Hector’s Dogs, No. 2, displayed evidence of careful training in the usual assortment of tricks with a cure little poodle standing and through some intelligent clowning. Hector, unlike most dog trainers, patters volubly while putting his dogs through their paces. He’s a good showman, making several simple tricks look like feature stunts as the result of this attribute.
Powers and Saunders, two girls with sweet voices, opened with a simple but altogether pleasing singing turn. The contralto has a particularly effective method of delivering pop number enunciating clearly and giving to each song the requisite expression. An air of refinement with which the girls characterize their singing, adds much to the general impression created by their voices. They did better than good, opening the show.
The Hoffman Trio followed with a fast comedy cycling turn. All of the showy cycle trio formations, with one or two given a novelty twist, were run through in jig time, with an appreciative applause return at the finish.
Conn and Whiting, a two-man dancing combination with a neat hotel set to back up their specialties in the stepping line, opened. They sent the show off to a hurrah.
Holden and Le Varr slammed home a hit with their artistic little comedy sketch. The man does a “souse” minus hiccups or any of the cut and dried trade marks. The woman is a petite blonde who reads lines as they should be read. The novelty setting also gives the act atmosphere seldom found in sketches playing the pop houses. Maybe this one won’t continue in that field over long. The couple’s ability and the high standard reached in their offering should send up the ladder speedily.
While Shaw’s act has the familiars of acts of its type – leaping greyhounds, trick ponies, unridable mule and a naturally funny baboon – the turn is presented in a big time way. The greyhounds are wonders at jumping over high obstacles, a brown dog for a feature trick clearing over a pile of cylindrical props. The mule is not as vicious in appearance as most, but a good animal comic who seemed to know just where to toss the colored hostler plants for the biggest laughs.
The Primrose act has Dale Taylor, John Goss, Mallory Brother and Richard Roberts. All of the old standbys of minstrelay [sic], yellow and black satin suits for the circle, etc. are there including the old favorite wheezes close harmony and soft shoe dancing. The act headlined, and easily lived up to its billing.
Adams and Long, third, singing and dancing duo, pulled the regulation stuff, including the immortal “apple sauce” gag, the first time incidentally this reviewer has heard it in a theatre in 15 years. Adams and Long did a minstrel bit which tended somewhat to take the edge off Mrs. George Primrose minstrel act immediately following.
Andrews and Andrews, man and woman, with a style of working like the old-time comedy musical turns of the nineties, second, cleaned up. The team may be working here under another name than their own.
Dale and Boyle opened. It’s a two-man singing combination, with one doing a convincing female impersonation, undisclosed until the finish. They went over.
