17 Mins.; One. On in an early spot at the Royal Tuesday evening, and suffering from a dual handicap in the matter of an inferior song routine and a frightful orchestra, Miss McDonough had rather a hard time of it. Miss McDonough is far too wise in the tactics of the theatre to continue with her present repertory of songs. Using “Rose and Tulip” for her opening number, she got away to a poor start and was unable to retrieve until her closing number. “Hats Off to You, Mr. Wilson.” While a heavy applause number, only got the merest ripple. The “rag” she is using to close with is by far the best song in her act, as far as she personally is concerned. As a single turn Miss McDonough could easily stand for two songs of syncopated measure and achieve a great deal more than she does.
18 Mins.; Full Stage. “Apartment 309.” A rather commonplace story molded into a semi-strong, but exceptionally well staged bit of drama is “Apartment 309,” in which Robert Edeson is being featured. The scene shows the handsomely appointed apartment of Nora Truman (Jane Haven) sister of Nat Truman (Mr. Edeson) a young newspaper man. It’s midnight and Nat, out on an assignment, drops in unexpectedly. He is scheduled to interview Amos Broadback, a local political pillar. Nora exhibits considerable nervousness over Nat’s presence and finally induces him to leave, just as Broadback is about to enter. In a few minutes Nat realizes the circumstances, both Broadback and the girl admitting their relations. He has ruined the sister who is understood to be 18 (but who looks much older from the front). Nat decides to kill him, and do as so after some plain talk, the shooting being done in an adjoining room. Broadback’s brother (Edward Wonn), who had been previously summoned by phone, arrives and is calmly told by Nat of the murder and as calmly arranges for the removal of the body. He in turn calls the family physician and they have the lighting system temporarily disconnected while the corpse is carried out. This allows for a weirdly dramatic situation and gives the turn a unique finish. Meanwhile the brother has advised Nat that the affair will be dropped to avoid any unpleasant notoriety, although this seems to peeve Nat, who evidenced a desire for arrest and revenge somewhere. The sketch carries a capable cast, but Edeson has little opportunity to display his acting ability, since the punch is but a tap in this instance and the climax as aforesaid but semi-strong. There are several interesting situations, but no really big moments, the piece reaching its dramatic pinnacle hen the brother, in discussing the affair with Nat, suggests the murdered man could have paid, to which Nat replies “He has paid.” Without a star “Apartment 309” would hardly carry but being equipped with one, it just about reaches.
16 Mins ; Full stage. A foreign animal turn, pretentiously staged and with a comedy foundation that will distinguish it from the average, but in its present state it is far too slow for American vaudeville. Belling and an assistant work in comedy clothes, the latter executing some fine falls. A burlesque bull fight, featured. brings the desired laughs, also a mule with the usual bucking routine, but on the whole the act lacks enough solid comedy sketch. An unnecessary encore took a few minutes and lacked a punch. For this country Mr. Belling will have to accumulate more speed.
“Hogan in London” 17 Mins.; Five (Parlor). Another of the “Hogan” series Bert Leslie has made popular in vaudeville. His frame and that of the “Hogan” sketches has come through the slang Mr. Leslie uses, new slang each time with many twists, some of it very bright and nearly all good for a laugh. In this latest number, written by Frank J. McGettingan and Mr. Leslie, the talk is the best “Hogan” has had in the slangy style. Little of it is forced, nearly all has good points and several lines brought real screams. The scene is set in a London home where Leslie goes as a painter from New York to receive $10,000, his share of a fortune left by an uncle. A company of three, two men and a woman, does nicely, the cabman (Legai Robinson) especially well taking care of the character, in action and make-up. The support as usual act only as freeders to Mr. Leslie. The finish could stand a little strengthening but the act is there easily. A line on the Hammerstein program, referring to Mr. Leslie says: “A Cody of None – Copied by Many.” That is true.
[New Act] Comedy Skit, 16 mins; one (Special Drop). The same act as done by Mayo and Lynn so it might be presumed the only interest remaining is in the new straight man, Mr. Howland. Mr. Howland is all right. He couldn’t be far wrong with Lynn in the turn for here is one of the best top Englishmen on the stage. The act is a first class comedy turn.
[New Act] “Lies and Lies” (Farce), Full Stage (Parlor). “Lies and Lies” is the old style vaudeville farce and looks as though it had been played by Wilfred Clarke when Mr. Clarke was vaudeville’s champ farceur. Lawrence Grattan wrote the piece. It is very aged, in the writing and the theme, while the present company of Mr. Bentley’s one man and two women besides himself, play it poorly. Still the thing is impossible for big time. Running in and out of doors with senseless dialog is not the vaudeville of today excepting on the small time. The small time can use this playlet for the laughs it gives but even them Mr. Bentley should substitute for two members of his company.
[New act] Talks and songs. 15 mins; two and one. Two young people, boy and girl. They talk along in the usual two-act way with the dialog hung onto a little story of each having lived near one another. New York, where the boy played a guitar to disturb the neighbors and the girl annoyed them with a violin. They are in the country when this comes out. Then they sing, and dance a bit, going into “one” for a finish where the turn lets down. Before that they recalled the Clark and Bergman of years ago in their method and manner. The couple might build up on some of the dialog, strengthens up of find a new finish and the act will be a big timer.
Bop Tip and Co. opened the show, with Craig and Wadsworth playing rag melodies on saxophone and violin No. 2. They are a new act, but were not caught. Both have been with jazzing orchestras bearing their names, and both are popular rag players. They seemed to do very well at the finish, considering the spot.
Murray and Voelk, with the short comedian of the two owing a very pleasing singing voice. That voice will hold the turn on the big time in a spot, although the comedian-owner of it knows hot to bring out the giggles.
Robert Emmet Keane is toplining and looking after his laurels in great shape. His routine is the same flock of sure fire stories with the nut song preceding and the war poems concluding as of yore.
