Saxton and Farret, on after the Englishman, were another comedy riot. The dark stage entrance with the male as the house electrician gumming up the lady’s son gave them a whale of a start and they never let down for an instant, At the finish, when both have changed to evening attire, the team make an excellent appearance. It’s a good act written around an old idea.
Robert Hodge and Co. in familiar comedy sketch kept up the comedy sketch kept up the comedy average and breezed in. he has two new assistants, both up to the standard of the last pair. Hodge does an excellent bit of characterization as the garrulous old lawyer and kept them laughing consistently from curtain to curtain.
A very good measure of entertainment was given by Davis and Darnell, next to closing, in their “Birdseed” skit. People in the rear who had even the couple previously said the act had been particularly brightened up at the opening, It ran speedy all the way, with laughs plentiful, all gotten by Frank Davis. Adele Darnell, through her repressed method, makes a corking foil for her partner. There are not many women who would so subdue themselves for the benefit of the act. Miss Darnell besides is a comely brunet who dresses well and in taste. They held up the spot, retuning to vaudeville from a production.
16 Mins.; Full (Special). In addition to George Murphy and Joe Ratcliffe, Ellis Mattin is of this turn. Mr. Murphy is offering a German impersonation that will go a long way to making this act a favourite with small time audience’s. The straight is a mighty good feeder and has a nice singing voice. The act comprises a number of “bits” that have been seen before, but nevertheless are funny. The turn will stand featuring on the small time.
“The Fall of Eve” billed as a comedy by Arthur Eckersley cast composed of Mabel Cameron, Alan Devitt and C. Carroll Clucas, proves a travesty. A drape set of an artist’s studio is revealed, with artist waiting for the girl and his aunt, visited by a doctor friend who reveals that artist is a hound with the ladies. Knock on door, enter girl – Eve- who has lost her way in dark hall, asks for suite 16, backs out, does a Brody downstairs (Offstage) carried back, gets fit of aphasia, wakes up with arms around artist, says “My Husband!” with “Where am I?” Motion picture fadeout with artist. Aunt never shows up. Nobody knows what it’s all about. The two men clown on the curtain, unable to repress sheepish expression. Audience yawns.
15 Mins.; Full Stage (Special Set.) Mae A. Sullivan started out as a single some time ago when she had secured considerable notoriety in a breach of promise suit against a young millionaire. That Miss Sullivan has taken the stage seriously in shown by a little skit that has three other besides herself, all men. Of the men that one makes the best impersion is a black face comedian, and it is due to him the turn gets what it does. The story is of the soldier’s life. The girl (Mac) is in love with a young lieutenant, but her father will not allow her to marry him until he has done something heroic. With the aid of the blackface the father is told of the exploits of the young man and consents to the marriage. The lover has a little stage ability as possible, but this may be his first attempt. Miss Sullivan’s singing is still in the same class as when she appeared at Hammerstein’s, but she is acting better. The other man fills in. The act has a chance on a small time.
Holden and Le Varr slammed home a hit with their artistic little comedy sketch. The man does a “souse” minus hiccups or any of the cut and dried trade marks. The woman is a petite blonde who reads lines as they should be read. The novelty setting also gives the act atmosphere seldom found in sketches playing the pop houses. Maybe this one won’t continue in that field over long. The couple’s ability and the high standard reached in their offering should send up the ladder speedily.
The full stage accorded Sullivan and Scott to spill the jest of domestic relations between a husband who was waiting for a “winner,” and a wife for whom he would some day go out and get a job is truly a funny slice out of life. The act arrived in third spot, offering a division in entertainment that was billed just right.
On just ahead was Bond, Benton & Co. (Formerly Freeman, Benton & Co.) with the farce, “Handkerchief Number 15.” The setting calls for a divided stage, difficult to attain on the roof. Several new players in the act gave it a touch of freshness although at first it was had to tell what it was all about. The blonde girl in the turn looked good.
Barney Williams and Co. in a sketch entitled “Hunting” registered big laughs for the familiar farcical situations despite the feeble cast supporting Williams’ good work as the souse. The act finished with the ensemble singing “Dear Old Chicago Town” localized.
