Art Hall and Abe Shaprio were spotted No. 4 switched from opening the second half. The team bills offering “How Does He Stand It?” a querulous reference, presumably, to the resounding facial wallops administered the Jew comic by the straight (a corker by the way) is really the act. His ludicrous cackle, funny slide, “mean” falls, hokum, and last, but not least, his ability to stand the periodical physical punishment, are solely responsible for the comic success of the offering.
Hugh Herbert and Co., offering their “Mind Your Business,” from the typewriter of the actor producer, found considerable favor. The piece is in the nature of a revival, having been in abeyance with Mr. Herbert’s strict adherence to vaudeville producing recently. It has also been played on the small time by a minor company, but the present trio is a corker. The man supporting Mr. Herbert, who doubles in two character roles besides his original (that of Sam Simon, of Simon & Hirsch, bond brokers), is worthy of commendation.
“Summertime” which Lewis & Gordon are presenting with Lorin Baker, is funny. Its line are filled with flashes of more than average humor and some are truthfully salient. The central character, the abused husband, reminds one of the plays which have been built around Ernest Truex. Nevertheless Mr. Baker acquits himself creditably, emphasizing the knowledge that goes with high comedy.
Jean Granese, next to closing, in her first song was somewhat out-voiced by an orchestra that seemed not only in her number, but with the others inclined to play entirely too loud. As it was the comedy antics of the two “wop” comedians before they reached the platform were sufficient to forget what transpired. The turn was cumulative in fun-making, and the efforts of the trio combined were received with entire satisfaction.
Following intermission and the “Topics,” which handed a laugh, Cliff Nazaro and Darling Sisters settled a restless audience, but were over with the first introductory song of the small fellow. He shows throughout the influence of Al Jolson, not only in his songs, but in the rest of the delivery, and a curious pathos in his voice in the second number drew the audience to him. On top of that the harmonizing which followed by the girls made for a sweet moment. Altogether they were exceptional for this spot, and while the conductor waited for prefect silence for the act to continue a ragged applause forced another bow on the part of the trio.
Opening, Black and Swan went away with more than the usual hospitality extended an opening number. Their dances are good, although they are far from showing anything unique. Bu they tool four bows on merited applause.
10 Mins.; One. Zella Norton varies little from the usual run of women singles who rely on published numbers. This little girl has a good appearance and her songs are put over in a way that should please most audiencess. An attractively dressed single for the small time.
11 Mins.; One. Two men in Italian dress, one playing a harp. The routine consists of mostly popular numbers, the harpist showing no real classic ability at that instrument. The other member sings fairly well. in houses where the audience have not seen the better class of these acts, the two should find the going easy.
11 Mins.; One. Two men in Italian dress, one playing a harp. The routine consists of mostly popular numbers, the harpist showing no real classic ability at that instrument. The other member sings fairly well. in houses where the audience have not seen the better class of these acts, the two should find the going easy.
15 Mins.; One. Fred Weber is offering a very ordinary ventriloquial turn that will pass on the small time and that is all. He opens with the boy dummy and runs through usual routine. His best bit is with “the crying baby,” which he thinks so much of that he repeats it until it loses all value, becoming tiresome. With his cry-baby and a good routine he could work out a comedy act that would take him along nicely. An idea is all he needs and this seems to be lacking at present.
