Andrews and Andrews
Andrews and Andrews, man and woman, with a style of working like the old-time comedy musical turns of the nineties, second, cleaned up. The team may be working here under another name than their own.
Dale and Boyle
Dale and Boyle opened. It’s a two-man singing combination, with one doing a convincing female impersonation, undisclosed until the finish. They went over.
Oliver White and Co. (2)
Whoever wrote this sketch spent little time on it. It is about a woman, and a bad one at that. The man thinks he is in the clutches of an adventures. His butler tries to steer him right, but ever time he looks at her picture he drops right back to where he was before. So that the act will not become boring or talky, another chap, calling himself a shoemaker, appears, and comedy is tried for, with the finale showing that this newcomer is a member of the adventuress’s company, as she is also an actress. The curtain finds the lover saying he must get a wife. It fathoming out what it was all about, credit should be given.
Weber and Capitola
15 Mins.; One (Special Drop). Billed as “Broadway’s Youthful Prodigies.” Weber and Capitola seemed to make an impression on the Prospect audience although on second which hindered them considerably. A special brown drop is used, with an entrance in the centre over which is a purple curtain. The color of the drop is not attractive. The pair open with Capitola in a becoming gold and blue gown, and her partner in evening dress. They sing and dance and start calmly. “I Didn’t Know That Boys Did Anything Like That,” by the girl, was well liked. e has been using this son for some time and has gotten the thing down pat. Weber does a dance in a short red coat, with a little hat. His stepping is all in soft shoes, without any great variety of steps. The closing number is with the two in black and white costumes, the girl’s slightly abbreviated. “Youthful Prodigies” helps some and it looks as if Weber and Capitola should be able to keep the big boards.
Frank and Milt Britton
Jazzed their way into popularity immediately with their double xylophone stuff. The raggy duets on cornet and trombone clinched the hit scored with the xylophones. These boys get more real music rom the brasses than many of the much touted jazz bands. Dillon and Parker following opened a bit quietly but caught up the running when they reached the conversational gagging. This is given a novelty touch by being done on a dark stage against a black drop, with a red “spot” on their faces. “When You’re Alone” and “Many’s a Time” “harmonised effectively for closing pulled a gale of appreciation.
Ramsdells and Deyo
The closing dance, which had the two girls in pretty orange ballet costume, brought forth some excellent toe dancing, the man whooping things up particularly with difficult Russian stepping.
Talbot O’Farrell.
14 Mint.; One.
Talbot O’Farrell it an English importation… Gad in high white ping hat, black frock coat, light trousers, and carrying a cane, O’Farrell gave the impression at first he was about to do an eccentric turn. This was further heightened when he opened up with a comedy story, followed by three or four gags. The talk, delivered in a convincing Irish brogue, at times almost too thick to be understandable, brought little- It was. When O’Farrell started to sing, however, that the audience began to sit up and take notice. His first number, “Kingdom of Your Eyes,” with several high Cs, all brought out clearly and without effort easily established him.
PHYLLIS GILMORE und CO.
“Blackmail”
“Blackmail” played by Phyllis Gilmore and a cast of two, man and woman furnishes decidedly pleasant entertainment. It’s a mixture of ‘melodrama and comedy, well constructed, away from the conventional in theme… Miss Gilmore, a personable blonde, with an enunciation so unusually clear that the slight tendency to staginess in her reading of lines is readily forgiven, steps out in “one” preceding the playlet proper and delivers a rhymed prolog.
MAUD EARI
16 Mins.
Albemarle, Brooklyn
Miss Earl enters and following a brief Introductory, in which she mentions her former act and tells of what she will do in her present turn, she sings the Jewel song from “Faust.” This is sung in French, splendidly phrased and delivered, and marked with a sense of musical expression that makes the number delightful to listen to. A short bit of rhyme precedes her next number, “I Hear You Calling Me,” which is pianologed in part, orchestral accompaniment being used for the latter portion of the song. This number is also delivered with a keen perception of values… Miss Earl was very well received at the Albemarle, where audiences, through their scarcity of numbers are more or less cold. “Speeches” are few and far between over here, but Miss Earle received sufficient applause at the conclusion of her specialty to justify one in which she said the act was but a week old.
CHIEF BLUE CLOUD and Co.
12 Mins.; Full Stage (Special Set).
Chief Blue Cloud is an Indian, from appearances a full blooded one, although speaking flawless English. He is assisted by a slender young woman, who like the chief, wears Indian garb throughout the act. A special landscape set, consisting of several hanging pieces, with a full-fledged tepee set to the right, makes an atmospheric back- ground for the specialties offered. Following a song by the woman, the chief does a routine with the lariat, handling it dexterously. Brief cross fire, leading up to another vocal number by woman, in which she introduces several extremely high notes, with the tones coming out clear and round… The chiefs roping and music, and the woman’s tuneful soprano make a combination of entertainment that certifies the turn for the pop houses, with the fact of the man being an Indian giving an added novelty value to the act. Opening the show at the Albermarle, they went over very well.