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.
Lane and Harper gave the principal big time touch to the show. The man is a good looking comedian and warbler, very dark of hair. The girl is an auburn-locked Fifth avenue beauty with a figure that they seemed to appreciate in the stockyards district through they don’t see many like it among the husky damsels thereabouts. She is built like a thoroughbred, and frank discussion of her physical lines is justified because no one could be much more frank in dealing with it than herself. They open with a manicure but at an illuminated table, in a special setting that bespeaks the same class that the whole turn typifies. The material thereafter rambles and what they get out of it is all their own, not owing to any assistance from it. They took the house early.
Claire and Bergman were next and had a walkaway. Mr. Bergman is equipped with a remarkable bass voice and considerable comedy ability, while Claire is a performer of the first water. Her burlesque wedding song was a little masterpiece. The girl knows how to express emotion in a forceful, sincere manner that makes slaves of her audience.
Ward and Dooley closed the show with a diversity of entertainment. They opened with a song and dance in one, went to full stage and cut loose with some trick bicycle riding that went well and closed with a Roping act in chaps and sombreros. Ward announced an impression of Will Rogers that would lead one to believe that he is not very impressionable, but the act has plenty of merit and could get along nicely without the “Imitations.”
Curtis and Buster began the proceedings, but either it was too hot or Buster was temperamental, he didn’t respond to his cues with his usual electricity. He got a fair amount of applause though in his finish, announced as the singing dog, he barked a song and pawed at a toy piano.