Frank Hurst did well just ahead with several songs, a couple of tales and brief recitations, which is new and doesn’t get anything. Hurst is trying to get away from the straight singing effect and is over-anxious to add variety to his turn. A recitation might do the trick, but not the one used at the Palace. His opening and losing numbers are a legitimate introduction and a get-away, and remain the strongest of his numbers.
Billy Smythe, assisted by a dainty pianist, sang a few seemingly unappreciated songs and closed with “The Americans Are Coming.” With this and the orchestra playing “Stars and Stripes.” Smythe got hand.
For some unavoidable reason there was a stage wait between Swift and Daley and Harry Girard and Co. There are several new members in the company. The act falls short being a good on at this theatre, as it deals with a totem pole – and very few people know why a totem pole existed in the Far North. The male members have good voices and are all show men – but why play at the Hippodrome when people don’t seem to understand what it is all about?
Kellam and O’Dare promised so much and gave little, proving a disappointment to all. Kellam is an elongate comic with a peculiar style, nimble feet, a natural funny face, and a fairly good voice. He has a style that is all his own of putting over comedy, while his partner.
There was a well balanced show despite the absence of Carl McCullough, out with sore throat, and Rose Lee Ivy substituting, giving the bill a couple of single women. Miss Ivy, placed second, displayed excellent voice with ballads at the outset and the close of the song routine. It received big applause, but not so well with the intervening comedy numbers, encoring with an old-time darky song successfully.
Boland and DeVarney, two girls, offering a routine of songs before a very attractive drop followed the opening turn and demonstrated their worth for the small time houses. The girls have an excellent array of costumes, In fact their last change virtually resembles the one-piece bathing suits.
Whiting & Burt with their “song savings” closed and held them in a body, accepted one encore and could have done more. “Pretty Little Cinderella” was indeed a pretty conceit and scored exceedingly. Miss Burt is a pert miss with a vivacious though modestly restrained style that wins her audience completely. George Whiting, of course, can outsing any of ‘em with a published number. The duo is doing “Bimbo on Bamboo Isle” in a manner which will ever keep that number fresh and new. It is in the nature of a “hick” conception and a scream from verse to punch line.
Norah Bayes, headlining and opening after intermission, was the big noise of the night, singing six numbers, all nicely varied and delivered in the inimitable style that made her a vaudeville personality. She landed a knockout on appearance alone, having taken on just enough weight to give her a well-rounded healthful appearance. Miss Bayes did 29 minutes and could have made it an hour had she desired to.
Boyce Combe did remarkably well third. His pianist, too, was greeted with uproarious applause for his solo, and was forced to respond with an encore. Combe’s “sneeze” song is still his best, although he has added several of more than average weight, one. “Burlington Bertie,” being quite different and artistic, withal.
Then came Dunham and Williams, and these two two-hundred pounders proceeded to mop up their clever act. Both these men can sing – one with his large voice was forced to take three encores for one number. The act finished with the boys taking several bows.
