“My Lady’s Face.”
19 Mins.
Full Stage.
Edgar Allan Woolf is the author of Miss Busley’s new playlet The sketch is founded on an original theme, but is written atrociously and constructed so amateurishly no one but a capable player of Miss Busley’s ability could save it from degenerating into broad farce. Miss Busley is the center of the story which revolves around a nurse who has fallen in love with an aviator during the war. The nurse is back in civil life selling shirtwaists. She is afraid youth is slipping away and decides upon a face lifting operation. The doctor Is a former lover whom she rejected… Miss Busley and her three supporting players gave a commendable performance, but a sketch doctor should be called in consultation immediately.
10 Mins. One.
Arthur Fields has a rep for making phonograph records. Ho has appeared in vaudeville before. Now he goes in for straight singing only. His selection of songs at the present time carries little weight, his strongest is a medley of former hits with “Nobody’s Baby” used for a closer having some worth. Fields’ voice is a big asset and with the proper numbers should place him as a sure Are hit feature for houses of the American grade.
14 Mins.; One (special drop).
The first diaphram laugh comes when she left hooks him into the drop, upsetting him. While she changes, he monologs, missing with delivery and material. She returns in black iridescent short skirted costume. He solos while she makes another change to male attire similar to his and they Doth pull a good dancing routine of eccentric and buck steps. A return for some more crossfire and real funny burlesque boxing bout is made. The finish is the strongest portion.
12 Mins.; Full Stage (Special Set).
Chief Blue Cloud is an Indian, from appearances a full blooded one, although speaking flawless English. He is assisted by a slender young woman, who like the chief, wears Indian garb throughout the act. A special landscape set, consisting of several hanging pieces, with a full-fledged tepee set to the right, makes an atmospheric back- ground for the specialties offered. Following a song by the woman, the chief does a routine with the lariat, handling it dexterously. Brief cross fire, leading up to another vocal number by woman, in which she introduces several extremely high notes, with the tones coming out clear and round… The chiefs roping and music, and the woman’s tuneful soprano make a combination of entertainment that certifies the turn for the pop houses, with the fact of the man being an Indian giving an added novelty value to the act. Opening the show at the Albermarle, they went over very well.
10 Mins, Open One.
The full stage set is used for the rope spinning, and here she does the usual routine with a little chatter. The finish is another song and dance, using the rope in the dance. Miss Walker makes three costume changes and is a pretty picture in the velvet and gold comic opera cowboy costumes. It is all Dallas Walker and neither the singing, dancing or roping that counts. A nice little turn that will get away opening.
18 Mins.; Full Stage. (Special Set).
At the opening it has happened on his honeymoon. He has lost all track of his bride and can’t remember who he married. The story involves a burglar, pressed into service to find the wife and three young women invited to the house for dinner, in an effort to see if one of the trio is not the missing wife. The burglar Is introduced as a doctor or, at least, one of those massage fellows, and there is quite a bit of talk about a knee. Hough leans to knees. However, the comedy is kept clean and there isn’t anything to offend. The girls are mixed in a couple of musical numbers that fit the situations, and there is also a little dancing… The finish comes rather suddenly. but a laugh in gained through the burglar going back to his trade, after the young man finds his wife and strips the apartment of all the furniture while the young couple are cooing in song. “Who’s My Wife”? is a good vaudeville act. It has young people, catchy music, laughs and appearance. It will do well on the big time, though not a feature attraction.
16 Mins.
“Dance Creations.”
One and Three (Special Sets and Hangings).
For the finish, an Egyptian dance number which presumably was some sort of an interpretative dance, was shown. Suffice it, no one was interested in interpreting it, other than watching Miss Myers go through the gyrations of her dance. She appears barefooted and stockingless well up to her thighs, the upper portion of her anatomy also being similarly spared of coverings. Except for breastplates, it was a nude intermission unto the waist. Even below that a diaphonous arrangement of the costume imparted an effect that brought gasps from the audience. In the course of her dance, Miss Myers has occasion to doff an outer portion of her costume as well as her breastplates, the act of removing the latter raising another nervous giggle barrage from the frails present. However, It only disclosed her anatomy.
Kerr and Ensign, formerly a straight violin team, have developed a new Idea for a musical offering that embraces a clever routine of chatter topped off with musical work by the male member at the finish. The young woman is seated before a special drop representing the front of a bungalow when the man enters with an assortment of violins trying to sell her one. The talk which is of a comedy nature progresses rapidly with the man going off stage to meet the girl’s father returning with the violins broken and his hat crushed. The flirtation business is then started, the chap using the fiddle in his love making with a well executed number.
Another “wop” audience act. This one, however, does not depend on its comedy. The latter appears designed for an opening, but continues half way through the routine. A youth starts fiddling, being interrupted by loud coughing from the pit. The “wop” player sitting next to the regular house leader explains he was out last night, says his name is Victor Records, and there follows a bit on A. D. and B. C. “Wop” finally gets onto stage, and after a broken violin bit, totes out a piano accordion. His efforts to play “Oh What a Pal Was Mary” go wrong, but the men finally get down to a duet medley. They bowed off and on, with another medley. A new stunt appeared when the fiddler’s bow came apart, rod turning out to be a fife and he finishing the number playing it. Its a musical turn which has tried to get away from routine.
“Putting It Over” presented by Sarah Padden and a cast of three men, is a melodramatic sketch, be- ginning in a manner that compels interest, and through subsequent rapid-fire developments holds the closest attention up to a point near the finish. Here the interest slackens somewhat because of the story becoming a bit vague. This is regrettable because of the excellent qualities of the foregoing action. Darkened stage at the opening. Man in bed. Clock chimes five times. Light streaming through window indicates early morning. Shot is heard off stage. Sounds of excitement, muffled babel of voices outside. Man Jumps out of bed. Woman (Miss Padden) rushes into room. Occupant (the man) hides her under bed. Cop rushes into room. He’s after the woman. Man successfully stalls the cop, while woman slips under coat on hat rack. Later woman manages to slip into bathroom while cop is looking under bed. Cop off. Woman proceeds to explain why she sought concealment in man’s room.
