Andres and Cotter opened the show, their routine being considerably changed. Miss Andres has passed up the audience entrance and that has left her little to do, there being no excuse for her “Swede” song. At least she did nothing in the singing line. Her principal contribution was taking part in chatter while Cotter mounted the tables and chairs. Perhaps there is an improvement over the first routine when the pair teamed, but something more is needed and Miss Andres should be given more.
[New act] Monologue and songs. 10 mins; one. Taylor is an old school monologist, who opens with two songs written by himself. The lyrics are badly in need of modernization. A few stories followed by a yoddling number completed his offering. Mr. Taylor drops a few remarks about just returning from Scotland. Perhaps this explains the vintage of the material and the methods.
7 Mins.; Full.
Scamp and Scamp are offering a good old fashioned horizontal bar act of the type that made vaudeville audiences laugh 25 years ago and which still has enough of the elemental comedy to make ’em laugh today. There are all the old tricks of sliding down the polos, swinging around them, falling over the stays by the comedian, and a new two foot hook onto the pole. The straight works fast and does the usual swings and flying, also the standing jump bar to bar. The act in the closing spot on the roof held them in.
8 Mins.; One.
Man and woman open with brief’ conversational duet which eventuate into a dance; pantomimic story dance.’ He with a song introducing the “latest” thing in stepping called the “Sooey” dance, which consists of some clever ‘ eccentric steps with tumbling. Both finish with eccentric dance. Very acceptable for the three-a-day.
13 Mins.
Dorothy Rogers and two men in an old style farcical sketch of the in and out of doors sort. Man stopping at a hotel the day of his wedding is robbed of his money and clothes. Colored bellboy is recruited by him to secure some raiment for him, and borrows a German uniform from another guest. His fiancé arrives and believes her lover has gone crazy. Sketch has weak finish and is of small consequence anyway.
15 Mins. Full Stage.
Two girls and two men in a routine of trick bicycling. The girls open the act with the usual double trick stuff. Attractive costumes consisting of abbreviated skirts and white tights are worn. One of the men next does a brief routine of trick, riding, appearing in misfit suit which he discards for straight attire, while riding. The fourth member of the act, a tramp comic gets the stage next for some familiar but very cleverly performed comedy riding. The girls change to nifty looking one piece costumes for another routine of double maneuvers. The tramp comic does another single and following some fast ensemble formations, the turn closes with the four on elevated wheels, with the tramp standing out by his comedy odd twists and turns on the highest of the elevated wheels, which through a mechanical arrangement has the rider perched on a saddle about twenty feet from the ground. The act went over opening the show at the 23rd Street last half. It’s a standard turn.
Bit. of Millinery.”
I5 Mins.; Full Stage (Special Set).
Ethel Hurst and a man are offering a rather clever little flash act that will pass in the small big time houses. A special set shows the interior of a millinery shop. She opens the. act with a number that permits of the trying on of hats. The man is of the nut comedian type who will go a long way if assurance counts for anything. He enters and the two cross fire for a few minutes after which a “cut” song is in order.” The man during the talk leans a little too much to “camping” for laughs. The day is past when that “nance” stuff will get anything for anybody and it doesn’t belong. A double closes the act.
“Oat of Work” (Sketch).
16 Mins.; Full Stage (Special Set). 23d Street
This is one of those bedroom acts. It is a combination of ideas contained in acts from other days. One asleep at opening, and the smothering of the alarm clock bit for the comedy—the husband who is lying abed while the wife is out hunting a job. The dialog is also familiar from old acts. A sample, “I wish I had taken my mother’s advice and never married you.” “So do I.” “I remember when we walked to the altar.” “Walked, you dragged me” With the bits from standard acts rolled into one it follows that this turn is a good one. It is in this case so good that it will make audiences laugh anywhere, especially on the small-time, which seems to be about the speed of the team. The set that is used is tack stuff, but mighty effective.
I5 Mins. Full Stage (Special).
Man and girl in routine of character dances. Act starts with song off stage by the man. Girl offers highland fling next, done in typical Scotch kilted costume. Sailor’s Hornpipe by the man follows, white sailor garb being worn. Skipping rope dance by the girl, with a double whirlwind dance for a finish with both in Chinese costume. Both are very good dancers. The opening song by the man should be dropped. The turn will make a pleasing opening or No. 2 act for the small time bills.
In “Late Again” had the closing assignment and pulled down the artistic hit of the bill. Miss Bronson has found the points in her new vehicle and Is working with sureness, making each laugh register. Her kid impersonation is an excellent bit of character work and she is superbly assisted by the girl, who plays the teacher. Aleen as the precocious youngster is the light to her shade making it a real comedy gem for vaudeville.
