Two men, one straight and the other in comedy make-up, in a regulation acrobatic turn. Good ground tumblers, both of them, with the usual comedy Interpolated. The comic does a fall from a chair which is placed atop four tables. Usual preliminary swaying for laughs. The four high fall which is used for the finish is neatly executed. Good openers or closers for the pop houses.
9 Mins.; Full Stage.
Well appearing woman does straight with dwarf providing comedy falls and knockabout for laughs. Excellent number for opening, but scarcely a satisfactory turn further along in the show as it was placed at the American. Pair have a good opening, the dwarf being concealed behind the newspaper he is reading and making his appearance as a surprise. The combination of the rather tall woman and the miniature partner —he Is well under four feet—gives opportunity for odd maneuvers in their duet skating. Woman dresses neatly in black and white frock of soubret length and is graceful on the rollers. For a finish the dwarf take* an apparatus in his teeth and with that hold is whirled around by the woman, an acrobatic performance which gets them satisfactory exit applause.
19 Mins. Full Stage. (Special Set).
A cyclorama with side and back openings, backed by a black drop are the stage dressings. A Jazz band conventionally grouped about the piano at the rise of the curtain, with the sisters entering through the center opening… Nothing punchy is included and the musicians are the average jazz aggregation minus specialists. It qualifies as just another pleasing dancing act.
8 Mins.; One (Special Drop).
Alvia is a young Miss wearing a blue soubret costume, with straight playing on a xylophone. Her numbers range from band to rags with the latter used at the finish for satisfying results. The turn runs through rapidly, the girl using the orchestra with each number. For an opening turn in the three-a-day Alvia has the goods.
Special Drapes and Drops.
The interlude begins in “three” with a pianist and a male assistant (Frank Shea and Jack Kennedy), first indulging in an Introduction to the final bars of which Miss Herlein enters singing a ballad which admits of a display of vocalizing. Mr. Kennedy then kills a wait for the changes in the “Clothes” song which follows “A Wild Girl from Yonkers,” with a comic trend is next, after which the curtain is lowered and Kennedy does an eccentric dance in “one,” after which comes a novelty bathing number called “Swim,” with a seashore drop, special curtain for effects and a neat disrobing moment that reveals the splendid proportions of Miss Herlein, proving that she has been holding out or hiding out on vaudeville these many years. The bathing bit makes a nifty closing, flash to an act that is replete with the essentials of a progressive “single.” It is almost safe to assume Miss Herlein will find a welcome pathway for* her latest turn.
12 Mins. One.
A colored team using material that sounded as though they chose from whatever talking turn they saw. They use an insurance bit about speed in paying the premium Just as the boy, who fell off the roof. was passing the fifth floor. Also they have the C. O. D. line and the bottle of milk, now in the routine of a standard colored team. The men show something In dancing. One especially is a good tap dancer. He started something with a soft shoe waltz clog, then a fast eccentric tap number. The same boy delivered at the close with a tap dance which drew an earned encore, his partner “Jazzing” on a phoney trombone.
14 Mins.; Two. (Special).
Two girls and a young fellow in a flash singing and dancing turn of average merit. A special drape In “two” and a variety of attractive costuming for the girls give the art an element of class. The man is a good dancer and sings pleasantly. One of the girls pianologs a number that serves to vary the routine. Usual singles, doubles and trios constitute the specialties. A Chinese number with another special drape showing a glimpse of Oriental pagodas and landscape, done by the girls, stands out. Pleasing act of its kind, capable of holding its own in the pop houses.
12 Mins.; One.
On her first big time Broad- way appearance in several seasons, she performed with assurance and success. The comedienne bowed in well prepared with exclusive numbers. There was an’ old fashioned number for the opening, “Days of Old Lang Syne,” rather nicely done. She changed for a widow number, quite a change of pace. Miss Suter was vivacious, handling the lyric cleverly. So convincing was the query “How would you like to have and hug me,” that a loud sigh escaped from a man down front and the house giggled… The program billed her as “sweet sixteen,” but Miss Suter appeared to have bettered that mark. She is a bit plump, kidding about that. Though the billing, too, mentioned her southern personality. Miss Suter has a Frenchy dash to her eccentric way. Showing throughout a willingness to amuse, there is little doubt that Miss Suter will rate as a standard.
16 Mins.; One.
Old school blackface comedian assisted by girl in ‘high jailer” makeup. The opening is the male toting a pair of grips with the girl following. They are to be married. Considerable dialog about the marriage license. He obtained naturalisation papers by mistake… The act is a fair small time remedy entrant. It will smooth with use, at present being badly construed in spots.
“Two Little Pals.” (12).
Miniature Musical Comedy.
32 Mins;
The lyrics are bright and well constructed and the music better than many a Broadway musical show. The act is also strong on sight values, two special drops in one, a yellow and lavender changeable silk drape, an exterior of a cave, and a full stage futuristic set comprising the scenic complement. The book, while pleasing, is a bit too talky and could stand more comedy. The running time of 32 minutes might also be chopped about five minutes with the advantages of added speed that that might bring. Opening with an octet, four boys and four girls, in a number that may have been suggested by the old “Tell Me Pretty Maiden.” “Florodora Sextet,” but in no wise trespassing on the latter in lyrics or music, the act gets off to a good start.
