[New Act] Songs and dances, 9 mins; one. A colored man and woman team that reminds one of the old days. They sing a couple of songs, taking great care that the orchestration is sufficiently loud to make sure that no one in front shall hear what it is all about, and then tackle some stepping. The man does some fairly good acrobatic stunts, and that about lets the act out. A double number is used to open, this is followed by the girl trying with “Ballyhoo Bay,” but not getting much in return. The man’s single stepping follows and then another double.
Of the five acts that appeared in the opening section four came under the New Acts classification, the exceptions being George W. Moore, who opened the bill with a routine of juggling, which included a flock of misses. He did, however, manage to get some comedy out of the mishaps through facial expressions.
The other was the single offering of Arthur Deagon. The latter as a matter of fact was the real hit of the bill. Deagon held the stage for exactly 30 minutes, had the audience in roars of laughter all the while and finally with his dancing and cartwheels in a Spanish number had them wearing out their hands. When he finished they were loathe to let him go and would not think of his passing from sight until he had made a speech. He stated he had made at the American in 26 years, having been there at the former date with the Henry W. Savage Castle Square Opera Co.
19 Mins.; One (Special Drop). Harry Kelly and Louis Wesley are presenting a comedy talking skit in “one,” entitled “Small Town Chatter.” Kelly is doing his usual “deacon,” while Wesley is the straight. There is also a dog. Wesley is the “city feller,” and Kelly, “town constable.” Constable suspects “city feller” and is on his trail. The talk is fast and choc-a-block with laughs. The act was down next to closing at the Royal and kept a mighty hard audience laughing from start to finish. Wesley is a talking straight and makes a capable feeder for his team mate. Kelly does his usual rube song and a bit of eccentric dancing that is a scream. The act is one that can be used to advantage on any bill to get a lot of laughs.
11 Mins.; One. Little Jerry is a dwarf, with very short legs. He sings for sound with a couple of attempts at dancing. The singing is fairly well and with more dancing Little Jerry should get over big on the small time. Some comedy steps would be a help
12 Mins; One. The Tiller Sisters have an opening somewhat different. One does a tough girl, attempting “nut stuff” with some success; the other handling the straight, displaying an agreeable contralto voice. The comedienne, changing to a pink dress, does nicely with a little song. They change to black and white dresses for the finish. A fair “sister act.” They could use new songs.
18 Mins.; Five (Parlor or Library). “The Pardon” and the George Drury Hart people afford a chance to point out what has seemed to be a grave oversight on the part of sketch producers, particularly those of the drama. Very briefly, it is this, that “The Pardon” has a well-balanced cast, or perhaps, more properly, an evenly-balanced company. This is very important to a sketch that is limited in its running time to the vaudeville conditions. Many a good sketch has been ruined through “the star” or the principal player foolishly surrounding himself with inferior people. It threw the playing off keel; the weakness in the acting became too readily apparent, and, although they playlet may have possessed merit, the act killed it, for a company of three or more it is difficult for one person to carry the entire affair upon his or her shoulders. Mr. Hart has three people besides himself, two men and a woman, the latter with a splendid speaking voice. She is the old mother of a convict and steals into the rooms of the governor of the state to plead for a pardon. Just before, the political boss has demanded of the governor that he pardon the boy (her boy) who killed his (boss’s) son. The boss’s request is in furtherance of his scheme of revenge. He has used his influence to have the prison keepers starve the convict until he is taken with tuberculosis. The pardon plan is to have the mother at the prison receive her son, the pardon to be delivered, and as the boy is just outside the gates the prisoner is to be informed by phone from the governor it was a mistake, and the boy thrust back into a cell. The governor accedes, upon the threat of the boss to in his political feature if he does not. Meanwhile the mother makes her plea, and during it the governor learns the boss’s son started the quarrel which led to his death, the boss afterward framing the youth who simply defended himself. The governor thereupon returns to his righteous stand, hands the pardon to the mother in good faith and tells the boss to go to, after the boss had called him a “fine piece of cheese.” The main theme is not unlike that in the Man of the Hour,” nor is the political situation involved unfamiliar; but the piece is very well played, is interesting, working out nicely, and makes an excellent sketch for the small time. It could do on the small big time and would be worth a try on the biggest time, for there are certainly interest and action to hold it up. Mr. Hart probably played the governor. He had a hard role, while the boss contained what little comedy relief the piece has. The small time should commence to print detail billing (characters and names of players) on the programs. No reason to pass up a feature in the descriptive manner as though it were unimportant.
11 Mins.; Full Stage. Man and woman do a series of caryon sketches, warbling the while. The man’s voice is the more agreeable and the girl’s sketching the more interesting. The Indian heads at the opening are the best subjects of a commonplace collection. The pair class as worthy small timers.
8 Mins.; One. Colored boys. Affect an English Johnny style of working. Wear top hats throughout and also sport manacles. They sing a little but their strong point is dancing, the routine is noticeably different from the usual run. A good act of its kind.
15 Mins; One. The Peppinos open with a double banjo number, followed by a single while one does a change and then tries to do a Hebrew comedy number. If the team will work ou a straight musical routine on the banjos and mandolins they will do as an opening number on small time bills.
