“Man of Mystery,” small time mind reader and magician. His first trick, writing on a blackboard, goes pretty flat until the plants get to work. The rest of the tricks are nothing more than those used by ordinary magicians. A female assistant as well as a male on the stage and several plants are employed. Nothing new is what will keep this act back.
Fred Heider, a tall, angular youth with a pair of legs that should eventually land him somewhere better than the third spot at Hammerstein’s, for a brief moment showed a flash of ecetric dancing from that threatened to put his turn up among the big hits, but the flash was brief and the balance of the act lacked the required kick and class. The opening, showing Heider and Miss Raymond as street urchins wondering how they can make the amateur show, is very much “small time” and gives the pair a weak start. Following is some dancing and a character song by Heider that is still more convincing of undeveloped talent. The girl dances well, but the turn is shaped wrong for best results. Heider will bear watching, but requires direction and material. Through hard work the couple pulled a fair share of applause at Hammerstein’s under hard circumstances, the handicap of the spot being obvious.
14 Mins.; One. For her vaudeville debut Valli Valli, late star of “The Queen of the Movies,” probably selected the most inappropriate theatre in New York, for, strangely enough, they didn’t seem to favor the musical comedy calibre of vaudeville at “The Corner.” Miss Valli has four numbers, all ballads with a slow tempo and very suggestive of the musical comedy style. She also has a special musical director. None of the songs carried the required punch nor brought results and none succeeded in rousing the essential enthusiasm. Perhaps under more favorable circumstances the turn would connect, but for vaudeville in general Valli Valli needs more than the present billing to get over. The Majestic, Chicago, should have been her opening point for she is popular and there and her style would have met with favor. Her ability remains unquestioned, but unfortunately she lacks big time speed insofar as the vehicle is concerned.
9 Mins.; One. Mr. Walker thinks that he is a rube comedian and evidently got the idea when “He’s a Devil” was in its prime, for that is the song which he uses to open and it is the best part of the act. The talk is made up of “gags” released for many moons. Another song is used for the closer. It is necessary for a regular act to be here framed before much success may be hoped for.
7 Mins.; Full Stage. Ballin has two assets to support his vaudeville presence, i.e., a mandolin and an American flag. He plays the former while standing on one foot, and then with the instrument resting on his shoulder (making both look like a day’s work) and finally atop a table where he lies on his shoulders with feet suspended upward. At the psychological moment (there is one) he blows a small tin whistle and the stage crew pulls the necessary string to bring Old Glory into view, Ballin meanwhile picking a so-called patriotic number on the string, labeled “U.S. Sounds of Peace.” If the number he played goes for peace, those present seemed inclined to favor war. Ballin is either a museum, picture theatre or amateur act. His present routine is impossible.
Before an interior back drop depicting a government pension office, Lawrence and Edwards distribute 18 minutes of comedy and sentiment woven around an interesting little story anent an old veteran’s application for back pension. Lawrence makes a splendid lieutenant in uniform; tall, good looking, erect and with a perfect enunciation, while Edwards portrays the applicant, an aged Irishman who fight in the union ranks during the Civil War. The dialog is strictly original and always on the main idea, running into a complete tale from beginning to end. The finish affords a bit of sentiment well broken into with comedy and keeps up with the proceeding section. It borders on the recognition thing, but is build a bit different than the average. Edwards’ is a unique character and should show better as the turn goes along. The bigtime can use this team. They look ready right now.
20 Mins.; Full Stage. Two-thirds miscast and with a fairly good dramatic theme that becomes humorously melodramatic through bad handling, this vehicle sponsored by the Roland West Producing Company, falls considerably below the standard raised by some of their previous productions. The theme is a slightly altered duplicate of a similar act that appeared over the Orpheum Circuit a few years ago, played by an English company. It deals with domestic life and shows a married man returning home unexpectedly to find his wife entertaining another man. Some preliminary dialog ensues previous to the interlude’s entrance, after which the story assumes a semi-comic sphere and alternates between comedy and drama to finish where the husband compels the man to drink a glass of wine supposedly charged with a deadly poison. The man, after much whimpering, drinks the glass and after testifying to the wife’s innocence is given passage money to Europe. The act closes with the husband reserving transportation to California. Upon the wife’s query as to the intentions regarding her, he replies he proposes to take her along. There seems little visible fault with the script, beyond its comparison with the other, but the affair has been staged on a cheap basis and hardly looks heavy enough for the pop houses where drama and melodrama are in demand. Both men lack expression and carry no light and shade in their deliveries, while the woman’s part is composed principally of pantomime, of which little is forthcoming. With a capable company the piece might qualify for the two-a-day time. What commendable features exist are solely due to the author, not mentioned on the program (nor is the cast).
16 Mins.; Full Stage. It’s rather a late date for the metropolitan debut of “Richard,” a trained chimp whose routine contains many of the tricks introduced by the predecessors, besides a number of others that look new for a monk. “Richard” opens with the familiar table scene, after he rides a bicycle, roller skates and “walks” a large ball, the latter section being featured. “Richard” also undresses himself and shows more than the average animal intelligence in supervising the erection of his apparatus, used in conjunction with the ball riding. He guides the latter up an incline, over a see-saw and down a flight of steps. “Richard” is a good as the best in his line and much better than the average. He should have arrived with the pilgrim monks. Even now he’s a good attraction, great for the kinds and interesting to the elders.
10 Mins.; Full Stage. With an excellent appearance, a sort of unique tango and some attractive costumes this turn runs along the groove of modern dancing specialities. The couple exhibit more than the average grace and to those who can arouse any self-interest in such vehicles, they will probably appeal. To the others, it’s the same old tango-hesitation-maxxixe thing with the aforesaid essentials more prominent than usual.
16 Mins.; One. An English chappie and a “straight” the latter with an unusual personality and a delivery that can hardly fail, offering a routine of good patter with a singing finale that dates back a bit too far for this particular specialty/ The comedy is well constructed for results and should carry the pair along without any trouble. A new closing number should be acquired.
