The laughing hit of the bill was Bert Clark with his former routine and a new partner in Flavio Acaro of musical comedy. She is a large generously proportioned woman and is gorgeously attired in gold decolette [sic] gown. Her feeding of Clark was almost a classic and he utilized her physical possibilities for roars of laughter. Clark’s travestied “swell” is always funny, and they ate up the pair at the Colonial in the next to closing spot.
: 22 Mins.; Full Stage. “An Innocent Bystander” Homer Miles, with “An Innocent Bystander,” has given vaudeville something is the way of a distinct novelty, a skit, surrounded with all essentials of success and one that left a reminiscent impression to the average patron, principally because of the unique method employed in its production and delivery. The scene shows a corner in New York City with the Night and Day bank in the foreground. Two men approach the bank, one remaining without while his friend enters on business. Considerable byplay ensures in quick order, the main complication arising through the theft of an old lady’s purse and its transfer from one member to another. The theme develops around the idea that something happens every minute in New York. The individuals, particularly those featured give an excellent performance, although the young man taking the thief could inject a little more of the “type” into his work. The setting is attractive and prettily built.
14 Mins.; One. George Moore and Francis Yates are offering a real comedy noveltiy in “one” in the dual female impersonation act. At the opening one fears it is just going to be of the ordinary type of two-acts; the none guesses as to whether one of the team is a female impersonator, and having settled that point, again settles back, prepared for the worst. Suddenly there comes an age and the act has you applauding. At least this was the case with the majority of the audience at the Colonial Monday night. At the opening the larger of the two men essays the female impersonation, carrying it through straight until the finish of the second number. The smaller is the meanwhile seems to be trying for comedy at the finish of the second number the impersonator cuts loose a note in a male voice that wins the house. The smaller then offers a single number that gives his partner an opportunity to change to male attire the order of things is reversed and the smaller changes to draperies and offers a burlesque impersonation that is a scream. The act will be a welcome comedy addition to any big time bill in any sport, even next to closing.
22 Mins.; Full Stage. The daintiest of dancers, Adeline Genee is again with us. The little Danish woman has lost none of her exquisite charm since she was last seen in this country and still thrills with her terpsichorean art. Genee is a keyword for all that is delightful in dancing, and as she floated before the Colonial audience Monday night she received an ovation that must have gladdened her heart. The artiste is doing four dances from her repertoire, ably assisted by Serges Litavkin. For the waits between there is a little sprite who weaves her way about the stage in graceful manner. The program names Mlle. Vanoni, who shows she has long followed the steps of the only Genee. The opening number is “Pierrot et Pierette,” a neat exposition, and heartily applauded. This was followed by another double number, a waltz, also pleasing. Then Genee appeared in the ballet costume in which the audience remembered her, and the dancer’s mere appearance in this costume was received with applause. Following Mons. Litavkin offered his conception of “The Warrior Dance,” clad in a costume that must have been designed by Paul Iribe, for it is as modern and colorful as anything Reinhardt has brought to this country. As a male dancer, Mons. Litavkin reminds one very much of Nijinski. He is fully as graceful and equally as clever a dancer in the little that he shows in this movement. For the closing number Genee does her Hunting Dance Gallop and at its conclusion two encores were demanded. Two beautiful floral offerings found their way across the footlights to the dancer as she bowed her thanks. In accepting the flowers the dancer showed she was also a capable actress and comedienne and with several little tricks managed to capture a neat little laugh from the house.
16 Mins.; One. Sixteen minutes of straight songs in “one” is a bit too much time for even the best in modern vaudeville to consume, and Eveleen Dunmore, with due regard to her splendid high soprano, is hardly strong enough for that classification. Three ballads and a medley of time-word melodies, complete the repertoire, with three costumes worn. The opening should be altered to eliminate the present conflict in numbers, two ballards around a similar theme, showing poor judgement in selection. ‘Pick Me a Rose” and “Killarney Rose” follow in the order named, with “Long Way from Home” and the medley coming next. A basket of flowers is distributed by the singer during the “Killarney Rose” number, Miss Dunmore wearing an Irish costume for both this and the succeeding number. The melody is long and, while well pieced together, stands up only through the vocal efforts of the principal. One number should be dropped with the total time not exceeding 10 or 12 minutes. Miss Dunmore’s voice is the sole attraction, her appearance running a distance second. She did quite well at the Colonial, but would have finished much better had she curtailed over offering to a reasonable length.
Full Stage (Special Set). “Oh, Papa.” Barring a very visible, and in this instance unnecessary slowness at the start, “Oh, Papa,” is a condensed version of “When Claudia Smiles,” a former musical play, made over for vaudeville by Channing Pollock and Ren Wolf, looks suitable for Miss Ring’s vaudeville invasion. The scene shows a room in Claudia’s (Miss Ring) apartment. Her maid (Nellie Filmore) is very active when Johnny Rogers (Alfred Fisher), divorced husband of Claudia, arrives. A few minutes of conversation reveals much of the plot, after which Roger exits to allow Mr. Brook (Fred W. Strong) an opportunity to explain his connection. Frederick Walker (Chas. J. Winniger) comes next, completing the cast, a small bit being played by Jas. Duddy in the opening. Claudia, a musical comedy star is in love with her ex-husband, but takes delight in coddling the two “old boys,” married millionaires. A complication is nearly handled by Claudia’s “Oh, Papa” line, when the two old men unexpectedly meet and take each other for the girl’s dad. The finale shows the return of Rogers and the cheerless exit of the two old “chasers.” Two numbers are employed in the piece proper, “It’s a Long Way to Tipperary” and “Dear Old Pet.” The former went exceptionally well. Winniger in a sort of polite German role monopolizes the comedy with a good characterization and makes an excellent foil for the star. Miss Filmore as the colored maid provided some contrast for Miss Ring’s appearance, filling in to satisfaction. Strong fits the type his role calls for and stops at that. Fisher had little to do, but did well enough. With the skit over, Miss Ring appeared in “one,” for some reason or other, to continue with songs with which she has become familiar in the past. This section could be comfortably shelved, except in cases where an encore is essential. And the opening should be penciled enough to allow for a brief introduction of the plot although the costume changes should remain for the benefit of the women. Until Winninger’s entrance, the cast must depend upon light comedy, and light comedy in vaudeville is more luscious in small chunks. Miss Ring, as was expected, scored an individual hit, with her principal comic running a close second. With the necessary alteration “Oh, Papa” will fill all vaudeville wants.
17 Mins.; Full Stage (Special Set). “Twenty Odd Years” Taking an every-day incident for the basis of his text, Tom Barry tacked the title of “Twenty Odd Years” on this little comedy playlet, contributed a classy little routine of conversation and situations and handed it to Harry Beresford who provided a capable cast, a splendid background and the combined result is one of the prettiest little plays in present-day vaudeville. The theme is of two old men who quailed twenty years ago. One is rich, the other comfortable fixed but not overburdened with worldly goods. The latter’s niece loves the other’s son. The scene is the home of the girl, an exterior with a set cottage in the background, provided with practical fixtures, doors, shutters, windows, etc. The story revolves around the courtship with the points built on a light comedy structure, the finale bringing an adjustment. It might be well to have two elders meet in view of the audience, since it would but require a change for the gardener (Vincent Seaville) and would not necessitate any surplus dialog. Beresford plays “Nunky,” the girl’s uncle. His portrayal of the moody, but lovable old gentleman was decidedly artistic, many of the laughs arising from his impromptu actions and peculiar delivery. Frederick Howard is a likeable juvenile, carefully instructed in this instance and passable in all departments. Isabell Mendosa is of that rare type of dramatic ingenue with a clear enunciation, yet girlish appearance, and fits her portion like a glove. Opposite Howard she scored an individual hit and did wonders in the uplift. The production and general equipment is also worthy of individual comment and comes close to a class of its own, considering the size and nature of the vehicle. “Twenty Odd Years” should go on for a long time.
10 Mins.; Full Stage. E. Rousby in his production, “The Edge of the World,” gives a convincing demonstration of the evolution of light and colour projection. In place of the stereotyped stationary views accompanied by a study in near-nude femininity, Rousby offers a combination of moving colors before which a gyrating danseuse cavorts in spring-like garments, her cavorting running a lengthy second to the scenic portion of the piece. The opening shows what is supposed to be the edge of the world where the passion of color lies exhausted after the day’s labor (from the program argument). Soon the ocean, or what looks very much like it, floats into view with a rhythmic movement to be later replaced by the action of the many colors, blending together into a picturesque scenic effect. Meanwhile the danseuse (Violet Hope) keeps busy, skipping here and there to the soft strains of specially composed orchestration. The turn comprises novelty in ever sense of the world, the color scheme being especially well worked out. It’s a big improvement over the former brand of scenic art and since it held a capacity audience to the finish in closing spot at the Colonial it looks like a promising possibility.
Then the reception for Rooney and Bent started with the flashing of signs on both sides of the stage. On at 10:10 and continuing to go until after 11, the revue kept up continuous record of “hits” throughout the entire time, with the quintet of music “hounds” helping to no small degree. They wanted Pat to dance. It was evident that he wanted to dance and he did dance – it was enough. Just getting rid of pantomime, though, held his stepping down. Forty-five, or more, minutes of amusement all the way, with never a doubt as to the final outcome, showed that this is one of the revue class that can repeat wherever it likes.
Ruby Norton closed the first half singing four songs and easily could have provided another, but close to call it enough, demonstrating that there is still such a thing as discretion left with some acts, though they are few and far between these days. Miss Norton initiated with a short selection from “Butterfly,” then went into a number that bordered in the popular, following which a Spanish bit was offered. She called it “finis” with her alma mater – the song that she has never failed to put over – “Gianina Mia.”
