Eastman and Moore
13 Mins.; Two; One. Man and a woman with good voices, sing and attempt comedy. With comedy strengthened they will have a good chance for the popular priced houses.
The De Bars
10 Mins.; Full Stage (Special Set). Two people, a man and a woman, in a very fast act start things with experiments in water fountains, first shown in the country by the old Ten Ichi Troupe, a Jap organization. The two get a lot out of this style of work and immediately show a few so-called Hindu mysteries which, while not new, prove very interesting. This act should be kept busy.
Grace Gibson
15 Mins.; One. Grace Gibson, using a pianist, attempts the style of three different stars in her character song efforts. Irene Franklin, Connie Ediss and Bret Williams appear to have been her guiding stars. She sings a song recently sung by Miss Ediss at the Alhambra, London. Miss Gibson’s efforts, however meet with certain success and she should prove popular.
Klein and Dwyer
10 Mins.; One. Comedian and straight. Former interrupts talk of partner, then goes into a sob recital called “Mother.” Both sit on suit case and sing “Let me Sleep,” using a few daffydills for the finish. Small time.
Maston and Melville
14 Mins.; One. The action of this little skit in “one” takes place in the shadow of the Sphinx. The woman has strayed from a party of tourists and the man is an animal collector for a circus. The lost one appeals to him for direction. Some flip talk is passed back and forth. The man does two songs and displays a good voice. The act can fit in on a small time bill to advantage, although not strong enough for the next to the closing spot.
Fred M. Griffith
12 Mins.; One. Fred M. Griffith has evidently been playing in vaudeville for a long while, but has not been in New York in some time. He does magic, all palming, his best handling eight little red balls, holding them at one time in both hands. It is very good work, also the continual rolling of one of the balls between four fingers. Some trick matter with a handkerchief brings a little laugh. Griffith depends to a large extent upon his talk, nothing wildly funny, but humorous enough in a quiet way. His finish is the old business of informing something in the audience his future wife’s name. It was seemingly new to the Columbia audience Sunday.
“At the Seashore.”
23 Mins.; Full Stage (Special Set). In England the revue craze grew out of the fact that a few of these shows hit London for long runs and big business, which prompted a couple of wise ones to put cheaper shows out for the smaller houses through the country. The experiment, as is known, proved successful. This same idea probably was responsible for this production to be built for the small time. But the producer should have made an effort to drill the chorus more effectively. Their work is ragged. One girl of the six almost killed the singing numbers by her very harsh efforts. The chief comedian is capable of gaining laughs by talking in a funny way, which, while not new, will always pass by on the small time. Two comedians, Irish and stuttering, assist, but the dialog employed recalls burlesque of ten years ago. Even the rubber-stretched snap-back is present. At the Opera House through the audience laughed at some of the comedy, the numbers did nothing. With a good deal of brushing up of the chorus work the act should be able to travel over the small time.
Johnny Dooley and Yvette Rugel
Johnny Dooley and Yvette Rugel form a likely combination with the former’s comedy eccentricities standing out above everything else. Dooley is one of those jumping-jacks who moves in and around the footlights as though he were on springs. He also works in some acrobatics to good advantage, and employs “nut stuff,” announcing it as an imitation of Bert Fitzgibbon. Miss Rugel loomed up best on the closing number, her voice showing high range, but with the singer having a tendency to swallow her articulation. She is an attractive miss in her Scottish kilts, the Highland “bit” closing the turn. Dooley is a clever chap and will develop as he goes along. at the Royal this pair were an emphatic hit.
Emmett and Emmett
15 Mins.; Full Stage (Special Set). A man and woman in a singing sketch designed for the Irish vote. The stage resembles a farm yard scene in Ireland, with a live black crow on a tree stump and a number of doves fluttering about a pretty picture. The man and woman dress in Irish costume of the period of the early 19th century. Both have fair voices. The woman does very well with counter harmony to several of the ballads by the man. It is a neat little small time offering.
“Memories of ’61.”
A good quartet, dressed as soldiers, sing old soldiers’ favorites in the pauses of war stories told by a man dressed as a Civil war veteran. While the stories are told battle scenes are depicted by a series of back cloths. Interesting and patriotic enough to be useful. It appears a later edition of old soldier fiddlers.