[New Act] Singing and dancing, 6 mins; full stage. Mixed couple. Man in evening dress sings, while woman dances, in Turkish harem trousers costume; both dance; she off for change while he sings Irish ballad in green spot; he off while she dances in short skirt to an old Sousa march; he back with silk hat for another ditty; she returns in lengthier dress, both sing and prance. He finished up their exit with good “plange” steps.
Nancy Boyer and Co. presented a comedy sketch with a heart interest, well acted. She portrays a country girl whose brother had stolen $300, then enlisted and to save him from jail she had mortgaged the little farm to the employer whom he robbed. Employer takes his case to a lawyer who at that moment receives a letter from his son in France who writes his life was saved by a young man who stole. Lawyer pays the debt but refuses to pay the usurious interest of $90, whereupon employer calls a lawyer a crook. He, in turn, rejoins that it takes a crook to catch a crook. Good stuff for the three-a-day houses.
Opening the second part was Peggy Brooks, a single with an emphatic, incisive manner of delivering her songs. She pantomimes well, in addition to putting over her numbers in shipshape fashion, and is a whole lot better than many female singers in the two-a-day, but stamps herself in smalltimer by interpolating “facetious” remarks and growing familiar with her audiences. Somebody could take this girl, supply her with exclusive numbers, teach her the value of “class” and, with booming, put her over for the big time. She is a “riot” in the three-a-day and is probably satisfied to let it go at that.
Closing the first half was Jess Leighton’s Revue, with the lady doing a prima donna solo, playing the piano and act as an interlocutor for five men in blackface for a minstrel first part. They harmonized well, crack some gags, one does a wooden shoe dance and, as usual, the biggest man is the high tenor.
Miss Leighton has a magnetic, cheerful, buxom personality and the act was well liked.
The Aerial De Groffs closed holding most of the house. The gymnastics are a classy pair in appearance the work of the niftily formed girl and her partner making a clever exhibition.
Boothy and Everdeen provided a strong number two. The girl in the team carries the entertaining almost entirely alone. She scored best with “Mrs. Bradley’s Jazz Affair,” which afforded an opportunity for dialects and mimicry. For comedy she effects a deep prop cough somewhat mindful of Willie Solar’s vocal calesthenics [sic].
[New act] Hand and head balancing. 10 mins; full stage. Man and woman. Woman is the understander, handling the man, a husky chap, with ease and precision in all the familiar hand and head balancing stunts. A dog is used in several formations. While the animal shows plenty of intelligence and ability. It might better be eliminated as it gives the turn a small time appearance. Both man and woman are clever performers in their line, the man being an especially capable ground tumbler. Classier wardrobe would improve the general effect greatly. Good small timers opening or closing as they stand.
[New act] Singing and comedy. 14 mins; one. Two men both in black face. One appears in male garb doing a swell, the other impersonating a high toned “wench” throughout. Open with short routine of talk. A double sing next, followed by another short session of gags, “Wench” solos, topped off with a brief bit of stepping. While “wench” is changing costumes partner sings a ballad. Finishing number effectively harmonized. Act is entertaining and should find the going easy on pop houses.
[New act] Singing and talking. 14 mins; one. Two men, one straight, the other doing a well-characterized “wop.” Talk starts ‘em off. It’s new and bright, having to do with the “wop’s” desire to become a citizen. The team have their own material and might well be credited with not picking on any of the other double Italian routines. They don’t say “Push ‘em up” either, which also entitles ‘em to another boost. An operatic medley with a good set of comedy lyrics discloses a mellow tenor possessed by the comic. Straight also sings better than the average. Yodeling bit closes. The turn cleaned up next to closing on the {illegible}. Should develop radially.
Lee Beggs and Co. have a likeable comedy sketch in “Old Folks at Home.” It’s just made to order for the pop houses and cleaned up its full share of laughs on the Roof. Mr. Beggs’ old man characteristics was nicely suggested and the company of three made the most of every comedy opportunity. The act held attention throughout, landing solid applause at the finale.
