Josephine Gabel
This woman retains all the dash and vim as heretofore but falls in short in getting her songs over. 11 minutes in 1.
Three Keatons
“The Tumble Bug Family.” It is a pity Joe Keaton cannot arrange to have the other little “bugs” in the act. Greatly improved since last here and was one of the big laughing hits of the show at both performances. 26 minutes full stage, including 7 minutes in 1.
The College Trio
Presenting “The Rehearsal”. A crack-a-jack little skit introducing singing and dancing. The act is immense and can hold a better position on the bill. 22 minutes full stage including 5 minutes in 1.
Harry Hirsch
Cartoonist. This young man presents a sort of novelty in a way of cutting the paper from the easel and various other little effects, assisted by a colored boy. His cartoon work is fairly good although unappreciated, rather talkative and somewhat amateurish, intermingled with alleged comedy. Big chance for improvement. 15 minutes in two.
Irving and White.
One.
Irving and White, boy and girl, talk and sing. The boy is doing a Hebrew character, entering, carrying Yiddish newspapers under his arm. He reads the “news” from the paper for laughs, there is some talk between the pair and the turn struggles along in this way until the youth starts a single song. It’s of the type that mentions several professionals and when he reaches Al Jolson, there is an imitation of Jolson, then Sam Bernard and a Bernard imitation. The Jolson bit woke up the house and the turn got through better after that, with the couple talking some more, finishing with a double number. The girl looks well and did little else.
Orville Stamm
10 Mins.; One and Full Stage (Special Set).
Now the “strong men” are talking. Orville Stamm is doing it, also singing. He has a new turn fashioned out of his former strong act, with the meat of that retained. Opening with his bull-dog hugging him, Mr. Stamm sings about his dog, then talks about him- self, all in “one.” Going into the full set, surrounded by curtains, he does his muscle display and after that, the violin playing whilst holding the dog on one arm, also his physical culture movements, and toward closing, his sketch in chalk with the dog again on his arm. In the new turn Mr. Stamm has placed a few laughs. It’s probably what could be called the only comedy strong man act in vaudeville.
FRANKLYN BROTHERS.
10 Mins.
The understanding of this team resembles in build, name and style of work the strong man in the Franklyn. Charles get the brother act flashed a good routine that held most of the house in the closing spot. The stunts are well done without, however, an attempt at speeding in other routines of the kind. For the finish they have evolved a lift suggestive of the chair lift in the Franklyn, Charles act. The brothers work it out with a table, which is not as spectacular and does not look as difficult.
MOORE and FIELDS.
12 Mins. One.
A colored team using material that sounded as though they chose from whatever talking turn they saw. They use an insurance bit about speed in paying the premium Just as the boy, who fell off the roof. was passing the fifth floor. Also they have the C. O. D. line and the bottle of milk, now in the routine of a standard colored team. The men show something In dancing. One especially is a good tap dancer. He started something with a soft shoe waltz clog, then a fast eccentric tap number. The same boy delivered at the close with a tap dance which drew an earned encore, his partner “Jazzing” on a phoney trombone.
RODERO and MARCONI.
Another “wop” audience act. This one, however, does not depend on its comedy. The latter appears designed for an opening, but continues half way through the routine. A youth starts fiddling, being interrupted by loud coughing from the pit. The “wop” player sitting next to the regular house leader explains he was out last night, says his name is Victor Records, and there follows a bit on A. D. and B. C. “Wop” finally gets onto stage, and after a broken violin bit, totes out a piano accordion. His efforts to play “Oh What a Pal Was Mary” go wrong, but the men finally get down to a duet medley. They bowed off and on, with another medley. A new stunt appeared when the fiddler’s bow came apart, rod turning out to be a fife and he finishing the number playing it. Its a musical turn which has tried to get away from routine.
JOE FANTONE and Co.
Full Stage
A good routine of acrobatics and gymnastics is executed on the flying rings with the finish trick a flashy thriller. Two of the men posed on the tips of the tepees Jump together onto the raised end of a spring board which hurtles another member up to a turnover and foot hold on two ankle straps, leaving him hanging head downward. It’s a difficult looking trick and made a strong finish.