Rhoda Bernard took up the running, opening intermission, getting little with two published numbers. Her third was a “wop” song, the dialect being off. Her dialect with the finale, a Yiddish comedy lyric, was better, though it was not especially well chosen. Miss Bernard will fare better with a brighter routine and something newer.
Swain’s Cats and Rats ran third, proving amusing. Up to the time this turn closed with the comic boxing bout between two tabbies there was very little stirring. The “bout” is a smart bit of animal training and the pussies will grab a smile from anyone.
It was Bob Calvert and Tony Shayne who were spotted next to closing. Theirs is a straight singing routine, the men duetting throughout, with a dash of action inserted here and there. With “Oriental Chinatown” they got into stride and followed up well enough with “Minnie-Ha-Ha.” The men jazzed up “Manyana Land” for a closer and could have encored.
Winston’s Water Lions and Diving Nymphs disapproved the general conception that closing acts are cues for a premature “good night,” and held them to a soul. This aquatic turn is in a class by itself and worthy of the feature billing accorded it.
Arthur and Morton Havel (Morton formerly was simply designated as the “Co.” in the former skits) have a bright little conception in “Suits,” suitable for either “one” or “two.” Arthur does a $14 hand-me-down suit model and the immaculate Morton is the {$55?} dandy. They step out of their positions in the windows for a line of chatter preceding the old standby, the boxing scene with the “cissy” turning on the “tough” Arthur. The finishing song is weak and should be replaced. There’s less of the knockabout and more of the studied artistry in Arthur’s style now than of yore.
Jack Rolls and Baby Royce made no pretense at camouflaging the reason for their presence, and after getting the conventional ditty off, entered into a stepping routine that left ‘em hungry for more. Admittedly nimble with the pedal extremities the act’s value is further enhanced by the likely Miss Royce’s free and easy eccentric work and acrobatic stepping. The pair could not gainsay the gallery hounds insistent extra recall. For the deuce spot the team is a winner.
Cosica and Verdi, next to closing, pulling down the best returns in this section with violin and violin and cello doubles. The size of the met looked to be a heavy handicap for getting over with the soft strains of the stringed instruments, but the team overcame this obstacle surprisingly. They did the regulation pop and operatic numbers, mixing in a bit of mild comedy here and there and finishing strongly with “Love Nest.” This brought them back for a jazzy medley, including “Dardanella,” which apparently is just becoming popular in the baby carriage borough.
Texas Guinan followed, singing “Sweetheart” from the musical show of that name, and getting over handily. The bevy of women picture folk were then lined up before the foots, while Granlund introduced each in turn after the fashion of a “pick-out” number.
Nils Granlund, Loew publicity man, introduced Bert Lytell, building up an effective entrance for the latter with a brief preliminary announcement regarding Mr. Lytell’s personality, etc. adding that the “Met” was the fifth Loew house Lytell had appeared at Monday night.
Lytell received a rousing reception. He’s a personable young fellow, with an easy off-hand manner of speaking that given the impression of working impromptu, a resonant voice perfectly modulated and penetrating to the farthest corner of the vast Met auditorium, and a delivery and presence betokening a thorough schooling in the legit previous to his picture career. His talk was in comedy vein, relating mostly to a picture in which he had appeared with a lion. It landed for laugh returns.
[New act] Juggling, 8 mins; one. Special. W.C. Fields must have been the inspiration for this juggling act as the man, who supplies the action in the turn has certainly copped some of Field’s mannerisms. “Nolan” announces the girl assistant, who does just about as much that implies.
Going through a regular routine with intermediate stabs at comedy, the man put over an average opening bit adding a few new twists to some of the tricks, but failed to live up to the advance dope, as programmed, “The Jesting Swede.”
