Boothby and Everdeen, mostly Miss Boothby, were spotted deuce. She gave several imitations, her “movie fan” character getting the most. Mr. Everdeen is of the elongated type and partly bald-headed, assisted Miss Boothby in putting over her character studies with much credit to herself.
Paul and Walter La Varre in “An Evening at Home” closed and held everyone in until after the closing trick. They appear in evening dress and do accomplished hand to hand feats with much ease. After their closing trick, which consisted of the under man bending backwards over the top of a chair and lifts his partner up hand to hand, they sit down at a table to play cards, the curtain descends slowly, having just played eight weeks at Edelweiss Gardens.
Emile Subor, blackface comedian, came next and exhaled a lot of old gags in a new way, but they seemed to have heard most of the gags before and didn’t get a whimper. However, he closed with a very funny song and went off to a good hand. Another single that seemed peeved and failed to return a single bow.
Mann Trio, three boys with good voices, lots of vim and vigor, sang several popular numbers, their high spots being “Si Si Si Si Senor” and “Chili Bean,” putting these other [sic] with their original way of putting harmony songs over, prove themselves a worthy asset on any small-time bill and can make a good showing on the two-a-day.
Rosa Valyda, with her unusual deep voice, sang several selections, mostly ballads. The act seemed to drag, and Miss Valyda can do a better performance by far; but perhaps this is due to the fact that it was still morning and she might have been sleepy. They seemed to like her more, but she walked off, failing to come back even for a bow.
Mons. Herbert opened the bill in “two” with a table set for dinner, this being his musical paraphernalia in disguise. These instruments have the bell sound and far from being the sweetest music, but Monsieur works hard and gets by with a good hand.
14 Mins.; One. This blackface team is seen as an entirely new vehicle, which, however, follows somewhat in the line of what they have done hitherto in vaudeville. One is short and dapper and the other tall and lanky, with a sort of Bert Williams style of humor, and yet not patterned after him at all. The men come on after the sound of pistol shots back stage. It is explained they have been in a “crap” game, but the dapper little one has made away with all the money, leaving the lanky one to fight it out with the belligerent darkies who remain. A comedy razor is used with laughable effect, and a crap game played in the footlights is another good laugh. The little one has a song and later the tall one ambles on in a woman’s gown, and there follows a travesty on the modern dance. The act closes with a quaint dance, while the men play harmonicas. Both have a rich dialect, redolent of the southern darkey. They offered a lugubrious joke or two about a medical college and a cadaver, which might be eliminated. The act is a fine one for small or middle time, and at the Lincoln Hippodrome it seemed it seemed to hit the audience right in their funnybones. The men depend on little too much on realism, and their own native wit, but when they have worked the act out a little more, it will be. Sure winner.
14 Mins.; One. This blackface team is seen in an entirely new vehicle, which, however, follows somewhat in the line of what they have done hitherto in vaudeville. One is short and dapper and the other tall and lanky, with a sort of Bert Williams style of humor, and yet not patterned after him at all. The men come on after the sound of pistol shots back stage. It is explained they have been in a “crap” game, and the dapper little one has made away with all the money, leaving the lanky one to fight it out with the belligerent darkies who remain. A comedy razor is used with laughable effect, and a crap game played in the footlights is another good laugh. The little one has a song and later the tall one ambles on in a woman’s gown, and there follows a travesty on the modern dance. The act closes with a quaint dance, while the men play harmonicas. Both have a rich dialect, redolent of the southern darkey. They offered a lugubrious joke or two about a medical college and a cadaver, which might be eliminated. The act is a fine one for small or middle time, and at the Lincoln Hippodrome it seemed to hit the audience right in their funny bones. The men depend a little too much on realism, and their own native wit, but when they have worked the act out a little more, it will be a sure winner.
8 Mins.; Full Stage. This juggler, fresh from foreign shores, offers a novel idea in his line, elaborately worked out, and finished in its entirety. He has his stage set with two tables and a back counter. His act has laughs from the opening with not a dull minute. One of the big laughs is when he knocks against one of the table which collapses and falls on him, covering him with napery, dishes and cutlery. He works in a nonchalant style, thus living up to his billing of “The Unconcerned Juggler.” The act is of such calibre that it would go well down in a big time bill. Distinct hit at the Palace.
11 Mins.; Full Stage. Carlos Sebastian and Dorothy Bentley have arranged a new routine of dances, which they are offering in vaudeville. They open with “Romance De Fleur,” a rather novel idea, in which the young woman attempts to keep a red rose away from the man during a fast dance, finally to yield it to him at the finale. Other dances in the routine are the “Sebastian Stop Step,” “Valse Artistique” and the “Fox Trot.” The dances are all lively, pretty well worked out, and some of such a novel nature they call out applause during the run of the act. Turn gets over nicely.
