Then Trixie Friganza, on to a reception, on to a reception, into her new catalog of songs. She has cut out the full stage Camille bit and now closes with the floor-rolls on her Indian rug, Mandeli and his partner came in and worked this up for her and dragged her off on the rug to a scream. Still by far the best stuff Trixie has had in years. She now credits Al Von Tilzer together with Neville Fleeson. Last time it was Harry Breen who probably wrote the Redskin lyric. Miss Friganza need have no qualms about taking this program of good-natured foolishness into the east – it is to her order every minute. A solid hit here.
Jack Wyatt and his Scotch Lads and Lassies closed, doing better in the way of keeping in the audience than most turns in the spot, losing a few, but delaying the majority. A stage wait which seemed unnecessary following a long act in “one” at the curtain raising helped to start the few who escaped. The act has never been a sensation here, but it served as a better than average closer, with its noise, display of special scenery an 8 people in Highland regalia.
Demarest and Collette, opening with fiddle and cello, very serious and straight, went that way until the man, for no reasons at all, set his cello against the chair and did the first of his howling falls. In this the program matter, tipping off that it was a comedy act, hurt the surprise. The start is palpably for an impression to heighten the ludicrous aftermaths, and therefore it might be wise to mask it in the billing by at least double entendre descriptions, such as “Strings and Stringers,” instead of “Trifling Talk, Fancy Fiddling and a Careless “Cello.” In later minutes the woman played “Humeresque” in a manner to tear the heart out, and is both a great violiniste and the owner of a great violin. The trick stuff, the clowning, the pluperfect playing and all made up a grand next-to-closing act; it could have doubled its stage time easily and held concentration and welcome.
Bartholdi’s Birds opened the show, screeching, flashy and a regular cockatoo act, with everything else that goes with it, and patriotic curtain music. The birds are marvelously trained. The man and woman exhibit perfect showmanship for opening act positions.
Christie and Bennett worked under a disadvantage, Christie being obviously indisposed. Got many laughs, though working slowly and unsteadily. Slumped a bit at the finish, but still stood up as a worthy comedy talking act in “one,” next to closing.
Fast all the way, whopping laughs, more hands than they cared to acknowledge. Ralph Dunbar’s Maryland Singers (four girls and a man in gaudy fullstage special), a flash for the money, plenty of surefire singing by the quartet and banjo by the man, with an inexpensive but effective “picture” as the drapes part and light illuminate a back drop scene for a big bang finale; well liked and taken.
Cameron and Meeker turned out to be two old friends – Tudor and Matt – the comic of Cameron and Gaylord and Cameron and Flanagan fame, and the genteel straight of Meeker and Kent. The material is disordered and harum scarum, but the work is punchy, the big time aura hovering over it from the first minute.
The Rosairs inaugurated. A man and woman with two wires, a slack and a tight, doing most of the orthodox tricks and one or two worth protecting. The tight wire is upstage and the slack at the curtain line. The man works on the loose one, and does the knee swing beautifully, also a finish holding on ladder on the shaky wire with one foot, while he twangs a uke. There is a professional secret on the hold and it will not exposed here, but if this falls before Rosair’s eye he may know that it is visible from the side box, where the reviewer sat. The woman is an especially smooth performer, and a ride on the tight string on one wheel of a bike is corking. Splendid opener, good for anytime.
Benny Harrison and Co. followed and suffered. He does a Hebrew mailman, and most of his gags are bedecked with whiskers, but he has an extraordinary way of putting them over. His straight mar seems amateurish and sings a ballad that is brutal. This is Harry Cooper’s old act. They forced an encore and made futile efforts to regain stride with the audience. Victoria, a single dancer, with a very pretty set in fullstage, worked energetically to make the crowd like her toe dancers and Egyptian dance, but they fidgeted.
Lawrence Brothers and Thelma opened. They do all kinds of juggling and accomplish some interesting feats. Ryan and Cortez, Miss Ryan doing comedy and Cortez playing harp and violin, next. She is a likeable comedienne, but cracks a few “blue” lines that she might eliminate. She is not only a comedienne, but a dancer of high caliber. Cortez is a wizard of the harp and violin and plays several selection to a good band. The team is worthy of better material.
