Next to closing, Bobby Heath and Co. (New Acts) came along and practically cleaned up for the show. It wasn’t Bobby so much, but that cute little girl he has working with him did the trick for the audience until he pulled the song plug plant in a box. That girl is a comer and she is certain to land on the future.
Lalia Selbini and Nagle (New Acts) looks like a new frame-up for the queen of the bike, who looks just as shapely as of yore, and who certainly appealed to a trio of old boys who looked as though they have been drummer boys in ’76. But at that Nagle’s cat stuff looked good to them, too.
Sultan, a trained pony, was the opening offering. The girl who is handling the little steed could not be heard beyond the first few rows, and the cueing of the animal with the whip is palpable.
Dolly Kay, a syncopated songstress opened very Al Jolson with “mammy’s Arms” and clung to this manner of delivery in a more of less modified form throughout in all published stuff she delivered. Suffice it, she delivered handsomely and accepted an encore for “wild About Moonshine.” Miss Kay is a raggy singer who jazzes her war into favor from the start. For her second song she rendered a paraphra on “Bimbo on Bamboo Isle” with Babe Ruth the hero in the song, to wit: “We have a bimbo at the Polo Grounds.” It’s superfire for these hectic baseball parts and no doubt can be switched for other personalities and localities elsewhere.
Prevost and Goulet opened with a tumbling routine which is well mixed with incidental comedy and instrumental business for the best effects possible.
Francis and Kennedy were third in a song and dance offering assisted by a pianist (Roswell Wright) who contributed a double voice solo between a change. Kennedy is a clever dancer and can put over numbers, but the girl will hold the act to early spots. She is extremely awkward and her costumes are in poor taste. In a solo dance she does a couple of acrobatic stunts that reveal her firmer activities. Despite, this Kennedy held the turn and it was well received.
Miss Baker was next to closing and drew a reception on entering. She sang, “Mammy’s arms,” a new Hebrew comedy song. “Holding Hands,” “Broadway Blues,” a wop number, “Pittsburgh,” and was forced to “Eli, Eli” after repeated shouted demands from the house Miss Baker was in excellent voice.
Bernie breezed in with his usual nonchalant returns and spilled the wise and near wise cracks inserting them where they would do most good. The violin isn’t necessary to this chap, although they insist on him carrying it. He is a monologist of the first water and vaudeville holds no one who stops him in handling the airy persiflage. What he would do to a wise crowd like the bunch at the Century Grove or the Amsterdam Roof is a caution. He finished one of the hits of the bill, opening after intermission.
John Giuran and La Petite Marguerite, with Shea Vincent at the piano, are one of the finest pairs of dancers doing high class stepping in vaudeville at the present time. Most of the others seem to have, been gobbled up by the musical comedy managers for their shows. Marguerite is a wonderful toe dancer, neat and daintily with case and grace. Then he takes the stage for him inimitable cuts, pirouettes, Russians, Arabesques, splits and back kicks, which raised.
Robert Emmett Keane evidently discovered at the afternoon performance that his stories were a trifle subtle for the Jeffersonites for he told them more slowly than usual and even stopped to explain a couple of them. He broadened them out and stopped to wait until they were assimilated. As a consequence, he registered a neat hit.
