Variety (June 1925)

18 VARIETY N£W ACTS THIS WEEK Wednesday, June 17, 1925 ? J K I- 9K~ h SYLVIA CLARK 8ona« 22 Mins.: On* Palac* Two ye&re ago Sylvia Clailt lelt •astern vaudeville, playing mean- ivhile in the west. Back again with an all-new act called "Kavoiitlngs Uneek" by Harry Delf and Bobby Kuhn, Miss Clark haa a fairly nice lay out of material, opening with her beet bit, the railroad station. This is a characterization of dialog and gags, exceptionally well done by the brunet young woman. A phone bit at a table is second, also a comedy number of the con- versational sort with a ballad in- termingled. Miss Clark's next, her dance Mt, is better in conception than in execution, although it shows a range and the girl's like- aNe sense of travesty. But this bit has been spoiled through so many predecessors by men and women, although not in her exact snappy choppy way. Thereafter Miss Clark, following ffome of her own business In en- core kidding (with the pleading band clapping only funny in idea), announces Mr. Kuhn in the pit. She sings with him and he sings alone, previously acting as her conductor and director. An original bit here is Miss Clark starting to direct the orchestra but they refuse to strike a note. Non- plussed, she tries again and more silence. Suddenly the girl brings out a card, shows it to the leader, saying "See, local No. 113, I'm all paid up" and the orchestra com- mences to play. There's a quantity of talent to this girl. She well applies it so it re- mains Just bow far the material supplied her may bring it out. The better the material the better Sylvia Clark. Always looked upon as a musical comedy prospect, she still remains that (and has been In •hows), one of those girls seem- ingly capable of "writing in" her . own part anywhere. The present act will carry Miss Clark along and to much enter- tainirlg success, but it seems an error to op^ the turn with the railroad bit; that should be the close V>f the turn proper If the ar- rangement may be qpade. It's one of the b«Bt character bits ^'carrled, so far in conversation for some time, but might be clipped down to close immediately after the "ban- ana" exclamation. Sylvia Clark is unique as a vaude- ville single In her way; she can sing and talk, handle dialog as we]l as any specialist and this is of great value for her in comedy re- sults, also as a single. Here Miss Clark was No. 4, a walkaway spot for her as the audience attested. She's a natural next to closer and SNOW. COLUMBUS and MAAIAN 8AXI (1) Dances 17 Mins.; Full Sta0« Palace Since Snow and Columbus ap- peared with Harriet Hoctor about two years ago in vaudeville, they have been In productions, and re- turn with Marian Saxi as the girl end of the trio, while Morton How- ard is at the piano. This Is a two-mftn dancing turn, dressed up, with a girl for the strength and added attraction. In this Miss Saxi does nicely, for she looks well and dances neatly, but Miss Saxi alone can not make this turn for big time. There is a fault in the routine and am^ther in the general dressing scheme. Opening in full evening dress, Snow and Columbus later re- turn in walking suits with grey der- bies. It knocks out the "class" alignment striven for and abcut the only thing the act must have. Again Miss Saxi In a trio number returns jn the same gown and hat for a single dance. A plana solo could have been Inserted there to permit of a change, even though it were a sacriftce. And still again, one of the dancers singe a ballad or something in the song line whilst standing non- chalantly against the piano. He might stand against the piano or push it over, b°ut why sing? In the dancing end the three are there with enough to make and hold the grade but to increase their bold ther^ should be reconstruction, es- pecially at the outset for the turn oiily grows strong toVrard the finish. One of the boys is doing an anl;le twisting dance that he can call him- self forpinate, if going through his dancing career with both ankles In- tact. • ' ■■ Bime. a corking entertainer. Bime. ETHEL DAVIS <1) Songs 19 Mins. On* . ,;.\ Fifth Avenu* Miss Davis formerly appeared with Freddie Rich but for the past several seasons has been out of vaudeville, recently having closed with the "Greenwich Village Fol- lies." Though Miss Davis is rated a single C^Iarle Browne at the piano) the routine Is virtually the same as that of Davis and Rich. In fact Miss Davis Is using two or three numbers formerly in the two-act— the sneezing bit and number and the wives union. For the latter there is extended comment, which Miss Davis depends as much on as the lyric itself. A waitress number was used for the opening. Miss Davis going from the song Into character for chatter to various "customers." As with her other numbers the comment counted. Miss Davis is not a vocalist. Her forte is handling lyricsi at which she is exceptionally skillful. She Is offering four numbers in all, in- cluding "I Stopped, I Looked, I liistened," remembered also as used before by her. The lyrics are ex- clusive which Is the reason they have been retained. Miss Davis is a big time artist and her routine will suffice for the present though if she Intends remaining in vaude- ville, she might keep an eye open (or newer material. Ibee. TOM HOWARD and CO. (4) "The Hold Up" (Travesty) 14 MIns.: Two Fifth Avenue Tom Howaird has been away from burlesque for about two years. He was chief comic at the Pto-k (now CosmopolTtan) . when the Minskys had stock burlesque there. One of the bits was "The Hold Up" which Howard now has in vaudeville. The same bit was used in a modified way by him in the "Greenwich Vil- lage Follies" this season. Indications are the idea and busi- ness emanated from burlesque. Joe Lyons who ha« been straighting from Howard for some years is the only player in support used in the billing, Lyons doing a cop as form- erly in the bit. In addition there is a Dutch comic who counted, a Chink girl with whom Howard makes a date to hold up the next miming. Howard as a brown derby sap is droll and he won laughter on third principally through that quality. ^'The Hold Up" is familiar here be- cause used In the irttractions named above and it may be a better vaude- ville out of town. However, the "gun in the fi^ce, hands in the ^ants" is funny business. Iltee. SANDY LANG and CO. (S) Skating (Rollers) 12 Mins.; Full Stage Jefferson A young man of neat appearance is Sandy Lang and be has the able support, able in the sense of roller skating, of three women. Two are the Emeralds Sisters and the third, in "double"^ routine with Lang, Is billed as "Little Miss SpecUctu- larity." The act opens with motion pic- tures, contrasing dancing and skat- ing and drawing the inference that there is class, skill, art, grace and what not in skating. The JE<meralde girls skate well together, are attractive lookers and neat dressers. Lang is a good skater btif his main forte seems to be whirling "Miss Spectactularity" around in daring fashion. This is one of the best dancing acts seen here in moons, althoHgh the film opening is not proving the novelty anticipated. In fact the picture part seemed worn and in- distinct in spots and Is out of har- mony with the newness, freshness and skating "flash" that followa The routine of Lang and th^ "Miss" alone can hold up this turn anywhere as that flashy, whirlwind stuff hands out a thrill. The Bmeralde Sisters enhaifce the femi- nine value of the turn and they give a most worthy demonstration In roller skating. Mark, 'LIDO MARION WILKIN8 and ORCHESTRA" (7) .' Dances 18 Mins.; Full Stage Fifth Avenus Miss Wilkins appeared with the younger Cansino brothers and doubtless picked up the Spanish number, now one of her specialties. The "Lido Orchestra," a Ja»s sex- tette, has no connection with the lido Ttr Lido Venice club (now closed) though the boys do well enough in the Wilkins turn. Robert Heft is billed after the band, but is probably Miss Wilkins' dance partner. A flirtation bit in "one" with dim blue flood was a good «tand, the band playing the while behind the drop. A waltz number with Miss Wilkins and Heft was a graceful number, the girl stripping to short skirt for a faster number alone. The band had several specialties Includ- ing a fiddle bit with three members participating in the spot light. It looked as though the boys were go- Ifog it on one string, but that made no difference In the result Heft In a dance specialty dis- played cleverness with an eccentric routine. A shuffling dance number closed the turn well. Miss Wilkins Is young. Blxperlence should de- velop her. QIght now her act is a flash for small time and possibly for the closing spot in better houses. ' Ibee. NEWHOFF and PHELPS (10) Musical Revua 18 Mins.; Full Stags (Special) State Irving Newhoff and Dode Phelps, for some time a pair, head this re- vue, which has seven band men and a male specialty dancer. Produced by Lew Cantor, it is neat, fast and nicely staged. Opening In one, a drop parts In the middle to reveal a settee upon which the featured folks are sitting. Various telephone calls inform Dode that the boys are coming over, while Irving gets sore at this. But into full stage, before a special eye rep- resenting a room with fancy win- dows, etc., and the bays all arrive, making love to Dode. The first song is a pop number, with the men sur- rounding the girl and doing good dance formations, while the next comes after Irving announces that they are engaged—which brings a wedding and funeral march in suc- cession. Then down to the serious bus- iness of the turn, for the band men take their seats and play a series of accompaniments easily. The band complement holds a banjo, plan<S, two saxes, traps, trumpet and trom- bone, while all the boys take a uke to accompany a uke song. The seven stringed instrument made a relief for the regular band music, albeit that was well-handled by the men and directed by Newhoff. As a flash and revue act for the three-a-day, this Is the candy and Its reception will" be much better In houses less mammoth than the State of Loew. Phelps and Newhoff earn the featuring and are backed by support which Is In every in- stance worthy. Furthermore, the act itself has bright moments and being well staged in addition—It can hardly miss. Biak. TRACEY and HAY (3) Dances 12 Mins.; Full Stage (Special Cyc) State Opening before a drop in "one," this pair does an explanatory song which few underBtood, but frawi that F^nt immediately Into the dance. The man is middle-sized and dark, while the girl is about his height and a slender blonde with quality upholstering. Th^ girVe first chance comes In a routine, which requires her being handled by the man, while bis solo following is speedy and acrobatic. Then she does'' a trick toe dance, while the pianist follows for a Jazz number with tSie orchestra. CHosing, they did an Apache num- ber, in which the music of 'X'Amour de la Ai>ache" is almost unrecog- nizably transcribed. But the dance went over nice enough, and the tran- scription of the music was probably made to get away from the tune which others have been using for some time. But the tune has be- come so standard for Apache dances that to shift it about seems unnec- essary. On looks and work, however, the turn suits the three-a-day to a nicety, and Its click here was made in the shut spot. BUk. BALA8IS TRIO (3) Acrobats " 7 Mins.; Full Stag* V^ Stats This turn, holds two men and a woman, the woman limiting her exer- tion to handling the props and do- ing an announcement. First, the men do some excellent hand balancing, following whicfi one member does a band stand on prop flower pots, from which are sticking rods capped with rubber. On each rod he places a finger, and after getting all ten digits settled, does his stand for lots of applause. Then the understander rears him- self by two hands on a small chair, while the top-mounter does a good one-hand stand from the neck. Following this, they do a series ef three stunts on the see-saw. First, the understander catapults the top- mounter to bis head, the top- mounter landing on his feet. Next he catapults to a one-hand stand on the bead, and finally a head-to- head stand that sent the turn off solid. A much better-than-usual open- ing or closing act. BUk. REPUTATION UNEXCELLED MmrnktM Trmt Bidg. KW TORK CITY: W. 4Srd m. —Chlck«rlBK 2»M ADVERTISING CURTAINS—DROPS—SCENERY MITCHELL and DOVE Comedy, Songs, Talk, Dancing 15 Mins.; One American Man and woman, the latter han- dll.ig the comedy. He is a tall, slender, clean cut chap and^he a good looking shapely brunette!" She has a flaro for nut comedy and travesty but all of the material sounds released. Opening with a song he Is In- terrupted by her attempts to har- monize. They crossfire a succes- sion of released gags, the girl usi.ig nut delivery. For comedy purposes she wears eccentric hat and shoes. During the crossfire she handles him roughly for seme laughs, also doing comedy business with his un- usually long hair when diib.rranged. He solos a pop Jazz song while she changes to form fltti';ig black dress, underdressed In Jazz cos- tume. More crossfire with the girl describing a hoke melodramatic scenario using released material again but makihg it stand up through delivery. She strips down to Jazz costume for a solo "Charles- ton" while be changes to comedy ballet costume. She Joins him a moment later l.i similar costume for a double song "Life of a Ballet Dancer" with comedy business and a corking double dance for a finish. The act misses until the male adopts comedy attire. The girl has personality, appearance and low comedy talents but they are headed nowhere with the current material. A suggestion would be for the man to flo comedy throughout adopting a hoke character make up and cos- tume. His straight work is weak. They went very well here. Cow. ARTHUR AND PARTNER Comedy and Juggling 10 Mins.; Full Stage American Man , and woman combination. The girl in summer attire handles the Juggling with the male under cork as a comedy assistant. He uses a routine of plate breaking reminiscent of the old Bedini and Arthur turn. The girl is a fair Juggler and dancer. Both are evidently English from the dialects. The Juggling includes golf balls and eackets, three clubs solo and double, and plate manipu- lating. One of the comedy bits is back. Fair snail time opener, the old "target" practice where the comic rings a bell attached to his "AL'S HERE" (5) Skit WHh Senea -^ It Mina.} Two (Drop) Fifth Avonuo The scene la that of an old-time ' barroom, the back drop picturia* the covered mirrors of a saloon lit summer. A prop bar, the kind !» j a small cornor gin mill, la appiie. ' able enough. The act takes its tltlo from a Una lik-'The Old Soak," pro. duced at the Plymouth two yeara ^ ago. However "Al's Here" as an expression, does not mean much now. • The red faced barkeep greets a commuter who Is loaded down with a lawnmower and other garden \m- plementa He has come home early to tend the garden and stops in the Joint for a gill. But be tarries aa others «nter the bar and be- tween drinks bought and "on th«-'1 bouse" the group grows mellow and bursts Into song. A quintet vocal try with "Sweef^ Adeline" (certainly a saloon favor- ite at one time), aroused a good hand. A song solo counted, but tba banjoing of a youth in the "gang" was the outstanding score in tha act. The "matter with the picture" is that everybody drinks straight booze and with no chaser. The old bar, especially that on the corner and in suburban districts, had more beer drinkers than whiskey hounds. It Just Isn't natural for a bar with- out beer. That goes especially for the present day. However, for small time, "AI's Here" will get by, ibce» ] i PARAMOUNT QUINTET Singing and Piano 12 Mins.; One and Full Stage (Special) Greeley Square Acts of this type are always wel- come on the small-time providing the members have really good voices. Here this requirement is admirably fulfilled and regardless of its other shortcomings the turn is ready for the best of the three- a-day. Two sopranos, a tenor, baritone and basso, make up the quintette, all rather mature and large of girth but making adequately pleasing ap- pearance nevertheless. The routine embraces the usual standard and semi-classic numbers, skirting the edges of light grand opera and de- scending as far down the musical scale as one of last year's better- class pop ballads. Three or four of the songs are Holos, while the rest are delivere<1 in unison with harmony that is gen- erally melodious in spite of several strained and sour high notes. The finish represents a masked ball lending a bit of atmosphere here that relieves the ottaerwlne straight presentation. CHICAGO SENATORS (13) Instrumental, Singing and Dancing 17 Mins.; Full Stage (Special) . City Al Siegel is the leader of this combination, recently at the Parody Club, New York, for a short time. Siegel, it Is believed, is at the piano, although the drummer, un- billed, takes the bows. The outfit is one of the best of the specifically "hot" category heard around in any but the very best houses. Ten men are included, the instrumentation running Just about true to form. Outstanding among the specialists Is the first trumpeter, remembered, although not by name, as the sizzling cor- netlst with the California Ramblers last year. The fiddler also looking familiar, and the tuba player, aro others prominent. The band is in- troduced as a Chicago unit and sounds hot enough to have lived in the Loop all of their Uvea. One waltz haa crept into the routine and la played adequately although not aa well aa the Charles- tons and other Jazz pieces that aro more In the band's line. A "vocally rendered nut song falls flat because of the unfunny extra verses. A sister team of singers and dancers and another woman dancer are also included. The latter scofeo heavily with two specialties. Siegel sings one chorus and la otherwise unobtrusive. The only other spe- ciaMst is the violinist who Joins la , a genenal Charleston flnale with tta% jj girls. • The orchestra takes its pjace with the many other outfits that are able to play the best of the Intermediate time to big returns. In this case those who like their music roasting will be particularly pleased. ASH GOODWIN FOUR | Character Quartet 15 Mine.; Full and One (Cyclorama) American Ralph Ash and Harry C3oodwiV' are the feature members of this comedy quartet. The two unprogramed members are male singers, the han- dling an Italian character, the other j straight. . 1 The act opens as a comedy sketch, j full stage, a cyclorama ,of the in- .' terlor of the O, K. Dress Co. Gtood- H win as the German employer threat- i ens to out wages and the i 'Cn *•" | clde to strike. Ash, as the Hebrew cutter, Is the principal aijltator and threatens the boss with the scissors. One of tlM others calls the strike after a com- edy speech in which the others at- tempt to lepeat an oath of alloglance to the cause of labor. A telephone bit as handled by Goodwin got some laughs and Ash accounted for most of the others. The act finishes In "one" with a quartet medley of parodies on popu- lar songs written around the "strike" idea. The comedy appeal la for the in- termediate houses Goodwin an* Ash are experienced comics for thl« type of audience. The qu.art'^t finli* is sure fire also for the small time- Con.