“In the Barracks.” 39 minutes f.s. Special set. In some respects this is one of the best acts Lasky has put on, particularly in the matter of music. If I may have the hardihood to say it, the act is too good for vaudeville, and needs to numbers and voices of a two-dollar show. The act went over in very good shape to-night, and Miles McCarthy got quite a few laughs. For those who want “class,” it is all right, although the comedy is not in a class with the music.
A musical comedy sketch, 33 minutes, special set. About 17 minutes. This act is well costumed, the music is fair and the comedy is passable. However, the act has not the punch of Kathryn Osterman’s vehicle and was not received as well. A musical director, in the form of a young woman attired as a nurse, is carried. She seems unable to keep time with baton and our orchestra was forced to direct its attention to our own director. The two principals, Clark & Bergman are a very clever team, due in part to the fact that everyone else in the sketch is held down pretty closely to ‘hurrah’s’ and they are continuously thrown in the limelight. Bergman devoted the time after the show to telling us what a splendid actor he was, and what must and what must not be done to keep him from walking off the stage. He demanded to see all contracts pertaining to the act, and was, of course disappointed. He then announced his intention of quitting, as he assured us that he and not “The Trained Nurse” was the drawing card. Our advertising has not changed. (Indianapolis)
Giving a musical comedy called, “The Phony-Photographer,” At the afternoon performance they just about got by. There was a decided improvement at the evening performance. Allman, who is substituted for Mehlinger, works in black-face, and has a fairly good voice. The comedy is weak and the act in its entirety is not strong enough for this position. Several minutes, full stage.
Jessy L. Lasky’s miniature musical comedy, featuring Valerie Serice. Mr. Lasky has given us a splendid production in the way of costumes scenery production in the way of costumes and scenery and effects and a good company with a little story serving to introduce Miss Serice as “The Little Parisienne.” The musical numbers offered are quite lengthy and, I think, affect the act. Believe he could shorten the comedy and, in time, make it a very pleasing feature. Thirty-seven minutes, full stage, special set.
Comedy Musical Act. One man working straight, the other in blackface. Open with cornet and trombone. Comedian sings a coon song and, after a little talk the straight man plays a solo on the cello. Finish with the prison duet from “11 Trovatoro.” Very ordinary act. Own drops in 1 & 2. Open in 1, 5 min, then to 2. Close in 1, 4 min. Time 19 min.
Three men, one in blackface, who furnish good comedy and excellent music. Strong enough for a better position on the program. F.S. closing in one.
16 minutes in 1. Two rubes with a great line of comedy talk, closing with violin playing and dancing. One of the biggest hits of the season. Here is an act that should be routed for the remainder of this season and all of next AT ONCE.
4 colored men, two women. Open plantation scene, close in one with minstrel first part. Singing, dancing and comedy all well dressed. Went big. 20 minutes.
22 min. in 1 1/2, close in one. A mighty good act. Keller Mack’s character songs are excellent and Orth is very good at the piano. An amusing line of original songs, all of which went big. The audience did not seem to want to let them go. Closed immense after an encore number.
“The Boy Next Door.” A merry hodge-podge of stuff that woke the audience up after the tiresome act ahead of it. Took Felix a few minutes to get the crowd but he had easy going after that. The girls look nice and introduce several pleasing songs. This act ought to be a sure-fire comedy hit on any bill. Fcy in 3. Close in 1, 4 min.
