The Lormer Girls, with Cliff Adams at the piano, closed the show. These girls have an act considerably above the usual small time sister team. It is exceptionally well dressed and equally as well staged. The girls, one a blonde and the other a brunette, look great, are good singers and dance as well as most of them. Mr. Adams plays two piano solos for changes, the last one of which should be made shorter; it takes up more time then the girls require for a change and becomes a bit of a strain on the interest. The act was very well liked.
The diminutive Chris Richards, English, happened on next to closing for a good score. He is typically English in his brie song numbers, but has added a lot of American slang which they probably wouldn’t get in London. His short, snappy acrobatic dances never failed. Richards is a clever hat manipulator, a sort of lost art. For the revolver bit he pulled a “local,” saying he supposed the gun belonged to kitty Gordon. At least one women present got him and laughed heartily.
Irene Franklin with Burton Green headlined most successfully. Miss Franklin looking exceptionally good. She offered her own numbers including “Redhead,” “Dirty-Face,” “The Waitress-Cash Girl” and a blasé chorus girl number for a big hit. Burton Green received good applause for his individual efforts at the piano.
Nazarro whizzed through his swift and boyish routine of dance and melody, hitting between the eyes with the cello stuff and getting his naval band over splendidly. He got heavy hands.
Tuesday night was a swelterer the heat denting the attendance to the extent of one-third of normal. Those who were in were “hardboiled” until the second turn. Glenn and Richards got well along with their specialty. Mr. Glenn finally brought the audience out of the comas they seemed to be in with a corking soft shoe eccentric dance. Previously the team, a singing and dancing combination, had shown little or nothing, starting off with “Why Don’t You Treat Me Right” done as a conventions double ordinarily handled with a few minutes a standardized patter to follow. Miss Richards changing from a pretty blue silk street dress to what looked for all world like a bathing suit, cute knickers, abbreviated skirt and decolette bodice saffed right in after Mr. Glenn succeeded in waking the unconscious ones and singled neatly with “Moving Picture Hall,” gathering in a sizeable hand, the nothing suit accomplished the sought for result. This paved the way for another display of clever eccentric stepping by Mr. Glenn, a fast double finish pulling down a trip of bends.
Rose and Moon were next. Katheryn [sic] Moon is a dainty little lady with dainty little voice and a mop of gleaming blond hair that attracts nearly as much attention as do her shapely limbs and fancy dancing. Lee Rose is really the dancer of this act, but he gets noble assistance from his pretty little partner.
Ed Janis and his revue, with the pleasant Southern Sisters, easily the class and talent of the turn, ran niftly. The jazz-shimmy finish was commonplace. The sisters, in two dances and a song, went nobly. Janis, who has a boyish personality and can dance a few in the long-legged fashion, was mildly pleasing. Carmen Rooker, a young woman with fresh-from-the dancing-school manners and technique danced toe and Oriental. A pianist (Irving Buckley), smiled broadly all through, as though to say “I’m not just a pianist – I’m a principal.” And so he was. He did a song written for principals, but not for him. Whoever picked the tunes for the act did it well, a prettier set of melodies being seldom collected in one turn.
Winchell and Green are a youthful couple possessing all the attributes for the better houses. The team compromises a cute girl and a nifty youth delivering a singing, talking and dance act, including some familiar business, in a top notch manner.
Eddie Kane and Jay Herman in the next to closing spot held the stage for more than 20 minutes with their ragtime cocktail talk, scoring with gags, songs and dancing.
The Seymours, though on early, became and remained one of the hits, wholly through Miss Anna. Miss Seymour evidently believes a straight man is necessary for her comedy. That may or may not be. She also appears to be under the impression impersonations are as necessary. Her sneezing Clifton Crawford (announced) number, her Grace LaRue and Eddie Foy imitations might bear this out. The LaRue bit is remarkably well done. The sneezing number, since it has been used by other without announcement of the original and as Mr. Crawford recently died, could be adapted to another lyric Miss Seymour might select. She doesn’t need Grace LaRue and Eddie Foy, nor a straight man, though Miss Seymour may be right of course. But it does look as though this girl, who seems to have nearly everything, is missing something by not becoming a single, possibly with a piano player, for she would do better in “two” or “three.” With so many vaudeville acts of late years sacrificing much to gain an advantage where it could be gained and invariably allowing the woman of the act to be the billed star, the Seymours might try it. Miss Seymour would find a way to gain her laughs, for she is not mechanical in her work, from appearances. Mr. Seymour dances a couple of times and joins in the double number of the finish. Most of his remaining time upon the stage is taken up by Miss Anna poking fun at him name in the verse of “Wait Till You See” that Miss Seymour used. It sounded as though the “sent the ring home, but kept the stone” line has been inserted into that verse. The same gagging line is used by Fannie Brice in one of her new songs in “The Follies.”1920
