Dooley and Storey had the place following the long production, and it hurt them. They have a laughing start, entering in a go-cart (Miss Storey) and dumped out by Bill Dooley when she refuses to give him a kiss. After that Dooley does a lot of things, from Bill Roger’s lariat throwing to Bernard Granville’s dance, and make them like it. Miss Storey is a cute youngster, who works well with Dooley. Dooley only needing an excuse to do some of the thing he can do, and he does them all quite well.
[New Act] Horizontal bars, 7 mins; full stage. Featuring a full loop from the third bar placed higher than the others and done on a trapeze swung from it, worked up similar to five stand tables bit, the innovation as “invented” by Felix fails to be novel enough to pull the act up above an ordinary opener for the thrice daily.
Assisted by a woman whose one contribution is a bit of rope skipping, the male half of the turn does the swings on the remaining two bars, interspersed with some talk that was hardly distinguishable and relying on the eating of candles for comedy.
Milt Collins preceded the Rice and Ward turn, doing his Cliff Gordoning that had an uphill battle from the start, due to about a quarter of the house changing seats with those who had been standing, After the switch in locations had been accomplished Collins was given the attention he needs, and though far from the finished monologist Gordon was, nevertheless handled his material well enough to register solidly.
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.
Rise and Ward made themselves decided favorites before leaving, the girl with her six imitations and the elderly man with agility, which assuredly is remarkable for one so advanced in years, and his clowning, Well over the line, accorded a reception on their entrance and receiving that mark of approval which is probably the last word as to putting the O.K. on an act, clamorous applause and whistling from those on high.
Long Tack Sam furnished the first substantial outburst of enthusiasm with his troupe. He himself scored through his versatility, the girl and her contortionistic work, and the boys on the bar, who still remain about tow jumps ahead of any of the others at this style of gymnastics.
Emma Francis and Harold Kennedy opened the show, though listed for the closing. The turn’s billing held a third name, that of Rosewell Wright, but the latter was not present. That may have been why the routine appeared sketchy. Kennedy’s song attempts were successful only with a “souse” number about moonshine, but he showed something with his eccentric dancing. His gag anent lying down beside a drunk instead of helping him up was long ago employed by William Macart. The dancing bits of the turn were easily the best with the vigorous work of Miss Francis standing out.
Mattylee Lippard, a very pleasant golden-haired songstress who has recently come up from the southern time, went over very well on second. Miss Lippard got better as the act progressed, and she won an encore, taking the place of Dave Dillon at the piano for it. Something a bit stronger for an encore bit might be chosen to purpose by Miss Lippard.
[New Act] Animal circus, 10 mins; full. A man working five monks in a full stage set with some circus apparatus. The usual routine. One of the monks is rather tame and permitted to wander out into the audience. This makes for comedy and detracts attention from the animals on the stage. The act is a fair opening turn for small time.
Sarah Padden, scheduled for seventh, appeared third in Ann Irish’s work. “The Cheap Woman.” When the turn opened some weeks ago it carried a special set which seems to have been shelved. “The Cheap Woman” shows Miss Padden in a new sort of role in vaudeville. It is a far cry from the indelible characterization she created in “The Clod.” The new turn no doubt appeals more to the feminine, but in it there is not the power of the old playlet nor the opportunity for Miss Padden. Her present support is Betty Brooks and Henry English.
