However, it remained to the Wilton Sisters to chalk up the hit of the evening. The young women make cute “kid” appearances, thus further enhancing the value of their undoubted versatile talents. They pulled the speech thing and re-encored with “Left All Alone Again Blues” vocally. The house was at their mercy from the start and they could be up there yet, according to their reception.
The Pickfords opened the six-act vaudeville bill with their familiar combination equilibristic-tumbling-juggling routine and departed to hearty applause. The man is a thorough showman and a past master in playing up his feats and building up the act to a k.o. climax with each succeeding piece of business. The closing wine bottle stunt in “one” go to ‘em strong.
[New Act] Comedy, songs and dances. 11 mins.,: one. Two young men neatly garbed one in tux doing straight and the other in swallowtail playing a dense English “Johnny.” The billing had the routine labeled “My Girl,” though the major portion of the chatter found the straight trying to explain baseball to his partner. When that is done, mention of the girl is made and cued into a number. “If She’s Nothing on Next Sunday,” probably an English ditty. There is a short duet dance and a single bit by the straight which has him whistling a flute imitation. Fro a finish they go into a neat, fast dance. Placed number five on the six-act bill, the men did well. An earlier spot on the bigger bills should fit them better.
Mr. and Mrs. Gordon Wilde opened the show in lively style. New bits have been added and the entire routine of the shadowists was crisply done. Their daughter is now singing a new number and she does it well. The melody is pretty and the tune is given novelty by the father dancing a shadow during the second chorus.
Miss Shone followed with her long drawn out semi-sketch and had a decidedly restless audience in front of her before finishing. Much cutting down and less loudness would benefit. Her China-girl number help her along more than anything else, due to the lyrics, mostly the “wisecrackin’” variety. The act ended fairly well, but 35 minutes too long to listen to a gal argue with her family over a beau.
Mel Klee got the second half under way, and this is a boy who at one time must have watched Al Herman work early, late and often. It’s the same kind of act that Herman did. Some of the material comes very close to the proverbial border. If Mr. Klee must depend on that and talking audience confidentially about other acts on the bill to pass, it’s too bad as he left the impression of being capable of doing something better.
Dolly Kay, next to closing had a great chance to tie things in a knot, following, 30 minutes of Hermine Shone. Everything was all set for her, but she failed to reach out and grab it. Up to 10:35, when Miss Kay came on, the show was woefully lacking in “pep,” and if someone were going to happen right then was the time. But, no, the young lady with a boy at the piano started off acceptably, after which came a decided let down, due mostly to the material. Also Miss Kay’s method of delivery could be improved, as her immediate conception borders in coarseness, and some smoothing of the edges would help considerably. Her one feeble attempt with a dialect number was poorly done and would have been better left alone. It seems safe to say Miss Kay would do well if she’d get away from the snapping if fingers and using the “sharpshooer’s” idea of hoofing, sticking to straight number, as the ability is there if used right.
Davis and Pelle, two men in an “equilibristic marathon” which consists of a fast six minutes of hand to hand stunts without intervening rest, was No. 1 and started the ball rolling neatly. A couple of feats are regular Rath Bros. thrillers.
The Yip Yip Yaphankers doubled from the Palace, subbing for Pearl Regay, and tore off large returns with the soldier acrobatics and hokum. The comedian had them from the start and was forced to pull a burlesque wrestling stunt in “one” following the dropping of the curtain. It is the same bit of wrestling with himself that Nick Altrock uses on the ball field to amuse thousands when the Washington Club is entertaining the holiday crowds.
Jimmy Lucas was fourth and cleaned up a healthy hit with Francene in his nut specialty. Lucas grabbed them with his “dance” entrance and never relinquished the toe hold. The entire act could be played in “one” and the “one and a half” bit would get over just as strongly. Jimmy sang several of the songs he has authored and also gave his laughing imitations, cueing himself as to the subjects. It’s a good comedy vehicle and on par with any of his former efforts.
