[New act] Dance, 10 mins; three. A couple in a straight dance routine, opening with a waltz, he in velvet suit, she in ballet costume. The waltz is variegated with a little toe-stepping on her part which as develops proves to be her forte.
A solo by each follows, with the man in the sateen blouse and the velvets doing a whirling Russian number, and the woman a toe one-step. For a finish, following a short double dance number, he whirls her on his shoulder to the extent of a quartet of curtains. Good pop house team for either end.
The Three Raymonds proved magnetic tag enders in their holding-them-in proclivities. It’s a two-women-one-men combination, with one of the former performing on a slack wire “iron jawed” between the other two at opposite sides of the elevated platforms.
“Did you vote?” featuring William E. Morris and Co. (New Acts) preceded Will J. Evans the “happy nobo [sic],” in very Nat Wills get-up and a gag routine that possibly antedates the days of Wills. Evans is wanting for material, but otherwise is a monologist with a pleasing voice that bespeaks possibilities. He is sure-fire on the present time, but a rejuvenated line of talk is advisable. Some of the old boys have been “released” so long they sound almost new, although Evans’ author probably was some minstrel joke book. Evans concludes with a dash of stepping that could be built up, although he suffices as a talker were he fortified with modernized patter.
Charles and Cecil McNaughton, mixed team, reopened proceedings with a song, dance and talk routine that went for all it was worth. The girl is a “looker” and in her abbreviated costume monopolized the gaze of the audience. Charles McNaughton displayed a resonant tenor with his numbers, and the parody medley finish sent them off as well as it did because of their clear enunciation.
Gordon & Gordon, with a hybrid dance and acrobatic routine, chalked up a neat hit from the start. The boys make natty appearance, and following their opening song and dance go into their acrobatic and contortion work to encouraging.
[New Act] Acrobatics, 9 mins; full stage. Two men. One in evening dress does a “souse” entering via the casement window. The other appears as the butler. They offer a comedy acrobatic routine with some single work here and there. The souse effects some good falls the other specializing in somersaulting. The falling table stunt with both men aloft four high is the final and best feat.
Clark and Verdi followed in the next to closing spot, carrying the comedy pace a notch faster. They are still using the statue act, but it looks like a lot of different and quite a measure of new matter is present. At the entrance, the old monicker, “Tony Bootz,” is recalled. Verdi tried to explain to Clark that he was a “salesman.” In doing so he inquired, “If I sell you something, what am I?” Clark replying. “A wise guy,” in dialect it sounded very funny. The comedians are getting more out of the descriptions of the statues and busts. One of the best was on Louis XIV whom Verdi called “Cockeyed Louis.” The comedy song finish and argument took them off to a good exit. The improvement in the turn is considerable and the team may pull a comeback, again getting the better houses.
Leonard and Willard, No. 3, pranced off with the hit of the evening with the hotel skit. Starting with the honeymoon hit, when Miss Willard asked: “Haven’t you any imagination at all?” the laughs came frequently. She sported a new black silk frock with the tulle “floater,” which she discarded, saying it felt like a beard. The comedy number at the close was made the best of. The wish to “bring back the can that’s getting rusty” (beer scuttle) and the added comment by Miss Willard about always leaving wash day netted a hearty outburst.
Claire and Atwood opened with acrobatics and clowning using for a finish a swing by the man ontop a set house. This is along the lines of the balance done by Bert Melrose and as done by the man in the Claire and Atwood combination, furnishes a bunch of thrills.
Nieman and Harris, a tramp and straight two-man combination, next to closing, stood ‘em on their heads with a line of old-fashioned comedy talk and nonsense. While the stuff was ancient, the method of delivering, was entirely modern. The straight is inclined to talk a bit too loud. Probably he thought it was necessary because of the sixe of the house. The tramp comic, besides owning a real voice, is genuinely funny in a quiet, easy fashion.
