A hit, too, fell to Charles and Madeline Dunbar, who were on just ahead. The couple had to follow “Puritana” (New Acts), a 34-minute operetta, which was no easy assignment. However, they caught on from the jump with their novelty well labeled “Animalfunology.” The Dunbars have polished their routine, and it is sure fire, laugh getting and amusing. Both member of the team are mimics, but Charles is both a mimic star and comedian. Animal impression have been out of order until he came along and showed how funny they are.
Closing the intermission Arman Kaliz and his company of 14 in “Temptation” was a revelation to the audience in the magnificence of its staging and costuming. It is belled as “an allegorical opreatta,” and is exactly that, just as much like “Experience” as it could possibly be.
[New Act] Straight Singing Operatic, 14 mins; full stage. A straight singing combination of four males and three females with trained voices. One is a pianist. All are garbed in Colonial costumes. The repertoire consists of a succession of ensemble and duet vocal numbers, all operatic or classical. The harmony is excellent and the act held nearly three quarters of the house in the “before intermission” spot. The straightness of the turn will keep it in the smaller houses, however, for big time vaudeville audiences shy away from the non-comedy singing turns. It’s a great combination for lovers of classical harmony.
“A Japanese Romance” closed the bill, but proved rather weak. There are pretty costumes and settings, but otherwise it is an ancient operetta, and the principals are not all that they should.
There was a succession of high scores, with Mme. Doree’s Operalogue taking the third spot for the first smash. It may have been true as charged that vaudeville took to opera slowly, but that doesn’t go dating with Mme. Doree’s entrance. She has achieved the finest operatic turn ever given to the big time, and the enthusiastic reception Monday night, when barrage applause was meted every number, left no doubt as to the popularity of her effort. The Metropolitan backers are for agencies that aid in popularizing opera and they might well applaud Grace Doree for her operalog. The “plot” conception of “Operatic Sweethearts” – true and otherwise – lends itself to some of the best possible selections, and her simple, humorous and high effective explanation of the libretto stories explaining the numbers given is one of the turn’s best features. Popeo Tomasini in “Pagliacci,” the Rigoletto” quartet sung by Diana Walters, Alize Pelletier, Clifford Pollard and Adamo Adami, and the company’s diva. Aline Verdikt, with the aria from “Traviata,” drew gales of returns, with the “Faust” finish also a whale. That Mme. Doree assembled so good a combination of voices is extraordinary. Her offering is a charming act, charmingly done and it was sure fire.
Introducing her well-known costume novelty, “Five Feet of Comic Opera.” Miss Hazard, who by the way, was given her first showing of this act in this theatre some years ago, has, in my estimation, gone back a trifle. While she possesses the same engaging personality which always characterized her work I do not think her voice is quite capable now of handling the operatic music which each individual character demands. Notwithstanding this drawback the act pleased this afternoon and was well received at the finish.
A good opera from every standpoint, music, book, lyrics, cast and staging. Full stage.
Operetta, “Mon Amour.” One of the prettiest acts we ever had in the theatre. An act that has “class” stamped all over it. Good comedy and good music, and all well presented. A splendid headline feature for any bill in the world. 25 Min. F.S.
Presenting “The Belle of Seville”. One woman and three men operetta that made a pleasing impression. Miss Garson scored a strong personal success. Her support was satisfactory. Very good finish. Palace in four. 23 minutes.
“The Belle of Seville.” A comic operetta presented by four people of all round excellence. Nothing this season has been better received and we wish to give to them our unstinted praise. Full stage.
