[New acts] Musical, 13 mins; two. Two girls with a xylophone, cornet and piano. The girls are brunets, from the West, and look swell. They are still shy on knowledge of Eastern vaudeville, however, and need instruction on framing the turn. They run to slow tempos and hold to them too long, especially at the opening. One of the young women is an excellent xylophonist and the most vivacious of the couple, while the other miss seems too wholly intent upon her cornet. The act can get over on looks on the small big time in an early spot until the girls find themselves.
Murphy and White were the first of the familiars to appear and whanged over a crashing hit in fourth position. It is one of the best two-man piano and singing teams in vaudeville and can stand any kind of elevation. Murphy handles most of the solo work and has personality in abundance. He got laughs easily. White does the accompanying and also contributes a solo “When He Gave Me You,” a corking ballad capably rendered. They had to encore with a comedy speech by Murphy which swelled their laugh total.
Adelaide Bell and Co. followed and held ‘em with a varied assortment of dancing, the “co” being a male accompanist. Miss Bell attending the terpsichorean end. Between dances the pianist did a classical number and a “blues” neither more than passably. He’s a good musician, but his choice of selections failed to show off his ability to proper advantage. Miss Ball’s best were a legmania dance with a variety of kicks forward, backward and side, all equally well executed and a toe dance intermingled with some great ankle work. She’s an excellent dancer and had no trouble in landing safely in the hit column.
Chas. Mack and Co couldn’t fall down at the Fifth avenue if they tried, the humor of their Celtic comedy sketch and the Hibernian types presented being as familiar to the neighborhood bunch as the Ninth avenue elevated or the 28thstreet belt line cars. One bit in particular in which Mack tell the aged “Tad” who plays opposite of the advisability of taking a big dose of medicine and then relating a yarn of hoe a man he knew had died of an overdose, struck a responsive chord that landed a gale of laughs. The sketch is filled with little human interest touches like this heightened and properly brought out by lifelike characterizations. Mack’s bagpiping and the woman’s Irish jig, not a buck and wing masquerading under false colors but the neat article earned heavy hands.
Tuesday night was a swelterer the heat denting the attendance to the extent of one-third of normal. Those who were in were “hardboiled” until the second turn. Glenn and Richards got well along with their specialty. Mr. Glenn finally brought the audience out of the comas they seemed to be in with a corking soft shoe eccentric dance. Previously the team, a singing and dancing combination, had shown little or nothing, starting off with “Why Don’t You Treat Me Right” done as a conventions double ordinarily handled with a few minutes a standardized patter to follow. Miss Richards changing from a pretty blue silk street dress to what looked for all world like a bathing suit, cute knickers, abbreviated skirt and decolette bodice saffed right in after Mr. Glenn succeeded in waking the unconscious ones and singled neatly with “Moving Picture Hall,” gathering in a sizeable hand, the nothing suit accomplished the sought for result. This paved the way for another display of clever eccentric stepping by Mr. Glenn, a fast double finish pulling down a trip of bends.
[New act] Monologist, 13 min.; one. Made up for comedy as a caricature of a “ward heeler,” Mr. Raymond stands on a soapbox for a sidewalk political “speech.” He is a candidate for Congress, and while he does not adhere to the political routine, swerving from it for semi-serious patriotic rhyming, he has an original monolog, well characterized and replete with satirical quips. More of the comedy and less of the partly serious stuff would make him a candidate for big time honors.
[New Act] Tumbling. 6 mins.; Full stage. In different costumes from what has been identified with this class of work heretofore, four dark-skinned men go through a fast routine of ground tumbling of the Arabian style, consisting of high dives to handstands, etc. all of which is wholly familiar to present day vaudeville patrons. Nothing unique about the act to lift it out of the small time houses.
Harry Holman and Co. in the comedy sketch. “Hard-Boiled Hampton,” was liked at the Fifth Avenue as well as it has been in other houses in and around New York. The little girl is playing opposite him is excellent and aids materially in putting the act over.
Presenting “A Regular Business Man”. Mr. Fairbanks portrays the character of a young lawyer, who on account of his weak business ability—his stenographer and fiancée decide to resign—he begs for time—six months, three months and one month and finally an hour is granted, he gets busy and by good luck makes $50, 000 in an hour. The sketch is full of good bright up-to-date lines, with many laughs, exceptionally clever and well played. Twenty-two minutes, full stage. At every performances the two former Co-Stars Tom Wine and Douglas Fairbanks join hands, their appearance is the cause of spontaneous applause from all parts of the house, which necessitates both making genuine first night curtain speeches. The publicity given the two Co-Stars in all the papers has been tremendous with the result of S.R.O. at every performance.
Presenting “A Chip of the Old Block” by Byron Ongley. “The scene of this skit is laid at the Actors Fund Home an Staten Island, with Mr. Wise as an inmate who in his younger days was an old favorite old Bowery Tragedian and was about to become famous as a Tragic Star, grew fat and funny and was forced to take the comedy roles, the public not taking him seriously, ruined his life, he separated from his wide and become a cranky old man. After years travelling with medeocre [sic] companies, comes to the home to spend his declining years. His ray of hope is his son who he has not seen for many years and knows he is a leading man with a repertoire company. The boy notifies his Dad that is coming. The Father is excited, making preparations, but to the old man’s horror, when the boy arrives, he is fat as himself. A scene of comedy and pathos follows. The curtain falls with the old man gazing at the picture of his grand-son who he thinks will surely be a Tragedian.”
A splendid sketch, rather novel in construction, with good comedy and a wee bit of pathos. Received a rousing hand on the finish. Twenty-three minutes, full stage.
