[New Act] Acrobatics, 9 mins; full stage. Two men. One in evening dress does a “souse” entering via the casement window. The other appears as the butler. They offer a comedy acrobatic routine with some single work here and there. The souse effects some good falls the other specializing in somersaulting. The falling table stunt with both men aloft four high is the final and best feat.
Clark and Verdi
Clark and Verdi followed in the next to closing spot, carrying the comedy pace a notch faster. They are still using the statue act, but it looks like a lot of different and quite a measure of new matter is present. At the entrance, the old monicker, “Tony Bootz,” is recalled. Verdi tried to explain to Clark that he was a “salesman.” In doing so he inquired, “If I sell you something, what am I?” Clark replying. “A wise guy,” in dialect it sounded very funny. The comedians are getting more out of the descriptions of the statues and busts. One of the best was on Louis XIV whom Verdi called “Cockeyed Louis.” The comedy song finish and argument took them off to a good exit. The improvement in the turn is considerable and the team may pull a comeback, again getting the better houses.
Leonard and Willard
Leonard and Willard, No. 3, pranced off with the hit of the evening with the hotel skit. Starting with the honeymoon hit, when Miss Willard asked: “Haven’t you any imagination at all?” the laughs came frequently. She sported a new black silk frock with the tulle “floater,” which she discarded, saying it felt like a beard. The comedy number at the close was made the best of. The wish to “bring back the can that’s getting rusty” (beer scuttle) and the added comment by Miss Willard about always leaving wash day netted a hearty outburst.
Jean Granese
[New Act] Songs, 11 mins; one. Entering as a “single,” doing a number with the two boys starting an argument with an auditor in the third row that ends with first one going on the other side of the lights, shortly followed by the other, who does his share at the piano.
The men use an Italian dialect and get some humor out of the speech and mannerisms, but the strength of the act rests with the first boy to leave the audience, due to his voice. Three numbers, the boy mentioned doubling with the girl for two.
Miss Granese made one change and has a nice appearance, also singing acceptably with her partner as well. The turn did nicely at the Broadway, No. 3.
Virginia Fissinger
Virginia Fissinger, with her dancing partner another lad at the piano, showed some more stepping, and put it over, although the “hoofing” of the previous turn didn’t help them any. Miss Fissinger has a pleasing appearance and showed enough ability with her feet not to let the boy run away with all the honors, though he pulled a few she found hard to follow. Five distinct numbers, after going into full stage, spaced before and after a short selection on the keys that in the closing spot held the house intact and was good for four or five curtains.
Amoros and Jeanette
Amoros and Jeanette pried ‘em loose from some laughs with the girl’s clowning and her partner’s juggling and accordion playing. The act showed a tendency to drag about half way and seems to be running a mite too long, which may have been responsible for early promises from the house not being fulfilled at the finish.
Craig and Holsworth
Will Crutchfield followed the screen offering and gave the bill its start with {roping?} succeeded by Craig and Holsworth, who jazzed it upon violin and saxophone. Mr. Craig’s ability with the string instruments is well known and he has procured himself another partner equal to carrying his share of the melodies and coloring them up a bit as well. The boys in “one” did very well, with Craig’s dancing while playing standing out, and their selection of songs bring timely they pounding out pop ditties of present popularity, they left with something to spare.
Mable and Dora Ford
The finish of the bill was furnished by Mable and Dora Ford in their “Frolics of 1920,” and they managed to hold the house seated with their first three numbers, but as it was then 10 after 11 the house started drifting, but the girls with their final stepping held the greater part of them standing at the back for the finish of the act.
Bert Errol
Three acts held the second part after the “Topics” had been run. Bert Errol opened the section and flopped on his opening number without a ripple. A Spanish melody, his second song, got a little better results, and it remained for “Japanese Sandman” to pull anything like a real hand. “In Apple Blossom Tune,” with the impersonator clad in a bridal costume, was a hit. The Oriental number which followed did not receive any great return, but the comedy closing in one was “there.”
Harry Miller
Harry Miller, assisted by a company of seven, a male soloist and six girls, and what looks like a carload of scenery, put over the spectacular flash number of the bill. It is a big act, but the results from the Riverside audience, were not commensurate with the size of the production. At that, the only real applause of the entire show came during the offering when Miller stepped out alone and let his feet flay. He can dance, but other than this one solo bit held to working with two girls and naturally had to hold himself in.