PRINCESS THEATRE

Evening Star, Issue 17534, 14 December 1920, Page 6

PRINCESS THEATRE

The Rev. Frank Gorman, the '-'singing parson," is still the chief attraction at the Princess Theatre. The novelty of seeing a wearer of "the cloth" in vaudeville no doubt acts as a magnet, and accounts for the presence among the regular attendants of a number of people who are seen only occasionally at that class of entertainment. But Mr Gorman has something moro than the sight of a clerical collar to offer, He is undoubtedly an artist, and uses the gift of song that he possesses to the highest advantage. His clear tenor voice, well and truly produced, weaves sweet melody of such songs of sentiment as 'Till We Meet Again,' 'Let the Rest of the World Go By,' 'Oh, What a Pal was Mary,' 'The Heart of a Rose,' and so on. Last night the audience enjoyed his stories and his singing mightily, and were loth to let him go. The changes in this week's bill consisted of three acts, each of which was paying a return visit. The Williams Sisters, famed for fun and adiposity, were warmly welcomed. This happy couple usually manage to present some catchy songs, and their duet ' Girls Don't Mind' was a case in point. A couple of their former successes and a few bright lines of cross-talk were also included. Bert Coleman will be remembered as a whistler and a story-teller. Last night he did some of each, and added several " impersonations " of quaint characters, such as a'Dago, a Hebrew, and a coon. He is humorous in a quiet way, and got his fair share of appreciation. The Cracknells put over an act which is largely "crack"—the crack of the stockwhip and the crack of the rifle. They manipulate both cleverly. There are also a couple of bounding greyhounds in the act, and they make surprisingly high jumps, landing safely every time in the arms of the male Cracknel!. One of the clogs is "ridden" over the jump by a monkey jockey. The stop-ovei'6 all presented something fresh. Vaude and Verne buzzed through a lot of clever patter at lightning speed, and kept the audience in a state of merriment. These artists deserve high .commendation for their alertness in the matter of local and topical hits, which are always bulls-eyes. Most vaudeville artists are noted for their unwillingness to learn new songs and jokes, let alone expend the energy necessary to the gathering and preparing local stuff. Keeley and Aldous sang and danced in characteristically vivacious fashion. The eccentric dancing of Mr Keeley (especially the " dance by one of the mob") and the fancy dancing by him and his partner were features of the act. Louis Bloy, surely the most popular banjoist ever yet, twanged jigs and ragtime, ballad and grand opera airs, until gallery and circle alike responded to the lure, and wanted to hum and shuffle. Huley and Bent's offering was a laughable burlesque entitled 'Topsy Turvy,' showing how man and woman will have changed places by the year 1993. Miss Bent was a strong-minded suffragette, giving her baby-minding hubby " what Ifor," and her assumption of the male prerogatives of the_ present day (or at any rate the immediate past) was admirably done. Miss Adelaide Taylor again charmed the house with her dainty singing. This young lady has a sweet voice, and uses it well. Her best efforts were a song about Virginia and the old favorite ' Comin' Thro' the Rye.' Miller and Rainey's sketch this week is a patchy sort of thing; but the scene is laid in a crazy-house, which will account for it. These" artists are natural humorists, however, and can knock good fun out of anything. And they certainly get the laugh in this, as in their previous offerings. Miss Lilas Birt pleased the audience with some typical soubrette songs. One was about 'Dear Old Dad,' another extolled the Irish, and a third was a comic song of a farmer's daughter who "came to see the show."