New York Clipper (Mar 1923)

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20 THE NEW YORK CLIPPER March 14. IN APRIL CUPPffi will be Seventy years old and is going to celebrate its Seventietli Anniversary. One of the events in connection with the celebration will be the publishing of an Anniversary Number filled with interesting facts and stories of its long career in the show business^ Advertising space in that issue will he particularly valuable, but the rates will be the same. Send in your copy now. Everybody in the world of theatri- cals will read it. NEW ACTS HERMINE SHONE AND CO. Theatre—ifrfcnt. StyJ»-Skelch. Tiine— Thirty-one ttuautes. Setting—^^cio/. From a standpoint of scenic investiture this act of Miss Shone's is one of the finest on the drcuit While none of the scenes is pretentions they are a]] ade- quate, there being six different sets al- together, and, as far as action is con- cerned, nine scenes. The story concerns itedf with the emotional reaction of a girl whose hand is being sought in mar- riage by her rich employer and an im- pecunious young man who has nothing to offer but love and ambition. Each of her suitors starts to describe what married life to the other would be like, the particnlar period of the married life being acted out by the cast concerned. Natoially, each snitor, in seeking to m^e his own position stronger, exag- gerates the disadvantages of life with the other, this famishing the excuse for most of the comedy. The poor boy shows that if she marries the rich man she will have a woman, appointed as guardian over her to teach her etiquette, that her every movement will be ordered and that she will have no pleasure in his few minutes with her, her every natural emotion being stifled. This scene ends widi her flying into a tantnmi and tearing off her expensive but exceedingly hideous ^own. According to the wealthy suitor, life with the poor lover will re- solve itself into a continual battle to make the installment furniture last tmtil the final payments are made. Newport and Coney Island also are contrasted with overdrawn comedy and the last scene takes place bade m the girl's sit- ting room. The poor boy's uncle, rer poted to have been_ wealthy, dies leaving nothing but unpaid bills. On top of this the yotith gets a telegram telling him his services are no longer required. The girl is asked to make her choice between the two, Ae boy eliminates himself but she diooses him nevertiieless, and then the rich man magnanintously offers the kid a job at $2,00D a year. The sketch is so constructed that it is sure-fire for vaudeville, but panders so abjectly to the "masses'" that to anyone with an ounce of intelligence it is dis- gustingly trite. Miss Shone's acting is nothing superior, being for the most part done with an aif ^ of burlesque. The young man, in striving to be exuberant, IS merely stiff and the rich employer is ideally cast for the role of "villain." The mother-governess role is taken by a woman who does her best with a thank- less part Miss. Shone, in some of the scenes, daringly shows her legs. We say daringly, advisedly. But m spite of all the things that are wrong wiUi the sketch, die acting, the way It drags during scene changes and die hokum, the act is sure-fire and can- not miss in any vaudeville house. C. C HARRY VAN FOR5SEN titMtct—Proctor's \2Sth Street. Styla—Blackface. Time— Eleven minutes. Setting— In one. Harry Van Forssen is a stout chap, who appears in blackface, wearing mis- fit clothes and opens hb offering by yelling the brilliant greeting, "Well, well, fa—It" And after the_ tumultuous ap- plause which greets this remark, whtdi should live in history, subsides. Van Forssen goes into a routine of talk just as folly as clever as his opening gag. The orehestra leader is used in niost of the talk for the puroose of a straigfit man. After the talk. Van Forssen closes with several verses of a song, "Ma^je." Seriously though. iForssen seems to have the makings of a good small time bladcface comedian. If he had die ma- terial he would do for the pop house route. But with his present material, an we can say is "Maybe." G. J. H. CHARLES AND INA BROOKS TbeaUt—Regent. Style— Man and woman double. Time— Twelve minutes. Setting— Special in one. Charles and Ina Brooks have an act that possesses many possibilities but most go a long ways before it is good for any- thing but the smaller or pop" houses. The story concerns Hallowe'en and the girl who, with her Jack-o'-lantem, is sup- posed to mariy the first man she meets. Charles Brooks is possessed of one of those faces that turn milk sour and he- uses it to good advantage. Of course he is not really as bad looking as he pre- - tends to be. There are some very good bits in the dialogue and some dever sit- uations when the lights go out on the man and he is frightened in several other ways. The ^1 sings, "How Would. You Like to Be a Kid Again?" and docs nicely and the man deans up on "For Crying Out Loud," which he handles in a way of his own. The act is niody set bef6re a ^rdlow and black curtain aiA the dance finish between the man and girl u good for a laugh. The girl liandle» the kid dialect welL What the act needs is a litde speeding up but will when it gets worked in, undoubtedly prove a good vehide. CC "ON THE ROOF GARDEN" Thtitit—Proctor's 23rd Strett. Stylo—Revue. Time— Twenty minutes. Stttina-^pecial. A six-piece orchestra and three ^rls contribute this offering, which combme5 songs, dances and instrumental numbers and should do well as a doser on any small time bilL The set represents a roof garden at night. Lanterns containing vari-colored lights peer through the festooning and lend a colorful touch. The band opens proceedings with a livdy air. Two of the girls follow on in old-fa^oned cos- tumes and sing "The Bagful LiHle Girl» of Yesterday." The band follows with a selection that gives the boys an oppor- tunity to show themsdves as finished musicians. One of the girls returns for a' pleasing solo d^nce, with the singer returning for "You've Got to See Mamma Every Nig^t" Band follows with an- other livdy selection and sbger counters with "Lovm' Sam," with girls topping it with a snappy jazz dance for finish. The act got by to good results in clos- ing, s^t here and can undoubtedly do as well in dosing spot on any small time bill. E. J. B. STEVENS AND BRUNELLE Tbeatze—Proctor's 23rd Street. Style— Songs. Tiiae— Fifteen minutes. Setting-Special. This mixed team has a wdl chosea song repertoire that is put over with a rare degree of showmanship that gets the players over to a loud hand in eveiythiiK they endeavor. A duet, "When Tm AU .^lone With You," serves to plant them. The girl counters with "Why Do They Call Them the Good Old Days," whidi contrasts the conveniences of die present to the inconveniences of the past The lyric is written in a comedy vein that makes for laughs and is sung well by the little lady. The man follows witb a telephone song that works into "Lost— A Wonderful Girl." _ His partner returns in Spanish costume and both join forces in a duet, "My Queen of the Argentine." The girl changes to a Chinese costume and sings the aria from "Madam Butter- fly" with the man singing "Song of Honolulu" as a counter melody. Both manage to get in some real good har- mony that puts the number over for an effectual doser. The turn should do well in an early spot on any bill. E. J. B.