Santos and Hayes Revue appeared next, and when they walked out there was no doubt who drew the crowds in. They were one howl after another, followed by “ohs” and “ahs” of astonishment at the drapings [sic] and costuming. With a few more dollars spent and the act lengthened out it could be Broadway production.
[Fradkin and Miss Jean Tell] were followed by Babcock and Dolly, which looked like an old time ollo act. The man tries hard for comedy with some risky neck falls that throws the dust in the audience’s face, while Dolly tries hard but vainly to burlesque a French soubrette. She does make two changes with gowns that brought a gasp.
Stanley and Birnes, introducing themselves with a neat, up-to-date song with a patter for a chorus, danced their way into a well sized hit, and should have fourth position, and Babcock and Dolly, who held this spot, moved up or even off, which would have helped considerable.
Van and Belle closed the show with their comedy boomerang throwing and held the audience solid. They open the act sailing paper aeroplanes out to the audience, the crowd standing up trying to get one; this brings lots of laughs. They close with the man imitating birds and animals, putting them off the applause hit of the bill. This act is famous here, having appeared at the State-lake theatre.
Graves and Edwards, a man and woman comedy sketch, with the comedy lacking, came next, and went through their routine of talk with the same effect as though doing a dress rehearsal. They worked hard to keep up with the running, but the act misses, and they didn’t get a ripple out of the audience.
Jordan and Tyler, two colored men, followed. They open, one man at the piano, the other, playing a ‘cello, with green flood lights, playing a slow number, with several other slow numbers following this one, played on violins, and they close with a couple of aged popular numbers. The violinist is a cracker-jack player, and is capable of doing better, while the pianist plays with enthusiasm, and the audience being to let their interest go astray. They walked off just as they came on.
Dorothy Morris Trio started the fuss. Miss Morris, an excellent toe dancer, with personality and a fine repertoire of dances, making a change in dainty costume for each number, danced her way to several curtains. She is assisted by two girls who also do toe dancing, but lack the finish Miss Morris displays.
The Palderns, two girls and a man, ended the frolic by some up-to-date hand-to-hand and head-to-head tricks, finishing with a risley stunt with the assistance of an aeroplane, not having one walkout go on the books against them.
McKay’s Scotch Revue, with two men and seven girls, in full stage, followed. They dance and sing in Scottish style, all wearing kilts, a feature of the act being the comedienne, who in sterling voice sang several selections, each getting good returns. They all do their bit on making the act one of the best Scotch acts seen here in many a month.
Coleman and Ray promised much on their opening, but failed to come through. The girl opens with a song before a pretty special cloth, setting, the man making his entrance for a ventriloquial bit, having some very good gags and fairly good as a ventriloquist; but they both miss showmanship. On walking off the man takes the dummy by the hand and they both walk off, the dummy taking step with the man. This seemed to strike the audience, getting a good hand.
