New York Clipper (Jun 1923)

12 THE NEW YORK CLIPPER June 27, 1923 "RIGHT<y' Theatre—LoCTi/f Slate. Style— Comedy skit. Time— Fifteen minutes. StttiiBg—Full. This is a fair comedy stcit, ioteipreted by two womea and two men, which drags a bit at the start, but jumps into high speed at the haJf and comes under the wire for some good laughs from then on, mainly due to the slang ex- pressions of all. concerned. The pivot around which it involves is the old story of the beautiful and stately wife of a young business man. whose reserve makes her a back number with his chorus girl companions. His weak- ness is speedy women and slow horses. Into the cultured home circle he brings the latest slang phrases of the hour and keeps the butler on the hop learning them and the wife almost bewildered when attempting a conversation with either. Finally the wife takes the matter in hand and decides to Outslang them in language and it is mainly through her efforts that the skit registers any ■ real ccnnedy. She dons seductive pajamas, lights a cigarette, feigns intoxication and emulates a high flier with sufficient finesse to astound her husband and later bring him to his senses. Of course she tells him the whole affair was staged to teach him the error of his ways, and both clinch at the curtain. The man playing the butler and the young blonde woman playing the wife have the real roles of the act and make most of them. The other parts are inconsequential and merely serve as "feeders" for the comics. The act is fairly diverting and should do well in the small time houses. E. J. B. HAP HAZARD Tbem tzt—fe/ferson. Styto — fVire novelty. Time— Eight minutes. Setting—"OfM'' and "two." pomrary to the usual act of its kind this wire offering is not dumb, the man and girl handing oat some comedy pat- ter as they went along. The man .opens the act in one playing a saxophone solo, at the conclusion of which the act goes to "two" and the girl is dbcovered do- ing a stunt on the wire. Some talk be- tween the two follow, as though he were the amateur and is invited to try it etc His first attempt is somewhat on the stalling order and after both walked across the wire in a sort of lock-step, the girl assisted her partner from the Stage floor while he did about all of the subsequent wire stunts including an imi- tation of Ivan BankofiF doing some steps and also climbing a ladder, etc A few gags are scattered during the man's per- tormance. some kidding banter passing back and forth. M. hTs. [new acts and reappearances UNIVERSITY TRIO Theatre—/»rof»or'j 5Sth Street. Style— Spngs. Time— Fifteen minutes. Setting— In one. This is the regulation male trio, work- ing in tux, who contribute a repertoire of songs, old and new. The boys open with a popular version of "Carry Me Back to Old Virginia," and connter with another harmony num- ber. "Way Down in Arkansaw." The tenor solos "Mother in Ireland," with the others joining him at the choms. All three then stay on for "It Ain't Like It Used to Was" and "Sweet Kentucky Babe" after which they go into a yodel- ling song for a wind-up. The men make a pleasing appearance and have good voices. Their numbers are well arranged and get over for top v-'ue. The trio can hold its own in an car'y spot on any bill. E. J. H. DOROTHY RUSSELL TbtAtn—Regent. Stflt—Sketch. Time— Fourteen minutes. Sitting—Interior. Miss Dorothy Russell is appearing in a sketch entitled "My Evening Star" which was written by Edgar Allen Woolf. As a vaudeville vehicle it is weak, the action merely serving to bring Miss Russell into the public eye and to emphasize the fact that she is the daughter of the late Lillian Russell. As the curtain rises she is seen in her music room seated at the piano when a noise is heard outside and a young lady, much out of breath is ushered in. The ingenue, Madeline, plants the idea that Miss Russell, the "lady on the hill" is the guardian angel of all young lovers of the village and asks her advice as to whether or not she should elope, get- ting in the idea of being stage struck at the same time. She proceeds to give a terrible exhibition of how to sing a popular song and is followed by _ Miss Russell singing the same song without musical voice but with a good deal of dramatic ability. The boy whom the girl is to marry comes bursting his way in and demands to see Madeline, accusing Miss Russell of being a "butter-in" and admitting that he knows Madeline can't sing but that he likes to make her feel good. Miss Russell tests out his love and finally tells them that she was just testing them, they should go ahead and get mar- ried and she gives them a check for $100 as a honeymoon present. She mumbles something about being alone, then says no. she is not alone, she always has the memory of a wonderful mother and sings "My "Evening Star" to a slow cur- tain. The sketch is awful. It is absolutely impossible and without rhyme or rea- son. Marcelle Shields docs some good acting but the rest of the cast is bad. The act may get over out of reverence to Lillian Ru.<:scll. C. C. FOUR LOCUST SISTERS Thtatze—Proctor's 58//i Street. Style— Singing and piano. Time— Eigliteeti minutes. Setting—/it tttv. Gus Edwards presents this act. billed as "The Four Locust Sisters," the name "Locust" probably used because two of the girls seem to be seventeen years old. However, there is a chance that the quartette arc really sisters, although four girls more unlike in appearance would be difficult to gather. The girls do a repertoire of pub- lished numbers for the most part, the one exception being a duet of "La Paloma." .A.II the other numbers in the act are trio renditions, the fourth girl not doing any singing but piano playing only. In addition to accompanying the others, she does two solos, displaying very good abilitv with the piano. The first solo should be changed to some- thing more familiar to vaudeville audi- ences, for white it displays technique on her part, it doesn't mean a thing to a \'audcville audience. The second soln is also unfamiliar, but has more melody to it than the first one. and therefore is well to keep in the act. The singing of the pirls ran only Ik- called fair. They seem to fear letting out their voices to full power, and the suppressed tones all the wnv through, tend to become tiresome. The act can also stand cutting of three or four min- utes and be more effective. G. J. H. BERT AND HARRY GORDON Tbeatie—Jcfferson. Style— Comedy. Time— Seventeen minutes. Setting—/» "one." The Gordons have re-united and are doing the same act they did several years ago, and which was done in the mean- time by Bert Gordon and Gene Forde. It was formerly known as "The Impre- sario" and is now called "A Recital Classiquc" When reviewed, the act had both good and bad spots, mostly the lat- ter, and did not show any particular signs of being up to the standard set by a great many comedy acts doing stuff along that line. A bit that should be eliminated is the massaging of the comic's "diaphragm" by the straight man as though it were chiropractic treatment, the comic leaning over and kissing his partner, following it with a remark that sounded rotten to us. There are no radical cliangcs in the offering, the straight men being togged out in full dress and tlie comic in a short fitting mohair suit and straw liat down around his ears. The talk and efforts at singing concern the straight man's efforts to give the comic a few expert pointers in voice culture. Some comedy is derived from the talk but it could be much funnier. .\s it happens both sing poorly and some new gags in the early part of the act would help a great deal. M. H. S. JEAN BOYDELL Theatre— Lociv's Stale. Style— Songs and dances. Time— Fifteen minutes. Setting—/ft one. Miss Boydell is a dynamic little lady of the soubrette type, who puts her songs over with a gusto and injects ai: essence of comedy into her dances. Withal she has animation and an elec- trifying personality that will undoubted- ly make her a strong favorite in the medium time houses. "Carolina Home" served as an ade- quate introductory and was well re- ceived. She made a quick change and returned for a slang}- comedy song, "Oh! How Danny Can Dance." provid- ing a dash of comedy with a tough dance. She made another costume change and put over "Old King Tut" to the liking of eveponc and woiuid up with a neat eccentric. The tough number was a little over- done and rasping at times. This was undoubtedly due to her efforts in being heard all over the huge auditorium. Nevertheless it detracted from her other- wise good characterization of a Tenth avenue flapper. Aside from that the act was as well done as could be expected. E. J. B. MILDRED PARKER Theatre—Prortor'j 23rd Street. Style—Musical. Time— Fifteen viinules. Setting— In one. Miss Parker is a violinist of personal- ity and exceptional ability, who offers a diversified program of selections. .\ lively intermezzo provides an ade- quate introduction, after which she gives a splendid rendition of "The Parade of the Wooden Soldiers." She follows with another classic and winds up with a pop- ular medley. With speed as her watchword. Miss Parker puts her numbers across in fast tempo and draws down a good hand on them all. She had things all her own wnv in an early spot on this bill and can undoubtedly do as well elsewhere. E. J. B. LEW VYTT & BAND Tbeatit—Loeii/s Slate. Style—Orchestra. Time— Eighteen minutes. Setting—Full. This nine piece combination is mak- ing its vaudeville debut under the man- agerial auspices of Meyer Davis. It is an excellent combination that brings a note of individuality to its nund>ers and can easily hold its own with any of the orchestra groups that have appeared at the State this season. Kramer and Boyle, who are headlin- ing the current bill, are also appearing in this act. They are every bit as con- spicuous as the band; Boyle with his song solos and Kramer with his buf- foonery. Whether this is just for the week or as a permanent consolidation nobody seems to know. At any rate with Kramer and Boyle in the act, they have something that eclipses any of their predecessors. The band bows in with "Runnin' Wild." Boyle warbles "Sleepy Hills of Tennessee," with the band accompany- ing in subdued tempo. Kramer follows on with a baton and leads the boys through "Lovin' Sam" and manages to pack a number of comedy wallops by his burlesque manipulation of the slick. "Down in New Orleans," "You've Got To Sec Mamma Every Night" and "Gallagher and Shean" were among the other numbers which got over for a good hand. E. J. B. GEORGIE HOWARD Ibeatxe—Proctor's USth Street. Style—Violm. Time— Twelve minutes. Setting— In one. Miss Howard has arranged a routine of talk bits, to song rhythm between each of her violin numbers, which evi- dently led up to each number played. We say "evidently" for we couldn't hear Miss Howard very distinctly, one reason beoig that we sat in the rear of the house, and another which should be the first one. that Miss Howard didn't speak distinctly enough. However, that maj- have been due to the heat. Georgie Howard is a pretty blonde, and her looks seem to be her greatest asset. .\t any rate, we hope she can play the violin better than it sounded when reviewed here on Wednesday. She got more flat notes into one bar than anyone we've heard in a long time. She makes several changes, one from a bustle gown to silk overalls, and then an- other to a short frock, this one being done in view of the audience. Her repertoire varies from semi-classical numbers to popular melodies, and a dance bit is also included. G. J. H. CAVANAUGH AND COOPER Tbeatze—Proctor's 23rd Street. Style— Songs and dances. Tiine— Fifteen minutes. Setting— Piano, in one. This offering is contributed by a mixed team. It is the regulation "piano act," with the man doing the accom- panying and singing the songs, while the girl offers a series of dances. The pianist offers an introductory, "Old Fashioned Girl," which brings his partner on for a cute dance He cotm- ters with "Mamma Better Watch Her Step." w-hich he announced as his own composition. The girl returned for an impression of the dances done in the old music hall days._ The pianist followed with a concert impression of "Say It With Music." after which his partner came back for a waltz solo in whidi she was joined by the man for a finish. The act is neatly gotten up and is well routined. It is a good bet for an early spot on any bill. E. J. B.