The LeGrohs were billed well up in their acrobatic and contortion pantomime, and proved conclusively that a real act of this sort odes not need patter to carry it. It is one of the few acts where a contortionists goes the limit without being offensive and it is a touch of comedy that gets it across.
10 min. f.s., spl. Set. Contortionist working on pedestal and trapeze. The stage setting and lighting affects add materially to this act and it opened fairly well.
[New Act] Contortionists. 8 mins; one (1); Full Stage (7). Stryker makes a bluff at singing a song in “one” and goes immediately to full stage for some contortioning on a pedestal. He does a dislocation, passing a narrow bar over his frame and follows with a back bend and twist picking up and drinking a glass of liquid in the twisted posture. Stryker then dons his discarded hat and coat and effects a nonchanlant exit. The act lacks variety and aside from his contortioning. Stryker’s stage deportment and lack of showmanship ruin the general affect. The opening discarded. It contains neither originality nor merit. His routine of stunts could be lengthened out unless he was cutting under ordered. A fair small time opener.
11 min. in 1. Spl. set. This well known contortionist doing the same act as on previous visits, and while very good in his particular line of work, makes only a fair opening act.
8 Mins.; Full Stage (Special Set). Telma is said to be a foreigner, appearing for the first time in this country. He is a contortionist, walking on the stage, fully dressed, to a billiard table, where he commences to knock the balls about, meanwhile twisting himself at angles of different degrees over the billiard table. There is a bit of comedy to this, but it is still contortional work, as well as the remainder, including a difficult twist at the finale, not forgetting when Telma made his head touch his hips, with a backward swing of the head, while standing uprightly. That’s some twisting feat, but it’s still contortion, something the big time hardly cares for any more unless it is embellished with more novelty than that afforded by Mr. Telma’s billiard table.
The show opens up with Will Ferry the frog-man using full stage and a swamp setting, Ferry in one of the cleverest contortionists in the business, and the audience accepted him from ohs’ heard throughout his performance.
Ed E. Ford, billed as “An Australian,” comes to us via England, where he enjoyed a bit of vogue. His act consists of facial contortions and reciting. As a gyrator of features he is remarkable and so developed in that respect that he can – and does – hold four golf balls in his mouth at one time. The whole act, however, is inconsequential and savors of the old style lyceum platform.
Two men and one woman in a novelty contortion and equilibristic offering. Used special scene, which, with the lightning effect, was very effective. The work of the two men held closest attention, being, in fact, of an unusually meritorious order. It made a good closer, scoring a strong finish. Special in four, 10 minutes.
6 min. F.S. Makes a very good opener. They work on the trapeze and introduce a lot of contortion work with some excellent mid-air stunts. Both man and woman makes a very good appearance and for a generous hand for their rapid work. Closed well.
“The Clown’s Dream.” This act made the folks sit up and take notice this afternoon through the contortion work of one of the team, which, by the way, is the greatest I have ever witnessed. Act is fast and furious throughout and made a rattling closing feature. I believe this act will create talk enough in the town to pull people in to see it this week. Own set in 4. Time 16 min.
