Bill Robinson, a colored entertainer from local cafes, worked next to closing, though billed earlier. Robinson used little or no make-up, but he used plenty of ego, too frequently prolonging his bits with “My impression of” and “My idea of” and “If you will pay strict attention,” etc. He addressed remarksto the audienceand tothe spotlight man that were ad lib and not in the best of discretion. He caved in nothing, merely singing and dancing and getting applause when he hoofed violently. A dash of diffidence would have helped the impression, as the audience gave him no reception warranting his free-and-easy intimacy with it.
Winston’s Sea Lions was No. 3, an act that could have taken the closing position. It’s a vaudeville stage attraction. There has been none like it in the skillful manipulation of the seals as against the humans, two girls in union suited costume. Mr. Winston it is likely who tells the house of the different tricks. He handles himself and the stage nicely. It’s a sure fire novelty act and makes people think how it is possible to so thoroughly synchronic the several seals with the water tricks of the girls.
Lew Dockstader was No. 4 with his presidential monolog. He is topically timely, of course, and has excellent monolog material. He stretched it a bit at the encore, but finally got the punch over. The former invite to the audience for jokes is not in now. Dockstader will be in high favor as a turn until election. His talk is brought right up to the moment.
The Nightons closed with their posing turn. What remained of the audience appreciated the poses and applauded, but it was an impossible spot, especially for a quiet act. Opening intermission might be a preferable position for an act of this kind on any bill.
Ed Healy and A. Grossman drew the hand hit of the show. Grossman is a popular local entertainer of the haleyon nights and Healy is known hereabouts, too. It showed in their reception. They worked speedily with songs. Healy at times taking the piano. Both boys have fine pipes of the typical rathakeller act order, Grossman being the light man and Healy the balladier. An unexpected panic came with a whiskey bottle for a prop and a medley of farewell songs as a requiem to the hootch, following some 30 others that did about the same thing, but working up a pitch of enthusiasm as though the idea were new.
Ona Munson staggered the house with her beauty then topped it by showing that an angel can dance. She has a face and figure that would cause a Central American revolution or break a bank. She followed a host of seemly girls, but she made the women in the seats gasp and the men sit up. Katie Pullman, a pretty big child to do bare knees and thighs, scored with a tumble-about dance. Emmie Nicias was over the top in a Frenchy number and its talk. May Gerald and Maude Potter fared mildly. The turn drew its finale hands largely on the cumulative effects of a varied and bright production and on the cumulative effects of a varied and bright production and on Miss Munson’s uncanny beauty. The letters as shown on the screen between songs got solid laughs.
Bradley and Ardine ran third, a wait to make their setting being dispensed with by running “Topics of the Day” before the act. Several details went wrong Monday afternoon. First Miss Ardine’s Japanese “hat” was balky, the elastic insisting on dropping down over her eyes. A flyman started with the wrong lines later and began lifting the hangings. However, the error was found out quickly enough. Miss Ardine was arrayed in new wardrobe and the finish was big, the act going for the first hit. J. Irving Fisher, the pianist, figured in the score, a regular thing him.
Moss and Frye, the fourth act in the show’s “laugh offensive,” ran next to closing, a spot they appear regularly assigned. Some more new matter may have been inserted, the straight remarking at the shambling entrance of the comic that the latter has the spring fever in the {illegible} and the early part of the routine building on that. The comedian fumbled a baseball “gag” which was also probably new. They did not seek an encore. When the men secure a good new harmony number they should insert it there.
Jimmy Lucas with Francene, opened intermission. Lucas has built up the comedy as expected, and he fared nicely considering the laugh-getters who preceded him. One thing Lucan misses is the box stunt, which has been a sort of trade mark with him. It’s reasonably sure he will evolve another that will fit. He offered a new song of his own composition, “The Only Girl Who Can Make Me Cry.” It is a mother song.
The Ford girls ran seventh and accomplished a flock of “bows,” with their hard shoe finish taking them across the finish line with speed. The costuming of the act is new, with the possible exception of the opening number, a hunting conception. For the Eddie Leonard but, they especially neat in knickers of violet-hued silk. For the Jap number the costumes were airy robes, while the final act was pretty design of the black and silver. The special orchestra is still bewigged. The men got something with a “Florodora” selection, and “Alice Blue Gown” from “Irene” was another of the new numbers in the routine.
