The Nightons closed with their posing turn. What remained of the audience appreciated the poses and applauded, but it was an impossible spot, especially for a quiet act. Opening intermission might be a preferable position for an act of this kind on any bill.
[New Act] Musical, 15 mins; one. Two young men, one a cellist and the other a lyric tenor with an excellent voice. Opening with a rag song, to which the cellist plays a counter melody, the cellist singles with Tostil’s “Goodbye,” played effectively. An imitation of a phonograph and a pop number by cellist next. A couple of ballads by vocalist with cellist harmonizing and a pop medley for closing. Very pleasing turn, which landed heavily No. 2 at the 23rdStreet. Act should develop rapidly into a standard turn for the pop houses.
John Regay and Lorraine Sisters , toplining, closed to strict attention. They open with a “scarecrow” dance conception, Regay doing a farm-hand and the girls the scarecrows in dilapidated get-up. The sisters did a toe number together and each also did a solo, interspersed with individual efforts by Mr. Regay. Everything went big despite the fact the Sherlocks-Clinton act, preceding, is similar in character.
Victor Burns and Adelaide Wilson, offering their “untrained nurse” vehicle, wherein the man impersonates a hospital interne and the woman an unskilled, bungling nurse who gets away with murder. The turn went big. The talk is original and snappy, with the song material restricted excepting “High Brown Babies’ Ball,” which was rendered to a “Shimmie” accompaniment by Miss Wilson. The patter is inclined to “Blueness” occasionally, but skirts the border handily.
Sherlock Sisters and Clinton sang danced their way, as always, to a substantial hit, striking the fancy of their audience from their opening chink number to the closing rag ballad triple number, responding with a jazz song-and-dance encore for good measure. A “doggone dangerous eyes” double number by the sisters went strong among other things, not forgetting the trio’s version of “What Do You Think of Me?”
[New Act] “Nut” Comedy, 13 mins; one. Although there is but one name in the billing for this act it is a two man singing and comedy turn, the comedian being planted in the audience. The straight opens with a song. The comedian interrupts the comic with a horse laugh; there is some cross fire and finally the comic gets upon the stage and does the usual in the way of a boob characterization with the falls and flows. The act is not exactly next to closing on big time, but it can go along and work steadily and get laughs from any type of audience.
Next to closing Jones and Sylvester did not burn up the world. They are also paying too much attention to comedy and not enough to song. They can sing and should sing. One real number out over by them in their manner when they were That Quartet on the New York Roof would do more for them in the way of winning applause than all of the “strawberries” stuff that they are pulling.
“The Paddock” (New Acts) a new Taylor Granville offering, seemed rather lengthy because of stage waits. The race effect will make the act for any house. It is a new application of the old treadmill idea, this one first showing a head-on view of the four horses and than as the entire tread turns, a profile view of the finish is shown. The act is a flash and the effect one that will cause talk. The idea of the sketch itself in old melodrama stuff with nothing new about it.
This [applause] seemed to be further borne out with the arrival of Edith Cafford, with her singing single with piano player assistant. She, however, cleaned up a legitimate hit and practically stopped the show again, being forced to make a speech. Her “Simple Mary Ann” and “Weaker Sex” numbers went over in great shape, and “waitin’ for nothin” served its purpose as an encore offering.
Closing were Santrey’s Jazz Band and they walloped over a tremendous hit. The comedy recitation with musical accompaniment made a fine contrast for the jazzing of the instrumentalists and Santrey’s vocal numbers.
