Gordon takes up most of the time with songs that were not any too well received Sunday. The act got the most attention on the dancing finish with the sisters, Gordon dancing first with one then the other. A dark stage did not help any at the juncture. As the act’s main asset is dancing it is up the trio to frame accordingly. The act may pass muster in the pop houses.
12 Mins.; Full Stage. Two men and two women compose this foreign act that is made up of young contortions and acrobatics. The younger of men does the contortional twisting, different from the customary run. One of the women also contorts, while the other man is mostly acrobatic, and the third male does nothing of account. Of its kind it is very good, and, closing the Palace show this week, holds attention.
15 Mins.; One. The Howell Sisters are going to make a good “sister act” for the three a-day houses. They dress attractively and have a pleasing way that should get them over. The present routine consists of several of the latest rag songs, and the girls have some good double versions. Their two best numbers are “Victrola” and “Michigan.” These flaxen-haired misses should be able to keep going for some time to come.
10 Mins.; Full Stage. The usual type of mail duos with one fellow doing comedy. They open with cornets and then use the rubber gas pipe from which the German character tries for comedy. The pair then do some work and close with saxophones straight music would get them over much better.
12 Mins.; One. Frank E. Gordon is either a much abused originator or a very guilty imitator. His metropolitan appearance should arouse some very interesting debates as to who originated the “lemon trick” (first shown around here by Jarrow) and the egg and hat trick, previously done hereabouts by Wallace Galvin. Gordon does them both and does them well. He opens with the “lemon” trick substituting an egg for the lemon and playing card for the money, as shown by Jarrow, bringing the trick to a convincing finish, but without much accompanying comedy. The egg and hat trick is shown with a small boy aiding, looks good and carries many laughs. Another good trick is the three-card-monte, using either glass or tin plates with playing card fronts, the idea being to watch the shift of the cards. A plant is employed with some laughs as well. The plates are handled well by Gordon, but the plant is a bit awkward, giving the idea that double plates are used. This may or may not be so. At any rate Gordon does his tricks well, perhaps better than the others, but needs more “appearance.” This fact was made conspicuous through his early position where he required every thing to pull attention. At that he went over nicely and could hold a better spot.
13 Mins.; Full Stage. The usual routine of modern dances, the expectation being a bare-foot effort by the girl that brought some applause, but necessitated a short wait between that and the succeeding number. If “pop” time isn’t overcrowded, here’s another one.
8 Mins.; One. One boy plays the piano. Both sing. Both appear in blackface. Their comedy and songs scored Sunday afternoon. The young men get fairly good harmony out of their “duos.” The piano man tickles the ivories for one number. The team can get over nicely in the pop houses.
“At Home” 15 Mins.; Five (Special Set). Described progamically as a sequel to Mr. Morton and Miss Glass’ former act, “My Lady of the Bungalow,” “At Home” becomes another chapter in the series that allows of this young couple talking, singing and dancing, each doing a share in a nice engaging manner that firmly sends the turn over. The set is a country cottage, practical so far as a screen door will suggest. Through that door exits and enters both principals at different times. When Miss Glass first exists in that direction, one of the vaudeville surprised of the decade follows. She gives as a reason for leaving the stage, to dress herself for a call. Immediately upon passing from view behind the door, a Victrola is heard playing a “Maxixe.” Mr. Morton displays displeasure at again hearing it, but as he is standing upon a dancing mat and there is nothing else to do, the young man commences a soft shoe dance to the “Maxixe” strains. He goes through with it to loud applause, the house orchestra odd enough to see a dance to Victoria music on the variety stage, but a soft shoe to a “Maxixe” and to get away with it! The opening is also a bit odd. Miss Glass is calling her husband (Mr. Morton).; He appears rolling a lawn mower. Attached to the handle is a small basket, in which is the baby. Some cross-fire conversation on marriage (known as “repartee”) follows, then the “Maxixe,” with a bit of talk, Miss Glass having reappeared by this time, gowned to walk, but seats herself on the steps, playing the guitar and singing. The turn closes with a rag duet, the couple meanwhile pushing a baby carriage to and from, across the stage, mingling in some steps. The act could close in “one” with this number, though it would take them out of the nicely set garden. Mr. Morton and Miss Glass have a worthy successor in “At Home.” They create the atmosphere the title suggests, they are young and they are nice, they are talented and worth the price (to make the rhyme) which should get them time.
10 Mins.; Two. The Clafflin Sisters are the usual small time sister act. Some of the songs are very old and not put over to advantage. One sister does fairly well with an Irish number.
10 Mins.; Full Stage. This pair of society steppers have nothing new, expecting one backward step in a trot. They have got to go some if they are just starting, for the small time does not relish these dancing couples as formerly.
