Deland and Blair did nicely with a domestic playlet. The story is one of those in which the husband mistakenly believes his wife recreant and gradually learns better. The laughs were plentiful and hearty.
Three Bohemians disclosed two pretty Italian girls and their father with accordions and guitar. The trio uncorked enough verve and enthusiasm to exit to return.
Weaver and Weaver easily earned the honors of the show, stopping proceedings in next to closing position. It is a “different” act of the kind needed on the big time.
Samsted and Marion opened the vaudeville section with their acrobatic dream moment, interesting enough to please. The advice about physical culture should be employed after the dream denouement.
Abrams and Kohns had a tense playlet with a dismal tendency. As a sketch it holds interest tensely, but as a sketch also it interferes with a fast moving specialty bill. The Sunday crowd enjoyed the interlude and gave the players generous applause at the final curtain.
Gene Greene worked stoically and emerged a hit of proportions. His numbers as now arranged are the best he has disclosed in several seasons. Greene is a favorite here.
Berk and Swan landed solidly with their pretty dancing interlude, which is enhanced by the magnetism and personal attractiveness of the feminine half.
In her own melodramatic playlet, “Diamond Cut Diamond” was watched with stupefaction, because of the revelation of two feminine burglars. The denouement wherein one proves a beskirted detective still leaving them somewhat beclouded even with the necessary explanations.
Special Drapes and Drops. The interlude begins in “three” with a pianist and a male assistant (Frank Shea and Jack Kennedy), first indulging in an Introduction to the final bars of which Miss Herlein enters singing a ballad which admits of a display of vocalizing. Mr. Kennedy then kills a wait for the changes in the “Clothes” song which follows “A Wild Girl from Yonkers,” with a comic trend is next, after which the curtain is lowered and Kennedy does an eccentric dance in “one,” after which comes a novelty bathing number called “Swim,” with a seashore drop, special curtain for effects and a neat disrobing moment that reveals the splendid proportions of Miss Herlein, proving that she has been holding out or hiding out on vaudeville these many years. The bathing bit makes a nifty closing, flash to an act that is replete with the essentials of a progressive “single.” It is almost safe to assume Miss Herlein will find a welcome pathway for* her latest turn.
Mr. Paulus has personality, some magnetism and an engaging stage presence but is immature in the desires of vaudeville. Tricks are necessary to strike the mass which composes the major portion of the audiences. Minus these tricks the most silvered tones fall into the despond of inattention.