Neither act gave the show much headway, and Leon Stanton and Co. who followed, failed to tilt the skids. Stanton does an inconsistent G.A.R. veteran much addicted to wise cracks in modern slang. In an effort toward comedy he ruins his characterization and doesn’t aid comedy end much either. An excellent character woman depicting a shrewish old housekeeper saved the turn from an ignominious flop.
Sam Lewis and Irving O’Hay, in an act that they are discarding after this week for a new one by Joseph Browning, held the next to closing spot and walked off with the laughing honors with little competition from the preceding acts. Lewis is of Lewis and Dody and more recently of burlesque, while O’Hay last worked opposite Frank Conroy. With a vehicle they should be one of the best of the two-man comedy standards.
Jim and Betty Morgan, reunited after Miss Morgan’s long illness were easily the hit of the bill, next to closing. Miss Morgan is showing three stunning, new wardrobe changes and looked immense in each of her decolette [sic] changes. The finish, with Jim coaxing mean blues out of the clarionet [sic] while Miss Morgan accompanies on a “uke,” goaled them.
Fox News with out wives mothers and sweethearts voting was ahead of Earl Gates and Co. a strong dancing dup with a singing girl pianist. Gates is big league exponent of hoof and has a pretty special drop and cyc for his offering. The pianist introduced the different solo and double dances with appropriate songs. They went over easily.
They were followed by Hunter, Randall and Senorita, a two-man and woman colored comedy skit in “one.” They rushed through their scenes and lines like wildfire, muffing many laughs and at times becoming incoherent from the middle of the house. The act was probably asked to cut the running time and preferred a whole act a la Walter Johnson then cutting out any one part. It crabbed whatever merit the turn possesses.
Mins. One.
Here’s a sister team that presents possibilities for regular big time work. With the proper scenic effects et al, they should make good. Miss Weston handles the vocal end exclusively, Miss Doro accompanying and doing a piano solo that would be a credit to a planolo recorder. As a matter of fact, Miss Doro’s peculiar tickling of the ivories suggested a player piano strongly. Judging by her reception, the turn could stand another similar solo. The songs all sound restricted with the exception of the concluding, “Rose of Washington Square,” done as an encore in an original dialect. Miss Weston is gifted with the art of getting a number across for all its lyric and comedy values.
5 Mini. One.
They open as a double with one singing a bit of “Carmen” while the other does a Spanish dance. This is followed by “Buddha,” offered in a Turkish costume by the songstress. An. Egyptian snake dance follows, with the singer going to the piano for the next number and playing her own accompaniment to “Kiss Me Again.” A “Peggy” number for the close is well put over with just the suggestion of a “shimmie” in it. The act needs to be revamped.
The comedy is not sufficient to hold the attention of an American audience. The acrobatic work is but mediocre, little in the way of novelty being displayed, the woman doing tumbling early in the turn that shows some ability. Her efforts on the stage are limited, due to the necessity of keeping her be-‘ hind the drop for the water business.
