Grace Wallace and Ben follow. Grace has a sweet voice, making three changes, while the two boys with her play xylophone and violin. They should try for a stronger finish, which would insure them a better spot on the small-time bills. Miss Bernard came next and tied the show into a knot.
Maud Earle and Co. were the hit of the performance in an allegorical rendition of being tried by judge and jury as to whether she is appropriate for vaudeville. According to the rounds of applause given by the jury, which is the audience, she can top any bill, anywhere, any time. She can sing, hits F above high C. Her costumes are beautiful, silks and satins. Her form is lovely and her act is a big hit.
Otis Mitchell, a single, started singing a song, which went fairly, but when he started on the old banjo he took the house. He has real stage personality and never offers a “prop” smile; he smiles in earnest.
Rinehart and Duff, two charming girls with real voices, followed. They sing songs written years ago and dress in costumes appropriate to the songs. The girls did big, although being second on the bill. They harmonize well.
Marie Russell working with a violinist, the latter being in the orchestra pit, managed to score nicely with songs. Miss Russell in working in a “high brown”make-up, carrying the illusion of a lady of color right to the finish of her act and then getting a hand on the removal of long gloves and wig. “Land of Old Black Joe” is her opener and is followed by a ballad that is put over effectively. A violin solo from the pit gives her a chance for a change, and then she offers “Broadway Blues,” “Bimbo” and finally the latest “Alexander Band” number. All told the act is a pleasing one.
Patricola gave Suratt the closest run for first honors. Her routine is largely exclusive, and the way she puts over some of her numbers recalls the old days when women singles of the coon-shouter type would occasionally tone down and put across a classic or two in the form of character numbers.
Grace Nelson followed in the sanest selection of songs that any prima donna has sung to a vaudeville gathering lately. Miss Nelson had all the high class effects – a black velvet drop, a pianist in evening clothes, etc., but she only sang one heavy number. The others were “Your Eyes Have Told Me So,” “The Sunrise Reminds Me of You,” “Buddie” and “Hiawatha’s Melody.” She put them over in a clear soprano of power and was accorded generous applause after each number.
Combe and Nevins, a two-man piano and singing turn, were confronted with the same difficulty, the late arrivals slamming down seats on them all through their act. The vocalist has a good tenor voice. The act should progress rapidly with experience.
Irving and Jack Kaufman whopped things up for an explosion opening the second part. They are doing the same routine of harmonized numbers, as offered at the other Keith houses recently, with one exception. The Kaufmans have developed into metropolitan favorites in remarkably short space of time. Their act is real vaudeville of the standard variety.
Dolly Kay opened after the intermission and sold her jazz stuff to hundred percent profits. Miss Kay’s zippy manner of delivery impresses from the start and the house us at her mercy thereafter. It is all pop material, familiar in the main, but ever compelling and novel by virtue of the soloist’s individuality.
