Claire and Atwood opened with acrobatics and clowning using for a finish a swing by the man ontop a set house. This is along the lines of the balance done by Bert Melrose and as done by the man in the Claire and Atwood combination, furnishes a bunch of thrills.
Nieman and Harris, a tramp and straight two-man combination, next to closing, stood ‘em on their heads with a line of old-fashioned comedy talk and nonsense. While the stuff was ancient, the method of delivering, was entirely modern. The straight is inclined to talk a bit too loud. Probably he thought it was necessary because of the sixe of the house. The tramp comic, besides owning a real voice, is genuinely funny in a quiet, easy fashion.
Castor’s Minstrels, an artistically produced singing and dancing act, attracted attention with its costuming from the start and held ‘em all the way with a succession of fast specialties.
Al Shayne, headlining, has no trouble in clowning his way into a hot next to closing. The two “plants” did well in a comedy way, and Shayne cinched his kit by singing “My Gal Sal,” delivering it straight and scoring with the old ballad.
Cosica and Verdi, next to closing, pulling down the best returns in this section with violin and violin and cello doubles. The size of the met looked to be a heavy handicap for getting over with the soft strains of the stringed instruments, but the team overcame this obstacle surprisingly. They did the regulation pop and operatic numbers, mixing in a bit of mild comedy here and there and finishing strongly with “Love Nest.” This brought them back for a jazzy medley, including “Dardanella,” which apparently is just becoming popular in the baby carriage borough.
Texas Guinan followed, singing “Sweetheart” from the musical show of that name, and getting over handily. The bevy of women picture folk were then lined up before the foots, while Granlund introduced each in turn after the fashion of a “pick-out” number.
Nils Granlund, Loew publicity man, introduced Bert Lytell, building up an effective entrance for the latter with a brief preliminary announcement regarding Mr. Lytell’s personality, etc. adding that the “Met” was the fifth Loew house Lytell had appeared at Monday night. Lytell received a rousing reception. He’s a personable young fellow, with an easy off-hand manner of speaking that given the impression of working impromptu, a resonant voice perfectly modulated and penetrating to the farthest corner of the vast Met auditorium, and a delivery and presence betokening a thorough schooling in the legit previous to his picture career. His talk was in comedy vein, relating mostly to a picture in which he had appeared with a lion. It landed for laugh returns.
“Moore worked overtime, going into the audience for part of the finale”.