Next appear the Crescent Comedy Four in one of the old school acts with scholars of the same type used by Gus Edwards, only these boys have grown into manhood. The act consists of a lot of slap-stick and harmony singing. They forced an encore and retired.
The Three Lordons gave the show a flying start with casting, thrills and hearty laughs, drawing more than most acts in the spot.
Beth Bert and Co. closed in a sweet dance offering that would have impressed in the middle of the bill. The girl is sugar, an innocent looking little darling with a lovable smile and excellent technique; but with all that she just couldn’t hold them in.
Kenney and Nobody never hit any harder than this time here. The talk is largely new it is staccato in its laugh drivers. Howls and hands throughout, and big stuff on the blues finale for many a bow.
Frances Kennedy, dealing out a practically new turn, made her with Chicago appearance her same homecoming and triumph. Frances is an essentially Chicago product, not only because she lives here but because she seems to have its vibrations judged to just the pitch puts in best humor. She stepped out, fresh and sweet in a Leghorn peach bloom hat (so the usherette said it was) that made her bloom like peaches. A burlesque dance at the finish wafted her over for good natured laughs and fond hands. She could play in stock at the Majestic, Palace and State Lake, and hardly wear out her solid welcome.
Tom Brown’s Musical Revue closed the show with a variety of musical instruments. They played, they sang and one member with a violin played and danced. They all kept those that had not seen the entire last performance until it was all over.
Verga and Marvin followed. The male member does “wop.” Sometimes made them laugh and sometime not – mostly not. The female member, a very pretty woman did her best, but it was hard for her to overcome what her male partner attempted to do.
Myrtle Moore Trio, two male and one female, start something that they don’t finish, although there are lots of possibilities. They lack the real punch. The piano player for no reason at all plays the “Rosary,” which doesn’t mean a thing to the patrons, but when he brought out cornet and blew some “jazz” the audience decided he was entitled to applause.
The Moore Trio need several suggestions, one being the gown worn by Miss Moore, which is very old would help, as all the special songs would help as all the special songs meant nothing to the restless patrons.
Octavo was a hit. She opens singing a song off stage in a man’s voice, switching, after her appearance, to a soprano. Octavo sings equally well in both low and high voice and garners applause easily and freely.
The Andrieff Trio, Russian dancer, two men and a woman copped an armful of applause. They opened with a comedy drill that got laughs and prepared the way for the heavy dancing with which they complete their act.
