[New Act] Songs, 11 mins; one. Entering as a “single,” doing a number with the two boys starting an argument with an auditor in the third row that ends with first one going on the other side of the lights, shortly followed by the other, who does his share at the piano.
The men use an Italian dialect and get some humor out of the speech and mannerisms, but the strength of the act rests with the first boy to leave the audience, due to his voice. Three numbers, the boy mentioned doubling with the girl for two.
Miss Granese made one change and has a nice appearance, also singing acceptably with her partner as well. The turn did nicely at the Broadway, No. 3.
Virginia Fissinger, with her dancing partner another lad at the piano, showed some more stepping, and put it over, although the “hoofing” of the previous turn didn’t help them any. Miss Fissinger has a pleasing appearance and showed enough ability with her feet not to let the boy run away with all the honors, though he pulled a few she found hard to follow. Five distinct numbers, after going into full stage, spaced before and after a short selection on the keys that in the closing spot held the house intact and was good for four or five curtains.
Amoros and Jeanette pried ‘em loose from some laughs with the girl’s clowning and her partner’s juggling and accordion playing. The act showed a tendency to drag about half way and seems to be running a mite too long, which may have been responsible for early promises from the house not being fulfilled at the finish.
Will Crutchfield followed the screen offering and gave the bill its start with {roping?} succeeded by Craig and Holsworth, who jazzed it upon violin and saxophone. Mr. Craig’s ability with the string instruments is well known and he has procured himself another partner equal to carrying his share of the melodies and coloring them up a bit as well. The boys in “one” did very well, with Craig’s dancing while playing standing out, and their selection of songs bring timely they pounding out pop ditties of present popularity, they left with something to spare.
The finish of the bill was furnished by Mable and Dora Ford in their “Frolics of 1920,” and they managed to hold the house seated with their first three numbers, but as it was then 10 after 11 the house started drifting, but the girls with their final stepping held the greater part of them standing at the back for the finish of the act.
Three acts held the second part after the “Topics” had been run. Bert Errol opened the section and flopped on his opening number without a ripple. A Spanish melody, his second song, got a little better results, and it remained for “Japanese Sandman” to pull anything like a real hand. “In Apple Blossom Tune,” with the impersonator clad in a bridal costume, was a hit. The Oriental number which followed did not receive any great return, but the comedy closing in one was “there.”
Harry Miller, assisted by a company of seven, a male soloist and six girls, and what looks like a carload of scenery, put over the spectacular flash number of the bill. It is a big act, but the results from the Riverside audience, were not commensurate with the size of the production. At that, the only real applause of the entire show came during the offering when Miller stepped out alone and let his feet flay. He can dance, but other than this one solo bit held to working with two girls and naturally had to hold himself in.
Davis and Pelle held about half the house in with a flashy routine of lifts, hand-to-hand and acrobatics. The men make a neat appearance in tights and athletic shirts, the understander showing a remarkable physique that is upheld by the strength of his one arm elevations of the top mounter. It’s a dandy turn for either end of the bill.
Handers and Mellis (New Acts) were pinch hitting for Rome and Gaut, off the bill. The boys landed safely and were followed by Beth Beri, the graceful California girl, assisted by Jay Velie and Paul O’Neill. The act is standard dancing turn and can follow any of the steppers. Miss Beri is a shapely, wholesome looking girl who reaches near contortions in some of her bends, and the two boys are clever hoofers. One of the males is a clever pianist and vocalist as well. They scored easily.
O’Donnell and Blair, No. 3, made them yell with the rough, low comedy sketch, “The Piano Tuner.” Some of O’Donnell’s falls look dangerous, the finish, rocking astride a tall ladder mounted on top if the piano, making the audience gasp when they weren’t yelling with each teeter. The ultimate collapse was a howl and they were soundly applauded.
