The nearest approach to the biggest score – and even that might have been improved on – was in the appearance of Rose and Lee Belle, a sister act, who disported four songs with highly agreeable harmony, opening the second half after intermission. The blonde, despite an overdose of make-up, showed personality and was able to put over a song with the added suggestion of a shimmy – but not overdone – which really woke up the audience into bigger applause than had been accorded any other turn. The one at the piano is as much of a factor in the turn’s success as her teammate, using a soft voice and is able to keep the orchestra in time with some fair piano playing.
Jean Granese and Co. is an audience act. Miss Granese uses two “wop” plants, the frame-up resembling the Frank Sabini act and also Al Shayne turn. One of the “wops” in the Granese act has a tenor voice that suggests grand opera, and which will advance its owner rapidly when he learns how to use it properly. Right now he strains too much. Miss Granese delivers her numbers easily and with nice stage presence. Several duets with the other audience plant playing piano accompaniments stopped the show. It’s an excellent singing turn and the earlier section holds plenty of sure comedy.
Dorothy Wahl, second, entertained with a repertoire of pop numbers. Her routine is pleasingly varied and runs mostly to comedy. A pianologued number and a travesty prohibition recitation, paraphrasing “Paul Revere’s Ride,” were especially well received. Just to show that she is versatile Miss Wahl includes a short dance at the finish.
“Rounders of Broadway,” the late Bobby Matthews’ old act, to which his widow now has the rights, while missing the originator, still retains enough interest though the display of the four types used with the “rounder” as the introductory character, to hold its own and should be as strong as ever out of town. The singing of “Chinatown” is no more in the act, and it sis a bit that is missed.
“Reckless Eve,” the girl act, held the stage over an extended period and amused most of the way, but showed a tendency to let down ever so often. Finished nicely, however, and should register in the smaller houses. Succeeded by Hanlon, and in turn came Green and Dean, warbling six songs that showed up next when the pianist got away long enough to do a selection on an accordion. An uncalled for encore hurt the male double more than anything else. Might be o.k. if warranted, but not under the circumstance they faced Tuesday eve.
Bert Hanlon, No. 4 “cleaned,” following the rather long-winded playlet of “reckless Eve.” A few new bits have been added by Hanlon, along with much extemporaneous ad libbing that had ‘em laughing. It called him back for the recitation of “Gimme Glass a Water,” always certain as done by Hanlon.
Art Hall and Abe Shaprio were spotted No. 4 switched from opening the second half. The team bills offering “How Does He Stand It?” a querulous reference, presumably, to the resounding facial wallops administered the Jew comic by the straight (a corker by the way) is really the act. His ludicrous cackle, funny slide, “mean” falls, hokum, and last, but not least, his ability to stand the periodical physical punishment, are solely responsible for the comic success of the offering.
Hugh Herbert and Co., offering their “Mind Your Business,” from the typewriter of the actor producer, found considerable favor. The piece is in the nature of a revival, having been in abeyance with Mr. Herbert’s strict adherence to vaudeville producing recently. It has also been played on the small time by a minor company, but the present trio is a corker. The man supporting Mr. Herbert, who doubles in two character roles besides his original (that of Sam Simon, of Simon & Hirsch, bond brokers), is worthy of commendation.
Grace Hayes and Co. held down the “ace” position fairly well, all things considered, with better grade published numbers. An unbilled piano accompanist constitutes the “Co.” The Three Blighty Girls captioning their offering “rare bits of Scotch vaudeville,” concluded with an interesting song and dance routine, the clogging going the strongest. With intermission to follow at around 10 the trio kept them seated unto the last.
Then came Nat Navarro and Co. – or rather Buck and Bubbles, the sub-billed amber pair of precocious youngsters. What Buck couldn’t accomplish with improvised piano picking and gum masticating. Bubbles finished with his stepping, and between the pair they panicked the house. For the rest Nat Nazarro performed several acrobatic feats with a midget sort of topmounter.
