The Dunbars failed to appear and were replaced by Mabel Sherman, doubling from the 5th Avenue, who filled in for the one performance, the former team being expected back in the show on Tuesday. Miss Sherman did nicely with five songs, assisted by a male pianist.
Herman Leib and Co. succeeded the Wilkens duo with Lieb’s revival of “Dope,” and he was solely responsible for putting it over. The “flake stuff” caught the interest of the house right from the curtain and held it throughout the 23 minutes. Mr. Leib gave a corking performance, but the same cannot be said of his support, the male half of the reform “spotters” being decidedly weak. However, the act is “there” and with Mr. Leib is certain to register more so now perhaps when the drug matter is rampant than when he sensationally first produced it 10 years.
Preceding [Henry Santrey and Rand], Harry and Anna Seymour entered to a reception practically showing the same routine practically showing the same routine as done by them for quite some time now, with one or two minor changes. The most noticeable was the late Clifford Crawford’s “Kissing Cup” recitation by Miss Seymour. She also offered her usual impersonation of Grace La Rue, and for an encore did Nora Bayes at the helm of the “Gypsy” ditty that left something to be desired. However, the laughs were plentiful and they scored repeatedly, finishing to a most satisfactory degree that had no uncertainty about it.
Harry Kahne, “The Master Mind,” followed. Kahne works in “two” in front of a pretty special cloth drop, with the assistance of three blackboards. He asks the audience to suggest names, etc., which he writes backward, upside down, and several other ways, with touches of comedy intermixed, all of this done with a high polish of showmanship. For his closing trick he writes the headlines of a newspaper, starting with the last letter, finishing with the first: divides an eight figure number if four parts so that it will add up: the audience calling out name of any State in United States, he giving population of the capital and what it is noted for, doing all five stunts simultaneously. Kahne is a master showman and has an act of true merit.
Jim and Marian Harkins didn’t have much to work on, as Jim’s work depends on the preceding acts, but received as many laughs as were in the audience. They finished to a hearty hand and four bows.
Wardell and Concourt walked in with comedy honors of the evening, their offering being exceptionally timely in the political crossfire as delivered by them on the eve of election. The only opposition they encountered, in this line, came from one of the end men in Cantor’s Minstrels, closing the first half, but the team topped the number of laughs he hung up previous to their entrance.
Quinn and Caverly, the former of the team of Mitchell and Quinn (Lemon City), and the latter of Raymond and Caverly, were next to closing with a comedy talking routine that was made to order for the 23rd Street. A drop with replicas of a picture show, restaurant, etc. containing about the funniest collection of signs seen around in years, used to back up the conversational exchange, got more laughs before the team appeared than most comedy turns secure in an entire act.
Come Archer and Belford, a mixed team with a hybrid offering that walks away with the hit of the evening thanks to the man’s comedy antics. Archer (presumably) had the art of panto and mugging down to a nicety, which, coupled with his divers other tricks, ranging from tooting a sobby clarinet to performing corking head bridges, established his solid with customers.
Jimmy Fallon and Marjorie Shirley kicked the show into high again in the fourth notch. The act has improved muchly since its metropolitan premiere and is now strong enough for any of the bills. Fallon is a good comic of the “nut” type, and his Bert Gibbons imitation remains a faithful reproduction. Miss Shirley makes an excellent foil and also handles a comedy solo song and a bit of stepping that help. She looks fetching in a black lacy dress. They established themselves early.
Laura and Billy Dreyer opened mildly with their double dancing turn and were followed by El Cota, who started things off, deucing it with pip of a routine of popular and near classical xylophone selections. With horn-rimmed cheaters and a sanctimonious expression this musician hits the proper note with his delivery. He refuses to take his work seriously and gets greater results thereby. Comedy touches were added by a sign easel with blank cards and one or two comedy ones. He made a decided impression.
