the bill, Mand Powerx and Vernon Wallace presented a talking and singing bit called "Georgia on Broadway," a back- home bit depicting the accidental meeting of small town southerner* on Broadway. There Is room for a lot of improvement in this act before it will' be a satisfying bit of vaudeville entertainment. In every de- partment it smacks of long ago, commenc- ing with the orchestral Introduction and ending with the burlesque wedding bit and the parody on "Sue Dear." The couple have ability, and with an improved offer- ing would do well, bnt stories of the type of that told by the girl regarding her brothers who had disgraced the family by absconding from the bank where he was employed with $40,000 which had been left out of the safe, and the accompanying tale of the man whose brother, also employed in a bank, foolishly left $40,000 In the bank where it had been carelessly left on a shelf, instead of departing with it, are hardly np to the standards of big time. The wedding bit at the aefs finish was respon- sible for most of the applause. Keegan and Edwards, two men, both of whom sing and dance, found the next to closing spot a hard one. They sang a number of published songs, several of the blues order and one played a nkelde ac- companiment to the singing and also the dancing of his partner. An imitation Jaas band bit got some applause, as did one' or two of the songs, but chief asset of tie act lies in the youthful appearance of the men and their pleasing manner of working. With this in view, the act should be kept strictly np to the mark in songs aad pat- ter, and bits like the "Damp Wet" Joke should be immediately eliminated. The Spanish Revue, a singing and danc- ing act running nearly half an boor, rliisml the show. Considering the lateness of the hour, it held the audience in weB. W. V.