Tate and Waters

[New act] Eccentric Sister Act; 14 mins; one. This act opens almost as a single with the straight of the two girls delivering a popular number in strident tones. Finally there is the interruption by the comedienne, with a make-up more or less Sis Hopkins in style. There is some talk that really amounts to nothing and then another song by the straight. In this she manages to get down to the foot lights and clinch with the drummer for a kiss. Then the comic has her inning without stirring anything. A double number for the close let the girls out without any applause to speak of. The act is just a rough turn that hasn’t sufficient class for the small time around New York.

Gallerini Sisters

Gallerini Sisters, two nice looking babes, with piano accordions, one changing to a violin, cut their turn here. They have been seen elsewhere with a saxophone accordion finish which they eliminated at this house. There isn’t a great deal to the act in this form and though it pleased, it came home only fair.

Dixie Norton and Coral Melnotte

Dixie Norton and Coral Melnotte are reunited and again doing a semi-sister act. The girls were partners in 1917, since that time Miss Melnotte has had Edna Leedum (now with Harry Tighe) as a partner and Miss Norton’s latest offering a character skit with an “and Co” supporting her. The present act needs just a little comedy here and there and it will be right. The girls should not try so hard with numbers, for neither has much voice. Miss Norton’s male impersonation is easily the best bit of work in the act as it stands at present. However, the act was the hit of 23rdStreet bill.

The Three Dooleys

22 min. in 1. The two Dooley boys and their Sister have a great act and went over very good even in this rather difficult spot.

Morin Sisters

11 min. full stage. These well known dancing girls have plenty of speed in their act and closed to a good hand.

Wilton Sisters

However, it remained to the Wilton Sisters to chalk up the hit of the evening. The young women make cute “kid” appearances, thus further enhancing the value of their undoubted versatile talents. They pulled the speech thing and re-encored with “Left All Alone Again Blues” vocally. The house was at their mercy from the start and they could be up there yet, according to their reception.

Jessie Brown and Effie Weston

Jessie Brown and Effie Weston, third, gave the show the air of a production, with their magnificently costumed sister act. But there’s something more than wardrobe to the act, and everything the girls did landed. Both are good dancers, and they showed a variety of stepping that ran the gamet from a fancy waltz to a modern jazz. Miss Brown’s single, “Come Pay With Me,” a re-write evidently of Anna Held’s famous audience song, and a dancing single by Miss Weston, costumed classily with a scarlet fringed sash and big hat of the same color, pulled down individual scores. Dave Dryer filled in the piano while the girls were changing, singing well written little interludes explaining what was coming next.

Wilton Sisters

Wilton Sisters, opening after intermission, did their regulation varied turn, the raggy violin and piano stuff putting the girl over solidly. One of the sisters has developed into a first rate comedienne, delivering a comedy speech that held up the show.  

The Crisp Sisters

The Crisp Sisters contributed several graceful dances, and in between the songsters doubled “Kiss,” the lisping stuttering number. “Little Too late,” “After You Get What You want” and “Land of Old Black Joe.” Bergman sang “Bimbo,” assisted by the pianist, Lou Handman, and out it over for comedy results.  

The Clinton Sisters

The Clinton Sisters in their neat dancing turn opened. The girls have a clever idea which gets them sway from the esthetic dancing thing. Cartoons of two grotesque dancing maids, animated, filling the stage waits and introduced each of the three scenes which have sets to match. The girls do a conventional double, followed by a “fishing” dance with poles and dressed with abbreviated costumes showing bare knees. The closing number is an Egyptian dance with the rigidity of the limbs and all the familiar stuff, but exceptionally well executed. They took solid bows after it. A modern number to top off might aid them in their trip down the bill.