McLallea and Carson, who closed, found the same condition upon their entrance, but the boy kept everyone seated with his ad libbing. Too bad they were so far down, as the act deserved a batter position and was one of the bright spots of the evening.
Mel Klee came on next to closing to finds the house walking out and wasted no time in getting started. The heat was getting to the audience about that time, but at that Mr. Klee picked things up even though hurrying through with one bow at the finish.
“Welcome Home” with Lizzie R. Raymond, third, caught the interest of those out front, but failed to cash in as heavily at the finish as the act deserved. Miss Raymond does a remarkably able characterization of an Irish woman in this sketch. Mot a caricature but a character bit that would pass muster in a Belasco show. The act is played legitimately. Miss Raymond’s male assistant who does excellent work.
Martelle, No. 2, seemed to fool the house as a whole with his female impersonation. Martelle is different at least in one respect from the other female impersonators. He retains his falsetto throughout the act, removing his wig as customary at the finish, but refraining from the usual barytone male tones to contrast with falsetto stuff that has gone before. The Martelle act is beautifully costumed, the four numbers landed for fair returns.
Armstrong and Downey opened and pulled out with a good average of laughs and applause for the spot. Mr. Downey affects a make-up almost identical with Joe Jackson, riding and attempting to ride a bicycle in the same comedy was that Jackson does. There is some business Downey has with a pair of falling trousers, however, that Jackson doesn’t do. That’s about the only original thing in the Downey routine, and it’s altogether too strong for vaudeville.
Jimmy Lucas and Francene next to closing were the big noise of the vaudeville section. While the house was filled, it did not seem a regular vaudeville audience, and most of the preceding turns had passed away with perfunctory applause. Lucas, however, seemed to sense the type of audience he had to contend with, and he went the limit with his rough and ready low comedy hoke. He worked like a truck horse, but he got ‘em in the end and got ‘em for more than any of the others. Francene, always a dependable performer, counted largely in results secured.
[New Act] Comedy, songs and dances. 11 mins.,: one. Two young men neatly garbed one in tux doing straight and the other in swallowtail playing a dense English “Johnny.” The billing had the routine labeled “My Girl,” though the major portion of the chatter found the straight trying to explain baseball to his partner. When that is done, mention of the girl is made and cued into a number. “If She’s Nothing on Next Sunday,” probably an English ditty. There is a short duet dance and a single bit by the straight which has him whistling a flute imitation. Fro a finish they go into a neat, fast dance. Placed number five on the six-act bill, the men did well. An earlier spot on the bigger bills should fit them better.
Mr. and Mrs. Gordon Wilde opened the show in lively style. New bits have been added and the entire routine of the shadowists was crisply done. Their daughter is now singing a new number and she does it well. The melody is pretty and the tune is given novelty by the father dancing a shadow during the second chorus.
Dolly Kay, a syncopated songstress opened very Al Jolson with “mammy’s Arms” and clung to this manner of delivery in a more of less modified form throughout in all published stuff she delivered. Suffice it, she delivered handsomely and accepted an encore for “wild About Moonshine.” Miss Kay is a raggy singer who jazzes her war into favor from the start. For her second song she rendered a paraphra on “Bimbo on Bamboo Isle” with Babe Ruth the hero in the song, to wit: “We have a bimbo at the Polo Grounds.” It’s superfire for these hectic baseball parts and no doubt can be switched for other personalities and localities elsewhere.
Prevost and Goulet opened with a tumbling routine which is well mixed with incidental comedy and instrumental business for the best effects possible.
