These two men should cut down their time. One chap is straight, his partner doing comedy in white face. The comedy is far from new, several bits picked up here and there. The straight has a few tricks on the ground tumbling order. This pair must get something if they wish to get along.
Van and Vernon, the final act of the evening displayed their wares in “one,” making it four out of the six turns working that way. Regular flirtation meeting ensues after their entrance, with both members seating themselves on one of the house benches rendering comedy material.
Grace Nelson, pretty fair looking blonde, built in fine proportion preceded the closing turn, offering a song repertoire that could be improved upon. She has a high soprano voice, therefore should be exceptionally careful in the selection of her material.
Ed Hill, before a special drop, continued to keep the watchers interested with seven minutes of sketching, mainly demonstrating how a little touch of a brush here and there changes the appearance of a woman’s make-up.
[New Act] Sketch, 15 mins; four (Special Set). “Lord Chester” enters a hotel lobby and beseeches the switchboard and bored siren to get a number for him. She gets Central in her own time. This is cleverly and libbed with some funny business in which a bell hop and the “nance” Lord Chester play the leading roles. The telephone vamp feels a large dinner coming on by grace and through the medium of the “lord Chester,” who, however, refuses to fall. The girls asks Central for Rector and gets first Plaza and then Morningside. A practical clock on the lobby wall reads “July 29, 1926” – the day the act was reviewed – advances thirty years and the three principals in this telephone satire walk out in 1950, bent in form, with the same remark, “Wire still busy.” Audience liked it uproariously. Lifted from last seasons “Hatchy Koo.”
[New Act] Sister Act, 13 mins; one. Sister turn opening with “Tiddle de Winks” going into a mediocre dance. A too fast tempo accounted for this. “Swanee” also doubled, balanced matters, and a “Frenchy” vocal solo by the brunette reestablished it once more. The other miss did “Wake Up in My Mother’s Arms” capitally with a lot of acting hokum that got the house strong. A vocale [sic] and semi-dance double concluded. The number is well written and well handled. The beauty in the rendition is getting the lyric across which is no cinch with its fast, jazzy pace, but it was accomplished. Pop house grade.
[New Act] Comedy skit, 12 mins.; one. Man and woman. Woman enters site on bench, reads newspaper. Civil War vet on with a make-up a cross between that of Foster Ball and Al Lydell. The pair go into a talking routine which holds several big laughs. These, however, are separated by too long intervals, most of the talk being too light for comedy results. Quiet finish with veterans walking off to strains of Civil War melodies supposed to be heard in the distance. The act pleased at the 23rdStreet. Will do as No. 2 for the small time bills as it stands, but could be improved greatly by building up quiet stretches of talk.
Lou Miller and Alice Bradford did very well on second, about running second on applause scoring. A portion of the song routine has been changed, and to advantage. They encored with melody stunts showing the genesis of popular melodies, similar to the idea shown by Eddie and Lou Miller as a team, though the routine changed.
The diminutive Chris Richards, English, happened on next to closing for a good score. He is typically English in his brie song numbers, but has added a lot of American slang which they probably wouldn’t get in London. His short, snappy acrobatic dances never failed. Richards is a clever hat manipulator, a sort of lost art. For the revolver bit he pulled a “local,” saying he supposed the gun belonged to kitty Gordon. At least one women present got him and laughed heartily.
[New Act] “The Wife Saver” (Comedy). 16 mins.; three. Mr. Toomer is now using Francklyn [sic] Ardell’s act “The Wife Saver” the act being complete as played by Ardell. In Toomer’s hand it appears to hold as many laughs as ever and at that it looks “actor proof.” The girl assistant looks good and has a pretty smile. The turn is a cinch in the three-a-day and can repeat on the better bills with {illegible}.
