“The Princesses Of Harmony” in a Musical Revue. Two girls; very neat in dress; violin, piano, singing; 13 min. in one. Went good.
63 min. Playing a return after several months and went over big. Unquestionably the best production Edwards has ever made for vaudeville and repeated good impression made on initial visit. Only change is Bobby Watson for Dan Healy as principal comedian. In the closing position, following a lot of singing, a capacity audience received it with marked approval.
25 min. f.s., spl. This Revue makes a good flash, but did not get much applause until the finish, closing to a good hand.
Next to closing the first part, the George V. Moore “Fidgety-Fudge Reveuette” got over. The act seems to have been speeded up since it played further downtown. One of the features is Alice Hayward, who handles the prima donna work. She is somewhat heavier than when at the Strand Roof some years ago, but she is a beauty nevertheless, and for her voice, the girl is there. If Joe Weber, ever needs some one for “Honeydew” here is the girl for him. It is surprising that she has not landed in a real production, for she does not handle lines well, in addition to singing.
“Patches” patched up would be a big-time act. Will J. Harris deserves credit for the idea and miniature production, but he did not pick the best of talent to carry it over. Two girls, one a dancer and the other a soubrette; two men, one of whom with a few more years in vaudeville will be fit to step into a production and take an active part, the other man having only a voice and not too much of that, the former playing piano and saxophone, making these instruments do everything but talk, dances and outs some good lines over, having plenty of personality, looks and everything to go along. The act is gorgeously staged, with a very pretty setting, both girls making several throughout the act.
Santos and Hayes Revue appeared next, and when they walked out there was no doubt who drew the crowds in. They were one howl after another, followed by “ohs” and “ahs” of astonishment at the drapings [sic] and costuming. With a few more dollars spent and the act lengthened out it could be Broadway production.
George Jessel did more then his share in helping the bill along with his revue, and finished soundly with a short speech tacked on. Running through without changes as to the general layout, with the possible exception of the insertion of “Margie” as a melody for the team in the act to sing, the appearance of the piece remains in splendid condition with the girls looking extremely well and every one accepting their share of the burden that combined to put the act among the topmost of this style of entertainment. Jessel, of course, stood out, getting to the audience early with his intimate manner, and was “in” before he had gone half-way.
McKay’s Scotch Revue, with two men and seven girls, in full stage, followed. They dance and sing in Scottish style, all wearing kilts, a feature of the act being the comedienne, who in sterling voice sang several selections, each getting good returns. They all do their bit on making the act one of the best Scotch acts seen here in many a month.
The International Revue, carrying seven men and one woman, made some poor attempts at comedy, bringing few laughs during their 15 minutes. The yodeling song by the Italian impersonator received good applause, the other members of the company lacking good voices. A patriotic closing featuring the Statue of Liberty makes an effective kind applause finish.
Doc Baker made his first appearance as a big-timer here. Like many another he had to travel far to make the home folks believe it. Baker proved a good entertainer and quick worker at changes, but he was snowed under but the other features of the act, “Flashes.” First of all in credit for the handiwork of Menlo Moore and Macklin Megley, the producers. Second was the all-around stellar showing of Polly Walker, the niftiest showbrette let loose on an unexpected public this year. If “Flashes” must go plural, the little one must at least be recorded as main flash. Moore stands alone as a vaudeville producer of girl acts. Like Ziegfeld in higher-priced revues, he has that something – and that something is everything. Class tells it about as broadly and as comprehensively as any word. The corking good taste in costuming, setting, staging and routine; the freshness, the crisp animations, the cleanly sophistication – they mark a Menlo Moore product. Miss Walker typifies every attribute of her manager; he selects as he creates. Baker is a masculine looking baritone, excellent in ballads, lost in comedy. The turn assisted by a flock of assorted babes in an assortment of delicious costumes, held the Palace mob in to a man, closing the matinee, and drew applause.