Basil Lynn and William Hewland counted well in the comedy end of the show with their excellently done “A Racy Conversation,” which they displayed for a laughing hit, on fourth just before the Mack playlet. Lynn’s English Johnny was carried through without a slip, and his verses, “Red Roses and Red Noses,” and the like had the whole house giggling. Howland’s impression of John McCormack’s talking machine record is “Let the Rest of the World Go By.” It did not sound so much like a record as a low-pitched tenor, but it was splendidly done and drew encore. The men encored with a prison yard bit, which landed solidly in spite of the bit having been done before.
The first revue to appear was Bobby O’Neil & Co. in “Four Queens and a Joker,” making a corking number three. Herman Timberg is credited with writing it, and the act is as brightly played, prettily costumed and tastefully staged. There is a peach of a song at the opening, with the strain admittedly lifted from a lifting operatic air. The Mexican song and business bit was well done, even if O’Neil dealt the cards the wrong way around. O’Neil’s clever dancing and general playing of the juvenile counted for much. The support in Mable Ferry, Dorothy Godfrey, Fay Tunis and Babette Busey looked good at all times. Miss Ferry had something on the others in the matter of pep, and tossed her curled bobbed head animatedly.
Robert Emmett Keane, as a single, immaculately tailored and booking not a day older than he did the first time he raised his voice to Broadway, depended largely on stories of the late war, some of which he has been telling for several seasons and two finishing recitations, each used as an encore. The first was a mild thing about a wounded Scotch returned soldier, better done than it deserved. This got a hand and brought him back for a Kipling “Young British Soldier,” with some liberties taken in some of the lines where Kip is too on the level for “polite” vaudeville. It scored and Keane retired with very decent takings.
Lexey and O’Connor, an attractive girl and boy, sang and danced to a still unsettled population and “Ye Song Shop” got the first break of performance, the saunterers and leisurely diners being pretty well assembled then. There has been a change in one male principal since the turn played Chicago. The songs whizzed over in spots and lagged badly in others. It is still what it has been from the first, a great idea lukewarmly executed. It finished to the rehearsed number of bows, which were justified through not clamorously demanded.
Sylvester Schaeffer opened the second half. His act is practically unchanged since its last appearance here. At that time it was not a roaring triumph at the performance witnessed. This time it seemed better placed. Though slow in spots, Schaeffer’s multifarious stunts went briskly throughout, and the huge chariot, went for a corking handing and three recalls for bows.
Three Bohemians disclosed two pretty Italian girls and their father with accordions and guitar. The trio uncorked enough verve and enthusiasm to exit to return.
Samsted and Marion opened the vaudeville section with their acrobatic dream moment, interesting enough to please. The advice about physical culture should be employed after the dream denouement.
Mae Melville and George Rule in the little skit “League of Servants” found much easier sailing here than at the Majestic. They took to Mae Melville’s comedy and her wise cracks found ready laughter. Their skating dance encore took them off to three bows – then the Queen of them all came “Sophie Tucker” her Five Kings of Syncopation billed “At Home,” and rightfully. She could stay at this house for four weeks and pack them in and then come back for a return engagement.
[Jack Dunham and Andy Williams] gave way to Boyce Coombe, seasick, sneezing, forgetful English comic. Coombe programs Burton Brown, assisting him at the piano. Brown proves as asset to the act with his accompaniments and showmanly style at the piano.
Jack Dunham and Andy Williams came next and it would be unfair to review their act spotted as they were. The boys have everything that goes to make up big time vaudeville. One is tall, dark with a good ballad voice – while the other, a natural funny face and zaftick. The boys finding themselves in the deuce spot worked too hard.
