Barry McCormack and Co. were right at home down here with their light comedy Irish sketch and Mel McCormack’s singing of Hibernian love songs. The act has made big strides since seen at the Prospect Brooklyn several weeks ago. It kept ‘em laughing throughout at the 23d [sic] Street, taking five legitimate curtains at the finish, a well worked and effectively lighted vocal number.
Edler Sisters (New Acts) opened and Orr and Hagar were second. The latter team showed a pretty collection of scenic accessories, caught some attention with Miss Hagar’s singing and considerably more with her costume array. The finish is bridal number, with scenery and lyrics suggesting it is propaganda for a certain brand of California oranges. The act pleased without starting anything.
The Six Musical Nosses, headlining, walloped over a substantial hit with brass and instrumental selections. The Nosses broke in in the old continuous days some 22 years ago or thereabouts. There were five then. The present turn contains three of the originals. Quite a record for any act. A string trio with a freak violin, cello de gamba (small cello) and viola stood out among the various numbers. Herald trumpets, cornets, trombones and a saxophone quintet also figure in an entertaining series of medleys. A good old standard musical turn, the Nosses, which has stood the test of time exceedingly well.
Saxton and Farrell, fourth, are doing an act modeled along the lines of the late Charlie Van’s stage carpenter turn. Only in this specialty the man in an electrician who interrupts the woman as she starts to sing. The man is an excellent type for the hick electrician presented. In fact, he’s so convincing at times that it becomes a matter of speculation whether he is acting himself or portraying a character. The woman sings pop songs pleasingly and the man gets considerable out of “Broadway Rose,” a ballad of the old style sentimental type that looks like a natural hit and a quick one.
Quinn and Caverly, the former of the team of Mitchell and Quinn (Lemon City), and the latter of Raymond and Caverly, were next to closing with a comedy talking routine that was made to order for the 23rd Street. A drop with replicas of a picture show, restaurant, etc. containing about the funniest collection of signs seen around in years, used to back up the conversational exchange, got more laughs before the team appeared than most comedy turns secure in an entire act.
11 Mins.; One. Bissett and Bestry, dancers, go through their allotted time without singing. The dancing at present is too similar. The solo dancing is the best. Some new steps would put these boys along with the best of the dancing two-acts.
12 Mins.; One. Florence Timponi with fair personality and nice appearance, is following the beaten trail of singing single women. She wears a white ruffled dress throughout, appearing first in black hat and gold cap that is very attractive. The songs are of the usual run, excepting the last, a Hebrew comic, that should be dropped immediately. It is about “gin physics,” etc., not nice enough for the girl. The other numbers are handled acceptably. For the small time Miss Timponi should not find the going hard.
After that the applause was frequent, Glad Moffatt in the second spot makes the mistake of too great a similarity in the style of numbers in her repertoire. For instance, the selection of two comedy numbers, both in Irish brogue, isn’t wise. The rube number seems unsuited to her. Perhaps a little switching of songs might prove beneficial.
“Marriage vs. Divorce,” the Rath and Garren allegorical playlet, which is really a combination sketch and singing and dancing act, which held the spot immediately preceding Collins, was one of the hits of the bill. Just why this act is still playing around on the small time is hard to ascertain by looking at the turn. It bears all the earmarks of a big time offering and it certainly entertains.
A pleasing entertainment the first half, altogether the show ran in a somewhat unusual manner with Mitt Collins, the headliner, closing. The audience seemingly was in doubt when he finished as to whether or not it was the end of vaudeville. Collins incidentally did not seem to get warmed up to his work for some little time after he started, and he was pulling hard for laughs. His style of delivery (at lest the style he employed Monday night) lost a great many of the points that should have been sure fire.
