F.S. Three special sets. A military, singing and drill feature. This act has gone back fearfully since its last appearance here. The girls act like amateurs. The very good solos of Louise Tozior and the comedy-singing of Maude Corbett are the only redeeming features of the production. The scenery for the special sets shows wear and tear and evidences of passing through several rain storms, apparent to the last seat in the gallery.
In 2. Time 11 min. Spink is the author of ‘Bill Simons’ and other popular songs. He sits at the piano and sings [sic] his own songs. The melodies got the feet tapping all over the house. But Spink cannot sing for it, he gave no evidence of the fact Monday afternoon. Considerable applause, however.
The strongest part of this number is the McMahon & Chappelle Specialty in one which proved to be the strongest laughing number of the bill. Too much sameness between the Watermelon Girls and the Pullman Porter Maids. The audience seemed to like it and gave them little applause. 24 minutes.
Presume the monkeys were sick today as they worked very badly. The sleigh bells and Barber shop looks like a copy from Galletti. The general pranks of the animals pleased. All the bad features of the act were eliminated when the monkey rode the bicycle to the satisfaction of the crowd, which is a remarkable stunt. 9 minutes, full stage.
Soprano singer singing Scotch songs. Miss D’Orsell is a very pretty little woman and a very good voice. The songs didn’t seem to reach for some reason or other and the act was a little bit of a disappointment. 10 min. in 1, 2 shows.
The local children, one aged five years who plays the violin quite well for one so young and one fifteen years old who is quite a remarkable pianist – both of them girls. They went very strongly with yesterday’s afternoon and evening audiences. 18 min. in 1, 3 shows.
On at 4.03, 11 min. in 1. This is the spot that I picked out for Lew Sully, but luckily I received word on Friday that Lew would be missing from this week’s bill. I must confess that I thought I was taking quite a long chance when I put Miss Vance down next to closing, but she simply walked away with it this afternoon, going much better than she did last season. She is singing for her final number the song that I heard May Irwin sing last week, ‘Afraid to Go Home in the Dark.’ It was an absolute knockout. As near as I can judge, Miss Vance’s value is largely a matter of whether she has songs suited to her style or not. When she has the real goods, she is ‘it’ for fair; but when she doesn’t, she looks as though she was sliding buck. She certainly has plenty of speed this week.
On at 3.32, 31 min, full stage. Playing ‘A Bowery Camille,’ for the first time here. I think that, next to ‘His Japanese Wife,’ this is the best offering Miss Bergere has given us. It is certainly entertained this afternoon’s audience thoroughly. I have moved it up the bill tonight, not because it was a disappointment, for it is far from that – in fact, it can be classed as a hit – but because I would rather have the weeps in the earlier portion of the bill, leaving everything clear for a fast finish.
On at 2.24, 16 min, full stage. While I do not think that these monks are as well-trained as several other troupes, still Galetti has a way of handling them that leaves the impression with the audience that their misses are a part of the act. As a laugh-getter this turn is a corker. It is possible for this act to finish in 1, for about 4 min, which certainly adds considerably to its value.
On at 1.54, 14 min, in 1, 3 shows. Two young chaps, one of whom plays the harp remarkably well. The other makes first appearance made up as a little girl of ten, but the make-up deceives nobody, for his walk is thoroughly masculine, as are his feet and legs. He changes to a boyish make-up, in which he looks much better, and dances very well to his partner’s accompaniment. The act is thoroughly all right as a 3-a-day, and I believe it would have no trouble in filling the number two spot anywhere. However, I think that if they would cut out the female impersonation, which would necessitate a change in a couple of the sings, the act would greatly improved.
