14 Mins.; Full Stage, One and Full Stage (Special Settings and Drop). The Golden Troupe has returned to America, after a long absence. When here before they held the lead among Russian dancing acts of numbers, and from their present layout, in routine, work, appearance and costuming, they bid fair to retain that position. The act opens in full stage in a winter scene, Russia presumably, goes into “one” for music on string instruments, then returns to full stage, when the dancing, most important, is gone through. The dancers include a ballet stepper, a young girl, who does her little gracefully before the fast Russian dancers get into action. Of these there are several, with three of the boys proving themselves competitors for all honors in rapid whirling and twirling on their feet. It makes a fast finale, and the act provides plenty of “sight” through the picturesqueness of two changes in costume. Monday afternoon at the Hammerstein’s, after five o’clock, it held the entire house until the end. The Golden Troupe for color, life and class is well worth booking. Opening the second half with the present layout should be its position on all big bills, unless needed to close the first half. Monday afternoon the second set for the act was not hung for some reason. The first set shown is very tasteful.
12 Mins., Full Stage (Special Set). The Dancing Mars, three in number, two female and one male, have a neat and rather refined dancing specialty, but one hardly heavy enough to hold down a big time position. They opened at the Colonial and just barely reached an encore. The act is composed of a young boy and girl who hardly look over their teens, with a third (woman) filling it at the opening and finale. The appearance is excellent throughout, the boy displaying two changes, sailor suit and evening clothes, while the others make several changes during the action, which is set with special scenery. There is nothing exceptional to the dances and at times the routine seems disjointed. They could fill a small time spot and get away nicely. But the speed is a bit fast in the two-a-day. The boy is limber-legged enough to suggest a production, but otherwise it’s merely a passable number, scenery and all considered.
Sayce and Oren, a youthful pair, in the familiar society dances. They will fill in quietly in the pop houses.
Miss Pritchard assisted by Edward Tierney and James Donnelly, closed the first half with her “Dance Duel” terpsichorean turn, wherein the men compete in dance tourney for the hand of Miss Pritchard. For the decision with honors even between them, she decides she will have to find some land in where bigamy is the proper thing and marry both. This dance duel thing is by no means new, having been done by several standard acts in the past, but his treatment and manner of presentation makes exceedingly worthy stuff. The boys are capable steppers and hard workers, and were generously rewarded in all they did.
Mansfield and Riddle, a mixed team, programmed to open, appeared second at the third show on Sunday, passed on dancing, following some inconsequential talk and singing.
Martin and Elliott, a good appearing male dancing team, opened. The boys have a neat dance routine embracing soft shoe and acrobatic, and for novelty do some steps on chairs.
Burke and Betty doubled for second, though it was more in a way of a couple of singles. Burke came on with a uke and dittied and danced off. He is a nifty looking chap and handles himself briskly. Betty’s best bet is a saxophone specialty in typical jazz outfit. Their routine could stand a lot of revising. With their talents they are being paged by a later spot as soon as there is more working together. Went nicely as it was.
The Maxine Dancers, composed of four women and two men, went over strongly, principally on the exceptionally good Russian dancing of the men, who can hold their own with the very best in this particular brand of stepping.
[New act] Dancing (special drop), 11 mins; full. Ray Robert is presenting a dancing turn, assisted by a female member working in the same capacity as himself and a male piano player. The act itself proved that the couple have dancing ability but the stage setting and routine in the big drawback. Both combine their efforts for the introduction of the turn followed by a piano solo. The female member then renders an individual dance number with attire resembling a peacock, the latter being very well selected and worthy of reward. Followed by his individual offering the couple combine for a finish demonstrating ability for the better class of houses, providing stage setting and a proper routine of work is installed.
The act following was Bradley and Ardine in their dancing conception. J. Irving Fisher at the piano hung up an individual hit with his rendering of classical selections between dances and was roundly applauded after some excellent fingering. Those dancers are as classy and talented a pair as vaudeville has developed in seasons and their offering one of the most delightful of all the dancing turns. They breezed under the wire pulled.
