Harry Miller, assisted by a company of seven, a male soloist and six girls, and what looks like a carload of scenery, put over the spectacular flash number of the bill. It is a big act, but the results from the Riverside audience, were not commensurate with the size of the production. At that, the only real applause of the entire show came during the offering when Miller stepped out alone and let his feet flay. He can dance, but other than this one solo bit held to working with two girls and naturally had to hold himself in.
Handers and Mellis (New Acts) were pinch hitting for Rome and Gaut, off the bill. The boys landed safely and were followed by Beth Beri, the graceful California girl, assisted by Jay Velie and Paul O’Neill. The act is standard dancing turn and can follow any of the steppers. Miss Beri is a shapely, wholesome looking girl who reaches near contortions in some of her bends, and the two boys are clever hoofers. One of the males is a clever pianist and vocalist as well. They scored easily.
11 Mins.; Full Stage. Nice looking couple, the man working in evening clothes, the girl in a pretty white satin dress. They offer the conventional routine of modern dances, including the tango, waltz, fox trot and one- step, and while from a standpoint of gracefulness they seem somewhat better than the average, the fact that they have chosen the modern dance idea is a severe handicap in itself. Still this team can follow a majority of the others and could make a great many who have been getting money for it around here throw their dancing slippers away. If the big time audiences are willing to stand the tango thing any long, Weimers and Masse can distribute it as well as any.
17 Mins.; Full Stage. An elaborate dancing act in which the steps of old time, as well as the modern are demonstrated in an artistic environment. The stage is set with a huge gilt frame and the dancers appear as in a picture. Each dance is named for a city, and each city represented by an electric-lighted drop. The cities are New Orleans, Philadelphia, Chicago, San Antonio, Boston, New York, a suburban locality, and Washington, the latter showing an elaborate picture of Uncle Sam Columbia, the North, the South and other symbolic figures. Laughlin and Shaw are featured. The costumes are fresh and new, the dances well executed and the act looks good for the best time. It is produced by Boyle Woolfolk.
The Ziegler Sisters and Band closed without the tramping of feet to disturb them. The dancer, who steps out of the orchestra for his solo, scored individually with his eccentric stepping, as also did the orchestra with one or two of their selections, while the girls change. Held ‘em all the way, and they didn’t start to walk until the screen was lowered.
Frisco, returning with by far the best act he has ever shown, went through and over. Loretta McDermott and Eddie Cox give him more and better support than he ever got from any jazz band. Loretta is the cute dancing jelly bean of always, and Cox sings melodiously and hoofs it brilliantly. Frisco has acquired poise, which does not hurt his Apache character and does help make him as an entertainer. He gets in all his dancing and whizzes over (if one can whizz and stutter at the same time) many a nifty. Frisco has been credited with handing out more bright lines and using less than nay other natural jester of the day. Now he uses a few famous cracks himself. He is a headliner at last, not as a freak or a fad. He entertains today. Whereas hitherto he was a Chicago institution reputed to be a New York sensation, and Chicago claims its own verdict on its own institutions.
Doyle and Webb (colored) did well for the third post, finishing to big results with an old-fashioned exit of their high stepping variety. Their dancing got big returns and Miss Webb made everything out of an opportunity to shout her coon songs.
No. 4 finds Jack Joyce (New Acts) a monopodia performer winning the house on merits. That, naturally, makes ‘em sit up and take notice and start the femmes to wondering how do strikingly handsome a chap met the misfortune of losing his leg, but Joyce single pedal stepping with the aid of a straight crutch is sufficient to keep him busy in anybody’s theatre as long as he wishes.
Gladys Clark and Henry Bergman with the Crips [sic] Sisters, made a strong number three. Lou Handman was at the piano. He was but one of five piano accompanists carried by as may acts in the show. Clark and Bergman have worked up a better routine, both for duetting and results, than when the act first out some months ago, and their score was a light hit. The Crisps were at a disadvantage for their second dance through wearing most unbecoming costumes.
The Rigdon Dancers, trio of girls is artistic and neatly arranged pantomime dance offering with pretty setting, received fine appreciation, a Spanish and toed dance specialty outstanding. Edan Rigdon presents the act by changing cards, announcing various dances.
