12 Mins; One. The Tiller Sisters have an opening somewhat different. One does a tough girl, attempting “nut stuff” with some success; the other handling the straight, displaying an agreeable contralto voice. The comedienne, changing to a pink dress, does nicely with a little song. They change to black and white dresses for the finish. A fair “sister act.” They could use new songs.
10 Mins.; One. Edna Whistler is a mighty good looking girl, who has a pretty voice, some very handsome gowns, personality and the ability to put a song over. But at present she is handicapped by a poor song routine. Her opening number gives her a handicap that she has to work hard to overcome later. Other numbers seem unsuited to her. “Flower Garden Ball,” which she is using to close is a little old but considerably better fitted to the young woman’s talent, and this number together with her stunning appearance puts her turn over nicely. With proper songs Miss Whistler should do nicely in an early spot on the big time.
9 Mins.; One. Florence Rayfield is a little “single” that will do for an early spot on the small time bills. She has a small parlor voice with a nasal twang and a cabaret manner of working.
10 Mins.; One. Coy De Trickey sings popular songs in blackface. The blackface is all right and so is Coy, but the songs are not popular enough – at least those she now employs. The second, a ballad, could be cast forth; it doesn’t belong to a girl who bills herself as a “blackface comedienne.” Miss De Trickey is more of a “Coon shouter,” and since the cake walk is coming back among the rag dances, why should not coy let herself out as a shouter, becoming the sole survivor among many of this type in the past? Miss De Trickey could improve upon her dressing scheme, and it is just as likely, too, that if she would “coonshout” in white face the girl would do quite as well, if not better, although she is good looking under the cork, which is made too dark at the present. But whatever Coy does, she should be careful of the song selection. Let these be of the best and all lively numbers. With a little care Miss De Trickey, in black or white face, should become a standard card on the small time.
15 Mins.; Full Stage. Daisy Leon is a single. She was “No. 2” on a big bill. Daisy’s speciality is songs and changing costumes. After the first summer she goes to full stage where (behind a screen with a lamp in the rear) she makes several quick changes to represent different countries the last number is a hodge podge of operatic pieces with others not so classical, which she renders in a pleasing voice. All right for the big small time with a chance at the real big time once in a while.
17 Mins.; One. On in an early spot at the Royal Tuesday evening, and suffering from a dual handicap in the matter of an inferior song routine and a frightful orchestra, Miss McDonough had rather a hard time of it. Miss McDonough is far too wise in the tactics of the theatre to continue with her present repertory of songs. Using “Rose and Tulip” for her opening number, she got away to a poor start and was unable to retrieve until her closing number. “Hats Off to You, Mr. Wilson.” While a heavy applause number, only got the merest ripple. The “rag” she is using to close with is by far the best song in her act, as far as she personally is concerned. As a single turn Miss McDonough could easily stand for two songs of syncopated measure and achieve a great deal more than she does.
Mr. and Mrs. Gordon Wilde opened the show in lively style. New bits have been added and the entire routine of the shadowists was crisply done. Their daughter is now singing a new number and she does it well. The melody is pretty and the tune is given novelty by the father dancing a shadow during the second chorus.
Miss Shone followed with her long drawn out semi-sketch and had a decidedly restless audience in front of her before finishing. Much cutting down and less loudness would benefit. Her China-girl number help her along more than anything else, due to the lyrics, mostly the “wisecrackin’” variety. The act ended fairly well, but 35 minutes too long to listen to a gal argue with her family over a beau.
Dolly Kay, next to closing had a great chance to tie things in a knot, following, 30 minutes of Hermine Shone. Everything was all set for her, but she failed to reach out and grab it. Up to 10:35, when Miss Kay came on, the show was woefully lacking in “pep,” and if someone were going to happen right then was the time. But, no, the young lady with a boy at the piano started off acceptably, after which came a decided let down, due mostly to the material. Also Miss Kay’s method of delivery could be improved, as her immediate conception borders in coarseness, and some smoothing of the edges would help considerably. Her one feeble attempt with a dialect number was poorly done and would have been better left alone. It seems safe to say Miss Kay would do well if she’d get away from the snapping if fingers and using the “sharpshooer’s” idea of hoofing, sticking to straight number, as the ability is there if used right.
Florence Merritt and Gaby Bridewell, on second, managed to pull applause sufficient for the three bows that they took, but it seems that these girls are worthy of better material than they now employ. It was only the “blues” at the closing of the act that pulled them over. Prior to that, their offering was draggy.
