30 Mins.; One (Special Drop) and Two (Semi-Circle). Josie Flynn and Misses hail from Philadelphia. Miss Flynn and a woman of more corpulent proportions appear in blackface. The other girls fill in the semi-circle. There’s the usual minstrel routine with individual song numbers. The songs by two willowy blondes, one who showed “hoofing” ability, were heartily encored. Miss Flynn is the busy bee and she carries most of the act. Act pleasing with strength lying in the novelty of women working in blackface.
20 Mins.; One. Foreign male trio. Two sing while the third, the youngest, plays the accordion. Act was a hit at the Broadway through the musician’s work. He almost does a “single,” is young, has a likeable personality and displayed sufficient versatility to frame up a “single” for the bigger houses. He is a good whistler and showed aptitude in dancing to instrumental music. He needs a little more pep and seasoning. The boy’s pop melody was well received. The other men sing well and render a stereotyped routine with “Snooky Ookums” thrown in.
14 Mins.; One. No excuse for these boys “dragging” out 14 minutes. They show bulldog tenacity in hanging on to comedy “bits” that avail nothing. They dance better than anything else although the straight is not a bad little vocalist. The team has versality and willingness Act rearranged, speed and more play on the stepping would help greatly.
16 Mins.; One. Sixteen minutes of straight songs in “one” is a bit too much time for even the best in modern vaudeville to consume, and Eveleen Dunmore, with due regard to her splendid high soprano, is hardly strong enough for that classification. Three ballads and a medley of time-word melodies, complete the repertoire, with three costumes worn. The opening should be altered to eliminate the present conflict in numbers, two ballards around a similar theme, showing poor judgement in selection. ‘Pick Me a Rose” and “Killarney Rose” follow in the order named, with “Long Way from Home” and the medley coming next. A basket of flowers is distributed by the singer during the “Killarney Rose” number, Miss Dunmore wearing an Irish costume for both this and the succeeding number. The melody is long and, while well pieced together, stands up only through the vocal efforts of the principal. One number should be dropped with the total time not exceeding 10 or 12 minutes. Miss Dunmore’s voice is the sole attraction, her appearance running a distance second. She did quite well at the Colonial, but would have finished much better had she curtailed over offering to a reasonable length.
11 Mins.; One. Bissett and Bestry, dancers, go through their allotted time without singing. The dancing at present is too similar. The solo dancing is the best. Some new steps would put these boys along with the best of the dancing two-acts.
12 Mins.; One. Florence Timponi with fair personality and nice appearance, is following the beaten trail of singing single women. She wears a white ruffled dress throughout, appearing first in black hat and gold cap that is very attractive. The songs are of the usual run, excepting the last, a Hebrew comic, that should be dropped immediately. It is about “gin physics,” etc., not nice enough for the girl. The other numbers are handled acceptably. For the small time Miss Timponi should not find the going hard.
: 13 Mins.; One. Fritz Walton and Meta Brandt are offering the usual man and woman two-act with a couple of songs and a little talk. The turn will answer nicely in an early spot on the big time bills. They open with a song, following with some baseball talk, the comedy of which comes from the man, who claims to be an expert on the national sport, misnaming all of the prominent players in his endeavours to explain the game on the girl. For the finish another song is used with incidental business that is effective. Vaudeville is more or less a business of accidents, and during the playing of this act Tuesday night bone happened that the team might well keep in, for it is sure fire for laughs. One of the chairs that are used for the seats in the baseball stand collapsed and the man of the couple was quick-witted enough to make the best of what might have been an award situation, to secure laughs.
14 Mins.; One. Cecile Weston and Louise Leon are presenting an act that is patterned closely after that Weston and Bernard formerly gave. Miss Weston is Willie’s sister, and almost as clever as her brother, working along the self-same lines as he follows. Miss Leon is billed as the champion girl ragtime player. She will have a time living up to this billing for there are girls about town in cabartes who will give her a run. The act as framed up at present does not start right. The idea of letting the pianist open with a selection before Miss Weston enters is poor showmanship. Miss Weston is the strong feature and should be there from the start. The singer is using four numbers. Three seem to be of the restricted type, and the forth is “Poor Pauline,” done as a double. The act was one of the hits of the first half of the Royal bill. When the routine is rearranged it should be ready to go in anywhere.
Elsie White is a young woman with a big heavy voice not very musical but good for rag singing. Miss White has four songs all rag hits. One of the number could be omitted for age. A white accordion pleated frock is a very dainty dress for this girl. Miss White should be able to get along.
11 Mins.; Full Stage (Curtains). “Danceland.” After giving Rose Dolly and Martin Brown credit for framing their act for a Palace audience, and knowing enough to get away from the hum-drummed “society dances,” also noting that Monday evening at the Palace the somewhat light audience held a considerable portion of their friends, there isn’t a great deal left to be said of this new dancing turn, expecting that it is another instance exhibited where a vaudeville audience will fall easily, if the bunk is delivered right. Mr. Brown has come back from Europe with several ideas new to the American dancer. They are quickly reorganized as belonging to the French dancer. The Russian steps or style Brown affects he has more trouble with. And Brown often articulates “Voila!” after the manner of French acrobats, though confessing Mr. Brown’s garbled version of the French word nearly disguises it. Miss Dolly dances well enough with Brown. She can do that with any good leader. They do a waltz or two, doing their worst with a Spanish effort mainly consisting of foot stamping. The dressing for this is picturesque, what there is to it, but not much clothing is worn by either. Between changes of costume a Pierrot sings the story of the next dance, before the curtain. Many flowers were showered upon the couple. Their friends came early, and remained to see Fanny Brice later on. But the house was not filled by quite a large margin (for the Palace) even with Houdini headlining. Dolly and Brown will gain a reputation for class with this turn, and maybe dancing also. Both are fair dancers in their line, which appears to be classical from this exposition, but when classical dancers are spoken, of there’s a long list to be read off before Rosie Dolly and Martin Brown’s names are reached. The American vaudeville audiences – which have stood and stands for so much in the dancing line that isn’t – will be as easy as they are gullible for this team.
