14 Mins.; Four. Neat idea the young men have in using the old Roman gladiatorial ring background and gladiatorial raiment to show off their hand-to-hand balancing wares. The two chaps have an excellent routine, one similar to previous exhibitions by other teams on the big time, but effectively done. The Gladiators, however, have several lifts that are different and on these got big applause.
12 Mins.; Three (Exterior; Special). “Spooks.” An act that proved a novelty Tuesday night. Bayone Whipple handles the role of a smartly dressed widow who carried on a conversation with the house painter, a comedy role capably acted by Walter Huston. That the widow may benefit by her husband’s will, a portrait of the deceased man must be painted on the front door. The house painter volunteers. He draws a head, which comes to life, the movements of the eyes and face in the door panel giving Miss Whipple and Huston a chance to sing one of those quaky, shivery, ghosty numbers in floodlight. Huston had nifty and timely remarks that hit the house amid ship.
25 Mins.; Full Stage. This act seems to have hastily been thrown together without apparent rhyme or reason being evolved when the finished product has been turned out. It is an excuse for a small time team to appear in numbers with three girls and three boys working as a chorus behind them. The chorus is one of the bad features. They cannot sing nor dance, and as that seems to be the reason for the act, why the less said the better. The act is prettily costumed.
9 Mins.; One. Sam Soder has adapted Harry Breen’s idea to suit himself and his talents and is presenting a rhyming stunt on the small time which he works straight. He is very bad on English, and this, with his poor personal appearance, makes it rather hard going for him at first. After the audience gets what he is doing, he passes nicely. His offering is one that is essentially small time.
15 Mins.; Full Stage (Special Set). Dramatic novelty with a big of dancing interspersed. Two men and two women in it. Mr. Burke has the role of the old dancing master. He has adopted the daughter of one of his stars who has died and the act opens the night of the youngster’s debut at Drury Lane. The old master has been dubbed a “has been.” He sends the girl to the theatre and sits dreaming of the past, during which the mother appears before him and goes through a series of ballet steps. Following this Mr. Burke offers an old fashioned soft shoe dance, heartedly applauded. At the finish the girl reappears, but one is left to guess weather or not her debut has been a success. The turn will fill a good spot on small time nicely.
13 Mins.; One. A good singing and talking team for small time. They have rehashed several numbers that have been seen on big time and worked out a routine that will please the small time audiences. The man is a fair comedian and the woman looks very good in a series of gowns worn.
[New act] Straight singing. 12 mins; one. Male baritone solo’s “Road to Mandalay,” “Your Eyes Have Told Me So,” “Pretty Kitty Kelly” and “Mother Machree.” Good voice of evident cultivation. For vaudeville a comedy number could replace one of the two semi-classical numbers. Good act of its kind, but lacks variety.
[New act] Comedy and songs, 14 mins.; one. Last winter Ned Nestor and Olivette Haynes headed a revue. Out by themselves they have framed a skit routine called “Her Guardian.” Nestor plays straight, Miss Hayne doing an eccentric comedienne throughout. The opening talk hinges on the young guardian’s threat to marry her off to an old professor, the cross fire working up a tag line, “Get Out.” Nestor singled with a lullaby, the words of which were parodied, and he sued a pillow to represent an infant. He dodged the high notes in the number, but yodeled rather well. Miss Haynes had “Im a Darn Wise Kid.” Her clowning drew giggles and she shaped up as a promising eccentric. On next to closing the act was well liked.
[New act] Monologist, 12 mins.; one. Billy Connery has stories and songs. A good part of his chatter is located overseas and there are war angles which carry out his mention of having been a soldier. Some of the stories were in Irish brogue, but he showed familiarity with French with a song number of the close which drew him an earned encore. A rhymed yarn recited with muted orchestration was anent the war and the part of the Yanks played. That bit went for a good hand. For pop audiences Connery is amusing. He delivered nicely here.
The show’s favorites were Lorraine Howard and Verne Sadler, who got a hand a entrance and bowed off with the evening’s honors. This “sister” team has been in the hinterland for seven months or more. After doing “While Dancing the Sweetheart Waltz” they went into the main number, “Wedding Bells, Will You Ever Ring for me?” from which they have titled their routine. Miss Howard’s comic comment anent their ages and the lessening chances of grabbing a husband tickled the house and drew plenty of laughter.
