[New Act] Music and Athletics, 13 mins.; one and full stage. Closing the show Ajax seemed to have pulled a “bone” by opening up with an accordion solo that was non plus on “pep,” and only served to chase ’em from the first chord, until he went into full stage to handle a weight by hand and with his teeth. It was o.k. after leaving the instrument, and that can be done away with any time, as now it’s just something to be forgiven and only makes that much more to be overcome. Especially so following a long bill. A woman assistant made two changes in dress, which helped, but the slight attempt at comedy by her could go, as it brought laughs that really weren’t. A good closing act, but needs cutting down and speeding up.
Sylvia Clark was sandwiched in between, and it looked as if things were going to be rather hard for her after the success of Clark and Bergman, but she breezed through, making it look easy, and was “over” after her cabaret number with the Russian lyric. Miss Clark registered high up and came back for a short speech.
Clark and Bergman followed the screen episode and were given a reception. They lived up to it and a bit more after it was all over, delivering a new song for an encore that had a “plugger” up in a box to help make it stronger. Sounded very “forte,” too. Bergman’s bit of a catch line, “Take it easy, Winnie” (Winnie Crisp – Crisp Sisters), was taken up by the house and prevailed throughout the remainder of the show, especially during the closing act, Ajax and Emily (New Acts).
Their acrobatics and tumbling stood out above everything else. That by name consisting of a song, dance and some talk pointed toward comedy, but which left something open. The boys might leave in the first two incidents, but the final bit should go, as it slows down the turn to sluggishness and spoils what would otherwise be a corking fast tumbling turn. The announcing that one of the team about to do two complete somersaults from the floor to the floor kidding about it to the effect of supposedly accomplishing the double turn off the stage may be all right, but how many in the audience realize what a tough one that is to do? Only know of one boy – name forgotten – whoever did that particular stunt, and he nightly tied up a Sunday show at the Columbia in 18 different knots after doing it.
Nothing spectacular in the first half, with Eddie Foy and the Foylets tacked on to close before intermission. Bryan remains with the family, not overdoing to any extent, and leaving the main portion of the burden to fall on Charlie’s shoulders, who is still quite capable of taking care of it. Charlie fulfills the promise he gave of being adept on his feet when tearing up and down the halls of De La Salle some years ago. The Foy act pleased mightily and could have done a few more minutes.
The Yip Yip Yaphankers doubled from the Palace, subbing for Pearl Regay, and tore off large returns with the soldier acrobatics and hokum. The comedian had them from the start and was forced to pull a burlesque wrestling stunt in “one” following the dropping of the curtain. It is the same bit of wrestling with himself that Nick Altrock uses on the ball field to amuse thousands when the Washington Club is entertaining the holiday crowds.
Jimmy Lucas was fourth and cleaned up a healthy hit with Francene in his nut specialty. Lucas grabbed them with his “dance” entrance and never relinquished the toe hold. The entire act could be played in “one” and the “one and a half” bit would get over just as strongly. Jimmy sang several of the songs he has authored and also gave his laughing imitations, cueing himself as to the subjects. It’s a good comedy vehicle and on par with any of his former efforts.
John Giuran and La Petite Marguerite closed intermission. Giuran’s specialty drew rattling applause and the turn ran through to big appreciation. Marguerite’s jump at the close of the toe dance to a corking feat which started something.
Harry Holman and Co. led the comedy section showing number three with his new “Hard Boiled Hampton.” It’s a champ comedy playlet, by Billy Miller and Stephen G. Champlin, who have provided many sure fire lines. There, too, is a sob on the plot which has the patient young widow of a boy lost in France. In “Hampton” Holman has his best vaudeville characterization and it’s an act which should do service for him for seasons to come. One little detail can be improved on. When the bottles of supposed booze are taken from the grip, they ought to contain something – water will do, because of the colored glass of the bottles. From the front rows, it could be clearly seen that they were empty.
The Wiltons showed showmanship when their musical medley was interrupted by the entrance of a kitten, which couldn’t find the way out and ran back and forth until someone parted the curtain in one entrance and “Krazy” went off. The sisters stopped playing and laughed with the house. There is a rather welcome change to the final encore, the girls now using the popular “Left All Alone Again Blues” from “The Night Boat.”