“London Belles”

Singing and comic dialogue.

"Dinkie's Honeymoon," "I'll Build A Wall," "World At Peace," "Pidgeon Walk."

There's a rival to Lillian Russell just opposite the Palace this week, at the Columbia, where Rose Sydell is reappearing with her "London Belles." It's three years since Rose Sydell took part in her show. She's hardly recognizable on the return, looks tall, thin and youthful, well gowned and only steps into the performance for two numbers, at the finale of the first part. It's a remarkable metamorphosis with Miss Sydell. She must have lost 25 or 30 pounds while away from the stage. And on top of that surprise comes another - Bill Campbell has the best show this season he has ever had. Johnny Weber is there, working as clean as a whistle, and of course he's funnier that way than any other. And Johnny Weber is funny, make no mistake about that. He and Bill Campbell had the big house Tuesday night roaring at their olio skit "Papa," [obscured, but 18 chorus girls assist with group posing]. It does look better than the singe figures or trios. And there's Daisy Harcourt in the pieces and the star vaudeville act. Miss Harcourt stopped the show singing her songs in the olio. She has two or three new ones, a little spicy but just fitting in the burlesque olio. Daisy has a role in both pieces, and does that very nicely. She ended a line of dialog in the first part by slapsticking Weber, and it brought a howl. The company possesses and excellent straight in J. Hunter Wilson. The ingenue is Kathleen Jesson, who, with her act-partner, Chauncey Jesson, opens the olio with song, probably western songs, and they could stand better ones of a lighter kind, excepting heir closing rag number. Mr. Jesson might contrive to wear evening dress throughout the performance, covering it up for the undertaker's business when necessary. He doesn't look well on the stage in ordinary dress, partly accounted for by a dress collar continually worn instead of being used only for the evening suit in the olio turn. Miss Jesson is a pretty little girl at times when dressed to advantage.Gertrude Dudley is the prima donna, and looks enough in a way like Miss Sydell to double for her if called upon. Miss Dudley played easily in the pieces, and also did a singing turn in the olio, the third one of that class in a row there. She was assisted upon the piano by Harry Dudley, the "heavy" of the piece, but neither he nor Mr. Jesson in their roles attracted more than passing notice. Mr. Weber holds up the performance on the comedy end anyhow. The piece is called "Dinkie's Honeymoon," written by Frank Kennedy, with the numbers stage by Billy Sharp. While Mr. Sharp could have given more variety to the girl's movements, he at least has kept them in action while on the stage, and that is worth noting. Besides some of the girls are quite good looking. The story is strong enough to last throughout the two act. The show doesn't shine in numbers. A phone song and "I'll Build A Wall" had a feeble attempt at feeble novelty business. In a "World At Peace" song, the ted fire thing was thankfully passed up and the girls brought on in fours in different dressing. The costuming of the Campbell aggregation looks as though it is being worn for the first time, so spick and span is it, and it's good dressing also. In "Pidgeon Walk" for the finale of the first part, some audience work is indulged in by the chorus and Weber, but it amounts to little. Nor is there anything alarmingly startling about the comedy, but Weber keeps it moving and the others help the best they can. It all sums up as an amusing show for the evening, and it's clean. Weber seemed so careful the few remarks which could have been picked up were let slip by the audience, probably on the theory there was no wrong intent concealed about them. This season's show is a pretty good mark for Bill Campbell. It reinstates him, also Johnny Weber, and it's worth going to see the show if only to get that flash of Rose Sydell. But Miss Sydell should modify the second verse of her personal song. It's too broad, and follows the idea of Al Reeves' lyrics, Miss Sydell saying in song she's glad to be back, and hopes the audience is as well pleased, then telling those in front (in the second verse) to come around to the stage door, and she will get them to any girl they want, with another lyrical line in connection that is not nice at all.

Variety, 40:11 (11/12/1915)