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Character songs and piano playing.
Harry Dixon, in evening dress, specializes in character numbers, opening with a "souse" song, killed through the present of a "souse" character in the preceding at. However, the confliction wasn't essential for the death of the song, for it's useless, poorly rendered and badly placed. An operatic melody on the piano followed. Then came an Italian number, a comedy Jewish song and finally a "rag" which he utilized for some comedy, the song getting practically no returns because of Dixon's style of delivery. Dixon urges the married men, single men, etc., to aid in the chorus. It has been much overdone. Dixon may have some ability, but the construction of his present vehicle has it buried. He looks like a cabaret possibility, but for vaudeville will never graduate from small time with his present speed and style of act.
Source:
Variety, 53:7 (01/10/1919)