With the exception of Mae and Rose Wilton, second turn, the full bill are recognized as seasoned performers. The Wilton girls harmonize vocally with good results, one of them warbles an operatic selection with a flute obbligato, then adjourns to the piano to play an accompaniment to her sister’s fiddling: they sing some more and one does a bit of a toe dance. They were well liked and give every indication of talent, but they could stand for some drilling in the science of stage presence.
Next to closing Grace Nelson scored heavily with “Eli, Eli” well chosen for the Hebrew holiday. Miss Nelson is going in more for the concert style of numbers than heretofore. She has everything, personality, appearance and a tuneful soprano voice, used perfectly.
Ed Healy and A. Grossman drew the hand hit of the show. Grossman is a popular local entertainer of the haleyon nights and Healy is known hereabouts, too. It showed in their reception. They worked speedily with songs. Healy at times taking the piano. Both boys have fine pipes of the typical rathakeller act order, Grossman being the light man and Healy the balladier. An unexpected panic came with a whiskey bottle for a prop and a medley of farewell songs as a requiem to the hootch, following some 30 others that did about the same thing, but working up a pitch of enthusiasm as though the idea were new.
Charles and Cecil McNaughton – a gray-haired man with a quavery but powerful ballad voice and a buttery li’l cutie who can’t do much, but who looks good enough to take home – did nobly and finished well with surefire song combine.
Esther King, the prima donna, had a beautiful voice and wears some very pretty gowns and knows how to wear ‘em. The chorus girls are worthy of a mention as they work real hard, and are about 100 per cent. The costumes worn by the girls are original in design and looked new, something seldom seen at a stock company table attraction.
Toots Kemp, who played a double role, shows some real class and well formed limbs. She “peps” up the show when she sings her numbers with the pretty sixteen behind her.
This [applause] seemed to be further borne out with the arrival of Edith Cafford, with her singing single with piano player assistant. She, however, cleaned up a legitimate hit and practically stopped the show again, being forced to make a speech. Her “Simple Mary Ann” and “Weaker Sex” numbers went over in great shape, and “waitin’ for nothin” served its purpose as an encore offering.
[Fallon and Shirley] passed nicely and Sybil Vane hung up the hit of the show closing the first half of the bill. Miss Vane was never in better voice and was forced to sing her full repertoire and some old melodies for an encore. An excellent piano solo with some clever fingering was contributed by her unbilled pianist.
Patricola picked the running up instantly after the intermission and the Topical picture which made a break requiring an especially strong number to generate speed. Patricola’s routine gets away to a fast start and works up nicely to a climax in the Irish number. They called for two extra songs Monday afternoon and then didn’t want the singer to go.
Bob Nelson and Frank Croning possessing excellent personalities disclosed dexterity in handling published numbers that should place them at the top of the male singing piano turns. It was a hit next to closing.
