15 Mins; One. The Peppinos open with a double banjo number, followed by a single while one does a change and then tries to do a Hebrew comedy number. If the team will work ou a straight musical routine on the banjos and mandolins they will do as an opening number on small time bills.
16 Mins.; Full (Special). A one-act Scotch comedy playlet with three male characters and a woman. The sketch will stand featuring on the small time. The woman is a very clever little actress and the men carry the interest nicely. The talk at the opening might be cut somewhat and the action speeded a little.
8 Mins.; One. The usual two-man dancing team. At the Columbia Sunday one of the boys was so nervous it was easily observed from the front. The team was unfortunate in the selection of a tailor in ordering their dress clothes. Whoever built their suits cheated in the length of the swallow tails .The boys need to rehearse the routine when the finished product is on hand they should do for small time.
14 Mins; Two (Interior). This team is presenting a “Potash and Perlmutter” sketch. At the opening two partners in the cloak and suit business are shown and the act is patterned after the many spats which the Montague Glass creations have had. The talk is draggy in spots and the men are not yet at ease in their roles. The younger of the two is too prone to screech at the top of his lungs, detracting from the general effect. When the act is whipped into shape it will do for small time.
13 Mins.; Full Stage. The usual routine of modern dances, the expectation being a bare-foot effort by the girl that brought some applause, but necessitated a short wait between that and the succeeding number. If “pop” time isn’t overcrowded, here’s another one.
Before an interior back drop depicting a government pension office, Lawrence and Edwards distribute 18 minutes of comedy and sentiment woven around an interesting little story anent an old veteran’s application for back pension. Lawrence makes a splendid lieutenant in uniform; tall, good looking, erect and with a perfect enunciation, while Edwards portrays the applicant, an aged Irishman who fight in the union ranks during the Civil War. The dialog is strictly original and always on the main idea, running into a complete tale from beginning to end. The finish affords a bit of sentiment well broken into with comedy and keeps up with the proceeding section. It borders on the recognition thing, but is build a bit different than the average. Edwards’ is a unique character and should show better as the turn goes along. The bigtime can use this team. They look ready right now.
21 Mins.; One (5); Full Stage (16).
Robert E. O’Connor has sketch with crooked politicians and police graft collectors as the ground work. Three characters all men. The opening in “one” is the ordinary street drop of the house with a tramp carrying a sandwich sign. O’Connor as a crook meets him. and there is some cross fire principally touching panhandling operations and a general panning for organized charity. The two decide to turn a trick in a house close by. The full stage set is the interior of the home of the politician. Here they pack away the servant for safe keeping and O’Connor makes a quick change to a dinner coat in time to grab off the crooked collector of graft from the gamblers. He was really only after evidence against the politician who was the cause of his father being dismissed from the police force some years before. Of the graft money that is turned over to him he slips the tramp $2,700 to lift the mortgage on the old farm and with the checks he beats it to the office of his paper to write the expose. The comedy element is strong enough to overshadow the melodramatic quality and the playlet because of this is worth while for once around the big time at least.
16 Mins. One.
Russel Hurd is at the piano and Billy Tilden and Bob Fisher (Fisher, Lucky and Gordon) are the singing end. The boys are still wearing “gob” uniforms. Tilden handles the comedy efforts. With “Marie” he does a red-hatted dame and gets a lot out of the character. There are frequent references to days in the service sprinkled throughout |the offering. Tilden ad libs cleverly and gets laughs any time he goes after them. Fisher has a splendid singing voice and solos “Million Miles from Nowhere” in pleasing fashion. Hurd is a good pianist and has a solo of popular airs that was applauded. The finish is a double “Hambone,” an ancient limerick theme but increased in applause value by Tilden’s comedy efforts. These boys with new material look like a big time combination. The war thing is passe and they are probably only finishing out the season in the navy blue.
Four (Parlor).
The Hal Johnson comedy skit de- pends upon a female impersonation by Mr. Johnson. It is very well done. Johnson does not try to make it too effeminate, rather rough with low comedy in the business of the character. This with the dialog amuses. But the sketch is knocked skelter when toward its close the man playing a father breaks into a yodeling song… The other players take care of their roles, but just why the yodel was allowed can never be explained…
15 Mine, Full Stage.
A new rag end jazzing combination with Johnny Muldoon the leader. Frank Marvin is the’ singer. Pearl Franklin dances with Mr. Muldoon. Their “tough” dance is their best, made stow in ‘ action and funny – through ”business,” each treating the other very rough while going through it. The hit is Mr. Muldoon’s acrobatic dance. He’s a presentable young man with a smile. He could make it work a bit harder, for Muldoon’s smile will always get over. The band accompanies besides playing a medley. Nothing startling to the turn, but it’s good, even entertainment of the rag and jazzing kind. This combination is arriving a little late to get the best of it.
