Frisco Trio worked hard but in vain to keep up the running, walking on with a slow whistling number, then for some aged wise cracks. Later the comedian chirps a comedy ditty, having a poor voice with fair delivery, and closes with a supposedly harmony number. The crowd, realizing their unsophisticated talent, let them walk off without any attempt to bring them back.
Harry Bond and Co. in a melodramatic sketch with bits of comedy took three curtains. Bond is a clever performer and acquits himself with due credit for making this act what it is.
Crescent Comedy Four, the usual comedy harmony quartet, scored high with hokum comedy. Four men, in different dress, and they dish their hoak just the way the Rialto patrons want it, but close with a poor harmony song, sending them off to nothing.
Garfield and Smith could have gone further on the bill for better results, through this pair went big as any in the show. They have bright talk, putting it over with good delivery, and their early position didn’t make much difference with their being the applause hit.
Bert Fitzgibbons, assisted by his brother Lew, daffydilled them, poked fun and then played a xylophone and a piano for a good measure. Being encored, he produced a plugger in a box, who put over a ballad in a nice voice, but does not mean or add value to the act, being only a plugger.
Singer’s Midgets, giants of entertainers, were a big sized panic. When one considers the many things these miniature-bodied performers do and do well one thinks of the time and patience of their director. Their executive staff reads like a grand opera board, while they feature uniforms by Marshall Fields, ladies’ costumes by Jane and Andre of Paris, scenery by Joseph Urban and Robert Law Studio, while dancing directed by Ned Wayburn.
Lillian Shaw was hurt by having Miss Ford precede her, and though a tremendous favorite in this town, did not deliver with her usual knockout. She has replaced “I Love Him” with “Palesteena.” There was no question but that Miss Shaw would do much better on her evening show.
Margaret Ford, though in the deuce spot, showed ability like a next-to-close. She is out of the ordinary as a double voice singer, as both of her contralto and soprano notes are well near perfect. She brings back a reminder of Claire Rochester in her prime.
The Nagfys, a man and a woman, with a special set, showing the interior of hades, with the man dressed as Mephisto. They do some sensational electric and fire tricks. It’s been a long time since a novelty act of this nature has played the big time, and in the showmanship style that it was presented, this act should play a long, healthy route. They have a novelty that will cause an audience to talk and will bring many repeaters of non-believers. The man is a good showman, while the female member, though only acting as an assistant, makes a very nice appearance.
Blossom Seeley and Benny Fields, assisted by Sam Miller and Gene Cass, followed, and suffered accordingly. Miss Seeley has always had a certain niche in the hearts of the vaudeville goers as a syncopated songstress. She was an excellent coon shouter, but why try to get away from this? She has built herself a production and she has Benny Fields, but Blossom of old, isn’t. And if it were not for Fields working up her numbers and his own specialty, it would be no act at all.
