“All Girl Revue of 1915”

Singing, fiddle, piano.

When seen at the Windsor, the [T. Dwight] Pepple girl show gave bully satisfaction as a whole, although some changes could be made in the cabaret portion which would greatly enhance the running value of this section of the entertainment. Pepple has given the revue adequate scenic investiture and the costumes are not the cheap, tawdry kind that some of the other shows are carrying. He has a pretty strong combination and the girl work hard all the way. The piece de resitance of the revue is the minstrel first part which embraced some late topical song numbers. The cabaret section is fairly well staged, although at times the tables were practically deserted and a couple sitting at one side, got up and moved over to a table across the stage. Just why this was done when they moved is beyond conjecture. Then again there's a piano upstage which was not used enough, especially in a cabaret where a piano is one of its most valuable assets. Field and Lloyd offered a rather slow dancing (ball room) bit. A livelier fox trot number would go much better. Olga de Baugh then fiddled expertly, but the instrument seemed to be off key with the orchestra. Martha Courtney, looking neat and pert, danced well enough but it was a slow affair. The show continued to drag and Louise Elliott's recitative bit about Mamie doing the very best she could didn't speed things up any. Deane Bernard, possessing a nice voice, sang a quiet number about love. So far the cabaret installment of the tab had failed to start anything, due principally to the lack of speed, an element which is vitally essential to any cabaret performance. The Saxophone Four put a little pep into the show, but these girls should be given a better opportunity. After the Vassar Quartet had done pretty well with "Monterey" Miss DeBaugh came back into the limelight and sang, giving the cabaret section a new lease of life. Just when the revue began to put on full steam, the show closed with a carnival number that reminded one of Ziegfeldian days, sending the audience away in good humor. Between the minstrels and the cabaret sections appear the Transfield Sisters, who offer one of the best turns of the show. These girls dress well and blend harmony excellently with brass, reed and wood. The work hard to please and at the Windsor were a big hit. The sisters are a big help to the Pepple revue, "doubling" in other periods. Marie Genaro ("The Flexible Venus") is quite supple and throws in some flippant remarks for good measure. Miss Genaro should use more showwomanship, eschew the talk altogether and dress her turn differently. It is entirely too burlesquy as it stands. During the minstrel part some dandy song numbers are offered, Misses Siegel, DeBaugh, Izetta and Elliot putting their numbers over effectively. By reshaping the routine of numbers in the cabaret half the Pepple Revue would not only have much more life but there would not be the noticeable slowness and dragginess that now hampers this department. Pepple has one of the best 'tabs" in existence as the show now stand, yet there is room for improvement which would not entail any further expenditure of money. It's classy enough and scenically miles ahead of some of the other tab, yet it's a pity that the cabaret section doesn't show the strength it could.

Variety, 41:2 (12/10/1915)