The New York Clipper (May 1917) . com-edy sketch, A Bowery Camille. Thisact, even though seen time and again, isof sufficient calibre to prove entertaining. Why a real good performer uses a nom deplume when playing a neighborhood the-atre in a section of the city such as theheights cannot be conceived. However,Murray Livingston, the protean charactercomedian, elected to use the alias ofHenri De Camp. It is conceded thatMurray is a champ at his work, so,why should he be ashamed to let personsknow his identity. His characterizationsconsist of the portrayal of the roles ofan Italian, a miser and
The New York Clipper (May 1917) . com-edy sketch, A Bowery Camille. Thisact, even though seen time and again, isof sufficient calibre to prove entertaining. Why a real good performer uses a nom deplume when playing a neighborhood the-atre in a section of the city such as theheights cannot be conceived. However,Murray Livingston, the protean charactercomedian, elected to use the alias ofHenri De Camp. It is conceded thatMurray is a champ at his work, so,why should he be ashamed to let personsknow his identity. His characterizationsconsist of the portrayal of the roles ofan Italian, a miser and Happy-go-LuckyDrunk. All are well presented. Hudson and North offered a uniquepiano and singing act in the next to clos-ing spot. The woman offered severalpleasing character songs, which includedRube, Kid and Irish numbers. The De Pace Opera Co. appeared in avocal and instrumental offering, A Nightin Venice, which was composed of bitsfrom grand opera. A. U. IIBMIgittM^ m At B. F. Keiths Theatre, Washington, this week SelmaBraatz. THE RENOWNEDLADY JUGGLER In a New and Novel Offering At B. F. Keiths Colonial Theatre, next week, May 7 DIRECTION—MAX HAYES * IUBM1BWI— 22 THE NEW YORK CLIPPER May 9, 1917 OFFICIAL ANNOUNCEMENT To the Profession from the MUSIC PUBLISHERS PROTECTIVE ASSOCIATION The primary and main object of this association just formed shall beto promote and foster clean and free competition among music publishersby eradicating the evil custom of paying tribute or gratuities to singers ormusicians employed in theatres, cabarets and other places to induce diemto sing or render music, which custom has worked to the detriment of thetheatre management and the public through the rendition of music, not be-cause of its merits, but because those singing or rendering it received gra-tuities in some form for so doing. Such practices have tended to discourageand retard the work of music writers, whose labors have not had a free fieldfor competition. The general objects of th
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Keywords: ., bookcentury1900, bookdecade1910, booksubjectmotionpictures, booky
