Saxton and Farrell, fourth, are doing an act modeled along the lines of the late Charlie Van’s stage carpenter turn. Only in this specialty the man in an electrician who interrupts the woman as she starts to sing. The man is an excellent type for the hick electrician presented. In fact, he’s so convincing at times that it becomes a matter of speculation whether he is acting himself or portraying a character. The woman sings pop songs pleasingly and the man gets considerable out of “Broadway Rose,” a ballad of the old style sentimental type that looks like a natural hit and a quick one.
Quinn and Caverly, the former of the team of Mitchell and Quinn (Lemon City), and the latter of Raymond and Caverly, were next to closing with a comedy talking routine that was made to order for the 23rd Street. A drop with replicas of a picture show, restaurant, etc. containing about the funniest collection of signs seen around in years, used to back up the conversational exchange, got more laughs before the team appeared than most comedy turns secure in an entire act.
The Futuristic Revue is a conventional grand opera singing turn. In the old acts of this type there sued to be three and four. In this they have eight. Four women and four men. The singing is mediocre. The three standbys of opera are given quartet from “Rigoletto,” sextet from “Lucia” and Toreador song “Carmen,” none handled over well. Leonardi, a woman violinist of ability if not greatest, as the billing outside the 58th Street stated, played two classical selections, executing each with a fine show of technical skill. The Futuristic Revue has a whole carload of scenery, which some how does not help the singing as much as might be expected. The main trouble is that there isn’t a voice above the ordinary in the act. Operatic music demands real vocal quality or else it is far from pleasant to listen to – and often painful.
Byron and Haig, third with “The Book of Vaudeville,” passed with the familiar singing skit. Betty Byron, who has replaced Miss Jason, does very well with the doubles. She looks cute and adds to the value of the act by her appearance. The grand opera travesty got something and the minuet of grandma’s day also brought good returns.
The show was opened by Edna Pierce and Hazel Goff in combination xylophone, piano and cornet offering. For some reason or other the girls seemed at odds with the orchestra, for they were either ahead or behind them whenever they got to the xylophone. They both look pretty and dress handsomely and their double on the xylophone for the finish of the act sent them away nicely.
Miss Tilton, topping the billing, was down in the closing intermission spot with her little entertainment and held the stage for 30 minutes. When she is on it is worth while, but the moment Miss Tilton leaves the stage the act slows down. One of the boys who was supposed to lead the chorus in a number did a frightful flop Tuesday afternoon. He did not know his lines and as far as anything that the number got because of this, it might just as well have not been offered. The personal hit must be credited to Miss Tilton and she deserved it.
Thames Brothers, two-man acrobatic team closed proceedings with a series of feats, simply delivered without any parade but which went for all they were worth. The closing risley variation trick in which the telescoped {rods?} are alternately elevated by the topmounter by means of graduation in the device is effective and worth protecting.
Lewis and O’Hara, next to the farewell, started with a hoked spiel about a beautifying salve, and introduced the unprepossessing Mr. Lewis as a sample of the before and after using cure with the accent on the after. Lewis then vocalized a few to encouraging results with the former Lewis and Dody ventriloquist bit, closing the at to a hurrah. O’Hara is a capable straight with Lewis holding up the feature end handily.
[New Act] Posing, 12 mins; full stage (Special Set). Nahailda poses on a pedestal clad in a white union suit, stereopticon slides clothing her as a butterfly, sea nymph, woman standing in a leafy bower, woman on a sleigh in the midst of a snow landscape, etc. The act is practically similar to all of the numerous posing turns of its kind that have preceded it in vaudeville.
Some of the slides did not fit over well at Keeney’s. This may have been because of faulty projection of the slides themselves.
Nahailda is shapely and pretty. The act may have played around under another name, although the Keeney booker stated that name was correct. With a correction of the improperly fitting slides the turn will do nicely for the small time.
No. 4 finds Jack Joyce (New Acts) a monopodia performer winning the house on merits. That, naturally, makes ‘em sit up and take notice and start the femmes to wondering how do strikingly handsome a chap met the misfortune of losing his leg, but Joyce single pedal stepping with the aid of a straight crutch is sufficient to keep him busy in anybody’s theatre as long as he wishes.
