After the Shower
This delightful little example of lover’s nonsense was played for more than four years by Lola Merrill and Frank Otto. It has been instanced as one of the daintiest and finest flirtation-couple-acts that the two-a-day has seen. Mr. Louis Weslyn has written perhaps more successful acts of this particular style than any other author.
The Villain Still Pursued Her
This travesty, one of the most successful on record, was used for years to star Mrs. Frank Sheridan. Written by Mr. Arthur Denvir, whose specialty is travesties, it undoubtedly became the inspiration for the many similar acts that created the travesty-vogue of 1912-15.
Edgar Allan Woolf, who wrote this delightful satirical comedy, is perhaps the most successful writer of playlets in this country. For many years he has turned out success after success for famous legitimate stars, while still other performers have become vaudeville stars in his acts. Mr. Woolf himself chose “The Lollard” as representative of his best comedies. The star role, Angela Maxwell, was created in this country by Miss Regina Cornelli, and in England by Miss Hilda Trevelyan.
Richard Harding Davis needs no introduction. This remarkable little tragedy was produced for the Orpheum Circuit by Mr. Charles Feleky, who declares it to be “the best tragic playlet I have produced.” From so eminent a vaudeville producer, this is, indeed, high praise. The character of Richard Fallon was created by Mr. Walter Hampden.
Without doubt, this act is the best of the many big productions with which Mr. Taylor Granville has supplied The United Booking Offices of America, during his many years as a producing star. Mr. Junie McCree, who collaborated with Mr. Granville, was once president of “The White Rats,” the vaudeville actors’ union, and is now a successful vaudeville writer. Mr. Edward Clark, the third collaborator, has written many successful vaudeville acts.
“The System” is said to have been characterized by Mr. George M. Cohan as the best one-act melodrama he ever saw. Its extraordinary popularity in this country and in England is but added proof of the tenseness of its scenes and its great ending.
A Persian Garden
Played by Louis Simons season after season, this real comedy set to music is without question Mr. Edgar Allan Woolf’s best effort in this field. Unlike the usual musical comedy, this act possesses dialogue interest as well as pleasing brilliancy. It has won its many years of success not because of scenery, costumes and the chorus, but by the sterling worth apparent in the manuscript divorced from them.