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Demarest and Collette, opening with fiddle and cello, very serious and straight, went that way until the man, for no reasons at all, set his cello against the chair and did the first of his howling falls. In this the program matter, tipping off that it was a comedy act, hurt the surprise. The start is palpably for an impression to heighten the ludicrous aftermaths, and therefore it might be wise to mask it in the billing by at least double entendre descriptions, such as “Strings and Stringers,” instead of “Trifling Talk, Fancy Fiddling and a Careless “Cello.” In later minutes the woman played “Humeresque” in a manner to tear the heart out, and is both a great violiniste and the owner of a great violin. The trick stuff, the clowning, the pluperfect playing and all made up a grand next-to-closing act; it could have doubled its stage time easily and held concentration and welcome.
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Variety Magazine, LVIII: 29 October 1920