14 Mins.; Four. Neat idea the young men have in using the old Roman gladiatorial ring background and gladiatorial raiment to show off their hand-to-hand balancing wares. The two chaps have an excellent routine, one similar to previous exhibitions by other teams on the big time, but effectively done. The Gladiators, however, have several lifts that are different and on these got big applause.
11 Mins.; One. Two men in Italian dress, one playing a harp. The routine consists of mostly popular numbers, the harpist showing no real classic ability at that instrument. The other member sings fairly well. in houses where the audience have not seen the better class of these acts, the two should find the going easy.
12 Mins.; Three (Exterior; Special). “Spooks.” An act that proved a novelty Tuesday night. Bayone Whipple handles the role of a smartly dressed widow who carries on a conversation with the house painter, a comedy role capably acted by Walter Huston. That the widow may benefit by her husband’s will, a portrait of the deceased man must be painted on the front door. The house painter volunteers. He draws a head, which comes to life, the movements of the eyes and face in the door panel giving Miss Whipple and Huston a chance to sing one of those quaky, shivery, ghosty numbers in floodlight. Huston had nifty and timely remarks that hit the house amid ship.
12 Mins.; Two, One and Full Stage (Special Set). Seldom has vaudeville gathered as many useless people together as “The Little Lambs,” a “girl act” that looks as though it has just come east from the smaller small time of the middle west. In the turn are six chorus girls who know naught but how to screech, an eccentric woman and eccentric male, neither of whom commences to be funny, and a juvenile that has youth as his only excuse for the role. When this combinate isn’t screeching, it’s trying to sing or dance, and when doing neither, a couple of them go in for a bit of double mirror business. As a sigh escapes when it looks as though the act must end, it starts again, and goes along to the longest 23 minutes on record. The act also looks as though framed to fool someone, but it can hardly hope to fool New York, and will be fortunate to remain the week out at the Broadway. Tuesday night it was “No. 3,” after having been programed for an important spot.
12 Mins.; One. These two boys have the latest songs the publishers can give them. It is on that account they will be able to leave the good impression in other houses they did on the Roof Monday night. Otherwise they do not differ much from the usual run. If the boys keep the new song idea in mind they will end their “act” will be appreciated.
26 Mins.; Full Stage (Special Set). Ben Hendricks was at one time in “The Spring Maid” with Christie MacDonald, and was funny, but at present, in vaudeville, he is not. There is no chance for the act in its present shape.
11 Mins.; Full Stage. Teddy, with the aid of a woman assistant, has a novelty balancing act that serves nicely for the opening spot on a small time bill.
10 Mins.; One. Prince Napoleon is about three feet in height, a cute little chap, with personality and a happy faculty of getting to his audience right from the start. He gets over a couple of songs, though no one can understand the lyrics. He also offers a female impersonation, dancing at the finish. He has a good little act for small towns.
12 Mins.; One. Lillian Sloane is an English single with a pleasing personality but not the right material for this country. With the proper routine she should pass on the small time. Her present three songs have the little suggestiveness found in the majority of English numbers.
15 Mins.; Full. Barnon has four cats, a like number of dogs and two ponies. He has enough animals to work out a nice little act for small time. It is an act that will please a kid audience.
