The act was twenty-three minutes long on the full stage.
Miss Chaloner uses May Tully’s sketch called “Stop, Look, and Listen.” She does not, however, repeat Tully’s imitations and chooses instead to perform a travesty recitation of “The Other One was Booth.”
She is joined by another girl who plays a “bucolic stage-struck child” well.
The act was seven minutes long on the full stage.
Mahr and a male partner begin with Russian dancing. She then does a “Tommy Atkins” number on her toes. The pair concludes the show dressed as Pierrot and Pierette in a double number.
This travesty sketch was nineteen minutes long.
Two men are dressed as campers and engage in cross-fire comedy. They also sing a medley of “old-time” songs.
McKinley sings and is accompanied by a pianist.
After
the “William Tell” overture a white sheet
is lowered and while the two men are
playying a medley of national airs, colored
slides are thrown upon the drop. It was
hard to see the aptness of it. One in particular
showed a battle scene in the Civil
War while the accompaniment was a
Scotch Highland piece.
This “Pianalog” act ran for nine minutes.
DeYoung sings the “regulation published songs” with a pleasing voice. She plays the piano and sings for two out of her four songs.
The act was eighteen minutes long on the full stage.
The sketch is about a wife who waits up for her husband to get home after a night of debauchery. She pretends that he is invisible and at one point removes a month from the calendar to make him think he’s been gone much longer than he has.
The young juggler Frank Hartley made a district impression on the audience at the American. Performing without assistance, Hartley provided an entertaining program that included an interjection of comedy while juggling both light and heavy objects.
And
Miss Harcourt might dispense with the
soubrete costume. That style has passed
away. She makes a pretty picture in a
“kid” dress.
