L. Wolfe Gilbert
L.Wolfe Gilbert, third, started the tying-up process which thereafter became more or less chronic. With a pianist and his pseudo usherette, Gilbert let loose his clutching ballad-selling pipes and wowed the spot.
Elsie Murphy and Eddie Klein
Elsie Murphy and Eddie Klein were the hit of the show in a classy act. The male member scored on the saxophone wheel the woman knocked out a hit with new comedy songs. She has a fine voice and pretty gowns.
Goldberg and Wayne
Goldberg and Wayne, two men at a piano, were the hit of the show with their comedy song offerings. Both are possessors of pleasing voices. “Love Lies” was the King offering in its usual spot. The gowns worn by the principal and the chorus were especially attractive, mainly the wedding gown worn by Clair Starr. King scored again with his magnificent stage setting, getting a big hand on that alone. The book was good and interspersed with musical numbers went over big. A Sunshine comedy completes the bill.
The International Revue
The International Revue, carrying seven men and one woman, made some poor attempts at comedy, bringing few laughs during their 15 minutes. The yodeling song by the Italian impersonator received good applause, the other members of the company lacking good voices. A patriotic closing featuring the Statue of Liberty makes an effective kind applause finish.
Florette
Florette, opening the show, received well merited applause for clever routine of acrobatics and contortion. Although her act is rather short, it is interesting throughout, the feature being the manner in which she effects what appears to be a complete dislocation of the neck.
Morrell and La Mar
[New Act] Songs, talk, piano, 13 mins; one. Frank Morrell after a long illness is back with plump, good-looking blonde partner, who plays the piano and vocalizes pleasingly in a clear soprano voice. This, couple with Morrell’s tenor, insures that department.
The talk and monologing between numbers in all familiar and consists mostly in Morrell’s efforts to kid his partner.
The act as framed is all right for the smaller and intermediate houses mainly through Morrell’s personal following, the girl could aid by making a change of wardrobe during the action.
Cary and Cary
[New Act] Acrobatic, 10 mins; full stage. Man and woman. Both are contortionists and ground tumblers. The routine, however, is away from the usual, the team utilizing steel hoops, which they crawl through singly and together at a high rate of speed. The idea is an elaboration of the passing of a tight fitting hoop over the body used by contortionists as a single trick for years.
In this act every conceivable phase of the trick is brought out in a way that makes for novelty. The feature stunt has both squirming rapidly in and out of a small hoop apparently scarcely big enough for either to crawl through. The act went over, opening the show at the Prospect. It should fit nicely anywhere as a somewhat different opening act of the silent variety.
Adele Rowland
The hit of the show went to Adele Rowland, fourth. She did eight numbers, assisted by a pianist. Handicapped by vocal limitations, Miss Rowland easily overcame that obstacle through sheer force of personality and a knowledge of stage technique that embraces a thorough understanding of song delivery. This was best evidenced through her handling of “Nobody Knew,” a semi-dramatic recitative number, and “Apple Blossom Time,” a pop ballad, both widely different in theme and each put over with proper shading and expression.
Hurio
[New Act] Gymnast, 10 mins; full stage (special hangings). Hurio is a classy gymnast of exceptional strength. He works off the floor entirely, using a high pedestal as a starting point. Upon the pedestal at first he does a posing. Hanging close to the stand is a single ring upon which he performs his first gymnastic exhibition.
Some distance down stage hang a pair of regulation rings. Hurio leaps from his pedestal to them. The stunt is pretty and it looks a lot easier than it is. He drops to the floor several times but always reaches the rings from the pedestals. Heavily musculated, neat in appearance and performance, Hurio adds something by dressing his act with velvet hangings. Good opening turn.
The Battling Nelson
The Battling Nelson act has four boys (white) as plants for the comedy finish, where all attempt to fight the “dummy” figure on the oval bass that is knocked every way and always comes back the other way. The boys half the time are fighting themselves instead of the dummy. That provides the comedy.
Nelson is interesting in his description of famous blows of famous fighters, which he illustrates and mentions with the familiarity born of long acquaintance and observation. He gives Jack Dempsey a great boost, also Tommy Ryan (old timer), and illustrates his own famous blow with which he knocked out Joe Gans for the lightweight championship. Nelson claims that while he was accused of a foul in the 42-round encounter with Gans at Goldfield, it was his kidney blow that did the trick. He tried it on the dummy and told the house that no one could withstand it once it landed.
Nelson was in ring costume, spoke with confidence and directly, wasting no time nor blows. Always a popular champ, he is quickly remembered, as was proven by the reception received when first appearing. His “dummy” idea for exercise is quite the best thing any athlete has yet shown the vaudeville stage as a practical demonstrations of how a business man could keep himself fit without trying the carpet beating stuff so many others have told about. Nelson’s act runs 12 minutes.