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Frank Conroy, after his stuff in “one” with Irving O’Hay, goes into full stage for a farce spiritualist scene. It is funny after a fashion but neither witty nor inherently humorous. He sloughs the darky character entirely, though he still assumes the weak-kneed postures of his Conroy and Le Maire days. The laughs were at times big, but were forced on cheap puns and frankly reaching after artificial comedy; propped up by aids in physical and vocal manifestations identified with the seamiest order of burlesque shows of a generation ago and old-time “nigger acts.” The set is tawdry and flimsy, expansive.
Source:
Variety Magazine, LVIII: 6 August 1920