The Quixey Four in the deuce position, came in for strict attention with their songs and banjo work. They mopped up with a published number, “It’s the Way She Does It,” which a local music publisher recently ordered taken off the floor and buried on the ground of being smutty. Judging from the lyric and manner it was received it appears as if this publisher has gone to the opposite extreme of bring prudish. Suffice it, the quartet made excellent use of the song to serve their own purpose.
Jennier Brothers opened with a neat trapeze routine, featuring simultaneous work in mid-air performed with skill, speed and precision that evinced spontaneous approval from the audience.
Emile and John Nathane, in Tuxedo suits, offered a graceful and clean-cut hand balancing and acrobatic turn, consisting of hand-to-hand work, somersaults, single hand to head, from which latter position the top-mounter dropped to plange position and straightened up again. It was all rapidly and neatly done, with some comedy. But, oh gee, it was hot!
Claudia Coleman offered some feminine types, excellently characterized but necessarily exaggerated for humorous stage purposes. She has lots of style and stages herself well, but when she takes as many bows as were demanded of her Tuesday evening she might vary the acknowledgments a trifle.
Pisano, the sharpshooter, opened with a set of scenery representing snow-capped mountains which made one yearn for the good old winter with its influenza and other seasonable ailments. Funny, but we’re never satisfied. Anyway, Pisano is a good showman, selling his work well, winding up with his announcement that he will play a tune with bullets on his “exilophone.”
The Billy La Mont trio, with a capital wire act started things off in lively fashion. The younger the two girls is a start performer. Her frocks are edged with fluff like Bird Milliman’s and she resembles Miss Millman [sic] in her work. She is a streak on the tight wire, even faster than the clever man in the act and her trick of running on a moving rope is some stunt.
Beatrice Morgan and company presented the Edgar Allan Woolf comedy “Moonlight Madness” in number three spot, where it was liked. Really the best laugh of the playlet came at the close when Miss Morgan asked John Connery, playing a husband role, whether he’d do what he once promised – take her to a burlesque show.
Eddie Borden and his all-star cast of one “Sir” Frederick Courtney, ran second on applause honors, opening intermission. At the opening he has his “cast” doing “wop” dialect in the burglar bit, which gives a touch of surprise to the English dialect later. Like the preceding comedy turn there was mention of that tender subject in these parts – liquor. Borden admitted that “sunshine is so beautiful but moonshine is more substantial.”
Enos Frazere sent the show away at a mile-a-minute gait, opening with a speedy routine of trapeze stunts. Frazere’s feature trick, a daring heel grip with the trapeze swinging swiftly to and fro, made a corking “thriller.”
The opening turn is Le Pollu, a man clad In a French soldier’s uniform, who Slays a cornet and other curious brass horns. He balances one of them on his lips while leaning backward and not holding on (while playing two cornets at the same time), and for a finish plays the “Star Spangled Banner” compelling everyone to stand up after just having become comfortably seated.
