The Steiner Trio
Three male horizontal bar performers, surround their work with the old style continental “comedy eccentriques” make-ups — the “fat man slipping through his clothes, the cartridge slap-stick, etc.
Shelton Brooks
Shelton Brooks, the song writer, has Horace George, who plays a wicked jazz clarinet while Brooks tickles the ivories and sings his own compositions. Brooks also prances about a bit This pair of colored comedians would entertain any audience anywhere in the world. Their 13 minutes of genuine “characteristic” amusement Is alone worth the price of a seat Brooks manages to score with apparently no effort.
Herberta
Wire Walker
12 mins, full stage
Herberta is a female impersonator, but through a convincing characterization this is not disclosed until the finish. Act consists of a series of dances and acrobatics and the tight wire, well executed and handled with good showmanship. Opening with a fast bit of stepping to rag tempo, a waltz, skirt dance and acrobatic dance follow in order. These are all performed on the slender wire and with quite as much ease as if on solid ground. One of Herberta’s best tricks is running swiftly to and fro across the wire several times and sliding into a “split” For his [sic] closing stunt he jumps over a chair held, by an assistant.
Honeysuckle and Violet.
15 Mins.; One.
Honeysuckle and Violet, eccentric tramp comics, are using an opening almost exactly like that of McManus and McNulty, also tramp comedians. This consists’ of the orchestra playing a classical introduction, with bird whistle effect, etc., of the sort usually preceding a posing turn. The lights are lowered and a girl clad in black tights appears at the left entrance with a card reading “The Sculptor’s Dream.” The drop rises and the team are discovered “posing.” Old fashioned tramp make ups are worn by both men. Opening with a double comic, a bit of talk follows.
Ward and Gowry.
15 Mins.; One.
Two men with violin and banjo. The violinist plays exceptionally, pop and classical with equal facility. The banjo player is also a capable performer. A fast jazzy number as a double for opening, then a difficult Hungarian Czardas by the fiddler as a solo with the orchestra. Imitations by violinist next. Raggy solo by banjoist merged into a double by violinist joining in with a freak fiddle, consisting of a violin neck, strings and horn arrangement, the latter giving the music a deep mellow sound. The fiddler walks through the auditorium, playing the freak instrument just prior to the finish. Equally good results could be obtained if the audience thing were omitted. Act a solid hit on the Roof.
“Black and White Revue.” (7)
Minstrel Show.
20 Mins.’; Two.
Regulation minstrel show with a circle containing four girls, a male interlocutor and two end men. A harmonized chorus of a pop song by the company before the drop rises. Then the usual opening “walk around.” “Somebody’s Waiting for Someone” soloed by Cora Neil son, a little girl with a particularly sweet voice, landed. The chorus harmony in the encore was very ragged, someone with a bass voice singing off key. A nicely harmonized double “Where the Morning Glories Grow” by Janet Sisters brought substantial returns. Both end men have a number and each a few minutes of gagging. The best specialty is toe dancing by.
Frank Browne
Frank Browne opened after intermission and scored with his xylophone playing. He is an excellent musician with a well selected routine of semi-classical, ballad and jazz melodies and compares favorably with any of the knights of the hammers heard around.
Julia Edwards.
12 Mini.; One and Full Stage.
Miss Edwards clad in a plush gown makes an entrance in “one and sings the “Shimmy Blues.” When she turns her back she reveals pantalettes and hose. Going into full stage she monologs beneath a pair of rings and strips to white tights. Then some ring work, keeping the gab up meanwhile, with the aid of a stage hand she does some balancing on a belt and finishes with a slow descent while singing a classical song. She possesses a fair voice and is an excellent gymnast The talk is a trifle overdone, most of the gags sounding familiar. It’s a good small time opener.
KAISHA and CO.
12 Mins.
Kaisha is a classical dancer, assisted by two girl musicians and a leader who does a saxophone and an ocarina solo from the pit be- tween numbers. The girls are also used to dress the stage, introducing atmosphere for the dancer by similar costuming and posing. The dances show nothing new, opening with Egyptian dancing by the dancer in full stage, followed by the leader’s sax solo, later joined in by the two girls after a change, stepping out in “one.” The ocarina solo follows, the girls Joining in with double banjo, harmonizing in medley of published numbers. The act goes to full stage following, with a large Jar-shaped object in center. The dancer is concealed behind this and projects her arms through openings in the jar for a lifelike illusion of two snakes… The turn will pass nicely in the intermediate houses, but lacks the necessary class or punch for the bigger bills.
ARTHUR FIELDS
10 Mins. One.
Arthur Fields has a rep for making phonograph records. Ho has appeared in vaudeville before. Now he goes in for straight singing only. His selection of songs at the present time carries little weight, his strongest is a medley of former hits with “Nobody’s Baby” used for a closer having some worth. Fields’ voice is a big asset and with the proper numbers should place him as a sure Are hit feature for houses of the American grade.