Delbridge and Grenner sang five numbers and brought back recollections of an operatic quartet. None of the songs was overburdened with “pep,” but they like this sort of an act on the Roof – it lulls them – and they finished to enough applause for one encore. “The Mysterious Wall,: sketch, got to the house through the story it carries, but the two men and the woman who comprise the cast might have gotten more out of it. However, the act is o.k. placed where it is.
O’Rourke and Adelphi, a couple of saucy misses, found No. 2 easy and might have done more of their piano act songalogue had they desired. Miss O’Rourke, a brunet colleen with a pleasant personality and delivery, advised them she was going to spend her honeymoon in Dixie-land for her opening number, thereafter the house was heartily interested in her further domestic and social affairs. Accordingly she let them in on the secret, “My Family’s Gone Jazz Mad,” whereupon she exited for a change to allow the titian-tinted Miss Adelphi a solo at the ivories. Saucily, naively, almost daringly, she pounded “Manyana,” all the while nonchalantly disregarding a persistently sliding shoulder strap.
16 min. in 1. Two girls in a routine of songs with a little chatter. Voices only fair and two of their numbers being but “passe.” Went fair.
Merritt and Bridewell in their piano and song offering were deucing and got over with some excellent solo and duet character songs. The girl is an excellent delineator of the negro character and the girl at the piano, assists cleverly. Both make a neat appearance.
Eddie Hefferman’s singing drew attention, especially, “Winds,” when the girls were most tastefully frocked. The choristers, by the way, are all good dancers and cleverly coached. There are some changes, notably the absence of the verse billing and perhaps its use. All is calculated to lend speed to the act and that attained. “This and That” is a novelty and is pretty sure of providing a pleasing feature anywhere.
“Extra Dry” was next, while Grace Nelson with her single singing turn was No. 4. Her first group of numbers went along nicely enough without any tumultuous response from the audience, but “Eli, Eli” at the end brought a storm of applause from the Seventh avenue clientele. Miss Nelson gets some striking effects with her vocal fire works, although her operatic number was pretty heavy stud.
Yvette Ruget, with a pianist opens with a well arranged introductory medley which, including bits from “Gianina Mia,” “Peggy,” “Nobody Knows,” “You’d Be Surprised,” and “Sweet Summer Breeze,” neatly blended. Her clear enunciation, “temperament” and top notes put her over in good shape. One of the little Wilton Sisters, separated only by intermission entered into competition with Miss Rugel for vocal honors. Both the girls have well trained voices and harmonize musically and effectively. Their fully rounded tones have fine, mellow maturity.
Splendid singing act, which made its usual hit. 24 minutes F.S.
Jack Clifford and Miriam Wills offered “Jasper Junction,” brightened with new lines minus the dope number, with the usual good singing and delightful appearance. Miss Wills scoring heavily in second spot.
Rosamond Johnson and His Inimitable Five, a colored act riot, was the applause hit of the bill. The syncopated artists displayed excellent voices, especially the tenor, the act concluding with the jazz orchestra playing, compelling a speech from Johnson, offered with the same good showmanship as was evidenced throughout this highly successful offering.
