Maud Lambert and Ernest R. Ball held forth in the deuce spot in rather flippant style, after the orchestra vamped and re-vamped a couple of times. Per usual, Ernie Ball’s medley of past pop hits k.o.’d them, although the spot was very early for the reputation of the act.
Little Lord Roberts, with the assistance of a man in Santa Claus garb and a special setting, sang five songs, most of these being parodies of popular numbers, with a short dance following each of these and a change for every song. He copped the applause honors, but not on his merit as of old.
Nora Allen and Company, her company a short, chubby man at the piano, not even getting a chance to show himself up, just pleased. She has a voice worth listening to, but sings four selection not of her style, and could do much better with numbers that are of her {bra?}; however, she closed singing “The Love Nest,” taking her off successfully.
L.Wolfe Gilbert, third, started the tying-up process which thereafter became more or less chronic. With a pianist and his pseudo usherette, Gilbert let loose his clutching ballad-selling pipes and wowed the spot.
Santley and Norton came forth after the long-winded interruption and proceeded to do it all over again with their melodies. They let ‘em have it for five songs, working neatly all the way, repeating with one encore which could have led to more had they so desired.
Jean Granese, next to closing, in her first song was somewhat out-voiced by an orchestra that seemed not only in her number, but with the others inclined to play entirely too loud. As it was the comedy antics of the two “wop” comedians before they reached the platform were sufficient to forget what transpired. The turn was cumulative in fun-making, and the efforts of the trio combined were received with entire satisfaction.
Following intermission and the “Topics,” which handed a laugh, Cliff Nazaro and Darling Sisters settled a restless audience, but were over with the first introductory song of the small fellow. He shows throughout the influence of Al Jolson, not only in his songs, but in the rest of the delivery, and a curious pathos in his voice in the second number drew the audience to him. On top of that the harmonizing which followed by the girls made for a sweet moment. Altogether they were exceptional for this spot, and while the conductor waited for prefect silence for the act to continue a ragged applause forced another bow on the part of the trio.
Princeton and Watson held next to closing with ease, a few of their gags missing in getting laughs. Princeton exhaled his slang that appealed to all. It seems strange to see Miss Watson doing straight, not even singing one number, when she had worked so long to establish a standing around here as a singing comedienne. It looks like a good single gone to waste for half of a fair double, though the act did very big.
Neapolitan Duo, two Italians (male) who look like twins and say they are, might have camouflaged the billing and gotten a surprise, as they look and sing just the same. As it was they sang one by one and then together, just fair, with homemade voices and street-singer clothes.
Maude Lambert and Ernest R. Ball were a riot opening the second half after the “Topics of the Day.” There is nothing like the singing of one time popular songs by the writer to stir the listless palms of a vaudeville crowd. This pair make their act a family party, in perfect good taste and done in a spirit of agreeable intimate badinage that communicates itself to any audience. They somehow seem to convey across the footlights the atmosphere of “regular folks.” Stage women of ample figure might do well to study Miss Lambert’s scheme of dressing. In the last gown she wears she is a picture of stateliness where a single wrong line might easily have given the impression of bulk.
