10 Mins. One.
Arthur Fields has a rep for making phonograph records. Ho has appeared in vaudeville before. Now he goes in for straight singing only. His selection of songs at the present time carries little weight, his strongest is a medley of former hits with “Nobody’s Baby” used for a closer having some worth. Fields’ voice is a big asset and with the proper numbers should place him as a sure Are hit feature for houses of the American grade.
Mr. Paulus has personality, some magnetism and an engaging stage presence but is immature in the desires of vaudeville. Tricks are necessary to strike the mass which composes the major portion of the audiences. Minus these tricks the most silvered tones fall into the despond of inattention.
13 Mins
Two males, colored, one in loose fitting evening clothes for comedy. Open with song double harmonizing off stage before entrance, showing pleasing voices. Crossfire of old material is followed by another double song, also well harmonized. Next the straight solos a ballad, exhibiting a clear soprano, followed by more crossfire dialog of weak material, with another double song for the finish.
25 Mint. Full Stage.
… Miss Franklin holds to style in presenting character songs. It is her forte. Her cash girl number at the opening may not be new though it sounded so. There came second a kid number, “Dirty Face.” Her costume of red kid stuff was heightened by a huge green bow that held her flowing famous red hair. The lyric was kid logic to prove that faces are faces and “necks Is part of your body” and therefore not necessarily washed with the face. Miss Franklin was a chorister for her third song, with humor and blase logic of the girl of that class about to marry an old party. It was called, “When the Broadway Wedding Bells King for My Daddy and Me.”
Two male and two girl singers with cultivated voices; costumed in Arabian attire. The repertoire consists of an ensemble, classical opening, disclosing good harmony, followed by one of the girls soloing “Old Virginia,” another ensemble and an encore.
14 Mins; One.
Opening with a standard type of ballad semi -classical but pretty and splendidly delivered, the rest of Mr. Comfort’s repertoire included “My Dudeen,” an Irish folk song, “Bells of St. Mary’s,” a ballad, and “I Hear You Calling Me.” the latter perfectly phrased and expressed. An encore justified by applause that came from every part of the house brought him back for “Irish Eyes of Blue.”
13 Mins.; One
If Gladys Moffatt were not quite so conventional—piano, piano player, colored lamp shade and chair. She opens in a dim light, wearing a hat. The turn is about half over before the audience really knows Miss Moffatt as she is, a very good looking girl with auburn hair and a real charming one in appearance when smiling. Miss Moffatt sings a range of numbers, from pop to rube and yiddish, and has a voice to do it with, besides a certain personality that too infrequently asserts itself. She also holds in on the vocal thing, not pressing her voice, to the disadvantage of the numbers. A ballad and a good one was about the only song for voice extending.
Bartram and Saxton opened No. 2 with opera, but quickly, got down to “Whispering” and a popular routine. One of their numbers seemed in a tempo far too slow, but the men finished up strongly with the yodel finale. This act is a neat singing ‘ turn, fitting the spot well, but it sounded as though overzealous friends were working their hands at the close.
12 Mins.; One
A dark, stately Italian type of woman possessing an excellent double voice that in quality sounds as strong in one range as in the other. and using both to advantage.
25 minutes in One. Advance hand. Among Miss Tanguay’s songs are “The Penny Song”, in which she throws Lincoln pennies to the audience, “The Tanguay Rag”, “Give an Imitation of Me”, “Who’s Loony Now?” and “I Don’t Care”. Miss Tanguay worked hard both matinee and night. She is the same old Tanguay, and took both house by storm, receiving numerous recalls. A tremendous hit.
