The show for the first half was appreciated thoroughly. It had a comedy punch that landed several wallops. Harry Hines, who is headlining in the Loew houses, occupied the same spot. They “caught” Hines on his first number and his chatter thereafter registered regularly. The routine appeared wholly intact, as when first opening for Loew, with song-plugging finish exactly the same. For the number, need for encoring, Hines allowed the warbles to work entirely alone, clowning a bit only at the finish. Hines went off a real hit.
Alexander and Mack, a pair of comedy tramps singing parodies exchanging old-fashioned wheezes and generally remindful in the frame-up of their turn of the type of doubles popular in Tony Pastor’s day years ago, cleaned up, next to closing.
Barry McCormack and Co. were right at home down here with their light comedy Irish sketch and Mel McCormack’s singing of Hibernian love songs. The act has made big strides since seen at the Prospect Brooklyn several weeks ago. It kept ‘em laughing throughout at the 23d [sic] Street, taking five legitimate curtains at the finish, a well worked and effectively lighted vocal number.
Armstrong and Joyce, a pair of boys, one at the piano the other standing by. The fellow at the piano has the edge but the other puts over a ballad in good style, although he “booted” the song at the finish by attempting to hit a high note which he missed. These boys could improve by aiming for naturalness. Some of their comedy numbers are of the “home-made.” The team should develop with proper material.
Walsh and Austin are a mixed team of young folks who offer a line of chatter and songs. The man could improve his comedy by getting more action into his work. The blonde girl makes a nice appearance and is an acceptable straight. Their talk is above the average and the man sings well. “Sweetheart Blues” sent them away to a good hand.
Frank Kellam and Virginia O’Dare, next to closing, secured a hit. Kellam’s nut stuff elicited big laughs throughout, and Miss O’Dare, alluring in short costumes, proved an excellent straight, displaying a fiend voice in the song numbers.
The heavy task of next to closing fell to Panzer and Sylvia, two men one doing comedy and the other a policeman. The policeman makes his entrance through the audience. After singing several numbers and telling a lot of wise cracks: new and old, they do some very good hand to hand balancing, putting them off to a good hand.
30 Mins.; One (Special Drop) and Two (Semi-Circle). Josie Flynn and Misses hail from Philadelphia. Miss Flynn and a woman of more corpulent proportions appear in blackface. The other girls fill in the semi-circle. There’s the usual minstrel routine with individual song numbers. The songs by two willowy blondes, one who showed “hoofing” ability, were heartily encored. Miss Flynn is the busy bee and she carries most of the act. Act pleasing with strength lying in the novelty of women working in blackface.
[New act] Comedy and songs, 14 mins.; one. Last winter Ned Nestor and Olivette Haynes headed a revue. Out by themselves they have framed a skit routine called “Her Guardian.” Nestor plays straight, Miss Hayne doing an eccentric comedienne throughout. The opening talk hinges on the young guardian’s threat to marry her off to an old professor, the cross fire working up a tag line, “Get Out.” Nestor singled with a lullaby, the words of which were parodied, and he sued a pillow to represent an infant. He dodged the high notes in the number, but yodeled rather well. Miss Haynes had “Im a Darn Wise Kid.” Her clowning drew giggles and she shaped up as a promising eccentric. On next to closing the act was well liked.
Rhoda Bernard took up the running, opening intermission, getting little with two published numbers. Her third was a “wop” song, the dialect being off. Her dialect with the finale, a Yiddish comedy lyric, was better, though it was not especially well chosen. Miss Bernard will fare better with a brighter routine and something newer.
