Bob Murphy and Elmore White stopped the show with new and original comedy. Murphy’s immaculate attire and clever delivery proves that has graduated from the role of a saloon entertainer. White’s singing and piano playing combines to make an ideal pair of the two.
William Gaxton and Co. appeared in an excellent comedy vehicle and Gaxton’s clever snappy style in the leading role scored a laughing success that justified a speech.
The Cameron Sisters closed with their graceful and exceptionally fine team work in a neat dance routine and pretty costume changes with Edwin Weber at the piano. By injecting a comedy humber they held everybody easily.
[New Act] Piano and dances, 14 mins, full (special). Two girls presenting a dance routine in a set of special drapes, with Hal Smith at the piano and offering the song numbers necessary to the introduction of each dance. The idea is a neat one and rather well worked out. With a little more speed the girl will be ready for the big time in an early spot. The piano player in the weak spot of the act at present; he fails to get his material over at any stage of the act. They open with a double; this is followed by a single with toe dancing, a fox trot double, and then an imitation of Eddie Leonard by one of the girls; a piano specialty by Smith, and a jazz double by the girls at close. The act is pretty and the girls work well together. There are three sets of costumes for the double and two for the singles.
[New Act] Cycling gymnasts, 9 mins; full. Two men working straight and a comedian offering a corking cycling and gymnastic routine. The boys open working three of the high-boys, this followed, by the two straights doing a hand to had on one of high ones. A bit of comedy follows with a large wagon wheel. A waltz by the straights on unicycles was an applause hit. Head to head balancing on a high one was the closing bit which brought applause, it is worthy of the opening spot on the better bills.
John Butler and Co. in “His Wedding Night,” third, got their full quota of laughs with their light comedy sketch offering. A young woman, unprogammed, playing an engenue [sic] role does excellent work playing opposite Mr. Butler. The sketch holds an unusual number of complications and a surprise finish that makes it a very pleasing turn of its kind.
Christie and Bennett, next to closing, held attention and secured laughs consistently throughout their talking routine. It’s practically the same act that was done some months ago by Lloyd and Christie and is away from the usual run of talking turns, in that it doesn’t depend on gags so much laughs as the every-day nature of the subjects discussed.
By way of contrast there were Ed and Bertie Conrad, with an ultra-modern jazz singing and dancing turn, backed up with a stage full of satin drapes, colored “spots” and special song material. It made a real class turn, the production values being more noticeable through following the roughhouse quartet. Mr. Conrad cheapens his act, however, by resorting to mugging for comedy. It might be a good idea, too, to settle down to whatever dialect he is going to use and go to it. Monday night he seemed uncertain whether he was doing straight, Hebraic comic or darkey. The double numbers are especially well written and out over skillfully. The orchestrations are worthy of comment. Miss Conrad showed several pretty costumes and counted largely in the all around good impression registered.
And it was slam-bang variety that won out Monday night, as represented by the Monarch Comedy Four. It’s one of those old-time singing fours, with a nance, Tad, eccentric and semi-straight. Every time the Tad started to tell a gag the nance broke him up, and always for riotous comedy returns. Just to cinch their comedy hit, the eccentric slaps the Tad on the back with a folded newspaper, likewise for howls. Not so very funny in telling, perhaps but distinctly so in a low-comedy way, as handled by the Monarch Four. They sing tunefully, much above the average, with a youthful tenor standing out in the solos. The act stopped the show, No. 4.
[New Act] Songs and talk, 12 mins; one. Working against the audience all the way Billy DeVere, in black face, failed to gain as much in the way of response, possibly due to his material or the side remarks passed by him on the conduct of those seated.
Three songs interspersed with a few stories. His efforts were most listless even bordering an carelessness, and he did not appear to be giving his usual show. Accorded a short reception on his first entrance he passed it up and left with practically nothing. The scarcity of applause received at the finish should prove a warning for another such performance as DeVere did Friday it will not help.
