Variety (April 1921)

iday, April 1, HEW ACTS THIS WEEK k RA HOWARD. .infling Comedienne (6pecia*>. 1f Mine,; On*. jProadway. Clara Howard la back In the ith a raft of new ooatumea and js. Miss Howard makes several EXllngr changes at wordrobe in lew of the audienoe. She uses a >unge and a novelty muff that en- loses the dresses. • Her songs sound restricted and rere evidently written to fit her rsonallty and "nuttiams." "If I Only Had a Back Like Kitty Gor- don," followed by a change to ging- ham house dress for "I'm Not Mak- ing Enough to Support .a Husband," » good comedy song, is followed by another change to green decotetto for some monologing about "mar- riage." It is bright material and landed solidly. Stripping down to gold negligee she next dons a black low dress with hat trimmed with paradise for **Play That Dixie Melody," "sung with patter chorus to jazzy move- ments and delivery. An "essence" dance is interpolated, and the ap- plause that follows is acknowledged with travestied classical dance. A monologue of "kid" stories fol- lowed by another change to blue gown and feathered hat with large muff which held originally and she Wild Woman from the West," her strongest comedy number, delivered with clowning and mugging that registered. She stopped the show at this house and has improved her turn immensely since last seen around. Miss Howard is ready for the best of the bills and can hold a spot thereon. Con. zr 19 MIQQIN* AND BATES. Dancing AoL « Mine., Pu44 Stage. (Speefe* 23rd Street. HIggina and Bates, two stria, have appeared with several revues and bis acta in the big time houses from time to time. Aa a sister team with dancing their chief accomplishment they evidence plenty of cVlbs on appearance and uncover nifty array of double dances. A male pianist starts the act with introductory song. The girls are on following this, singing a lyric carrying out the idea of the introductory number. This tells of the different styles of entertainment in vaudeville, the girls lyrically announcing dancing aa their forte. The Jingle is in- telligently constructed and holds consistently bright lines throughout Double dance with kicking pre- dominating, piano solo by accom- panist while girls arc changing, an- other double by girls, pianist fills in again and girls back with an- other costume change. The third number has the girls in Oriental garb, with a pleasing double dance holding a suggestion of Egyptian dancing. More ivory tickling, fol- lowed by more double-stepping by girls clad in becoming Jetted affair and transparent black lace pantel- the wardrobe letes. Pianist is good musician and strong on appearance, but should drop habit of beating time on pedal. Pretty solid blue cyclorama set makes effective background. Act registered at 23d street. Class turn for pop houses, with excellent pos- sibilities for early section of big time shows. BeTl. "THE HAUNTED VIOLIN." Mechanical Novelty. 14 Minx; One and Audience. Broadv ay. Mule requests audience to name selection. lie places violin on music stand and the instrument plays the requests faithfully. He then deseends to orehestra aisle and repeats performance without using bow. A plant is utilized for "comedy" requests and crossfire, also prop laughs. He Is Doc Cook, formerly the "Stooge" in the Joe Cook turn. About a dozen requests are played in the two'aisle, when he returns to the stage and takes another In- strument to duet "Margie" with the mystery instrument. It's a real novelty and will mys- tify the layman; wireless seems to be the answer. The tone reproduc- tion sounds like a replica of the usual violin phonograph record. This would lead one to believe a wireless transmission from some hidden player to the violin was be- ing used. The careful placing of the man's feet while in the aisle was also significant, but apparently unnoticed by the audience. Its a real mystifying novelty and held the attention of everyone for the duration of the turn. Con. LEAVERE AND COLLINS. Acrobatics and Tslk. 10 Mins.: One. 23d Street. Man and woman in routine of ground tumbling, hand to hand and head balancing, Following sounds of an argument off stage, woman enters and announces partner won't appear, but she will go ahead with act., etc. . Partner walks on and pair go into acrobatic routine. Wo- man is understander, displaying unusual strength in lifts and bal- ancing of partner. The acrobatics are speedily run through, the man being a tumbler of experience and ability. The pres- ent opening means nothing and hafj IMES AND ALBERTSON. Talk and 8ong«. 14 Min.., Pull. Speemft. H. O. H„ March 25. June Imea la a sister of Tempest and Sunshine. Kirt Alberteon, her support, la from the legitimate stage. — The passenger deck of a steamer with life boats, staterooms, etc., is disclosed with the rising of the cur- tain. A young wife who has Just been separated from her husband of a month, is seated in a steamer chair. They have quarreled as to where they will go on their honeymoon. Wiley prefers Bermuda While tta held out for Florida. The steamer is bound for Ber- muda. Hubby enters and they quarrel an introduction for the dou- ble song "Marriage," pleasingly har- monised. The quarrel is continued with both seated in steamer chairs. She is afraid of storms and he aggra- vates her fears by relating harrow- ing details of storms at sea. "Noth- ing the Matter with You," another tuneful double is interpolated con- sistently. "Farewell," is solod by her. She wants to make up but he is hard to impress. Finally he relents and consents to go to Florida. He then discovers that the boat is headed for Bermuda and that she has had her way after all. This is com- promised by her promise to leave for Florida immediately the ship docks. "Last Waltz," the last dou- ble song, takes them off to a natural finish. The sketch is a delightful little- playlet cleverly written and capably played by two intelligent and ar- tistic people. Marie Nordstrom has fitted it out with some catchy tunes and a complete story that holds in- terest at all times. Both principals can sing and read lines, the whole turn shaping up as a welcome ad- junct for an early spot on the bet- ter bills. Con. to GEORGE NAGEL (1). Talk and Whistling. 15 Mint.; One. There's enough ability shown make Oeorge Nagel's offering a fix- ture in the smaller class-A houses. Nagel is opening the routine alone with conversation and a bit* of HICKEY AND HART. Singing and Dancing. IB Mine.; One. American. Young man and woman, both of pony site, working with a wealth of pep and ginger. They make friends instantly on their appearance and brisk manner of getting to work. There is early exchange of talk, fair- ly bright, but scoring more on style of delivery than on its substance. They have several song intervals which fill in time agreeably enough until they get into their real spe- cialty, which is sprightly dancing. The girl is an especially cute little persowv firs* in& "flapper*' •dross-nnJ later in a sightly bathing suit of black and orange satin, which sets off her pony figure most attractively. ■fTheir dances together are grace- ful and lively, but the feature of the act and the item in the routine that should get them past anywhere is the acrobatic stepping of the young man. That boy is a sure enough top grade dancer. He has every- thing in tumbling incidentals to go with stepping. Midway on the American show they furnished a thoroughly pleasing interlude in a rather mediocre bill. They deserve better billing in the lobby f-amc than they got last week. ffu*h. outworn its usefulness through j whistling, also going into contor- tion by others. If the team ence with the audienci repeti feels they need dialog to supple- ment the aerobatics, regular ma- terial should be substituted for that now used. The tumbling and bal- ancing will get them by in any of the pop houses, without difficulty. Opening the show at the 23d Street, they received appreciative applause for the acrobatics during the act, closing to substantial approbation. Bell. DEVLIN AND VAN DYKE. Songs and Talk. 16 Mins.; One. Greeley Sq. An "audience" act which has one ef the boys interrupting the routine of his partner when about to con- tinue with a violin. The crossfire back and forth over the lights re- vealed nothing exceptional in the way of comedy, and, in fact, was below par. The sooner this part of the schedule is brightened up the better it will be for all concerned. Following the chatter the youth In front makes the inevitable for- ward movement to gain the boards, on a dare, and there proceeds to go into a ballad, after which his part- ner also obliges with a song, thence the "double" number for a yodeling finish. The boys look well in dinner coats and possess average voices for their vocal efforts, but the conversation Is in dire need of fixing up and a little more speed in getting under JJiy would not be a detriment to the net MELLOR AND BROWN, •'•ter Act. • JJ Mins.; One. Amtrican Roof. Two f.iris in a repertoire of pop •ongs. singles and doubles. Itoth are plump, one p ossess ing a sweet ■IngiriK voice, the joicc suitable for the fust MAI AND HILL. Talk end Singing. 13 Mine.; Three. American. Clean cut young comedian in dinner coat and nice looking, statu- esque girl in a well varied routine of singing and talk. The arrange- ment has a capital opening on a dark stage. There Is a crash and the comedian enters in the dark with an electric torch which flits about the stage, finally resting on the face of the girl, sleeping on a divan. Lights go up and burglar kisses girl and scoots off. Girl wakes up and "burglar" re- turns for give and take of gagging, running sadly to puns, but contain- ing a fair percentage of laughs. This exchange of take continues, varied by comedy songs, all in the lightest possible vein. Much of the give and take of repartee has to do with hooch and. prohibition, but the roof audience found it amusing. Altogether a light, inconsequential affair, but done in a rollicking i pirit. No. I the pair had to break the ice of the show and did very well ifndcr a severe handicap. ience On the pres- ence of his wife in the wings ami using the prevalent gag of late in asking for applause to make the entrance good. At length he an- nounces he'll invito "the wife" out and try to induce her to sing though "she's never been on the stage be- fore." Follows the action of the woman registering stage fright and warb- ling a melody with side remarks and admonition from her partner. Her delivering of the song evoked more enthusiasm from the house than the remainder of the routine. She has a voice of a quality worthy of more than a single number and that "clowned up" by her partner. The awkward gestures and frightened actions of the feminine half of the act. Incidentally not named on the card, will register decidedly before certain audiences but the result would be problemati- cal with a "wise" crowd. Nagel Is a secondary consideration with the material provided. The girl pulls the act out of classification as a rather dull affair. ARDELL AND TRACY. Singing and Instrumental. 14 Mins.; One. American. Apparently newcomers to vaude- ville from the concert division. Man playing 'cello and woman singer with unusual range from female baritone to soprano. Act is devoid of showmanship. Man enters "cold," carrying 'cello and takes seat center, playing a semi-classic number as solo. Woman in elaborate party frock, walks out in concert manner and warbles to the 'cello accompani- ment. On her exit the cellist does an- other number straight, and then livens up the proceedings with a Jazzy selection. Ills jazzing on the 'cello is Interesting and one of the bright spots in the turn. The woman returns In another impres- sive frock of white and rainbow hues and sings "Kiss Me," getting a burst of app'aiife on the final hig'.i note. ' The whole act is listless. For ex- ample, the woman does her two or three songs without a smile or a change of expression. 'The open- ing, too, is slow to the degree of coldness, and neither o' the pair seems to know how to establish friendly relation -. with the audience. Some sort of device to get the pair on the stage would be desirable, either a preliminary strain of music off stage by the 'cellist or a % note by the singer. As the arrangement stands it does not deserve anything better than No. 2, which It held at the American. Hu.nh. KRANZ AND WHITE. Songs. 15 Mins.; One. Fifth Ave. Harry Krana and Al B. While formed a team some time ago. That was after they withdrew from th<» White City Trio.. White has teamed with several partners since then, also appearing as a single. Kranz for a number of seasons was with Bob La Salle, who is'now doing a single with a piano accompanist. The new team has Just returned from southern bookings. Their routine is the same in style as for- merly, the purveying of popular nr*txgv all .the number* ,ar.e ,d»iet- v ,,. ted. They opened with a Jazz num- ber and followed it with "l'ales- teena" which one mentioned as a bit old, but it got over well aided by a snatch of special lyric. 'Reg- ular Girl from Killarney" was the newest part of the routine. It was delivered with vim, a medley being worked in between choruses. They harmonized with a "mother" song to purpose and encored with' "Ten- nessee." Kranz and I.a Salle start with an edge because both are known in the song field. In the keystone po- sition on a nine act bill here they landed strongly. Jbcr. other it robust the numbers In tempos. The voices of both blend hung. Tli ca" nicely, when harmon- ne girl who sings "Rebec- mlghl u»ne down her localising * trin,. I( , . civantage, whH< soloing. , <0 ^':mii.g is adequate for the POp lion. ( s . Tb< ** 1 th« m i».\ f «rnt I; -i, c ,f hC pop shows. (lid that „ | |i, girls in good singing will ha PC In the Ituof Tuesd i\ night. HtU. LEE AND GILLESPIE. Sengs, 14 Mins.; Two. (Special). 23rd Street. „ i'wo girls, assisted by mule pi- anist, in routine of pop songs. Open witn 'Honolulu Byes" harmonised Another double fallows. Blonde memb< r of team singles a ballad. Good soprano voice. Rag number by uuburn-haired partner, capably done. Medley f*»r Hosing. Special drape vci and sofl lighting aid ro« cullxiiuj irui give tone to turn. i'.i'ih girls liavc personality and presrr.ee. Vocal ability of both :il.«>v»- sin. Il-tirro* uvtfiagc. llcfimd singing turn, holding flut-h valuer for curly spot in pop house bills, with [KtxsfhiliiicH for development. BRAXTON AND HAWKINS. Songs, Talk and Dancing. 10 Mins.; One. Greeley Sq. A duo of colored boys depending mostly upon thefr fast stepping for a bid to popularity and gaining same to the extent of making them an acceptable act for an early spot in any of the smaller houses. Besides the footwork the boys render three melodies interspersed with some la Ik. a bit of whieh smacks of a comedy recitation sometime ago published in one of the popular magazines. It had to do with the war, av did fc-Vie-af*« of th'...l >»<Xh during the patter, and they mij-'ht all be replaced lo advantage. The turn carries enough .'■peed to put it across and outside of the few gags in reference to the past if,is team seem to be- about set to keep going regularly. BOYD AND KING. Songs and Piano. 12 Mins.; One. (Special). 23rd St. Man and woman. Man opens with piano solo. Woman follows with introductory song, leading up to Italian dialect character num- ber. Costume change for this and succeeding; numbers is made in view of audience. A baton held by woman on her entrance Is con- verted into a hatraek. An Irish number next, also cos- tumed, and supplemented with a neat bit of stepping. A third change reveals her In white bodice and tights. She registers immediately on the tights proposition. A topical number with the white costume, with an encore ditty, which says in < ffect she will not make another change for closing. Man plays piano accompaniments for all of the numbers. A pleasing character singing specialty, suitable for No. 2, which spot it held creditably at lite '.'3rd Si. lir'l HELEN CLARK AMD CO Trapeze. 10 Mins.; Three. City. Woman and two men working ■ m uitaM on.-1> on a trips trap* (;<• into nveroge routine oi si if • finishing so-so. Reception or ; ( volume In proportion to medl en- act. .Mi t a small time op tk i simitar if, dosens of other Iran a< - FOUR USHERS. Female Quartet. 15 Mins.; One. City. The girls used to open from the audience in ushers' get-up, but now enter on the stage, attired in sooth- ing gray frocks. Jt Is a capable Kinging quartet, unlng ' chiefly en- semble numbers with a double and solo relieving the straight quartet u -irhliug. The outstanding feature of tin- n t was the lyric soprano's n-ndi- lioi, of "Tired of Mr." The ensetn- i>i«- work Is capable and pleased immensel) No, 4 oh the program at ''ii> house. ttood feature on the Ihr small ai <i pop Rouse time. HARRY WEST AND CHUMS (3). 8inging and Comedy. 15 Mins.; One. American Roof. A girl appears first, announcing, in rhyme, her partner has not put in an appearance or something to that effect. Two boys, in usher's uniforms, come down the aisle and offer to help the girl ouL A man In property man's garb joins the three now on the stage, and the act resolves itself into the familiar comedy singing quartet arrange- ment. One of the supposed ushers does "wop" and the other, (Harry West), a youthful type of Hebrew lc comic. After harmonising to good effect, the man costumed previously as prop, is back in a tux for a solo singing a ballad. Uirl back in changed costume, likewise the boy who did the "wop" usher, now ar- rayed in a tux, with Harry West in misfit garb. More harmonising, supplemented with standard l/.ed quartet comedy. The turn appears set for the pop houses, where it rhould make good feature specialty. The four landed for plenty of ap- plause next to closing on the Hoof Tuesday night. ficll. SEN8ATI0NAL TOGO. "Slide for Life." 10 Mins.; Full. Broadway. Togo is a shott stocky Japanese He has evidently been In this coun- try for considerable time, for he speaks perfect English, despite h« uees the services of an announcr who introduces him. Homo Japanese top spinning in full stage, topped off by running the top up a string, which releases the-flags of the Allies, and To~o gets down to his real mission, which is to thrill with capital T. A rope attached to the second balcony over the head of the or- chestra and down to the stage is utilized In the "slide." Togo ascend.* the rope walking with shocler.* feet, ■using a largo fan as a balancer. After a short rest and a few Amer- icanisms for comedy purposes, he slides down the rope in an upright position with his back turned to the stage. The house isn't through gar.piug. when the announcer informs them that Togo will repeat the trick blindfolded. With his head incased In a black bag and a safety belt encircling the rope attached to his waist, he repeats the "thriller." It's a real novelty for vaudeville or any other kind of entertainment. Con WILSON AND KELLY. Singing mnd Talking. 15 Mint.; One. 23rd St. Two men, one straight, the other nut comic. The comedian has an • asy, Ijkable method, and a. knack of making familiar stuff appear new. .Straight possesses good singing voice. Comedian does a lot of laughing, but does not make it obtrusive, frequently laughing his audience into a laugh. A travesty ballad duetted \» pro- ductlve of excellent comedy re- turns and a double whirlwind darn . burlesque also lands heavily. Tli» team stopped the show Monday night, some f»«at at this house. An sneers bit with the eoasis playing a trombone, demonstrated his ver?«u- i»ii<> Doth hove ahiins much above bmall lime average. With i change or material here and there ih<- i« um win i»e lilci i. « mdidatci for l>''i < ■ i h-iii ■■, I'.rll r