Dave Kramer and Jack Boyle again showed their strength in the late spot. They registered with a bang regardless of the wealth of comedy ahead and easily copped a hit. There is one bit used that seems rather out of date. That is the letter from France (Field Martial-Court Martial). The bit has been done so often before that its value is nil. The house knew the point as soon as Kramer mentioned his “brother in France.”
9 Mins.; Full Stage. Two men and a woman, the latter exceptionally attractive through neat dressing, offering a routine of fine work with the usual featured semi-sensational finale, in this instance being a leap and pull to a hand-stand, the Orpington’s using but one hand in the experiment instead of two. The understander is very capable in this work. Closing the Alhambra bill, they finished to a filled house with any noticeable deseetations and in these days of late shows, this is quote an accomplishment. They can go the route anywhere at either end of the bill and satisfy.
After intermission is Fay Marbe, recruited from the musical comedy stage. Here we have an attractive young woman with the bloom of youth, a beautiful figure, alluring costuming and a “rhapsodical” personality. She opens with an introductory recitative number, then a kissing song and dance, well worked up by the pianist; then a French dialect number, after which “I Want a Beau.” While making a costume change the accompanist entertains and she returns in a dress of black sequins with crimson headdress, a la Mexico, for an alluring Spanish song and a dance then another dance. The audience recalled her several times. A word of praise for her accompanist, Tom Tucker, who never takes his eyes off her for an instant, accentuating to a nicety the phrasing of her songs and properly emphasizing her terpsichorean efforts.
Closing the first part is Nonette, violinist and singer, with Jerry Jernagin at the piano. She is popular with the native uptown, for they gave her a reception on her entrance and were apparently satisfied with her offering. Her silk cyclorama and back drop are gorgeous to a degree and she possesses the proper vaudeville trick of “getting” her listeners.
One. Hope Vernon is a neatly dressed young woman who wears her hair in a braid. She has a sweet voice of high range, but no great volume, due perhaps to her practice of the violin imitations which follow her opening numbers. Miss Vernon takes a violin and bow and as she goes through the movement of playing, imitates the string notes with her voice. It’s cleverly done and fooled a lot of them at the Alhambra where Tuesday night her act was well received. In Miss Vernon’s favor is a splendid voice.
12 Mins.; One. Hope Vernon is a neatly dressed young woman who wears her hair in a braid. She has a sweet voice of high range, but no great volume, due perhaps to her practice of the violin imitations which follow her opening numbers. Miss Vernon takes a violin and bow and as she goes through the movements of playing, imitates the string notes with her voice. It’s cleverly done and fooled a lot of them at the Alhambra where Tuesday night her act was well received. In Miss Vernon’s favor is a splendid voice.
15 Mins.; Full Stage (Special Setting and Effects). Here’s a foreign dog act that is taking three or four curtains every night at the Alhambra. And it is not only giving unbounded satisfaction as a display of usual canine sagacity and intelligence, but is opening the second part and more than holding up its position. At the Alhambra Tuesday night the act elicited hearty laughter and at the close the house burst forth into unrestrained applause. Lipinski has gone a little further than the other trainers. More attention has been given to the strange setting of a miniature town and the electrical effects showing and passing of day into night are worked to an advantage. The program says there are 40 dogs. At any rate there are enough to “Act” as school “kids,” teacher, minister, police, townspeople, etc. The clock strikes twelve (noon), school is out and the “kids” dance to hand-organ airs. There’s the crowded bus, ambulance, cycling dogs, auto smoking and chased by policemen, and the fire at the close with the auto truck and automatic ladder. The feature of the act is the work of a “drunk,” this dog showing wonderful training. The act is an instantaneous hit. Worth while anywhere. First appearance on the side.
James Thornton was next with his familiar monolog. Jim lost them during several portions of his talk, but always switched in time to sustain the flagging interest. At the finish he received solid hands and thanked the crowd in a brief speech touching upon his 42 years of service.
Mary Marble was fourth in one of the few dressing room acts seen on the big time circuits in years. Miss Marble has a strong personal following and a rather weak vehicle. As an actress who returns to the town she ran away from years ago Miss Marble gives a very convincing interpretation of an unconvincing role. The young actress, who is disillusioned with life and who received large gobs of sophisticated advice from Miss Marble, is well handled by an attractive looking girl. The husband, who turns out to be the manager of the theatre and the grown baby who is the property boy, are also capably played.
Newell and Most were third, moved up from opening after intermission. It is a neat song and dance idea, but why the act has to close in “one” is a mystery. A pretty special drop in “one and a half” is discarded for the finish before the house olio. A new finish would put this team in a position to demand spots and billings, as they are a clever duo and exceptionally good dancers. The girl has plenty of personality and the boy is a neat smooth opposite.
