Beeman and Grace, doubling with the Palace, closed working to a few stragglers on their way out, but those that stayed were well repaid when Beeman started to skate, his bit of doing a whirl on one leg, similar to that done on ice, comes pretty close to being miraculous and is enough to put the act over in itself. It did just that.
Arman Kaliz and Co. succeeded with the flash of clothes and scenery never failed to keep everyone’s head up. The thread of the story of the “fool” falling for extravagance, drink, chance, etc. with his getting “the works” at the finish and turning to “Virtue” meant nothing except to carry along the scenes, but the girls were “there” – made so by the costumes and one or two of the musical numbers were well arranged.
It was during the pantomimic bit of an Adam and Eve number that the house came very close to reverting back to joshing. The act took several curtains and as a speech, Mr. Kaliz mentioned that this was the first of a number of production acts by him, one of which was to be for Amelia Stone and called upon the latter to stand up – she being in the first row. That was good for a few more bows.
The Misses Dennis took up the entertainment and sailed through with their harmony and four songs, pleasing mightily. Doing 13 minutes just about made it right. A sweet act that can’t miss with the girls’ appearance and voices to back it up.
Long Tack Sam and Company closed intermission. The leader was forced to see three members of his troupe take the honors away from him, at least for this performance. Those referred to are two boys on the parallel bar and the girl with her bit of juggling and contortion. The former showed enough stuff on the cross bar to make a lot of these acrobats who are opening and closing shows sit up nights thinking out how its done and practicing overtime. The boys are whales at their specialty.
Then the reception for Rooney and Bent started with the flashing of signs on both sides of the stage. On at 10:10 and continuing to go until after 11, the revue kept up continuous record of “hits” throughout the entire time, with the quintet of music “hounds” helping to no small degree. They wanted Pat to dance. It was evident that he wanted to dance and he did dance – it was enough. Just getting rid of pantomime, though, held his stepping down. Forty-five, or more, minutes of amusement all the way, with never a doubt as to the final outcome, showed that this is one of the revue class that can repeat wherever it likes.
Ruby Norton closed the first half singing four songs and easily could have provided another, but close to call it enough, demonstrating that there is still such a thing as discretion left with some acts, though they are few and far between these days. Miss Norton initiated with a short selection from “Butterfly,” then went into a number that bordered in the popular, following which a Spanish bit was offered. She called it “finis” with her alma mater – the song that she has never failed to put over – “Gianina Mia.”
Events ran as programmed, with rather a late start noticeable. It didn’t prevent O’Rourke and Adelphi having a struggle, due to the fact that they were still walking in. The girls made a fine uphill battle of it, and though it looked doubtful after a talking song, done by both, they came back strong with their late number and repeated with another encore that sent them away on the right side of the ledger.
Thomas Dugan and Babette Raymond found the closing intermission spot to their liking with their absurd sketch structure for unctuous funniments of Dugan and the quiet fending of Miss Raymond. Dugan’s smooth, unconscious fun is delightful, a neat delivery of spontaneous drollery and surprise comedy lines.
Jessie Brown and Effie Weston made a bright spot in the right place with their colorful series of dances and costume changes. They wear a million dollar’s worth of clothes, the value being in graceful designs instead of abundance of materials. The stepping is enlivening and has a wealth of variety for a two-girl combination. Gaps for changes are neatly filled by a pianist in evening dress who has a fragment of rhymed announcement for each succeeding number.
Billy Frawley and Louise, with Jack Lait’s sketch, furnish a snappy routine of talk, dance and singing that equals any combination in “one” that has come to the surface this long time. Frawley has a surefire comedy knack in all he does, and he does a varied assortment of things. Capital couple in a capital vehicle.
