Three men and a woman. This act is well known to all managers. They were featured as the auditorium here, in opposition to us, not many weeks ago and their visit to this house on top of that engagement will consequently give them a whole lot of personal satisfaction. The act is a good lively act to use at the close of the show, with probably not one ounce of drawing power in any house on the circuit. Not a headliner by any means for a first class house, and therefore it would seem, on the face of it, that they were not strong enough to compel us to book them here, even if they did play the balance of the circuit. 16 mins, special set in 3.
Sketch entitled ‘The Saintly Mr. Billings.’ Two men and a woman. Opens with a ‘drunk’ scene, out of which De Voy gets a lot of good comedy, The sketch is a good one, and the audience laughed continuously. (Cut out two devils and one hell.) Ended with a scream of laughter and four curtains, 25 mins, CDF in 3.
Virtuoso musicals. Uses a funny little throne to sit on, and it seemed to amuse the audience, for he worked both feet and hands at the same time, as if lying on an enormous pipe organ. Plays an accordion, and offers a classical programme. The audience applauded his first offering, and then began to ‘guy’ his unmercifully and kept breaking in on him with applause and screams of laughter. He took it seriously and wanted to continue, but he was stopped. This act will be buried. 13 mins, C.D.F on 2-1/2. Close in one.
The stage of this theatre seemed to be especially well arranged for the handling of this act. A magnificent new circus set had been painted on three days’ notice, and as it was built especially for this stage it was made large enough so that the twelve horses were handled with the greatest ease. The act needs no comment. It was the feature of the Barnum & Bailey Circus, and is unquestionably the greatest act of the kind we have ever had. 20 min, Special Circus set. Full stage.
Presenting their new sketch, entitled ‘The Stage Manager.’ Act opens well on a bare stage with a few props scattered around. First five minutes of the act is very good, then it sags some, until Howard gets them again with his piano specialty, with which he closes the act – and closes strong. The act is crude in spots, but can be built up into a good act in time. 24 minutes, bare stage.
Vocalist. Good voice. Her work liberally applauded. Good three show act. Carries some special scenery, a long prop. List and a yard of light cues. She handed in the whole bunch on Monday morning, unexpectedly. She should be made to send this stuff on ahead. 13 min, open in one. Special drops in 2 & 2 ½.
The quiet, quaint, rural comedy of this act afforded a continual laugh for the patrons here throughout the entire act, and the finish in an applause-getter, making the act stand in its proper place at the close of the show, where it goes exceptionally well and proves itself a good clever offering for our patrons.
Full stage. A big scenic planation act; ten colored folks, half young men and half young ladies; all work well together in three quite clever numbers, opening with a little story, continues in some clever quartette singing and winding up with some good dancing. The act is set off very prettily with exceptionally appropriate and artistic scenery in keeping and in character with this offering. ‘The Sunny South’ is good act, away from the ordinary vaudeville offering and goes good here.
Full stage. Encore in one five minutes. The act opens with some little dialogue that is rather bright, catchy and to the point, and winds up with some clever [sic], as well as comedy business at the piano, and some very good dancing. The act goes good here. Kennedy has a rather unique way of working in which his eccentricities seem to catch on with the audience splendidly.
3 shows, 12 min. in 1. Well known imitator of animals, etc. Good act for the 3-show section. Played the Globe theatre Sunday evening, but claimed he had no contract for this house nor had he been notified that he was due here this week. Knew nothing about it, in fact, until a fellow performer at the Globe told him he was advertised in the Sunday papers to play at Keith’s.
