Regina Conelli and Co.

20 Mins.; Full Stage. “The Lollard.” The theme of this new Edgar Allan Woolf sketch is that a man does not look as well in a night shirt with his hair distributed as he does all dolled up. That is why Miss Conelli as the newly wedded wife claims her husband to be a lollard. The scene is in the apartment of an old maid dressmaker. The wife rushes into the apartment of the maiden lady in her nightie  and wakes her. The wife tells how she was fooled in her husband and that she is going to leave him then and there. The old maid agrees with her that all men are scoundrels. The wife objects to this, saying her husband is a fine man, but that her hair does not stay the way he plasters it. The old maid has a male boarder (to make both ends meet), and he appears at this moment, in the wee small hours. The newly wedded wife spies him, all primped up, and decides he is the man meant for her. They begin a love match right away, but he is hustled off to bed by the housekeeper. The husband comes thundering at the door and is admitted by the proprietor, who hides his wife in the other room (not with the boarder). The husband looks very ungainly in his bathrobe, wit his hair mussed and his feet in huge slippers. The old maid tells him to go up to his apartment and put on his uniform, in which he appeared when he won his wife, and she would see that he got her back all right. The man does so. He returns and the housekeeper yells fire. The boarder makes his appearance in a night skirt, and the woman, catching the drift, flops in her husband’s arms. The sketch is well played. Miss Conelli as the fickle young wife is very amusing. The old maid as played by Harriett Marlottee could not be better. The male members have little to do. It is a good amusing sketch.

Marion Murray and Co. (4).

20 Mins.; Full (Special). In this sketch Edgar Allan Woolf attempts to satirize the private lift of an operatic prima donna. Who his model was matters not. The story that the author has woven regarding the domestic difficulties of the prima donna, her hubby and her teacher-impresario are interesting and extremely laughable, but the cast at present needs two changes, one mighty important. The story tells of an operatic star who just wed a young millionaire  she is making his life miserable because of the daily routine that she must follow to keep her voice. There is the throat lozenge, the raw egg and the throat spray, and also the teacher-manager. This is enough to drive any young bridegroom to distraction. But the manager conceives a press agent plant which gives hubby a chance to beat up the manager and shows the wife that a career in the home is more important than one before the footlights and all ends happily. The producer must be taken to the task for his stage reporter. Never before has there been such a journalist in history. W. Mason who plays the role of the young husband fails at all time to be convincing Miss Murray very cleverly characterizes the role of the prima donna and W. Richardi as the teacher-manager is all that could be desired. The act needs to be whipped into shape and then will do nicely. At the Prospect Tuesday night it passed with three curtains at the close.

Hazel Cox

17 Mins; One (Special Curtain). Assisted by a pianist Miss Cox is offering three song studies that remind one very much of the English artiste, Wish Wynne, who favored us with her presence several years ago. Miss Cox is of statuesque proportions and makes a stunning appearance. She has a most likeable personality and a delightful voice. The latter she uses to distinct advantage in three numbers. All of her material has been especially written by her sister, Ray. Her opening is entitled “Mother’s Old Gown” and expresses a pretty bit of sentiment. It is costume. Her second is a recitative song. “The Tug-boat and the Yacht,” which she places over in a pretty fashion. The closing song is called “Day Dreams of a School Girl.” The idea is a novelty and the best of the three. Miss Cox dresses the last character very girlishly in a pink costume that is exceedingly pretty, and the manner in which she renders agreeably the little waltz strain and the few bars of “Butterfly” that have been woven into the [unreadable] of the offering that slows that she has a voice that will carry her far.

Hawthorne and Inglis

17 Mins.; One. Albert F. Hawthorne and Jack Inglis make up this team of “nut” comics. Inglis has had a reputation as a “nut” on the small time and at last has framed an act with a partner of sufficient class to warrant the turn making the big time. The turn the duo are offering contains 17 solid minutes of laughter and the boys work hard throughout the entire time. Their bit with the instruments at the finish is definite bid for additional applause but as it worked legitimately enough there can be no objection. Inglis has a peculiar style, entirely his own. He throws ginger into the turn from the first minute, and his partner, feeding as he does the biggest part of the time, fills in nicely. Acts of this type are much needed.

“The Lonesome Lassies.”

36 Mins.; Full Stage (Special Exterior). B.A. Rolfe’s latest production, “The Lonesome Lassies,” is one of the most pretentious endeavors that this producer has made. Four principals and a chorus of eight mighty good looking girls. The scene is laid in a summer resort at an old colonial mansion, with its massive white pillars rising 20 or 25 feet above the stage. The lonesome lassies are led by Leota Sinclair and Marjorie Bonner. The latter is an ex-Ziegfeld girl and was one of the best lookers that “Folliers” boasted. The ten girls are at the summer resort and are lonesome, for the boys only come down for weekends. To make the boys jealous the girls scheme to have a picture taken of themselves being made love to by a picture actor. Instead of the actor arriving a real “John” comes on the scene and complications follow. So much for the comedy end. An opening chorus is pretty, and the little flow-up to this will make a hit with the agents, for the lyric writer has woven the names of a number of the “Palace Building” boys into his theme. Ray Hodgdon and Maurice Rose are two of the names that stand out. The picture bit follows this and gets over nicely. This in turn makes way for a burglar number handled by Harry B. Watson and Miss Bonner. The title is “Love Made Me a Wonderful Detective,” with a final touch showing the chorus in almost transparent “nighties.” For the closing number the girls are displaying as pretty a set of gowns as have been seen in either musical comedy or vaudeville this season. The act is slightly too long at present. A minute or two could be cut from the burglar bit and the same from the auto repair talk. There are several repeats in the latter piece of business. The act when trimmed down to a half hour will be one of the best of the big acts. It has comedy, good music and pretty girls.

Weber and Capitola

15 Mins.; One (Special Drop). Billed as “Broadway’s Youthful Prodigies.” Weber and Capitola seemed to make an impression on the Prospect audience although on second which hindered them considerably. A special brown drop is used, with an entrance in the centre over which is a purple curtain. The color of the drop is not attractive. The pair open with Capitola in a becoming gold and blue gown, and her partner in evening dress. They sing and dance and start calmly. “I Didn’t Know That Boys Did Anything Like That,” by the girl, was well liked. e has been using this son for some time and has gotten the thing down pat. Weber does a dance in a short red coat, with a little hat. His stepping is all in soft shoes, without any great variety of steps. The closing number is with the two in black and white costumes, the girl’s slightly abbreviated. “Youthful Prodigies” helps some and it looks as if Weber and Capitola should be able to keep the big boards.

Millman Trio

This is a wire act and a very good one, composed of a man, woman and a young girl. It runs about 12 minutes full stage and is strong enough to close show.

Melani Trio

Three men in an instrumental and vocal act. This is a very good act and always goes well in Cleveland. It is, no doubt, familiar to everybody on the circuit. 18 minutes in one.

Chas. Bradshaw & Co.

In comedy sketch , “Fix in a Fix.” This is a good laughing act in spots. Nothing artistic about it, but would be classed as a good act. There are two male and two female characters in this sketch. The support being fairly good. 27 minutes full stage.

Matthews & Ashley

2 men, one in the character of a Jew and the other in that of a Dope Fiend; the act consists of talking, parody singing and is a very good act. 18 minutes in one.