Renard and Jordan was the only act on the bill that had marked difficulty without the music, but despite that fact got along in great style. The comedy in the act overcame the hard work they had with their songs and the Jew comedian even managed to get enough laughs out of the songs to make the absence of the orchestra very music less noticeable.
Kate Elinor [sic] and Sam Williams were a comedy riot and a tower of strength to the first half. Appearing number four, they doubled up the house for a continuous stream of laughs, Miss Elinore’s pop gun working with its usual surefire effect. She is a favorite at the Brighton and the crowd gave her a great send-off. Mr. Williams piano-loged a couple of pop numbers for heavy returns. Although a bit inclined to staginess he makes a capital foil for Miss Elinore’s comedy antics.
Weston and Eline knocked off a bit. Eline is a good comedienne and Weston a clever showman, goes the limit in backing for her. Their burlesque on underworld characters went over for a walloping finish.
John Gardner and Marie Hartman, with their “Vaudeville Vagaries,” went over nicely on the strength of the nut stuff and some good comedy talk.
Langdon and Smith, two men, preceded the closing turn with a “nut” comedy offering that fairly amused. The couple also render several song numbers that should bring results any place, as the comedian has a fine voice. The house orchestra must be given half the credit for the results.1920
Lydell and Macy in “Old Cronies,” a revision of the former Lydell and Higgins act, closed the vaudeville section of the bill very {shingly?}. Macy’s type role is more legitimate than that presented by his predecessor, the former having built more for caricature. It goes without saying that they were well received.
The class of the bill was materially sustained by Elizabeth Murray, one of the handful of really funny single women. Most of her numbers are of little consequence, but the act is well worth while for the presence in it of her inimitably characterized Irish interpretation of “Don’t Do That!” There are two dialects in which Miss Murray shines – Irish and sloppy wench.
The Seymours, though on early, became and remained one of the hits, wholly through Miss Anna. Miss Seymour evidently believes a straight man is necessary for her comedy. That may or may not be. She also appears to be under the impression impersonations are as necessary. Her sneezing Clifton Crawford (announced) number, her Grace LaRue and Eddie Foy imitations might bear this out. The LaRue bit is remarkably well done. The sneezing number, since it has been used by other without announcement of the original and as Mr. Crawford recently died, could be adapted to another lyric Miss Seymour might select. She doesn’t need Grace LaRue and Eddie Foy, nor a straight man, though Miss Seymour may be right of course. But it does look as though this girl, who seems to have nearly everything, is missing something by not becoming a single, possibly with a piano player, for she would do better in “two” or “three.” With so many vaudeville acts of late years sacrificing much to gain an advantage where it could be gained and invariably allowing the woman of the act to be the billed star, the Seymours might try it. Miss Seymour would find a way to gain her laughs, for she is not mechanical in her work, from appearances. Mr. Seymour dances a couple of times and joins in the double number of the finish. Most of his remaining time upon the stage is taken up by Miss Anna poking fun at him name in the verse of “Wait Till You See” that Miss Seymour used. It sounded as though the “sent the ring home, but kept the stone” line has been inserted into that verse. The same gagging line is used by Fannie Brice in one of her new songs in “The Follies.”1920
LaFrance and Kennedy followed and fought a harder battle with the heat than the one Kennedy had framed for LaFrance in the act. They got some laughs, couldn’t help getting some, but they didn’t do the things that they usually do in the way of convulsing the guests.
Chester Spencer and Lola Williams absolutely stopped the show in the next to closing spot, although the act is showing nothing that is new since its last visit here. Spencer’s delivery and his confidential stuff with the audience brought howls of laughter.
