The hit of the show easily went to Myers and Hannaford, made up as “boobs,” one opening with a “uke,” both singing “Down In Arkansaw,” with the taller of the two immediately afterward putting over “The Shade of the Old Apple Tree,” followed by a dance by the other, with both again in on an instrumental number on a saw’s blade, from which considerable comedy is secured. The turn is odd, in the ‘nut” class with the characters well carried out It got to the house quickly and looks as though it could hold up almost anywhere, once they reach the saw business.
Comedy . Musicians.
14 Mini.; three and One.
Palace, Chicago.
A beautiful woman and a male partner who goes in for comedy, adopting a grotesque make-up with protruding nose which lights up, etc. Opening has man concealed in, a miniature “Tank, operating small rifles. He also has a small machine gun which interests. The girl contributes some excellent violining and makes a fine appearance. The man plays comedy instruments and does a “bend”” out over the orchestra leader to good comedy effect The girl does a “bit” of toe work while soloing, elevating briefly a few times. After she changes and does a violin solo, he joins her minus the make-up and attired in evening clothes. It is an entertaining act only missing greatness through the man’s comedy limitations.
14 Mins One.
Man and pretty girl coupled. He handles the piano, saxophone and clarinet in accompanying. The girl is a good characterist and looks fine in two flashly costumes. The opening finds her soloing about her partner’s lateness and susceptibility for the fair sex. He enters and they go into a double, “I’ll Tell the World.” He answers with “wise cracks,” building it up into a good number. “He’s So Good To Me” is her next and it’s excess. Following a piano solo she appears in a classy short-skirted costume and sings some jazzy numbers while he accompanies on the clarinet. It’s big time, with a little change of material.
“Two Little Pals.” (12).
Miniature Musical Comedy.
32 Mins;
The lyrics are bright and well constructed and the music better than many a Broadway musical show. The act is also strong on sight values, two special drops in one, a yellow and lavender changeable silk drape, an exterior of a cave, and a full stage futuristic set comprising the scenic complement. The book, while pleasing, is a bit too talky and could stand more comedy. The running time of 32 minutes might also be chopped about five minutes with the advantages of added speed that that might bring. Opening with an octet, four boys and four girls, in a number that may have been suggested by the old “Tell Me Pretty Maiden.” “Florodora Sextet,” but in no wise trespassing on the latter in lyrics or music, the act gets off to a good start.
18 Mins.; Full Stage. (Special Set).
At the opening it has happened on his honeymoon. He has lost all track of his bride and can’t remember who he married. The story involves a burglar, pressed into service to find the wife and three young women invited to the house for dinner, in an effort to see if one of the trio is not the missing wife. The burglar Is introduced as a doctor or, at least, one of those massage fellows, and there is quite a bit of talk about a knee. Hough leans to knees. However, the comedy is kept clean and there isn’t anything to offend. The girls are mixed in a couple of musical numbers that fit the situations, and there is also a little dancing… The finish comes rather suddenly. but a laugh in gained through the burglar going back to his trade, after the young man finds his wife and strips the apartment of all the furniture while the young couple are cooing in song. “Who’s My Wife”? is a good vaudeville act. It has young people, catchy music, laughs and appearance. It will do well on the big time, though not a feature attraction.
Another “wop” audience act. This one, however, does not depend on its comedy. The latter appears designed for an opening, but continues half way through the routine. A youth starts fiddling, being interrupted by loud coughing from the pit. The “wop” player sitting next to the regular house leader explains he was out last night, says his name is Victor Records, and there follows a bit on A. D. and B. C. “Wop” finally gets onto stage, and after a broken violin bit, totes out a piano accordion. His efforts to play “Oh What a Pal Was Mary” go wrong, but the men finally get down to a duet medley. They bowed off and on, with another medley. A new stunt appeared when the fiddler’s bow came apart, rod turning out to be a fife and he finishing the number playing it. Its a musical turn which has tried to get away from routine.
Two men, one appearing with a violin, the other making his entrance from the audience. At the start the fiddler handled a classical number in hurried style. He was better with his second try, with a dash of double string melody about the only distinction to his playing. After starting a third number, a “wop” character interrupted, complaining of the ragtime selection and finally coming on the stage.
Male monologue followed by comedy piano playing. Hebrew dialect used in talk. Plays classical selection followed by finger exercises of a beginner with discords for comedy purposes. A comedy song, “There May Be a Change,” is well delivered. Lambert steps upstage to make an announcement. Male partner interrupts, bawling him out for trying to make a single out of a two act. The latter is Joe Phillips, from burlesque. Lambert introduces him in a comedy speech. Next a duet of burlesque opera, Phillips pulling laughs with a thin exaggerated falsetto voice. A burlesque ventriloquial bit similar to Felix Adler’s, with Phillips as the dummy seated upon Lambert’s knee, with some cross fire and a song hit.
An exchange of bright comedy chatter, a bit of stepping by Miss Rooney, with Kennedy putting over likeable clowning at the piano, some nifty dancing doubles, with Kennedy showing equal nimbleness with his feet as with his fingers at the piano and a couple of sessions at the ivories, during which Kennedy introduces auto harp and hand organ imitations, and later the playing of one tune in a variety of tempos, with Miss Rooney making a couple of pretty costume changes, are among the specialties listed. Also included is a travesty Spanish dancing double and another bit of stepping at the finish, during which Miss Rooney makes a quick change from a dress to Scotch kilts. The act is made bright and consistently entertaining through the Interpolation of comedy by Mr. Kennedy, which balances nicely with Miss Rooney’s dancing. The turn went over at the 58th Street.
Her opening song la “Has Anybody Seen Jonah Brown,” an exclusive comedy idea that fits her nicely, and allows for the Mayhew negro dialect… Taylor deserts the piano for “Laddy Buck of Mine,” a pretty Irish ballad with a lilting melody delivered in pleasing baritone. Miss Mayhew returns for a double with Taylor, “Modern Cinderella,” a sterling lyric depicting the modern version of the old story of the Princess, delivered In modern “hick” with plenty of wise cracks interspersed. Some dialog crossfire on domestic topics, in which Mayhew and Taylor kid each other for laughs, didn’t register strongly, despite the excellence of the material.
