France and Hamp followed, and in turn came Jones and Sylvester, who did nicely mainly due their rendering of “Ida” a la Eddie Leonard. Any strength to bill had was in these two acts, and it was easy going for both, the audience seemingly being willing to give any one credit for what they did, but having nothing to appeal to them up to that time.
Kelly and Post started O.K. but let down with their talk and never regained the speed. The boys sang three numbers and came back for an encore which could have been done away with. One of their lyrics could stand looking over, through it helped to send them away fairly well.
Charles and Sadie MacDonald in a conventional sketch, managed to grind out a laugh here and there, but got little at the finish. A couple of hurrah speeches by the wife to the husband served to bring a scattered hand through the house.
[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?”
15 Mins.; One. The Howell Sisters are going to make a good “sister act” for the three a-day houses. They dress attractively and have a pleasing way that should get them over. The present routine consists of several of the latest rag songs, and the girls have some good double versions. Their two best numbers are “Victrola” and “Michigan.” These flaxen-haired misses should be able to keep going for some time to come.
10 Mins.; Full Stage. The usual type of mail duos with one fellow doing comedy. They open with cornets and then use the rubber gas pipe from which the German character tries for comedy. The pair then do some work and close with saxophones straight music would get them over much better.
“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.
