Made her best score with “We Must Have a Song to Remember,” which introduced favorite melodies of other days. An attractive assortment of costumes, with a green spangled creation standing out, helped the general effect of Miss Fredericks offering considerably.
17 Mins.; One.
Here is a team of men that is due to be seen on the big time. They have appearance, personality and voices. The opening is a novelty. One appears and starts with an operatic aria, the other joining him and then as the audience settles back into their seats prepared to receive a dose of the classical, the two switch to syncopated melodies and everyone sits up again. One does a solo “When My Baby Smiles at Me” being the number after which “Budaha” is offered” as a double, then “Daddy You’ve Been A Mother to Me” is rendered as a single with a yodel double at the finish. For an encore they did “Dardanella.”
10 Mins.; Fall Stage (Special Drop).
Three men and two women in native costume open in full stage grouped around a table. A drop is the exterior of a cabin with the Alps in the background. A double-necked banjo and a native stringed instrument are played by the men. A girl introduces one of the males as a medal winner of a Neuf Chatel yodeling contest A couple of ensemble vocal numbers and folk songs and a native dance done by the younger male and the two girls complete the offering. The ensemble vocalizing was off key, one or two of the male voices sounding flat. There isn’t a big voice among the five and the act is only mildly entertaining.
George MacFarlane did six songs and told one story, the latter a sure-fire Irish yarn, delivered In a manner that will easily solve the question if Mac’s vibrant baritone ever goes back on him. “Bye Lo,” a lullaby, and “Let the Rest of the World Go By” were the pick of the repertoire.
9 Mins. One.
Miss Vallance is a niece of Lady Lauder. She is a presentable Scotch girl of wholesome and buxom type.. She sang three songs in full stager following her distinguished uncle’s method of walking about and attempting to fill a whole stage, leaving the orchestra to repeat her choruses while she was making changes, and using Scottish stuff exclusively in costume and lyric. Her first song was too native to be intelligible to a mixed audience. Then she sang “Comin’ Through the Rye” and “Annie Laurie,” revealing a stout pair of lungs and a comely pair of limbs and little beyond these. The young woman has a heavy personality and a shrill, metallic voice, sometime off the key, often unmusical. She revealed no high moments and no falses of individual talent or even high technical culture. She would have a hard time, selling her single in the open market, though she may find a niche in musical comedy or get by neatly with a partner, one who could lend comedy, of which she is utterly devoid. Her appearance is an asset though when she becomes lost on a full stage, she looks ill at ease.
15 Mins.
Mr. Regan, of very good appearance, is an Irish tenor. He landed strongly with the opening number, “When Kelly Sang Killarney,” and was Just as good with a number telling of an Irish lad who was buried ‘neath the poppies in France… There were two encores, with “Mother Machree” the finale… Mr. Regan has a selection of numbers somewhat different from the run of others, which helped make his songs more welcome. He is a singer of power and should win his way to the better bills with ease.
16 Mins.
Albemarle, Brooklyn
Miss Earl enters and following a brief Introductory, in which she mentions her former act and tells of what she will do in her present turn, she sings the Jewel song from “Faust.” This is sung in French, splendidly phrased and delivered, and marked with a sense of musical expression that makes the number delightful to listen to. A short bit of rhyme precedes her next number, “I Hear You Calling Me,” which is pianologed in part, orchestral accompaniment being used for the latter portion of the song. This number is also delivered with a keen perception of values… Miss Earl was very well received at the Albemarle, where audiences, through their scarcity of numbers are more or less cold. “Speeches” are few and far between over here, but Miss Earle received sufficient applause at the conclusion of her specialty to justify one in which she said the act was but a week old.
Two sopranos (one at the piano) and the third sister a contralto. Although using popular ditties they are straight singers, depending mainly upon harmonizing to score. They know how to sing but their voices are not sufficiently out of the ordinary to warrant any demand for the act beyond the three-a-day. Unattractively gowned, their hair not done up attractively and amateurishly made up (no corresponding in facial coloring), they go through a pleasing little routine and retire without registering anything but a negative hit.
Special Drapes and Drops.
The interlude begins in “three” with a pianist and a male assistant (Frank Shea and Jack Kennedy), first indulging in an Introduction to the final bars of which Miss Herlein enters singing a ballad which admits of a display of vocalizing. Mr. Kennedy then kills a wait for the changes in the “Clothes” song which follows “A Wild Girl from Yonkers,” with a comic trend is next, after which the curtain is lowered and Kennedy does an eccentric dance in “one,” after which comes a novelty bathing number called “Swim,” with a seashore drop, special curtain for effects and a neat disrobing moment that reveals the splendid proportions of Miss Herlein, proving that she has been holding out or hiding out on vaudeville these many years. The bathing bit makes a nifty closing, flash to an act that is replete with the essentials of a progressive “single.” It is almost safe to assume Miss Herlein will find a welcome pathway for* her latest turn.
12 Mins.; One.
On her first big time Broad- way appearance in several seasons, she performed with assurance and success. The comedienne bowed in well prepared with exclusive numbers. There was an’ old fashioned number for the opening, “Days of Old Lang Syne,” rather nicely done. She changed for a widow number, quite a change of pace. Miss Suter was vivacious, handling the lyric cleverly. So convincing was the query “How would you like to have and hug me,” that a loud sigh escaped from a man down front and the house giggled… The program billed her as “sweet sixteen,” but Miss Suter appeared to have bettered that mark. She is a bit plump, kidding about that. Though the billing, too, mentioned her southern personality. Miss Suter has a Frenchy dash to her eccentric way. Showing throughout a willingness to amuse, there is little doubt that Miss Suter will rate as a standard.
