23 Mins.; Full Stage (Special Set). Kitty Gordon’s name! Evan at that it is best that this beauty have some sort of vehicle for her talents, of whatsoever sort they may be. She has chosen to return to vaudeville in a comedietta, called “The Pink Nightgown,” written by Kinsey Piele. It does not call for any great acting on the part of any of the trio who participate, and comedy is conspicuously its absence. Miss Gordon has opportunity for displaying her beauty in a handsome gown-one consolation. The tale is of Gabrielle (Miss Gordon), who enters the house of Lord Arthur Tollenbach (Harrison Hunter), her former husband, at midnight and discovers the gentlemen’s room filled with photographs of a woman who signs herself “Ducky.” This stirs the old flame of love in the heart of the fair divorce, and she confronts her former liege lord with some little tempest of anger when he finally comes home. Later on, when the woman finds a pink nightgown and bedroom slippers in one of the rooms, the green-eyed monster is much further aroused. Then the woman turns the tables, and the man grows jealous one more. There are several wordy encounters, when the man finally owns that “Ducky” is his own sister from far away somewhere, and a reconciliation takes place. There is a little side incident, in which the woman is accused of being an accomplice of a pickpocket, as she has hired a “dip” to get her former husband’s keys so she may enter his house. A Mr. Harvey, who is seen as the Scotland Yard man, is a blemish on the act. The meagre comedy might be better if put over with more emphasis. As it ism the act is well staged and produced, but is rather dry fare. Miss Gordon’s fame may carry it some little way on big time, but that is about all.
Bobby Randall, with old talk about the draft and army life, with fair singing voice, tried awfully hard to live up to his responsibility, but it just isn’t in him and it must be the scarcity of next to closing comedy acts that put him in this difficult spot.
Kellam and O’Dare promised so much and gave little, proving a disappointment to all. Kellam is an elongate comic with a peculiar style, nimble feet, a natural funny face, and a fairly good voice. He has a style that is all his own of putting over comedy, while his partner.
[Pistel and Johnson] passed away, giving place to Ethel MacDonough, doing a new act since last seen here. She makes four changes behind a scrim, showing her in her boudoir, with gag lines thrown on a yellow satin curtain illustrating in various changes. This is easily the best act Miss MacDonough has ever done and was received accordingly.
Clarence Nordstrom in “Love Letters” was the headliner and also the class hit. This juvenile carried his act with a zip and a bang, and never showed better form. “Love Letters” is the former Charlie King act. Kate Pullman was the hit among the women of the turn with her acrobatic dancing – though Ona Muson gave her a run for honors just on looks.
Boyce Combe did remarkably well third. His pianist, too, was greeted with uproarious applause for his solo, and was forced to respond with an encore. Combe’s “sneeze” song is still his best, although he has added several of more than average weight, one. “Burlington Bertie,” being quite different and artistic, withal.
Earl and Sunshine, running much as formerly, gained momentum as they proceeded closing to a perceptible modicum of success. Both girls are growing plump, with no disparagement accruing. There was no wig removal in conclusion, for which, many thanks. It is the same sure early position act.
The Dorans opened with an appropriate setting for their dancing endeavor to aid at the outset, but the turn averaged but fairly, owing to similarity in the routining, and one or two inexcusable waits. The act is running too long for an opening act, also the denouement, disclosing one of the members a female impersonator would have helped did not Doran indulge in unnecessary lifting of his skirts. The Doran number could be made quit good but it is not that now.
Alexander Carr and Co. in an “April Shower” came in for good returns, but not enough to call for the monolog that Carr stepped out of his character to do in Scotch dialect at the end of his act.
Myrtle Flake and George Lloyd in a neat little skit with harmony singing and some talk pleased. They carry two special drops and leave a very pleasant impression. Lloyd has a peculiar way of holding his hands which he should get out of, as it spoils the neatness of the turn.
