11 Mins.; One. Imitations are best listed in Fred B. Hall’s inventory. Good whistler. He is in serio-comic makeup, with a decidedly German accent. A lot of fol de rol which foregin music hall “singles” revel in. For small time this monkeyshine making will hit, but Hall in trying to get higher and best continue his attention to a whistling-imitation single. Some of his imitations were off color and some very good.
15 Mins.; Two (Special Drop). Two views could be taken of the Four Rubes, a comedy quartet. It would depend where they were seen and in a way, exemplify the difference between big time and the smaller small time. The views might run like these:
Small Time. The four Rubes could be called the Rube Ministrels, and it is a minstrel idea, fashioned somehow after the Crane Brothers and Belmont turn. Each of the men is in eccentric rural dress and make-up, going in somewhat for rough comedy, having plenty of jokes, and singing during the turn, which concludes with one of the men yodeling that gets over very big, earning an easy encore. The comedy talk and the characters will please in certain of the smaller houses.
Big Time: The Four Rubes got an idea and then ranaway from it. It’s a rube quartet with “gags,” some of the oldest and the poorest that could be gotten for nothing. When the act thins down at any time and a laugh is needed, slapstick is indulged in by one of the farmerish men jumping at another’s throat. All are grotesquely made up, have little natural humor, sing badly in the barber – shop way, and the finish, a yodel, sounds like a weak imitation of a steam calliope. For big time the turn never had a chance. There is a big time act known as The Three Rubes.
15 Mins.; One. Norine Coffey is a single with appearance and a sweet, powerful voice which she uses to good advantage. Her present routine consists of four published numbers. A little song story is interwoven, and makes a good bit in the act. The first number, quiet, is followed by “Victrola” which Norine puts over with the necessary vim to get some very good returns. After that operatic selection is used which shows Miss Coffey’s voice off to good advantage and the ballad encore fits in nicely although it is not very new. The dress worn is a stunner and it is no wonder she clings to it during the entire act. As a single woman Miss Coffey was a mile ahead of the Broadway and should not have been “No. 2.”
14 Mins.; One. George Moore and Francis Yates are offering a real comedy noveltiy in “one” in the dual female impersonation act. At the opening one fears it is just going to be of the ordinary type of two-acts; the none guesses as to whether one of the team is a female impersonator, and having settled that point, again settles back, prepared for the worst. Suddenly there comes an age and the act has you applauding. At least this was the case with the majority of the audience at the Colonial Monday night. At the opening the larger of the two men essays the female impersonation, carrying it through straight until the finish of the second number. The smaller is the meanwhile seems to be trying for comedy at the finish of the second number the impersonator cuts loose a note in a male voice that wins the house. The smaller then offers a single number that gives his partner an opportunity to change to male attire the order of things is reversed and the smaller changes to draperies and offers a burlesque impersonation that is a scream. The act will be a welcome comedy addition to any big time bill in any sport, even next to closing.
15 Mins.; Full Stage (Special Setting and Effects). Here’s a foreign dog act that is taking three or four curtains every night at the Alhambra. And it is not only giving unbounded satisfaction as a display of usual canine sagacity and intelligence, but is opening the second part and more than holding up its position. At the Alhambra Tuesday night the act elicited hearty laughter and at the close the house burst forth into unrestrained applause. Lipinski has gone a little further than the other trainers. More attention has been given to the strange setting of a miniature town and the electrical effects showing and passing of day into night are worked to an advantage. The program says there are 40 dogs. At any rate there are enough to “Act” as school “kids,” teacher, minister, police, townspeople, etc. The clock strikes twelve (noon), school is out and the “kids” dance to hand-organ airs. There’s the crowded bus, ambulance, cycling dogs, auto smoking and chased by policemen, and the fire at the close with the auto truck and automatic ladder. The feature of the act is the work of a “drunk,” this dog showing wonderful training. The act is an instantaneous hit. Worth while anywhere. First appearance on the side.
: “Piano Songuluslerese.” 12 Mins.; One. Helen Trix put over the surprise of the evening Monday night at Hammerstein’s. She did a clean-cut single that carries with it more legitimate versatility than has been witnessed in a similar turn in ever so long. The result was that Miss Trix scored one of the biggest hits on the program, and left the regulars around the back rail, wondering why she hasn’t been playing in the New York big time houses before this. Opening in a modish wrap and hat, Miss Trix sang “I Don’t Care What becomes of Me” (rather light), and then sat herself before a concert grand, having removed the wrap and coat, revealing her self as a handsome girl in full evening dress. At the piano Miss Trix used “The Land of Coocooco,” not a bad rag, and followed this by a quick change off stage to a very agreeable boy, returning to the stage singing a pretty melody, and closed this part, still at the piano with “I’ve Joined the Squirrel Family,” a comedy number that got right over. After that Miss Trix accompanied herself while whistling pleasantly, and for a final encore sang “Ragpicker,” the only published number in her repertoire. When it may be said that Miss Trix looked as nice as a girl as she did as a boy, and vice versa, besides putting over everything of the many things she did in a first-class workmanlike shape. Helen Trix turned out a turn that can go on any bill, and she made her record Monday night, notwithstanding a poor position, “No. 9,” following much singing, including another singing woman single, but a couple of turns ahead of her. Miss Trix is proving herself a perfect little artiste this week, and compared with the many others, she is entitled to that word, clever.
12 Mins.; Full Stage (Library). A farcical playlet with mistaken identity for the foundation. When you can get four people at a limited price, too much is not to be looked for, and if you don’t look for too much in this “farce,” you won’t be disappointed, either in the playlet or the players. Otherwise it’s a bad boy.
“A $2,500 Bet” 12 Mins., Two. Man loses $2,500 on a horse named “Birdie White.” Usual complications.
22 Mins.; One. George T. Stallings, the miracle man of baseball, came to bat at the Palace Monday night with nothing but a prayer and a few pieces of note paper. The marvellous smile, of which page after page has been written was a very nervous person when he appeared before the Palace audience, so nervous a mere sneeze from the gallery would have sent him right through the roof. But nobody sneezed and nobody wheezed and George went right through his little task of earning that $1,500 like a major, once he wound up, and finished the expected hit amid loving cups, floral pieces, and the usual introductions that go along with the engagement. Stallings formally apologized for his presence and after announcing he was totally unprepared for the ordeal, proceed to tell of his troubles with the Boston Braves and his fun with the Athletics. He delivered his little talk in a nice even tone, continually pacing up and down the stage. A fine looking type of athlete, he is brimful of personality and with a few more shows should overcome the nervousness and proceed to develop into an attraction. Always remaining, of course, in the classification of freak acts. Occasionally he provoked a rousing hand during the little spiel, but threw a damp chill over the assembled fans when he rebuked them for their fickleness. Needless to say the house was packed to the rafters. Johnny Evers, the utility man for vaudevilling baseball players, was introduced, and at the finale, Bozeman Bulger presented Stallings with a loving cup. Stallings makes a good pulling card and while he is a bit wild in control just now he will undoubtedly become accustomed to the glare of the footlights and soon be able to get them over the plate quite as well as Mike Donlin, Rube Marquard or even “King” Cole.
15 Mins.; One. Fred Weber is offering a very ordinary ventriloquial turn that will pass on the small time and that is all. He opens with the boy dummy and runs through usual routine. His best bit is with “the crying baby,” which he thinks so much of that he repeats it until it loses all value, becoming tiresome. With his cry-baby and a good routine he could work out a comedy act that would take him along nicely. An idea is all he needs and this seems to be lacking at present.
