Ramsdell and Deyo started with the introductory dance. The waltz number cheered them a trifle more, as did the minuet by the lady on toes. The costume of orange finally caught to open administration of the ladies, so that with the wind-up, the atmosphere was a little brighter. The trio work fast, scarcely losing a second, and satisfied in the opening turn.
Conn and Whiting, male dancers, got over in the opening spot. Special drop representing an entrance to a dining room for the boys to imitate the routine pursued by the modern waiters is utilized to good advantage. Nothing aside from hoofing. It should keep them working at the smaller houses.
Coming on at a rather late moment did not handicap Jim Toney and Ann Norman in capturing a solid score for themselves, with the result Jim had to show all he had even down to the encoring “knock-knee-dance.” Toney and Norman top in the lights and did not disappoint.
Don Stanley and Al Barnes won the house from the start with an excellent souse and eccentric team dancing, finishing to an applause hit with a nifty routine and stepping.
Berk and Swan landed solidly with their pretty dancing interlude, which is enhanced by the magnetism and personal attractiveness of the feminine half.
Ben Harney, who bills himself as the “originator of ragtime,” did some piano work, sang “Mr. Johnson Turn Me Loose” and did some eccentric steps and patter. The last was pretty good. He was assisted by a brazen –lunged darkey who worked up bows in a shameless manner and was otherwise no help. Harney, with the sympathy and his still agile limbs should hold up a good spot on the medium circuits.
14 min. f.s.. This couple have appeared in this act here several times. The eccentric dancing of the man put the act over to a good hand.
13 min. f.s., spl. The electrical novelties are about the same as used in the old act. A pretty and graceful girl dancer and Mme Cronin’s soprano solo add a little variety.
Assisted by E.E. Marini. 13 min. With a program of numbers prettily staged and costumed and featured by the exceptional toe dancing of Miss King, this act registered a decided hit. With the exception of one number, the entire series is new and well executed.
Adelaide Bell closed, and despite the unjustifiable time she gives her pianist to make two simple changes and regain her breath, she held the audience remarkably well. She is far above the average closing single dancing act and has beauty of both face and figure. Her two big stunts, the back shoulder kicks with either foot and ankle “dislocations” would go much bigger if she played them up a little more impressively instead of merely doing them as if they were an incident in every soloist’s dancing routine.
