Harry Jolson, direct from the big time, made his first appearance around New York in quite some while and was well appreciated. His unbilled assistant, seated in the orchestra rendering several pop number and a few lines of comedy talk helped considerably.
Barthold’s dogs held down the evening spot to satisfaction although there were occasional moments when the canine workers forced the trainer, who guides them off stage, to exert extra lung power. However, they registered favorably.
The Ziegler Sisters and Band closed without the tramping of feet to disturb them. The dancer, who steps out of the orchestra for his solo, scored individually with his eccentric stepping, as also did the orchestra with one or two of their selections, while the girls change. Held ‘em all the way, and they didn’t start to walk until the screen was lowered.
The Dunbars failed to appear and were replaced by Mabel Sherman, doubling from the 5th Avenue, who filled in for the one performance, the former team being expected back in the show on Tuesday. Miss Sherman did nicely with five songs, assisted by a male pianist.
Herman Leib and Co. succeeded the Wilkens duo with Lieb’s revival of “Dope,” and he was solely responsible for putting it over. The “flake stuff” caught the interest of the house right from the curtain and held it throughout the 23 minutes. Mr. Leib gave a corking performance, but the same cannot be said of his support, the male half of the reform “spotters” being decidedly weak. However, the act is “there” and with Mr. Leib is certain to register more so now perhaps when the drug matter is rampant than when he sensationally first produced it 10 years.
Preceding [Henry Santrey and Rand], Harry and Anna Seymour entered to a reception practically showing the same routine practically showing the same routine as done by them for quite some time now, with one or two minor changes. The most noticeable was the late Clifford Crawford’s “Kissing Cup” recitation by Miss Seymour. She also offered her usual impersonation of Grace La Rue, and for an encore did Nora Bayes at the helm of the “Gypsy” ditty that left something to be desired. However, the laughs were plentiful and they scored repeatedly, finishing to a most satisfactory degree that had no uncertainty about it.
Henry Santrey and Rand, closing the vaudeville half, walked off with major honors. The nine boys whaled the melodies all over the place and in addition had Santrey working exceptionally hard in front of ‘em, which added together made up a bear of a performance. This double quintet is still a two to one favorite every time they start.
There were two really good sketches on the bill. The first was the John Hyams and Lelia McIntyre offering, “Maybloom” with a couple of songs. It is a neat idea, nicely done, but not an act that will ever be a riot. It is one of theses pleasantly quiet turns that are liked but never raved about.
The third hit was down in the second half and delivered by Edith Clifford, who was scheduled to open the late section, but was moved down a number, being preceded by the Russian Cathedral Singers (New acts) who were originally programmed in the first half. Miss Clifford hit home with “Oh, What a Boy,” and followed it with “Going Up.” The first with a slight tinge of the suggestive got over in great shape. Roy Ingraham at the piano sung, “Ireland Was Meant To Be Free” and scored. Then Miss Clifford, after a change, put over “Simple Mary Ann” and “Weaker Sex” neatly finally offering “Nathin’” for an encore.
There was but a few minutes at the opening end of the show that proved real vaudeville, and Henry Lewis, making his return to vaudeville in his former act, was entirely wasted as the closing act of the show. There seemed to be a lack of good judgment in placing Lewis in the final position, although it must be said that he held the house to a man with his foolery.
The Lewis act is identically the same as it was prior to his deserting vaudeville and going into production work. He has the same dressing, and the only bit of the turn that is dropped is the scenery of the “Laugh Shop” with the giggle register. He sings poems, operas and “squidgulums,” and the audience howls. He dances and cuts up generally, and at the finish there was the usual speech, but the applause wasn’t strong enough for him to do a regular number after the act itself was finished. Had he been on a little earlier in the bill there is no doubt but that he would have walked away with the solid hit of the show, that much was indicated by the return that he got in the closing.
