New Britain herald., 1925-03-07
FIVE JOLLY CORKS
 PLEASE NEW YORK
Tom Ensish's Act Makes Hit
 With Gotham Audiences

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 4 large number of friends of Tom English of Curtis street, at the pres ent time New BritaIn's outstanding offering on the vaudeville stage, were skeptical about his ability to again capture the hearts Of audiences when he started out last year in revival, with four other 'old timers" of the minstrel stuff" Press mo- tices by serious minded critics throughout the country. herald the act known as "The Five Jolly Corks." among whom Is New Brit aims Tom, as one of the best on the boards at the present time.
 The crisis of the act comes with its rcappearance in New York, where vaudeville acts, especially, get the double co from an extraordinarily critical pleasure seeking public, Were it not for the fact that the act Is good it would not last long in the metropolis, but would be relcgated again to the small time where such heroic struggles to keep the one play suit in good repair are enacted every day.
 Sam Mckee, vaudeville critic of the New York Morning Telegraph saw the show in which "The Five Jolly Corks" appears, last Wedncs- day evening and although he is re- glrded as one of the most cynical of critics, he has seen fit to devote almost an entire column 10 the work accomplished by Tom English and his pals.
 In part Mir Mckee writes as fol- lows:
 "On a bill with stage folk, many of whom are young enough to be their grandchildren, are the Five Jolly Corks. Al Edwards, the baby of the quintette, made his debut on the stage only 45 years ago. Harry Armstrong, whose theatrical career has been the longest among his feI- lows, has been facing the glare of lie footlights since 1865, just GO vars ago. The other three-George W. Cunningham, Tom English and Eidie Horan-laugh at the old Wheeze about mans allotted time for industry being three score and ten.
 Al Edwards, as the interlocutor. presents his partners, all stars of minstrelsy. and George ". Gun ningham introduces the interlocutor when the moment arrives for his cornet solo. All appear in white face, wearing evening clothes, and they are q distinguished-Ioo | group of elderly gentlemen, rehecting credit upon the stage, the same as they would upon an organization of | manufacturers, bankers, statesmen, l doctors, lawyers or college profes- i sors, if they happened to be of that 1 calling.
 "Harfy Armstrong does laughing | song with the others joining in the chorus. Handsome Harry as hc | was nicknamed back in the Haverly l days, also asks riddles of the inter- locutor.
 Eddie Horan steps lightly and 1 gracefully in reproducing a soft shoe | dance made famous by the late i George Primrose.
 Tambo
 Tom English plays the tambour- inc with his hands, his knees, the | top of his head, his elbows and his | nose. And what mPlOdious jngling l he taps and rattles forth.
 George w. Cunningham indulgos | in the most astonishing acrobatic l eccentrics for q man of any age and | for a kid in the seventies he is 1 miraculous, spinning on his head, 1 somersaulting backward and for ward from an upright position and 1 otherwise defying the imminent risk of breaking his neck and cracking every bone in his arms, legs and body.
 Eddie Horan comes forward again, this time with the cane dance | which he originated and which has | every listener swaying and tapping in unison with his nimble feet. At it's conclusion away dance the happy Jolly Five Corks 10 the tune of | Yankee Doodle" Grand, gay, old boys, are these famous mon of min strelsy"