‘Serving Two Masters”
18 Mins.; Full Stage (Special)
“Serving Two Masters,” written by Ben Barnett is a mystery melodrama, with a suggestion of travesty here and there, but in the main played m a serious dramatic vein. The east holds three characters. Bernard Thornton, who presents the playlet, playing the leading role, that of a young stock broker, Arthur B. BdwardS doing a heavy and Marguerite St. Clair, a “vamp.” It is constructed on the “cut- back” principle. The entire action takes place on a dark stage, the facet and at time the whole persons of the characters being illumined by spotlighting ranging from a “baby” to one of the regulation diameter. These are operated from the wide and front and lend an effective touch, which emphasizes the air of mystery which is the keynote of the piece. The opening is in total darkness, a shot breaking the stillness and followed a second later by a man’s voice phoning to the police someone has been killed. Mr. Thornton is seen at the phone explaining he will give the police a detailed account of the killing.
“Copy.” 21 min. A strong melodrama founded on the Slocum steamboat disaster. A rather exaggerated picture of newspaper life, but for all that it held the audience in breathless suspense. Mr. Breese received an advance hand and carries the part of City Editor in strong dramatic form with a good supporting cast. Closed very strong.
A very excellent morality playlet presented by a capable cast of 15 people. The act won and held undivided attention from the first. The interest was intense throughout and it gave unqualified satisfaction. About the best sketch we have had this season. Four special scenes, opening in one. 28 minutes.
16 min. “Somewhere in Mexico.” The novelty of witnessing Donald Brian, a musical comedy star, in a dramatic sketch makes this act a distinct vaudeville feature. The story is a Mexican incident written by Robert Mears Mackay and is dramatic thriller with a most unusual climax. It is well acted by the principal and the members of his company and finished to a strong hand.
“The Frame-Up.” 23 min. He is using a one-act dramatic sketch on about the same order of those used on previous visits here. It is splendidly played, held the interest of the audience from start to finish and is given an excellent comedy touch for a finish. Mr. Gillingwater is seen to advantage and his supporting cast is an excellent one, bring headed by Julie Herne. The sketch was a hit.
14 min. “Liberty Aflame.” A patriotic spectacle making its first appearance in vaudeville probably offers the most stirring appeal to patriotism and support of the flag in the present international crisis over attempted on any stage. Miss Arthur, one of America’s foremost dramatic stars, is heard in the role of “Liberty,” the stage being set to represent the status in New York Harbor. Miss Arthur’s remarkable ability as a reader of dramatic lines adds additional strength to the appeal and stereopticon views showing pictures of Washington, Lincoln and Wilson are displayed in the base of the monument. There is no question about this being a tremendous appeal to the red-blooded American at the present time and it was a great big applause hit.
Dramatic sketch, entitled “The Woman Who Knew.” A most unusual story and one that held the attention of the audience throughout. Went big at the finish.
“Other People’s Money.” This is certainly a good little play, exceptionally well acted and seems to make equally as great a hit as upon its presentation last season.
23 minutes f.s. special set. In “Sweethearts.” This beautiful old sketch, with its attractive scenery held the audience in good shape to-day, and finished big.
In a semi-serious one-act play entitled “His Nerve,” which held this spot with entire satisfaction. 22 Min. F.S.
