12 Mins.; One. Two little misses. Appearance decidedly sisterish. One girl plays the piano and the other the violin. Both sing with piano girl displaying better voice. Typical kid act. Popular numbers got the usual results although the applause at the finish gave evidence of home sympathy. Precocity of youth. Ever a jewel valuable asset with the Wiltons.
22 Mins.; Full Stage. The daintiest of dancers, Adeline Genee is again with us. The little Danish woman has lost none of her exquisite charm since she was last seen in this country and still thrills with her terpsichorean art. Genee is a keyword for all that is delightful in dancing, and as she floated before the Colonial audience Monday night she received an ovation that must have gladdened her heart. The artiste is doing four dances from her repertoire, ably assisted by Serges Litavkin. For the waits between there is a little sprite who weaves her way about the stage in graceful manner. The program names Mlle. Vanoni, who shows she has long followed the steps of the only Genee. The opening number is “Pierrot et Pierette,” a neat exposition, and heartily applauded. This was followed by another double number, a waltz, also pleasing. Then Genee appeared in the ballet costume in which the audience remembered her, and the dancer’s mere appearance in this costume was received with applause. Following Mons. Litavkin offered his conception of “The Warrior Dance,” clad in a costume that must have been designed by Paul Iribe, for it is as modern and colorful as anything Reinhardt has brought to this country. As a male dancer, Mons. Litavkin reminds one very much of Nijinski. He is fully as graceful and equally as clever a dancer in the little that he shows in this movement. For the closing number Genee does her Hunting Dance Gallop and at its conclusion two encores were demanded. Two beautiful floral offerings found their way across the footlights to the dancer as she bowed her thanks. In accepting the flowers the dancer showed she was also a capable actress and comedienne and with several little tricks managed to capture a neat little laugh from the house.
One man performs magic while the other as the assistant exposes the tricks. At the finish there are several that the legerdemain boy does which are not shown up by the helper. Good act for the pop houses.
16 Mins.; Full Stage. A three-man musical turn that leans strongly to brass and has comedy. A fat boy in an Eaton jacket leads in the comedy. He is assisted by a straight and a Scottish Highlander. The trio runs through a routine of playing that wins applause. Very good musical act for small time, with lots of ginger and laughs.
18 Mins.; One. Dave Nowlin and Gertie St. Clair have a double that will prove a standard turn on the small time. The opening is a bit of burlesque of light opera, patterned very much after the finish in “one” Willard Simms does. This runs about 10 minutes. For the finish Miss St. Clair has a song that permits of the interpolation of a number of barnyard imitations by the man. It makes a strong comedy ending, and the turn gets over very big.
17 Mins.; Full Stage. This manikin act, often confused with another act, and reviewed erroneously as such, is brand new in every particular, from the stage settings to the routine, and from subject matter to manipulation. The miniature theatre whereon the puppets dance, prance and cavort is handsomely set with a glittering background and has rich plush curtains and proscenium decorations. The act opens with persons entering the stage boxes to witness the performance of the manikins. When the curtain goes up a boy announcer comes on, and after displaying a card, runs off kicking the card, a good laugh. Then follows a neat little travesty on the modern society dance, admirably executed. “Mutt and Jeff,” next, alternate as tall and short men with ludicrous effect. Texas Nell, who performs after the circus manner on a horse, and puts him through his paces with all the aplomb of the real thing, is another novel feature. The act closes with the “Baseball Rag,” in which players representing famous teams come out for some very funny antics on the diamond. In this last bit the manikins are made to sing and talk, and this adds to the effectiveness. It is one of the neatest acts of its kind on the boards and is manipulated in a manner to please the most exacting. Closing the show at the Empress, it held the audience to the close, and was especially pleasing to the children.
11 Mins.; One (Special Drop; Exterior) Fairly good harmony. Opening character song well received. Act diversified with girl’s whistling the closing number giving additional strength. Couple should thrive in the pop circuits.
11 Mins.; One. This team of colored entertainers was one of the three real hits of the bill at Hammerstein’s this week. Johnson has a new woman partner, as far as America is concerned, in Josephine Deen. She makes a splendid stage appearance and wears three gowns nicely. She is also possessed of a soprano voice that passes her in the single number she does. Using “Follow the Crowd” for an opening number starts the act nicely. “You’re Here” and “Dancing Mad” also help along and give opportunity for dancing. Johnson is doing eccentric stepping as usual.
30 Mins.; One (Special Drop) and Two (Semi-Circle). Josie Flynn and Misses hail from Philadelphia. Miss Flynn and a woman of more corpulent proportions appear in blackface. The other girls fill in the semi-circle. There’s the usual minstrel routine with individual song numbers. The songs by two willowy blondes, one who showed “hoofing” ability, were heartily encored. Miss Flynn is the busy bee and she carries most of the act. Act pleasing with strength lying in the novelty of women working in blackface.
20 Mins.; One. Foreign male trio. Two sing while the third, the youngest, plays the accordion. Act was a hit at the Broadway through the musician’s work. He almost does a “single,” is young, has a likeable personality and displayed sufficient versatility to frame up a “single” for the bigger houses. He is a good whistler and showed aptitude in dancing to instrumental music. He needs a little more pep and seasoning. The boy’s pop melody was well received. The other men sing well and render a stereotyped routine with “Snooky Ookums” thrown in.
