8 Mins.; One. The usual two-man dancing team. At the Columbia Sunday one of the boys was so nervous it was easily observed from the front. The team was unfortunate in the selection of a tailor in ordering their dress clothes. Whoever built their suits cheated in the length of the swallow tails .The boys need to rehearse the routine when the finished product is on hand they should do for small time.
16 Mins.; Full Stage (Special Set). Menlo Moore has brought east one of his new acts, showing it this week at Proctor’s in Mount Vernon. The number has six people, two men and four girls, with a beautiful woodland scene. The turn is dancing throughout, entirely in pantomime. There is something of a story told by dancing of the principals, but it is not distinct enough to easily grasp. However the dancing is what is meant to count, and it surely does, if Mount Vernon’s verdict is criterion. The dance story has to do with three characters. The first scene is in a special setting, in “three.” The remainder of the dancing is in full stage. Pan, the fellow with the pipes, makes his appearance and nimbly prances around the stage. The sweetheart of the other fellow appears with a group of girls, and young Mr. Pan tries to steal her. He succeeds.. As he is carrying her off, an arrow from her lover’s bow goes through his heart, and that ends the piping. Some more dancing, and for the big finale after the killing, a storm arises and a bolt of lightning strikes a tree near the dancers. They fall prostrate upon the ground and that is the end. The dancing sketch is fine from an equipment standpoint and no fault can be found with principals. The girl having the most dancing to do, gracefully handles herself, as if she had considerable ballet experience. The act is classy in looks and work.
“Opportunity” is the wonder-worker of the show business. Howland and Leach are an example. Of the many “society dancers” who have gained quick fame and fortune in the dance craze, this couple missed. When they were at Shanley’s before going to Europe, they were among the very best society dancers, and they are yet but they didn’t land. Just why, no one could tell. It was opportunity for the others, and the goddess passed up this couple. Maybe it was because they first danced in a restaurant-cabaret that did not have a ballroom floor. But the fact remains. Mr. Howland is of the Vernon Castle type, tall and graceful. Miss Leach is a pretty girl, bring looking, always smiling (not machine made) and dances well, besides doing some acrobatics. Howland and Leach also created a dance that has been copied and they possess enough class to drive the pretenders on the small time back to where they came from, if this team continues over the circuits. Howland and Leach have everything the others have, excepting the reputation and money, Why?
Percy Oakes and Pamela Delour opened the bill with their dance specialty, pulling unusual applause for an offering of this nature. Dancing acts of the semi-ballroom type have long lost their kick for vaudeville audiences, yet here is one of those acts placed further down in the bill. Their routine is different, their whirls wonderful inasmuch as they out-Miller the Marvelous Millers of years ago, and there is never a slow moment in the act. It is action from beginning to end.
Eddie Leonard and Co. opening intermission, cleaned up. Mr. Leonard is a favorite at the Palace and they wouldn’t let him wash up until he did “Ida” and Hobo Eyes.” Stewart and Olive, a dancing team, figure largely in the Leonard act. Mr. Stewart has everything as a soft shoe dancer and the Palace were quick to recognize his ability.
Vera Burt and her Six Syncopated Steppers offered a varied dance routine, the male quintette [sic] containing some excellent dancers supporting Miss Burt, who makes attractive costume changes, which registered as an individual effort. The act was neatly presented and went well.
John Giuran and La Petite Marguerite, with Shea Vincent at the piano, are one of the finest pairs of dancers doing high class stepping in vaudeville at the present time. Most of the others seem to have, been gobbled up by the musical comedy managers for their shows. Marguerite is a wonderful toe dancer, neat and daintily with case and grace. Then he takes the stage for him inimitable cuts, pirouettes, Russians, Arabesques, splits and back kicks, which raised.
Kelly and Pollack, second, were up against unsettled house, and the greater part of their talk died. The old tough dance which has been a trade mark with Mr. Kelly since the days of the Kelly and Kent act got something, but not nearly as much as if the pair had been placed in a more advantageous spot.
Ona Munson staggered the house with her beauty then topped it by showing that an angel can dance. She has a face and figure that would cause a Central American revolution or break a bank. She followed a host of seemly girls, but she made the women in the seats gasp and the men sit up. Katie Pullman, a pretty big child to do bare knees and thighs, scored with a tumble-about dance. Emmie Nicias was over the top in a Frenchy number and its talk. May Gerald and Maude Potter fared mildly. The turn drew its finale hands largely on the cumulative effects of a varied and bright production and on the cumulative effects of a varied and bright production and on Miss Munson’s uncanny beauty. The letters as shown on the screen between songs got solid laughs.
John Regay and Lorraine Sisters , toplining, closed to strict attention. They open with a “scarecrow” dance conception, Regay doing a farm-hand and the girls the scarecrows in dilapidated get-up. The sisters did a toe number together and each also did a solo, interspersed with individual efforts by Mr. Regay. Everything went big despite the fact the Sherlocks-Clinton act, preceding, is similar in character.
