Ernest Evans and his six girls, with musical and dancing. “Wedding Bells,” were the topliners running No. 7, two positions after the Whipple Houston act. Evans fairly witted and so did the girl dancer who is his chief support. The lass is a sprightly stepper, and it is her pep that stands for much in the turn. The sample frock used by her is the solo number looks a bit passé. She looks like a youngster and ought to develop into a corking dancer. The songstress of the act also attracted attention doing best with “Someone is Waiting.”
[New Act] Comedy, talk, songs and dances. 14 mins; “One.” These boys have been playing around the smaller houses and are right where they belong. One member is tall and angular, and the other short and squat. Their appearance makes for comedy and they capitalize it with comedy business and rough hokum. The cross fire could stand brushing up as the talk has all been released. Both are good eccentric steppers, the shorter one convulsing the house with a comedy solo dance that accentuates his short legs. They closed a whirlwind at the Royal.
Joe Laurie Jr. breezed through to the hit of the last half in his near monolog. Joe was over and in with his wise cracks before he introduced his stage parents for some kidding. That insured him doubly and he was forced to a speech at the finish. Laurie has one of the most interesting talking acts in vaudeville and he can handle talk with the best of them.
Grace Nelson followed in the sanest selection of songs that any prima donna has sung to a vaudeville gathering lately. Miss Nelson had all the high class effects – a black velvet drop, a pianist in evening clothes, etc., but she only sang one heavy number. The others were “Your Eyes Have Told Me So,” “The Sunrise Reminds Me of You,” “Buddie” and “Hiawatha’s Melody.” She put them over in a clear soprano of power and was accorded generous applause after each number.
Kranz and LaSalle opened after intermission and got them early with “Typical Tipperary” and “When Their Ain’t No Jazz.” The dancing of La Salle at the finish, however, remains the strongest part of the turn. A comedy song title “Every Day Is Yom Kippur for Mrs. Swiney” should be eliminated. Another act pulled in this week at another big time house and it received in apathetic manner. In an Irish neighborhood they might resent it.
Joseph M. Norcross the oldest living minstrel basso in active service assisted by his wife, Nellie, slammed over a sympathetic appeal that cresendoed [sic] into waves of applause at the cake walk finish. The appeal of the sweet motherly looking Nellie and her old partner is sure fire in any house.
James Thornton was next with his familiar monolog. Jim lost them during several portions of his talk, but always switched in time to sustain the flagging interest. At the finish he received solid hands and thanked the crowd in a brief speech touching upon his 42 years of service.
Mary Marble was fourth in one of the few dressing room acts seen on the big time circuits in years. Miss Marble has a strong personal following and a rather weak vehicle. As an actress who returns to the town she ran away from years ago Miss Marble gives a very convincing interpretation of an unconvincing role. The young actress, who is disillusioned with life and who received large gobs of sophisticated advice from Miss Marble, is well handled by an attractive looking girl. The husband, who turns out to be the manager of the theatre and the grown baby who is the property boy, are also capably played.
Newell and Most were third, moved up from opening after intermission. It is a neat song and dance idea, but why the act has to close in “one” is a mystery. A pretty special drop in “one and a half” is discarded for the finish before the house olio. A new finish would put this team in a position to demand spots and billings, as they are a clever duo and exceptionally good dancers. The girl has plenty of personality and the boy is a neat smooth opposite.
Bigelow and Clinton, a two-man singing turn, registered strongly in the deuce spot with a good song cycle. A Chinese double with the pianist handling comedy Chinese Reponses scored strongly. A few lines pulled in Yiddish almost broke up the number.
