Kranz and La Sale were big in the following spot. They had nothing new in the way of numbers and La Salle’s dancing figured largely, as usual. In doing the George White imitation he tore a big gash in his trousers; so White is due to receive the bill for a new suit. The compliment paid White in the announcement of the number ought to entitle La Salle to collect at that. The latter inserted a laugh in naming one of the songs, which, he said was called “I didn’t like her furniture, so I left her flat.”
Charles Cartmell and Laura Harris, with their next song and dance skit, “Golfing with Cupid,” provided an effective start for the second part of the show. The “old boy” in the act drew a big hand through his stepping, the principals reaping well at finish, however. Miss Harris is still in male swallowtail for that part of the turn, and she classes as one of the neatest.
Walter Manthey and Co., the “company” comprising two women, a statuesque “ballroom” dancer and a cute little toe stepper. Going on after 11 p.m. it is worthy of record that they held the audience to their finish.
Carlos Sebastian and the Myra Sisters, with their own musical director have the spot closing the first half with conglomeration of dancing, singing and violin playing. With their special scenery and attractive costuming the turn is an effective one for vaudeville.
It was the Hanson Duo, a man and woman trapeze act, in which the woman hangs head down supporting a trapeze and other apparatus by her hands, on which the man operates. It was conducive to perspiration to see her hanging upside down for a full six minutes.
Martin and Moore closed with a likeable sight turn, each gaining attention and a bit of applause from the few who remained to the finish. Besides its effect on the audience the heat also left its mark on the box office attendance being about 35 per cent below par.
The Casting Lamys, four clever male gymnasts, opened. The flyers did remarkably good work, and the absence of “stalling” gave the act added speed. The comic should either be supplied with better material of work straight. He’s too good an aerialist to waste his efforts on the cut and dried “comedy” now attempted.
Following and closing the first half were Berrens, Ryan Sisters and Leslie, a piano, singing and dancing quartet, but the four entertainers failed to pick up the running pace and the audience went right back to its favorite job of fan-wielding, passing up the various specialties with a feeble smattering of hands. The two Ryan girls, however, looked pretty and danced well. The act deserved a better applause break.
Harry Holman breezed in for comedy honors with legitimate comedy vehicle and characterization. Mr. Holman is a clever character comedian, who gets laughs easily and is just as convincing during the eye dimming passages. He piled up an impressive laugh total of solid wows and his telephone bits were the signals for regular explosions.
Marino and Maley had quite a battle, with no comedy ahead, but managed to pass a slight margin. Their encore, “Rose of Washington Square,” with Maley as an eccentric vamp with a question mark on his back got the most. Maley should watch his Italian accent. He discards it altogether at times.
