Next were three colored performers known as the Dewey Trio. This act must be new and needs rehearsing. The straight man appears in an evening dress suit – which must have been in the days of Primrose – and can easily be used by the comedian. The songs are not of the type that should be used by this act; they should use comedy numbers.
Maud Earl and Co., their, attracted immediate attention with the class of singing turn. Miss Earl, although suffering from a slight cold Monday night, noticeable in the higher register of her voice, did the “Traviata” aria effectively and earned heavy applause with “Macushia,” a pretty Irish song. The finish with Miss Earl in knickers made a neat contrast for the classical stuff that had gone before.
The headliner of the bill was Edna May Foster, who is the daughter of Ed Foster, who also appears in the act, as well as Mrs. Foster. Although not billed they put over a hit. Edna May has a sweet voice and dressed in a beautiful costume was well liked – but after Foster makes his appearance known in the orchestra pit as the drummer the act began to pick up – and the scream of performance is Mamma Foster making her entrance down the aisle of the theatre, grabbing her husband her husband by the ear, and “yanking” him from the theatre. The act was the hit of the performance.
Sassy Lillian Gonne and Bert Albert, offering “On Their Way to School,” won a hit in the fourth spot through Miss Gonne’s “nut” stuff. The Misses Shaw and Campbell passed fairly well with a song and piano routine, each talking a turn at the music box and alternating in the warbling.
Grace Nelson, pretty fair looking blonde, built in fine proportion preceded the closing turn, offering a song repertoire that could be improved upon. She has a high soprano voice, therefore should be exceptionally careful in the selection of her material.
Margaret Young sent over the lyrics of her numbers so incisively the house could not miss them. That did a lot for Miss Young. Her chorus girl number conflicted a bit with a song in the Melville and Rule turn that followed. Then came “Ye Song Shop,” a production act, with Charlie Wilson next to closing and “The Rose Revue” closing the performance. No picture the first half excepting the opening films.
Myrtle Moore Trio, two male and one female, start something that they don’t finish, although there are lots of possibilities. They lack the real punch. The piano player for no reason at all plays the “Rosary,” which doesn’t mean a thing to the patrons, but when he brought out cornet and blew some “jazz” the audience decided he was entitled to applause.
The Moore Trio need several suggestions, one being the gown worn by Miss Moore, which is very old would help, as all the special songs would help as all the special songs meant nothing to the restless patrons.
Gillen and Muleahy, the former a pianist of no mean ability and the latter possessing a bass voice that would break a pane of glass, followed the regular news of current events, and judging by applause they were well liked. They were not bestowed with more honors than they deserved, for the couple were endeavoring every minute to put things over. They look like a team who enjoy work, knowing that they are out there to please the general public, not themselves.
Leonora Kern was second with songs, violining and some nifty wardrobe. This girl reminds one of Irene Bordoni and has one very Bordonish number sung in a French accent, with a nifty knee-length costume to match. She possesses quite a voice and is also a clever musician. Her last number, “Listen to the band,” he got over with very little help from the house orchestra. It’s a nicely arranged single and Miss Kern looks fast enough for the best company.
Alice Sheldon and Lucille Daily, two little women with good personalities and no exciting looks, wandered amiably and fairly until their closing number, “Sweetheart Blues,” which knocked the house edge-ways.
