Ace O’Hearts, was the King offering. It is in two scenes the first showing Ellis Island, with the chorus and principals arriving on a ship as immigrants; the second is a brokerage office. The comedy section of the King show have been greatly strengthened by the new bits supplied by Madison, which is embracing the value of the King company. Business holding up exceedingly well.
Earl and Edwards closing the vaudeville. The two men got big returns with talk, gags and comedy business in which two ukuleles are employed, and one of the men working in the audience during the greater part of the routine. Much familiar dialog and business employed including that of repeating gags to late arrivals. They had ‘em laughing throughout with their semi-nutty routine, which they handle quit cleverly.
Clifton and Kramer before a drop representing a department store, as a Swede and a saleslady with comedy talk, secured laughs.
Ward and Gorey with banjos, violins and with horn attachments scored the hit of the vaudeville contingent. The playing of the violin by one of the members in various positions received genuine applause.
Phesay and Powell a mixed team with talk and comedy songs neatly delivered went over nicely. An eccentric dance by the male member won applause and a double number ending with a yodel sent them away a hit.
Leo is a talkative ladder balancer keeping up a flow of ordinary chatter throughout that brings very little response. His balancing, however, is very good and his novelty finish whereby he dons a long baby dress that completely hides the ladder won big applause.
Jack Cahill and Don Romaine, a blackface and a wop, took the show’s comedy hit next to closing, with the comedy routine somewhat drawn out and below the Orpheum’s standard. Both are clever performers, with good singing voices.
Sydney Phillips, with songs, stories, a dope number and an impression of Al Jolson singing “Rock-a-bye Baby,” stopped the show at fifth position. Phillips possesses a good voice and puts stories over effectively.
“Under the Apple Tree,” with John Sully, a George Choos production, headlined successfully. John Sully cleverly handled the comedy, eliciting good laughs throughout, and otherwise distinguished himself in a dance with Muriel Thomas, which received the biggest applause. Willard Hall, a nifty juvenile, and Natalie Dugan, a good-looking ingénue, contributed to the success, with the chorus, costumes and setting up with the best girl acts.
Jean Barrios, a female impersonation, at the outset resembled the real article, but was suspected before the wig removal after the second number through hoarseness in his duet singing and an impression of Ray Samuels singing “Skeleton in Closet,” and changing costume for the latter in view of the audience, won good applause.
