Powers and Saunders, two girls with sweet voices, opened with a simple but altogether pleasing singing turn. The contralto has a particularly effective method of delivering pop number enunciating clearly and giving to each song the requisite expression. An air of refinement with which the girls characterize their singing, adds much to the general impression created by their voices. They did better than good, opening the show.
17 Mins.; One. Albert F. Hawthorne and Jack Inglis make up this team of “nut” comics. Inglis has had a reputation as a “nut” on the small time and at last has framed an act with a partner of sufficient class to warrant the turn making the big time. The turn the duo are offering contains 17 solid minutes of laughter and the boys work hard throughout the entire time. Their bit with the instruments at the finish is definite bid for additional applause but as it worked legitimately enough there can be no objection. Inglis has a peculiar style, entirely his own. He throws ginger into the turn from the first minute, and his partner, feeding as he does the biggest part of the time, fills in nicely. Acts of this type are much needed.
36 Mins.; Full Stage (Special Exterior). B.A. Rolfe’s latest production, “The Lonesome Lassies,” is one of the most pretentious endeavors that this producer has made. Four principals and a chorus of eight mighty good looking girls. The scene is laid in a summer resort at an old colonial mansion, with its massive white pillars rising 20 or 25 feet above the stage. The lonesome lassies are led by Leota Sinclair and Marjorie Bonner. The latter is an ex-Ziegfeld girl and was one of the best lookers that “Folliers” boasted. The ten girls are at the summer resort and are lonesome, for the boys only come down for weekends. To make the boys jealous the girls scheme to have a picture taken of themselves being made love to by a picture actor. Instead of the actor arriving a real “John” comes on the scene and complications follow. So much for the comedy end. An opening chorus is pretty, and the little flow-up to this will make a hit with the agents, for the lyric writer has woven the names of a number of the “Palace Building” boys into his theme. Ray Hodgdon and Maurice Rose are two of the names that stand out. The picture bit follows this and gets over nicely. This in turn makes way for a burglar number handled by Harry B. Watson and Miss Bonner. The title is “Love Made Me a Wonderful Detective,” with a final touch showing the chorus in almost transparent “nighties.” For the closing number the girls are displaying as pretty a set of gowns as have been seen in either musical comedy or vaudeville this season. The act is slightly too long at present. A minute or two could be cut from the burglar bit and the same from the auto repair talk. There are several repeats in the latter piece of business. The act when trimmed down to a half hour will be one of the best of the big acts. It has comedy, good music and pretty girls.
15 Mins.; Full Stage (Special Set.) Mae A. Sullivan started out as a single some time ago when she had secured considerable notoriety in a breach of promise suit against a young millionaire. That Miss Sullivan has taken the stage seriously in shown by a little skit that has three other besides herself, all men. Of the men that one makes the best impersion is a black face comedian, and it is due to him the turn gets what it does. The story is of the soldier’s life. The girl (Mac) is in love with a young lieutenant, but her father will not allow her to marry him until he has done something heroic. With the aid of the blackface the father is told of the exploits of the young man and consents to the marriage. The lover has a little stage ability as possible, but this may be his first attempt. Miss Sullivan’s singing is still in the same class as when she appeared at Hammerstein’s, but she is acting better. The other man fills in. The act has a chance on a small time.
The Hoffman Trio followed with a fast comedy cycling turn. All of the showy cycle trio formations, with one or two given a novelty twist, were run through in jig time, with an appreciative applause return at the finish.
Conn and Whiting, a two-man dancing combination with a neat hotel set to back up their specialties in the stepping line, opened. They sent the show off to a hurrah.
Holden and Le Varr slammed home a hit with their artistic little comedy sketch. The man does a “souse” minus hiccups or any of the cut and dried trade marks. The woman is a petite blonde who reads lines as they should be read. The novelty setting also gives the act atmosphere seldom found in sketches playing the pop houses. Maybe this one won’t continue in that field over long. The couple’s ability and the high standard reached in their offering should send up the ladder speedily.
While Shaw’s act has the familiars of acts of its type – leaping greyhounds, trick ponies, unridable mule and a naturally funny baboon – the turn is presented in a big time way. The greyhounds are wonders at jumping over high obstacles, a brown dog for a feature trick clearing over a pile of cylindrical props. The mule is not as vicious in appearance as most, but a good animal comic who seemed to know just where to toss the colored hostler plants for the biggest laughs.
The Primrose act has Dale Taylor, John Goss, Mallory Brother and Richard Roberts. All of the old standbys of minstrelay [sic], yellow and black satin suits for the circle, etc. are there including the old favorite wheezes close harmony and soft shoe dancing. The act headlined, and easily lived up to its billing.
Adams and Long, third, singing and dancing duo, pulled the regulation stuff, including the immortal “apple sauce” gag, the first time incidentally this reviewer has heard it in a theatre in 15 years. Adams and Long did a minstrel bit which tended somewhat to take the edge off Mrs. George Primrose minstrel act immediately following.
