Harry Bulger and Co.

Harry Bulger and Co. started after intermission. His “Seventy-Cent Review” registered nicely and won a flock of curtains. The act has been speeded in the working of the past few weeks. One point a bit inconsistent perhaps for the first time. It was when Bulger asked the “manager” how much the lower floor seats were the reply was “35 cents.” He then said he would take two of them to make up for the 70 cents owed him. In houses of this class the admission scale has long left the 35-cent level except for the upper regions.  

Corrine Tilton

The Moore and Megley production, starring Corinne Tilton in “A Chameleon Revue,” closed intermission excellently. The billing still mentions the offering as a cycle in five verses, but since the rhyme is no longer programmed the billing line is a bit ambiguous. The producers show care in their management of the act. The costumes are fresh in appearance and little details are well taken care of with the whole turn spelling neatness. Miss Tilton’s work again stood out clearly and her souse stood up as the bets bit of its kind in months. The revue moved at right tempo and drew hearty applause at the curtain.

Eddie Borden

Eddie Borden in his review “Fifth Avenue,” proved a flash and introduced several new faces to Chicago. Rose Kessmer offered a character is a manner that proved her worthy of featuring with Borden. Borden hasn’t any million dollar beauties for a chorus, but they do in a pinch.  

Toby Claude and Co.

“La Petite Revuette of Successes, Past and Present.: Toby Claude, lately returned from England, deserves much credit for having quite an original vehicle. During Toby’s stay in England, every idea gone before had been utilized by every short revue produced there. Toby, however, has gone them one better in this way and put something new over. William Smythe, who plays in the act, produced it/ The turn opens in real Parisian Revue style, with the Compere and Commere seated at a restaurant table, the Compere telling his companion about a certain actress he has seen in different productions in various parts of the world. As he describes the star in “The Belle of New York,” he and his companion are put in darkness and Toby and Smythe come out from a back-drop and sing the “When We Are Married” number from that show. In the same way songs are introduced from “The Chinese Honeymoon,” Folies Bergere, Paris, and from the Palace, London. After this the Compere and the Commere leave the stage and enter one of the boxes in the front of the house. Miss Claude and Smythe finish the act with “Tipperary.” Little Toby Claude has picked a very useful vehicle besides a clever helper in William Smythe. The rest of the company help.

Futuristic Revue

The Futuristic Revue is a conventional grand opera singing turn. In the old acts of this type there sued to be three and four. In this they have eight. Four women and four men. The singing is mediocre. The three standbys of opera are given quartet from “Rigoletto,” sextet from “Lucia” and Toreador song “Carmen,” none handled over well. Leonardi, a woman violinist of ability if not greatest, as the billing outside the 58th Street stated, played two classical selections, executing each with a fine show of technical skill. The Futuristic Revue has a whole carload of scenery, which some how does not help the singing as much as might be expected. The main trouble is that there isn’t a voice above the ordinary in the act. Operatic music demands real vocal quality or else it is far from pleasant to listen to – and often painful.  

Corinne Tilton Revue

Miss Tilton, topping the billing, was down in the closing intermission spot with her little entertainment and held the stage for 30 minutes. When she is on it is worth while, but the moment Miss Tilton leaves the stage the act slows down. One of the boys who was supposed to lead the chorus in a number did a frightful flop Tuesday afternoon. He did not know his lines and as far as anything that the number got because of this, it might just as well have not been offered. The personal hit must be credited to Miss Tilton and she deserved it.  

Rooney and Bent

Then the reception for Rooney and Bent started with the flashing of signs on both sides of the stage. On at 10:10 and continuing to go until after 11, the revue kept up continuous record of “hits” throughout the entire time, with the quintet of music “hounds” helping to no small degree. They wanted Pat to dance. It was evident that he wanted to dance and he did dance – it was enough. Just getting rid of pantomime, though, held his stepping down. Forty-five, or more, minutes of amusement all the way, with never a doubt as to the final outcome, showed that this is one of the revue class that can repeat wherever it likes.  

Black and White Revue

Closing, the Black and White Revue did little until the toe dancer offered her solo stepping, which was the first offering of the night to rouse the audience contortionistic dance at the final curtain of the act by this same girl brought it all the applause that it got, and the act proved the hit of the show. Without this one girl, it wouldn’t have received anything from the audience.    

Bobby O’Neil & Co.

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.  

Long Tack Sam

Long Tack Sam and his aggregation of Chinese won the game at the theatre. He mystified everyone in his magic tricks, and two members of his company stunned everyone in their marvelous horizontal bar work. Long Tack Sam, does not have the orchestra play Oriental music, but has them play real “jazz” and its a treat to hear the female member of the troupe sing and “Shimmie.” This act scored everything on the bill and closed with large rounds of applause. This is one of the best bills at the Hipp in as many an afternoon.