Mr. Tannen, next to closing, had a quite a tussle to get ‘em following the long-winded “Bleaty Bleaty” preceding, but accomplished his usual hit by dint of perseverance coupled with an unapproachable monolog delivery. Mr Tannen has a few old ones mixed in with newer material. They all went over for laughs old and new. Before having the stage Mr. Tannen requested the audience to wait for the Donald Sisters a rather commendable and courteous act by Tannen, quite in line with his manly and polished stage personality.
Adelaide Bell and company caught a thoroughly quieted down audience third, pleasing with a series of acrobatic and legmania dances. During the time allotted Miss Bell for costume changes her male accompanist pounded out piano selection, none above ordinary, but filling in satisfactorily. Miss Bell’s high score was made with a couple of contortion dances, one of which brought forth some corking ankle twisting and kicks.
Paramo, second, brought back memories of the old museum acts with his one-string fiddle and trick harmonica playing. He also plays an auto-harp, also resurrected from the dark ages. The Paramo style of turn is so old it apparently was new to most of the Brighton audience. A vocal number early in the act would be increased in value of Paramo would enunciate so that the words could be distinguished. The turn went over well for the spot.
Frank Wilcox and Co., presenting “Ssh-h,” a farcical sketch of old-fashioned construction and very familiar situations, lifted the roof with the storm of laughs and applause accorded their efforts. It’s all been done time and time again, but as played by Mr. Wilcox and a company of legitimate players of proven ability the sketch is a howl from opening to tag line. As a sure-fire comedy scream “Ssh-h” qualified as a topnotcher.
Tom and Kitty O’Meara, following, also landed heavily with a series of character and ball room dances. The old-fashioned minuet, prettily costumed and expertly performed, was picked for a thunderous hand. The Bowery tough dance also pulled a gale of applause, but it is overdrawn, nevertheless, and would be more effective if toned down.
Kate Elinor [sic] and Sam Williams were a comedy riot and a tower of strength to the first half. Appearing number four, they doubled up the house for a continuous stream of laughs, Miss Elinore’s pop gun working with its usual surefire effect. She is a favorite at the Brighton and the crowd gave her a great send-off. Mr. Williams piano-loged a couple of pop numbers for heavy returns. Although a bit inclined to staginess he makes a capital foil for Miss Elinore’s comedy antics.
