17 Mins.; One. Another “audience” act. Two men; the straight coming on and apologizing for the absence of his partner. The comedian coming from the audience, asks for his money back because he got in on a pass which he could have sold had he not come to the show. The straight invites him to the stage and after a little talk the two got into numbers. They got quite a number of laughs from the Sunday crowd and seem to be a nice little comedy turn for small time.
Full Stage (17); One (4). “Pick” – Act. 21 Mins. Act will not do in present shape. Bradly put together and entirely too talky. Robinson Brooks does a female impersonation of a “wrench” and “bawls out” her “husband” throughout the turn. Four picks try for singing and dancing. They are very bad in the former department and do not pull anything unusual in the latter.
: 23 Mins.; Full Stage. Prodigies of the midget or lilliputation size are no longer a novelty on the American vaudeville stage. Singers Midgets, a recent importation from war-bound Europe, make their play for popularity on the strength of their numbers and their versatility of the little people. The midgets combine a mixture of variety, the act making the best impression with its concerted vocal efforts at the closing on the “Tipperary” number led by two of the company. This “Tipperary” song is put over in typical musical comedy style and is a valuable asset to the entire act. One midget is a miniature Sandow and makes some wonderful lifts for his proportions. One of the older little men puts two elephants through an interesting routine. A woman does pony riding which availed little. Nine of the midgets offered acrobatics, one showing more agility than the rest. Pyramids were in the majority. After a song-violin obbligato number by the man-woman “team,” the finish came with the song. There are 17 in the company. The program says 40. The remainder may have been too small to be seen.
14 Mins.; One. A little girl who is offering a kid characterization that will fit in nicely on any small time bill. Miss Andrews is a small blonde person, looking exceedingly well in the little pink kiddy dress. She opens with a kid song that gets over nicely and follows this with a number of kid stories. Some are rather old, especially the one that ends with “Come in I tooked it off now,” but the way she tells them gives the little yarns a new sort of atmosphere and they bring laughs. She closed with another song that earned her three bows.
25 Mins.; Full Stage. This act seems to have hastily been thrown together without apparent rhyme or reason being evolved when the finished product has been turned out. It is an excuse for a small time team to appear in numbers with three girls and three boys working as a chorus behind them. The chorus is one of the bad features. They cannot sing nor dance, and as that seems to be the reason for the act, why the less said the better. The act is prettily costumed.
8 Mins.; Full Stage. This juggler, fresh from foreign shores, offers a novel idea in his line, elaborately worked out, and finished in its entirety. He has his stage set with two tables and a back counter. His act has laughs from the opening with not a dull minute. One of the big laughs is when he knocks against one of the table which collapses and falls on him, covering him with napery, dishes and cutlery. He works in a nonchalant style, thus living up to his billing of “The Unconcerned Juggler.” The act is of such calibre that it would go well down in a big time bill. Distinct hit at the Palace.
11 Mins.; Full Stage. Carlos Sebastian and Dorothy Bentley have arranged a new routine of dances, which they are offering in vaudeville. They open with “Romance De Fleur,” a rather novel idea, in which the young woman attempts to keep a red rose away from the man during a fast dance, finally to yield it to him at the finale. Other dances in the routine are the “Sebastian Stop Step,” “Valse Artistique” and the “Fox Trot.” The dances are all lively, pretty well worked out, and some of such a novel nature they call out applause during the run of the act. Turn gets over nicely.
17 Mins.; Full Stage. A little dramatic offering that seemed to get past the audience despite the principal male character persisted in acting all over the stage. Two men and a woman in the sketch. One of the men is the district attorney, the other his secretary, and the woman is the former’s estranged wife. A man about-town has been murdered in his studio apartment by a woman and the police have a suspect in custody. The D.A. is confident she committed the crime. The wife enters and pleads for the woman, stating she is certain of her innocence and finally makes a confession that she is the one who killed the “rounder” After he lured her to his apartment and insulted her. The D.A. orders the police to free the woman they have been holding and he and the wife sit down for a long talk at the drop of the curtain. The act has possibilities but the present company does not make the most of them.
: 21 Mins.; Full Stage (Special Set; Interior) “Married.” Homer Mason and Marguerite Keeler offer a remarkably clever playlet, entitled “Married,” as a sequel to their “Lost Key.” Not only is the ideal novel, but the acting is refreshing in every particular. A feminine aphasia patient gets into the room of a hotel. A burglar who has entered before strikes her on the head which brings her back to consciousness. She rings up the doctor. He tells her to go to bed and wait for him to visit. The burglar, who has been hiding, attempts to slip out unnoticed, but a key is in the lock and the man himself appears intoxicated. He imagines that he “sees” things, when he discovers the woman’s clothing and later the woman herself in his bed. He reaches the conclusion he has married her while under the influence and didn’t remember it. The woman awakens and screams. He pacifies her by saying they are married. A blow on his head from the burglar’s sandbag sobers him. He attempts to reason out where he married the girl but to no purpose. She wants to dress, but the burglar has made away with the clothes. The man offers her his overcoat, and they talk it over. The talk is remarkably well done in a clever and refreshing love dialog. The burglar again tries to escape and is captured. While the man is holding him the doctor calls up. Pell (Mr. Mason) answers the phone and tells the doctor he is married. He informs them that such is not the case as both have been in his private sanitarium until a few minutes before the episode in Pell’s room. Pell requests the doctor to send a minister. The burglar proves to be a kleptomaniac minister and Pell has him perform the ceremony. Mason is excellent. Miss Keeler has a charming piquancy that goes well with her naïve work in the love scene.
9 Mins.; One. Sam Soder has adapted Harry Breen’s idea to suit himself and his talents and is presenting a rhyming stunt on the small time which he works straight. He is very bad on English, and this, with his poor personal appearance, makes it rather hard going for him at first. After the audience gets what he is doing, he passes nicely. His offering is one that is essentially small time.
