19 Mins.; One and Full (Special Sets). F.M. Barnes, Inc., of Chicago has done very well on its maiden attempt in vaudeville productions. The eleven “American Whirlwind Beauties” made their initial bow to a good audience at the Grand Monday night in a bill that contained a lot of comedy, with a big girl act preceding them. The Three Kelcey Sisters are responsible for the leads, and their work proved a good buy for the producer. The Kelcey girls are clever. They sing well, are wonders in acrobatic terpsichorean work, and one does a comedy number in “one,” during a course of the act – and, in all, they demonstrate surplus versatility. The act opens in full stage with a snappy ensemble number. Eight of the prettiest and most graceful chorus girls recently seen in “girl” acts show here. The girls were bunched bit too closely in thus number, but it’s lively, and gave the act a nice start. The act is unusually well staged and costumed should prove a very acceptable feature for the biggest small time.
Fred Heider, a tall, angular youth with a pair of legs that should eventually land him somewhere better than the third spot at Hammerstein’s, for a brief moment showed a flash of ecetric dancing from that threatened to put his turn up among the big hits, but the flash was brief and the balance of the act lacked the required kick and class. The opening, showing Heider and Miss Raymond as street urchins wondering how they can make the amateur show, is very much “small time” and gives the pair a weak start. Following is some dancing and a character song by Heider that is still more convincing of undeveloped talent. The girl dances well, but the turn is shaped wrong for best results. Heider will bear watching, but requires direction and material. Through hard work the couple pulled a fair share of applause at Hammerstein’s under hard circumstances, the handicap of the spot being obvious.
[New Act] Singing and dancing, 6 mins; full stage. Mixed couple. Man in evening dress sings, while woman dances, in Turkish harem trousers costume; both dance; she off for change while he sings Irish ballad in green spot; he off while she dances in short skirt to an old Sousa march; he back with silk hat for another ditty; she returns in lengthier dress, both sing and prance. He finished up their exit with good “plange” steps.
Josephine and Henning closed the first section with their song and dance routine. It is effective. Following “Topics of the Day,” a Babe Ruth reel showing him in action was exhibited. It looks like a pieced together affair and not as effective as its billing would have us believe.
Bonner and Powers were well liked. The female member is a beautiful blonde, who seemed tired out at the last show. She wears her costumes like the prima donna of a big production and dances very gracefully and sings very prettily – but the song she sings should be fast number instead of a ballad. It slows it slows up the act.
Laurel Lee, sweet and petite, grabbed off all honors at the Palace this week. She is rapidly climbing – and how the girls attending the matinee envied this miss and her gorgeous costume. The act opens in “two,” with a table and fancy painted telephone for a “prop.” She can sing and dance, and she does everything neatly.
Fay Marbe (New Acts) made a distinct impression following. The 81stStreet is a soft spot for classy women and Miss Marbe walked right in and made herself at home. The well-dressed prosperous looking audience gave her generous encouragement.
Lois Josephine and Leo Henning closed the intermission, with Earle Browne accompanying them at the piano. The turn fared well enough, though more dancing seems natural from the team. The routine of songs is reminiscent of musical comedy.
Kranz and La Sale were big in the following spot. They had nothing new in the way of numbers and La Salle’s dancing figured largely, as usual. In doing the George White imitation he tore a big gash in his trousers; so White is due to receive the bill for a new suit. The compliment paid White in the announcement of the number ought to entitle La Salle to collect at that. The latter inserted a laugh in naming one of the songs, which, he said was called “I didn’t like her furniture, so I left her flat.”
Florence Tempest, assisted by Allen and Allen, with George Harris at the piano, easily carried the class laurels. Miss Tempest, with her soothing voice, dances, and her pleasing personality, makes an impression on the audience, getting big hands after each number. Allen and Allen sing and dance their way through the act and are called back several times.
