Garcinetti Brothers
Garcinetti Brothers with their hand to hand, trampoline and hat juggling started the show, with good results. Anthony whistled his way through a classic and popular ballad, then going into an accordeon [sic] for fair results.
Ben Ryan and Harriet Lee
Mullen and Francis got their usual laughing success, but were not a breath in the lead of Ben Ryan and Harriet Lee, a youthful pair with a lot of intensely human dialog and some excoriatingly funny situations that they used to be the best possible advantage. They kept crowd doubled up during the greater portion of their 29 minute stay.
Kitty Doner
Kitty Doner and her little sister, Rose, slammed out the home run of the playfest. Miss Doner’s dynamo was zipping and kicking of sparks of her personality that tingled the hands of her audience into frequent and stormy action. She dances like women don’t usually dance and she had noble support from her little sister, who, she whisperingly confided, crossing her heart, was appearing on the stage for the first time. If it is the little girl’s appearance, or even if it isn’t for that matter, she has great things in store for her.
Elsie Williams and Co.
Elsie Williams and Co. followed with a little sketch called “Who Was to Blame?” This was the one spot on the bill that had rust on the runners. The piece is mediocre and had little of personality to bolster its weakness. Miss Williams is good to look upon, but lacks fiber and force, while Aiden MacClaskie, who played the young husband opposite her, failed to convince.
Woolsey and Ardsley
Woolsey and Ardsley, operating swiftly through the man’s comedy except when the girl held too long in mid-act with a number, suffered also, but ran with the rest of the bill in this, their “going” being no fair estimate of their worth or work. Lucas and Ines closed to apathy and walk-outs, despite the girl’s lovely form and art poses.
Dewey and Rogers
Dewey and Rogers fared fairly well, evidently pleasing thoroughly, but bucking constantly against the crust of that hard-boiled bunch. The turn showed class and got several woof laughs, but nothing like what a merry houseful would give; it took three curtains and after curtain, however.
Merlin
Merlin, the card sharp, playing a sort of low comedy version of Nate Laipsic’s veteran vehicle, produced a very telling youth as a supposedly volunteer assistant, and his speed and wit kept it alive and at times humming, which was big in view of the psychological coma of the house of the house.
Bertram and Saxton
Bertram and Saxton, in second spot, yodeled and guitared to pretty fair results, with a duet of good high voices and not much material.
Howard Langford and Ina Frederick
Howard Langford and Ina Frederick took one of the hits of the program. Langford is a fast and subtle jester and Miss Frederick is an ideal support and a sugary looker. The set was naughty and so was the stuff, but it was silk in props and handling, and silk is rarely offensive. The women loved it.
Henrietta Crossman
Henrietta Crossman, the dear star, looking quite fresh and still easily able to carry convictions in love scenes, got an ovation coming and going. Her Fiske-like technique of sketch actresses in vaudeville. Her one-acter is “Every Half Hour,” by Albert Cowles and Roy Briant, a direct little satire on affinities which held up to the standards of its star while meeting the vibrations of the average audience.