Julie Bernard and Florence Scarth
11 minutes in one. Special drop. “The Tale of an Overcoat.” A rather neat little sketch played by two good performers, but hardly strong enough for a big time bill. Just passed in this spot. One song.
Gloria Foy and Co.
Song revue, one lady, one man and four children. 18 min, special set. The ‘prima donna’ has a voice that can scarcely be heard a dozen rows back, and were it not for the children the act would be a deplorable failure. The little ones are clever for youngsters, and the audience was kindly disposed toward what they did, and accorded good applause. Take the children away and there would be little left.
Phyllis Neilson-Terry
24 minutes. Open in one. Olio drop. Go to two. Prison scene. Close in f.s. Dark tapestry interior. Miss Terry was a positive hit. Last night the audience broke in with applause on her second solo before she finished it. She also gives two scenes from “Romeo and Juliet,” both of which were received with close attention and a strong hand at the finish. An artistic success.
Lola Merrill and Frank Otto
“Wards of the USA.” 18 minutes f.s. Special set. A very pretty stage setting and some kind applause lines about the American eagle are about all there is to this act. The story is one of the most insipid imaginable, and the act not at all worthy of these two good artists.
Togan and Geneva
9 minutes f.s. Garden. Man and woman in a splendid tight wire act, with dancing on the wire and a somersault by the man that is a marvel. A great act of its kind.
Alice Els & Bert French
12 min. A very spectacular dancing act called “The Lure of the North” with a marvelous stage representing a mountain of snow formed by soap bubbles. A distinct dancing novelty that registered an applause hit.
Leipzig
19 min. Has a very clever routine of sleight-of-hand tricks with coins and cards. He is a good showman and gets a lot out of his material, using men from the audience to handle his tricks on the stage. Act brought excellent results.
Four Diving Nymphs
8 min. Full stage, special set. Accomplish the usual and familiar run of plain and fancy diving in an expert manner, but, in my estimation, an act of this nature can do better in the big eight and ten act bills. Such work has been seen so often that it is rather tame and uninteresting as constituting a feature on a three act bill. The act is handicapped by our stage limitations, it being impossible for them to use all their paraphernalia, and even that which is used has a cramped and crowded appearance. With anyone’s knowledge of our stage space it seems rather surprising that such an act should be booked in here, knowing well that the splash from every dive can easily reach out at least three or four rows in the audience. And with dressing rooms under the stage a tank act becomes something of a menace.
Majorie Fairbanks & Co.
Sketch, 16 minutes, full stage, two ladies, two men. A well constructed sketch finely acted; Particularly so as respects the acting of Miss Fairbanks, unquestionably the finest emotional actress yet seen here, giving an intelligent and well-sustained interpretation of a very exacting role. The comedy is excellent, and there are times when the action approaches a dramatic intensity rarely to be had in a one-act play.
Phyllis Neilson-Terry
23 min. This famous young English actress scored a double triumph as a vaudeville headliner. She first sang “Alice Be Bolt” from “Trilby,” then proved herself the possessor of a coloratura soprano voice of excellent quality, then in to scenes from “Romeo and Juliet,” she held the house at the closest attention and finished the famous potion scene from “Romeo and Juliet” to a riot of applause. She was an unmistakable big hit.