Cartmell and Harris in their novelty dancing offering. “Golfing With Cupid,” have realized the dream of every from the stereotyped “Off to Buffalo” method of introducing dances. They have a neat routine of dialog hung around a day’s golfing, and do a golf dance that is consistent and well executed. The finish is evening clothes given Laura Harris a chance to do a clever “souse.” They went over with a bang.
Chung Hwa Four, the Chinese quartet, pulled down a solid hit after this sketch. The men have a wisely selected routine of popular numbers and their ensemble harmonizing is first class. One of the quartet looks like a ringer, but the others are undoubtedly Orientals. “Bye, Love,” “Down the Trail to Home, Sweet Home,” and after a quick change to evening clothes “Roll Them Bones” were some of the musical numbers. The change at the finish to Scotch attire gave a great opportunity for comedy, which wasn’t muffed. They scored heavily.
Leonora Kern was second with songs, violining and some nifty wardrobe. This girl reminds one of Irene Bordoni and has one very Bordonish number sung in a French accent, with a nifty knee-length costume to match. She possesses quite a voice and is also a clever musician. Her last number, “Listen to the band,” he got over with very little help from the house orchestra. It’s a nicely arranged single and Miss Kern looks fast enough for the best company.
Powers and Wallace were the second pair that went in strong for the “Dear Old Virginia” numbers, but like their predecessors, worked the talk and song combination smoothly. The man with his slow drollery is especially amusing and has a capital baritone voice which blends nicely with his partner’s.
Bob Callew and Julia Callew picked the running up nicely. It is a neatly former turn, with a neatly dressed blonde girl singing coon songs in a quiet way and the man at the piano making labored efforts for comedy.
Lydell and Macy in “Old Cronies,” a revision of the former Lydell and Higgins act, closed the vaudeville section of the bill very {shingly?}. Macy’s type role is more legitimate than that presented by his predecessor, the former having built more for caricature. It goes without saying that they were well received.
The class of the bill was materially sustained by Elizabeth Murray, one of the handful of really funny single women. Most of her numbers are of little consequence, but the act is well worth while for the presence in it of her inimitably characterized Irish interpretation of “Don’t Do That!” There are two dialects in which Miss Murray shines – Irish and sloppy wench.
10 Mins, One and Full Stage.
The comedy is not bad at any time. Most of it is gotten through one holding a violin without playing it and repeating a “nut” announcement while the other fools about. The acrobatics are taken from a spring- board /mostly, with some new- tricks in that line. One of the team makes several heavy falls. The boys do not try too much talk and handle it well enough as they do their comedy, with the acrobatics the main strength for applause. For “an encore in “one,” it is announced Mr. Larson or Mr. Wilson will do a “double from the ground,” “the only person ever successfully doing this feat” The man on the stage intently watches the wings where the other is supposed to take his start from, the orchestra strums up to the acrobatic break, when the one in front of the audience yells to the other if he did the trick, and hearing the reply, “Yes,” bows ta the audience arid walks off. The house seemed to take to this scheme of foolery and the light applause almost immediately was swollen into a volume that forced the boys to return, for two or three acknowledgements. It’s a good comedy acrobatic act with about the only question left as to whether one acrobatic trick at least should not be reserved for the finish in “one” with the present comedy ending of course retained.
16 Mins.
“Dance Creations.”
One and Three (Special Sets and Hangings).
For the finish, an Egyptian dance number which presumably was some sort of an interpretative dance, was shown. Suffice it, no one was interested in interpreting it, other than watching Miss Myers go through the gyrations of her dance. She appears barefooted and stockingless well up to her thighs, the upper portion of her anatomy also being similarly spared of coverings. Except for breastplates, it was a nude intermission unto the waist. Even below that a diaphonous arrangement of the costume imparted an effect that brought gasps from the audience. In the course of her dance, Miss Myers has occasion to doff an outer portion of her costume as well as her breastplates, the act of removing the latter raising another nervous giggle barrage from the frails present. However, It only disclosed her anatomy.
