Moss and Frye, after piling up scream upon scream with their unique wit and uncompromisingly ludicrous dialogue, superinduced by fidelity to character and artistic maneuvering of their own manner of absurdities, slipped down on a fitting finale and drifted off instead of banging out. This team needs go bombardment to establish its worth, but if applause is desirable they might give it some thought.
Hampton and Blake strolled on for a knockout. Having attained a spot this confectionary pair tore the house to a frazzle with huge punch laughs and unbroken admiration and attention. Hampton is an extraordinary light comic; Miss Blake has a wicked way of shooting comedy cracks. Between them they stole everything in sight, and in view of all circumstances, may be credited with the legitimate hit of the bill.
De’Lea and Orme are one of those sure-fire small time combinations that couldn’t fall down on the roof if they tried. The woman of the team is a tall, lanky comedienne, who suggests, without imitating wither, both Kate Elinore and Florence Moore, with a dash of Charlotte Greenwood. She’s a natural comic who could raise some little commotion in a $3.50 production just as she did on the Roof Monday night. The man acts as a feeder, and knows his business. With a little brightening and refinement of the material De’Lea and Orme should find the road to the better houses an easy mark.
The Four Marx Brothers then came and scored their usual hit for a flock of extra bends. The act is playing the entire week at the Fifth Avenue. The elder Marx had to beg off with a few words to permit Herman Timberg’s entrance, who, despite the succession of comedy hit turns accounted for himself per always.
They were followed by Robert Emmett Keane, who opened like Man o’ War with several new stories and a corking comedy Spanish song. Keane then took advantage of the customers by repeating the same collection of war stories that he was using during the quarrel. He closed with “Scotland in the Morning,” his best recitation. The old boys went just as well as the new ones, so why worry about new material. He was a resounding hit.
Comedy acts predominated, with honors going to George N. Brown, the walker. Brown utilized several boy plants from the audience demonstrate his untameable [sic] home trainer. Two girls also put over ad lib volunteer comedy, finally running out of the theatre in confusion. They fooled a lot of the wise ones. Brown’s finish remains the same. He is considerable showman and is getting the same kind of yells with his plants that used to greet Cliff Berzac’s comedy circus, in a trey spot he goaled them.
Le Rue and Depre received appreciation for colored sketches, concluding with a picture of a burning chip and a volcanic eruption that was especially effective. Page and Gray, with the man a semi-nut handling old talk cleverly and the woman a stunning creature who made an acceptable straight, were a comedy hit next to closing.
Adrian, starting alone with material supplied by Henry Lewis, secured good laughs. Later he was assisted by supposed stagehands, who displayed real singing ability at the finale following some excellent comedy. The act proved a big hit.
Moher and Eldredge are a male team, with the straight making a good appearance and the other doing a country boob first. Both have good voices and did exceedingly well despite the familiar comedy talk employed.
Leo Greenwood in “Predition,” Hugh Herbert’s act, showed class and ability and gave as fine a performance as anybody short of the suave Herbert himself could render. Greenwood has personality for beyond small-time caliber. The act got solid laughs and solid hands, strong enough to headline bills of the minor circuits.
