[New Act] Songs and dances, 9 mins; one. A colored man and woman team that reminds one of the old days. They sing a couple of songs, taking great care that the orchestration is sufficiently loud to make sure that no one in front shall hear what it is all about, and then tackle some stepping. The man does some fairly good acrobatic stunts, and that about lets the act out. A double number is used to open, this is followed by the girl trying with “Ballyhoo Bay,” but not getting much in return. The man’s single stepping follows and then another double.
Of the five acts that appeared in the opening section four came under the New Acts classification, the exceptions being George W. Moore, who opened the bill with a routine of juggling, which included a flock of misses. He did, however, manage to get some comedy out of the mishaps through facial expressions.
The other was the single offering of Arthur Deagon. The latter as a matter of fact was the real hit of the bill. Deagon held the stage for exactly 30 minutes, had the audience in roars of laughter all the while and finally with his dancing and cartwheels in a Spanish number had them wearing out their hands. When he finished they were loathe to let him go and would not think of his passing from sight until he had made a speech. He stated he had made at the American in 26 years, having been there at the former date with the Henry W. Savage Castle Square Opera Co.
18 Mins.; Five (Parlor or Library). “The Pardon” and the George Drury Hart people afford a chance to point out what has seemed to be a grave oversight on the part of sketch producers, particularly those of the drama. Very briefly, it is this, that “The Pardon” has a well-balanced cast, or perhaps, more properly, an evenly-balanced company. This is very important to a sketch that is limited in its running time to the vaudeville conditions. Many a good sketch has been ruined through “the star” or the principal player foolishly surrounding himself with inferior people. It threw the playing off keel; the weakness in the acting became too readily apparent, and, although they playlet may have possessed merit, the act killed it, for a company of three or more it is difficult for one person to carry the entire affair upon his or her shoulders. Mr. Hart has three people besides himself, two men and a woman, the latter with a splendid speaking voice. She is the old mother of a convict and steals into the rooms of the governor of the state to plead for a pardon. Just before, the political boss has demanded of the governor that he pardon the boy (her boy) who killed his (boss’s) son. The boss’s request is in furtherance of his scheme of revenge. He has used his influence to have the prison keepers starve the convict until he is taken with tuberculosis. The pardon plan is to have the mother at the prison receive her son, the pardon to be delivered, and as the boy is just outside the gates the prisoner is to be informed by phone from the governor it was a mistake, and the boy thrust back into a cell. The governor accedes, upon the threat of the boss to in his political feature if he does not. Meanwhile the mother makes her plea, and during it the governor learns the boss’s son started the quarrel which led to his death, the boss afterward framing the youth who simply defended himself. The governor thereupon returns to his righteous stand, hands the pardon to the mother in good faith and tells the boss to go to, after the boss had called him a “fine piece of cheese.” The main theme is not unlike that in the Man of the Hour,” nor is the political situation involved unfamiliar; but the piece is very well played, is interesting, working out nicely, and makes an excellent sketch for the small time. It could do on the small big time and would be worth a try on the biggest time, for there are certainly interest and action to hold it up. Mr. Hart probably played the governor. He had a hard role, while the boss contained what little comedy relief the piece has. The small time should commence to print detail billing (characters and names of players) on the programs. No reason to pass up a feature in the descriptive manner as though it were unimportant.
14 Mins; One (Special Drop). A clever mixed team, possessed of good voices, presenting a neat little skit that fitted nicely. The talk is snappy and the act offers legitimate opportunity for the introduction of several Irish ballads. It is the former Walter Gaurthuce act, and got enough applause to warrant a couple of bows at the finish.
“Jimmie Pinkerton’s First Case.” 20 Mins; Full (Special Set). “Jimmie Pinkerton’s First Case” is presented by Eddie Hart, with the assistance of a woman. The act is good comedy. The speed in playing might be thrown up a notch or two for better laugh results. As it is now, the act will do nicely as a filler in on almost any bill.
10 Mins.; One. Edna Whistler is a mighty good looking girl, who has a pretty voice, some very handsome gowns, personality and the ability to put a song over. But at present she is handicapped by a poor song routine. Her opening number gives her a handicap that she has to work hard to overcome later. Other numbers seem unsuited to her. “Flower Garden Ball,” which she is using to close is a little old but considerably better fitted to the young woman’s talent, and this number together with her stunning appearance puts her turn over nicely. With proper songs Miss Whistler should do nicely in an early spot on the big time.
12 Mins.; Full (Special Set). “Almost a Millionaire.” The Usher Trio have an act that will do for laughing purposes on the small time. The set shows the interior of the office of Buttercake & Co., a mail order firm. The two men in the act are clerk and office boy. The girl enters as a young heiress and precedes seemingly to place an order for several thousand dollar’s worth of goods. She has the clerk figure the cost for her and then thanks him, stating it was an example that had been handed to her at school. The trio do a few minutes in “one” at the opening that is not necessary. The principal comedy is furnished by the office boy. It could be improved upon.
10 Mins.; One. Coy De Trickey sings popular songs in blackface. The blackface is all right and so is Coy, but the songs are not popular enough – at least those she now employs. The second, a ballad, could be cast forth; it doesn’t belong to a girl who bills herself as a “blackface comedienne.” Miss De Trickey is more of a “Coon shouter,” and since the cake walk is coming back among the rag dances, why should not coy let herself out as a shouter, becoming the sole survivor among many of this type in the past? Miss De Trickey could improve upon her dressing scheme, and it is just as likely, too, that if she would “coonshout” in white face the girl would do quite as well, if not better, although she is good looking under the cork, which is made too dark at the present. But whatever Coy does, she should be careful of the song selection. Let these be of the best and all lively numbers. With a little care Miss De Trickey, in black or white face, should become a standard card on the small time.
23 Mins.; Three (Special Set). Five people in the act, the two comedians in blackface. Of the other three members, one is a man, who is the interlocutor, and two women, in white face (names unmentioned on the program). The scene is a dining car. As the act opens and closes, a panoramic effect is worked and may be seen through the car windows, indicating passing landscape. Two blackface men explain as their reason for being there that they are stranded minstrels working their way back to St. Louis as waiters. The remainder of the group are described as a part of touring minstrel show. The interlocutor is the manager, and he needs two end men. Then they get down to business, which is singing, dancing and telling jokes. The latter are not bad at all; the comedy by the two men is neither forced nor overdone; the singing seemed to be very well liked, particularly that by the trio of men (when the audience howled for more); the women get into the action with one solo and one duet, and the act passed along to a very good reception Tuesday night on the Roof. It could be speeded up; 23 minutes means a long time; but there’s no question that the roof audience liked this turn. It was down second from closing. Some electrical effects are used for lighting purposes, and the main scheme of presentation removes it from the stereotyped semi-circle.
