Bessie Wynn
Bessie Wynn followed. Dressed in a beautiful gown she sang several classical selection. Her act opens in “two” and after her second song plays in full stage with a beautiful drop and an urban stage layout. She did two encores.
Gene Green
The house was applauding during the entrance number for Gene Green, who had a very tough time following the turn. Greene has cut out all his “Hebrew” stories which has helped him a great deal. Since last reviewed he had placed several new songs in the act and was forced to do an encore. The handkerchief used by Greene during his entire turn is very annoying and should be done away with, even if his hands perspire.
Sabrey D’Orsell
14 Mins.; One. Sabrey D’Orsell is billed as “The Winter Garden Favorite in a Remarkable Song Review,” but she isn’t living up to the billing. Sabrey may have been a fave at the Garden, but she will have to change her style before becoming a fave in vaudeville, big or little. Miss D’Orsell has a voice, a lyric soprano of coloratura quality that reminds one somewhat of Bessie Abott. But Miss D’Orsell possesses none of that elusive quality called personality. She impressed her audience wrongly at the start, conveying a ort of a “I know I’m too good” idea over the footlights. She is singing three numbers, opening with a Scotch number, following with another semi-classical song, and closes with “Annie Laurie.” There seems to be entirely too much of a sameness in her selections, and she could vary to advantage by the introjection of a high class ballad. She should also be coached in the manner of taking bows.
Camille Personi and Co. (2)
“Butterfly Love” 15 Mins.; Full (Special Exterior). In “Butterfly Love” there is the germ of a mighty good idea which is lost sight of before the finish. The scene is laid in Japan and quite similar to the first act of “Madam Butterfly.” An American warship is at anchor in the harbor. On a hill overlooking the bay a little Japanese maid is seated. On comes a camera man. It is discovered she is not a Jap but a picture actress. Leading man a company is sick and she has ensnared an officer from the cruiser, who believes her to be a Jap and is willing to re-enact the John Luther Long table in real life. She keeps up the illusion and holds him for the love scenes, while the camera man is grinding away in the background. After the picture is completed, the girl discloses the truth. But Mr. Sailorman is now fully entranced and a wedding looms in the distance. There are several numbers, solos and duet, but the comedy element is lacking. This could be rectified easily, for the camera idea offers all sorts of opportunities to get laughs. The act as it stands will just do for small time.
Howell Sisters (2)
15 Mins.; One. The Howell Sisters are going to make a good “sister act” for the three a-day houses. They dress attractively and have a pleasing way that should get them over. The present routine consists of several of the latest rag songs, and the girls have some good double versions. Their two best numbers are “Victrola” and “Michigan.” These flaxen-haired misses should be able to keep going for some time to come.
Clafflin Sisters
10 Mins.; Two. The Clafflin Sisters are the usual small time sister act. Some of the songs are very old and not put over to advantage. One sister does fairly well with an Irish number.
Valli Valli
14 Mins.; One. For her vaudeville debut Valli Valli, late star of “The Queen of the Movies,” probably selected the most inappropriate theatre in New York, for, strangely enough, they didn’t seem to favor the musical comedy calibre of vaudeville at “The Corner.” Miss Valli has four numbers, all ballads with a slow tempo and very suggestive of the musical comedy style. She also has a special musical director. None of the songs carried the required punch nor brought results and none succeeded in rousing the essential enthusiasm. Perhaps under more favorable circumstances the turn would connect, but for vaudeville in general Valli Valli needs more than the present billing to get over. The Majestic, Chicago, should have been her opening point for she is popular and there and her style would have met with favor. Her ability remains unquestioned, but unfortunately she lacks big time speed insofar as the vehicle is concerned.
Grace LaRue
19 Mins.; One. Just back from London. Grace LaRue opened her American bookings on short notice in Boston and while she went big, it was more her name than any particular originality in the act that sent it over as well as it went. She uses six numbers and is well gowned. Any shortcomings in her numbers are more than offset by her steps, which have increased materially in grace during her absence abroad. She has “Art” and “My Little Gray Home in the West,” “I’d Do It All Over Again,” “Love and Springtime,” “The Tango Dream” and “Panamala.” The welcome absence of any vocal acrobatics together with the addition of a new side of her singing, and of that plaintiveness, helped materially and her “Solitaire Tango” also scored. Europe has helped Miss Larue wonderfully.
Peggy Brooks
Opening the second part was Peggy Brooks, a single with an emphatic, incisive manner of delivering her songs. She pantomimes well, in addition to putting over her numbers in shipshape fashion, and is a whole lot better than many female singers in the two-a-day, but stamps herself in smalltimer by interpolating “facetious” remarks and growing familiar with her audiences. Somebody could take this girl, supply her with exclusive numbers, teach her the value of “class” and, with booming, put her over for the big time. She is a “riot” in the three-a-day and is probably satisfied to let it go at that.
Olive Briscoe and Al Rauh
Olive Briscoe and Al Rauh, in their respective actress and calciminer-songwriter roles scored neatly in No. 4. Mr. Rauh has a new “Consolation” ballad quite new and still in manuscript, that should prove a winner in published form. They closed with “In San Domingo,” a very old published number that defied detection as to its age, seemingly, thanks to sterling delivery.