“Rounders of Broadway,” the late Bobby Matthews’ old act, to which his widow now has the rights, while missing the originator, still retains enough interest though the display of the four types used with the “rounder” as the introductory character, to hold its own and should be as strong as ever out of town. The singing of “Chinatown” is no more in the act, and it sis a bit that is missed.
“Reckless Eve,” the girl act, held the stage over an extended period and amused most of the way, but showed a tendency to let down ever so often. Finished nicely, however, and should register in the smaller houses. Succeeded by Hanlon, and in turn came Green and Dean, warbling six songs that showed up next when the pianist got away long enough to do a selection on an accordion. An uncalled for encore hurt the male double more than anything else. Might be o.k. if warranted, but not under the circumstance they faced Tuesday eve.
Bert Hanlon, No. 4 “cleaned,” following the rather long-winded playlet of “reckless Eve.” A few new bits have been added by Hanlon, along with much extemporaneous ad libbing that had ‘em laughing. It called him back for the recitation of “Gimme Glass a Water,” always certain as done by Hanlon.
[New Act] Horizontal bars, 7 mins; full stage. Featuring a full loop from the third bar placed higher than the others and done on a trapeze swung from it, worked up similar to five stand tables bit, the innovation as “invented” by Felix fails to be novel enough to pull the act up above an ordinary opener for the thrice daily.
Assisted by a woman whose one contribution is a bit of rope skipping, the male half of the turn does the swings on the remaining two bars, interspersed with some talk that was hardly distinguishable and relying on the eating of candles for comedy.
Milt Collins preceded the Rice and Ward turn, doing his Cliff Gordoning that had an uphill battle from the start, due to about a quarter of the house changing seats with those who had been standing, After the switch in locations had been accomplished Collins was given the attention he needs, and though far from the finished monologist Gordon was, nevertheless handled his material well enough to register solidly.
Santley and Norton came forth after the long-winded interruption and proceeded to do it all over again with their melodies. They let ‘em have it for five songs, working neatly all the way, repeating with one encore which could have led to more had they so desired.
Rise and Ward made themselves decided favorites before leaving, the girl with her six imitations and the elderly man with agility, which assuredly is remarkable for one so advanced in years, and his clowning, Well over the line, accorded a reception on their entrance and receiving that mark of approval which is probably the last word as to putting the O.K. on an act, clamorous applause and whistling from those on high.
Long Tack Sam furnished the first substantial outburst of enthusiasm with his troupe. He himself scored through his versatility, the girl and her contortionistic work, and the boys on the bar, who still remain about tow jumps ahead of any of the others at this style of gymnastics.
12 Mins.; One and Full Stage. The Shentons, Australians, have something ab it different in the song and dance line with their dancing ability standing out considerably in advance of the vocal efforts. The turn consists of two men and a woman, the taller of the males doing practically all the singing, with the other couple dancing through the various choruses. The opening is a short introduction carrying an explanation of the ensuring work. It is followed by a Dutch number in costume, but for some reason or other the dialect is faulty, running a bit more to Scotch. AN Eskimo number is also added with an Indian song utilized for the finish. This is by far the best of the three and allows for some excellent dancing on a mat with moccasins worn. It brought the Shentons over to big applause and should guarantee their safe passage over here.
[New Act] Songs, 11 mins; one. Entering as a “single,” doing a number with the two boys starting an argument with an auditor in the third row that ends with first one going on the other side of the lights, shortly followed by the other, who does his share at the piano.
The men use an Italian dialect and get some humor out of the speech and mannerisms, but the strength of the act rests with the first boy to leave the audience, due to his voice. Three numbers, the boy mentioned doubling with the girl for two.
Miss Granese made one change and has a nice appearance, also singing acceptably with her partner as well. The turn did nicely at the Broadway, No. 3.
