Beeman and Grace, musical and skating arrangement, opened. The pair make a good impression at the outset. Nice looking boy and striking pretty brunet girl and odd duet, with girl at the piano and boy playing harmonica, the boy later accompanying himself with a ukelele [sic]. This feature of the turn is a whirlwind skating finale. That boy has a one-foot whirl that is a wonder and all his maneuvers on the small mat are striking, particularly the dance on rollers with this girl.
[New act] Juggling, 10 mins; three. There two men are not newcomers to vaudeville, although their names appear unfamiliar. Evidently an old-time turn assuming a different name. The routine of work is old, having been done by many years ago.
Opening in Oriental costumes with purple tights, they go through pedal barrel juggling, followed by one swinging two tin cups full of water attached to each end of a piece of rope and then back again with the barrel, a la pitcher and catcher, warming up before a baseball game. Nothing new, but should qualify at the smaller houses in the opening or closing spot.
The Ziegler Girls, with Yorkes’ Symphonists as a background, held the house in the closing spot and did the same for the 19 minutes they were on. The girl, did four numbers, with selections by the band interspersed also a dance by the male assistant which got over nicely. The act is dressed well, but the girls are in evident need of touching up in just how to handle themselves a decidedly lack of grace being noticeable at times and especially was symmetry missing is a waltz number by one of the girls and the boy. The band as a six-piece affair, did well enough is so far as its music was concerned and helped in dressing the stage.
Helen Trix and Sister worked quietly, and with four songs had enough left over to return for one more. The girls pleased mightily with their voices, but seemed to have a little difficulty while dancing, though there wasn’t much of that. It’s refreshing to hear a singing act get away from the stereotyped routine of published numbers now and then.
The rube monolog by Sam Hearn landed without a bump, making the violin bit at the finish unnecessary for this one particular performance, but which nevertheless did detect from that which had gone before. Mr. Hearn’s political speech showed somewhat of a similarity to that offered by Lew Dockstader, but either is certain as Nov. 2 isn’t so far away.
An even running eight-act bill for the first half that got away nicely, due to Sansone and Delita, and maintained its speed. No one act could be mentioned for standing out above the others. Rather, it suggested team work on all sides, with each taking their turn at helping the performance along, the total score showing the evening had not been in vain. Decidedly just the opposite.
Saxton and Farret, on after the Englishman, were another comedy riot. The dark stage entrance with the male as the house electrician gumming up the lady’s son gave them a whale of a start and they never let down for an instant, At the finish, when both have changed to evening attire, the team make an excellent appearance. It’s a good act written around an old idea.
Robert Hodge and Co. in familiar comedy sketch kept up the comedy sketch kept up the comedy average and breezed in. he has two new assistants, both up to the standard of the last pair. Hodge does an excellent bit of characterization as the garrulous old lawyer and kept them laughing consistently from curtain to curtain.
Harvey De Vora Trio, in No. 4, disclosed two men and a woman, one couple doing “high brow” and the featured male comic an “ace of spades” nance. The offering is titled “A Darktown Cabaret” and carries with it some furious funnies and azure lines that are stingless, bow over.
[New Act] Singing and talking; 19 mins; one. Here is a straight and tramp comic team that has gone out of its way to dig up old Biblical gags for its principal comedy asset. The tramp pulls a regular Bozo make-up and manages to extract a few laughs with labored gags. The straight has a big baritone voice and manages to get a little applause in his handling of a ballad. “When I Lost You Mother of Mine.” The tramp offers a mock-ballad recitation and lands it fairly well. Jack Norworth’s old song. “Months and Months and Months,” is the finishing touch. Real small time turn.
