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Singing.
Here is an act that is a whale on production. Its producers have gone out and spent money without stint on costumes and scenery, and all that the act needs now is a little work to smooth out the routine. Ernestine Myers is the charming little dancer who appeared with Carl Randall, and Noon was with the Bessie Clayton act for a long time. Both are consummate artists in their chosen field, and the act they are now presenting is one that should readily find a route. In addition to the two dancers there is also a pianist, who, had it not been for the fact that the act had to follow the Herschel Healere offering, would have
scored to greater effect with his solo work. Noon offers a little introductory number at the opening, and although he cannot sing to any extent he manages to get it over nicely. This is
followed by a double number that he and Miss Myers dance. This in turn gives, way to the "Hell Cat" dance, a clever Spanish conception that Miss Myers does. The duo offer a double
"shivver" that defies explanatory adjectives. All that one can say is that "it's there." A "Ragtime Romeo" number follows an Aztec dance, done by the girl, and it scored effectively. For a finish a Persian comique is danced. It has class, but it is not the number for the closing spot of the act. Perhaps the "Romeo" would have been a better get-away for the team because of its popular trend. The Fifth Avenue audience did not seem to get the closing
dance at all, and this consequently let the act down to lighter applause than it should have received at the finish.
Source:
Variety, 54:3 (03/14/1919)