Instrumentalists, dancers and wire artists. One of the prettiest and best acts in vaudeville. It is too bad that there are not more turns like this one. It is novel, artistic and refined. A big hit in this theater. 18 minutes full stage.
Better than ever. A box office winner in every sense of the world. His innovation of giving talks on physical culture at the afternoon performances is a hit with the women folk. In the afternoon his act runs 25 minutes; in the evening 20 minutes.
A man and woman in an act which introduces a little dancing, a little singing, and a little acrobatic work. I had been of the opinion that there was considerable instrumental work, but the only thing that he did was his old imitation of a railroad train on a drum, a small accompaniment to his song with the bells, and his playing of the chimes while balancing himself with one hand on the steeple of the church. It can be called a fair act. 17 minutes full stage.
Mr. Thatcher had a lot of new material, the most of it being exceptionally good. He seems to have lost none of his ability to present an act in an original way entirely peculiar to himself, and while he did not go especially strong this afternoon, I agree with Boston that it is about the best act he has given us in the last two or three years. 15 minutes in one.
Four men in a comedy act and dancing act. The vocal end of the act is clearly all right, all of them being good singers; two of the men are pretty fair comedians, the other two are simply sticks so far as comedy is concerned. It will compare favorably with singing quartette, but it is hardly deserving the place in the bill which I am obliged to give it. 17 minutes in one. GYH.
A young girl about eleven or twelve years of age, I should think, doing the regulation second sight act, and concluding with a rather remarkable exhibition of apparent memory in reading a lot of figures on a black-board. The old system of second sight is apparently used, but it is very cleverly worked and the age of the child makes it in a certain sense rather remarkable, although in no way a sensation. 23 minutes in one. HR.
Ventriloquist. This performer has got an entirely new way of introducing his act using special scenery and making it something like a comedy sketch, using dummy figures as the different characters. His interlocutor work is all right, and mechanically there is nothing to be desired about the act, although he is far from being what I anticipated. 18 minutes, open in full stage, and close in one.
A man and woman in eccentric and character dancing. It is about the same sort of an act that they have always given us, and, while it has not deteriorated any in quality, I am rather inclined to think that our audiences are almost too familiar with it. They got quite a bit of applause, and the act can be called good. 19 minutes, full stage.
A man and woman in a rural comedy sketch. The act is about on a par with the usual run of the three-show-a-day acts of this kind, both performers being pretty good delineators of Yankee character, both as regards dialect and action. The act only went fairly well, however, here. 17 minutes, full stage.
A young fellow who does a clay modeling act and closes with a large crayon drawing. He is about on the average of all the clay modlers [sic], but was handicapped a little this afternoon by having the lights over his easel go out, which destroyed the effect of his work somewhat. During his crayon sketch, he keeps up a running fire of stories, which, while not especially brilliant, make the act somewhat of a novelty and holds the attention of the audience. Can easily be classed as a good act. 12 minutes open in two, close in one.
