George Choos’ “The Little Cottage” was also back for a repeat after out of town bookings and this neat and clever production effort had no trouble getting the “place.” There is little doubt about the ability of this act to gather another season or so of big time bookings, but for next season Mr. Choos might provide fresh wardrobe and repainting of part of the act would be in taste. The choristers still look good in a part of the frocks and only some of the “year’s holidays” costumes need renewals.
37 min F.S. A beautiful stage setting and well selected cast, all with good voices. Good comedy and a well-connected thread with dramatic narrative. The music is especially good and original. Act has been described elsewhere, and went as well here as has done in other cities, which means that it held the central spot on the bill to everybody’s satisfaction. Closed with two curtain calls.
21 Mins.; One (5); Full Stage (16).
Robert E. O’Connor has sketch with crooked politicians and police graft collectors as the ground work. Three characters all men. The opening in “one” is the ordinary street drop of the house with a tramp carrying a sandwich sign. O’Connor as a crook meets him. and there is some cross fire principally touching panhandling operations and a general panning for organized charity. The two decide to turn a trick in a house close by. The full stage set is the interior of the home of the politician. Here they pack away the servant for safe keeping and O’Connor makes a quick change to a dinner coat in time to grab off the crooked collector of graft from the gamblers. He was really only after evidence against the politician who was the cause of his father being dismissed from the police force some years before. Of the graft money that is turned over to him he slips the tramp $2,700 to lift the mortgage on the old farm and with the checks he beats it to the office of his paper to write the expose. The comedy element is strong enough to overshadow the melodramatic quality and the playlet because of this is worth while for once around the big time at least.
“Oat of Work” (Sketch).
16 Mins.; Full Stage (Special Set). 23d Street
This is one of those bedroom acts. It is a combination of ideas contained in acts from other days. One asleep at opening, and the smothering of the alarm clock bit for the comedy—the husband who is lying abed while the wife is out hunting a job. The dialog is also familiar from old acts. A sample, “I wish I had taken my mother’s advice and never married you.” “So do I.” “I remember when we walked to the altar.” “Walked, you dragged me” With the bits from standard acts rolled into one it follows that this turn is a good one. It is in this case so good that it will make audiences laugh anywhere, especially on the small-time, which seems to be about the speed of the team. The set that is used is tack stuff, but mighty effective.
29 Mins.; Full Stage.
Claude and Fannie Usher have one of the most effective combinations of pathos and laughter that ‘ vaudeville has seen in some time. There is a great deal in the manner in which the act is played, and to say that the characterization that Miss Usher gives indicates she is starring material for a Broadway production… The scene is the office of a doctor. There is a little comedy opening and then the “kid” arrives. She relates” the story of how she is the abandoned daughter of the foot light favorite. But the chatter leading up to this is replete with laughs, and the final twist has one up in the air. She believes that she is coming to the doctor’s house to work as a servant, but in reality it is the doctor’s intention, or rather that of his mother, to adopt her. Finally it is disclosed that she is the doc’s own daughter and the stage favorite is the wife who deserted him years ago. There are but two roles, the two mothers being referred to only. The act hangs entirely on the shoulders of Miss Usher and for the full 29 minutes she holds the audience in the palm of her hand, swaying them whither she wills, either to laughter -or to the verge of tears. It was a truly remarkable display of artistry. The playlet is one that will go on forever in vaudeville and like Peter Pan never grow old any more than Miss Usher seems to.
“Blackmail”
“Blackmail” played by Phyllis Gilmore and a cast of two, man and woman furnishes decidedly pleasant entertainment. It’s a mixture of ‘melodrama and comedy, well constructed, away from the conventional in theme… Miss Gilmore, a personable blonde, with an enunciation so unusually clear that the slight tendency to staginess in her reading of lines is readily forgiven, steps out in “one” preceding the playlet proper and delivers a rhymed prolog.
“My Lady’s Face.”
19 Mins.
Full Stage.
Edgar Allan Woolf is the author of Miss Busley’s new playlet The sketch is founded on an original theme, but is written atrociously and constructed so amateurishly no one but a capable player of Miss Busley’s ability could save it from degenerating into broad farce. Miss Busley is the center of the story which revolves around a nurse who has fallen in love with an aviator during the war. The nurse is back in civil life selling shirtwaists. She is afraid youth is slipping away and decides upon a face lifting operation. The doctor Is a former lover whom she rejected… Miss Busley and her three supporting players gave a commendable performance, but a sketch doctor should be called in consultation immediately.
17 Mins.; One and Full.
Opening in “one” a woman in immigrant costume entrances to state she has just come over from the Emerald Isle and is looking for her nephew, who sent her the necessary coin to make the voyage. Enters the lad to be asked how an address can be found. Realizes its his aunt, beats her to the house which sends the act to full stage, and there reveals his identity; that he’s an actor and finally wins her over by singing Irish melodies.
“Miss Prohibition” (skit).
The girl does a toe dance, garbed in the period of 1847. Neville also appearing in 47 costume, after the fashion of the Johnny Walker ads that graced the billboards a few years ago. A sign reading Johnny Walker and talk relating to that personage gave the impression the couple were boosting the vintage.
Miss Gordon brought both tears and laughter with her melodramatic ketch, “Lullaby,” by Edgar Allan Woolf. The sketch gives Miss Gordon a first-rate opportunity to display her emotional talents, and, on the whole, contains plenty of entertainment.
