“As Athletic Machine Gun” — Head and hand balances, tumbling, etc. They work with great speed. 8 min. full stage. This act went over great.
[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.
10 Mins.; Full Stage; At Pantages Jimmy Clabby was assisted by three men. Two were trainers, the third, Larney Lichtenstein, Clabby’s manager. He does the announcing. Clabby demonstrated the principal parts of his gym training routine, which includes three rounds with an assistant. With the exception of Lichtenstein, who wears a Tuxedo, the rest wear white trousers, shoes and shirts with good effect. Lots of pep and snap to Clabby’s act, which make this kind of a turn more interesting.
15 Mins.; Full Stage. These two newcomers in vaudeville are members of Atlanta (Southern League) baseball team. They open with a burlesque ball game in which the two play all the positions and do their own coaching. Kircher pulling coaching stunts which have made him famous over the Southern circuit. Pictures showing Kircher on the coaching line help the number which should go well through the south.
Another baseball star shot into vaudeville from the Braves after winning the World’s Series. Maranville played last year and has a little merit. His demonstration of coaching tricks which includes indescribable antics in the limited space that won him the name of “Rabbit” long before he became the Braves’ shortstop brought down the house. Monday afternoon, with Eddie MacHugh as a partner. Maranville scored three hits and one error, the error coming in his forgetting the lines of “Playland,” a ballad that he had done well with in rehersals. It is an act, like all the others, that will have but a short life, but Maranville puts more ginger into his turn than is the custom. Anywhere in New England he will pack a house. Whether he will play New York and Philadelphia depends on how those managers dope the prospects.
11 Mins.; One. A difference between “putting ‘em over” and “pulling ‘em in.” this was proven at Hammerstein’s Monday night. Those who made the test were Hank Gowdy, the premier swatter of the World’s Baseball Champions, and his side partner, the pitching marvel, Dick Rudolph. The team was engaged for Hammerstein’s for the week at a big figure as a box office drawing card, but judging from the house, they are failures in this particular. Rube Marquard, who sat with his wife, Blossom Seeley, in the fifth row, who must have gloried in the fact that he knew just what his confreres were passing through; however, this noted vaudevillian was there with the “Iron Hand” where it came to applause for the newcomers. The turn was introduced by the “Only Loey” who turned loose his ready wit on the audience in an introductory speech. He stated that when the battery was hired for vaudeville they confessed that they couldn’t do a thing on stage so Loney framed the act for them. It consisted of Gowdy showing signals used by him in coaching pitchers, and an explanation by Rudolph of the various style he pitched in the Series. He then warmed up and lobbed over a few to Gowdy, which ended their part of the entertainment. The audience was generous in its applause for the stars of the diamond and gave them enough to warrant a couple of bows, which they took good naturedly.
Rekoma opened, a gentlemanly athlete in a series of rapid stunts, equilibriums and leaps. This turn did not go by the boards, as most icebreakers do, but went warmly with those who came promptly.
Long Tack Sam and his sextet of Chinamen athletes placed a solid hit in the third spot. The Oriental is certainly a master showman. There is something doing for every second of the twenty-odd minutes his company holds the stage, and it is all done with a view to holding the entertainment at a pace. Speed to burn is the answer, and it was appreciated by the audience with hearty applause.
9 Mins.; Full Stage. The World’s champion heavyweight announcer, Loney Haskell, introduced the world’s champion lightweight pugilist, Freddie Welsh, to the Hammerstein audience Monday night. One gained his honors by talking and the other by fighting. Both showed how they did it that evening. The Boxing Commission would not permit a sparring exhibition, so Mr. Welsh went through his simpler methods of training as a stage display. These were interesting, including pulley and floor exercises, shadow and dummy boxing. Though a lightweight, Welsh is a slimly built young man, of fair appearance, and did neatly and nicely what little he could do under the limitations imposed. As a stage attraction he should have some value, for the championship, wrested by him from Willie Ritchie, holds much concern to fight fans. There’s no doubt, however, in a long distance or finish contest between Welsh and Haskell Loney could talk him to sleep.
7 Mins.; Husky looking woman enters clad in white sweater and short leopard skin skirt, warbles a bit, swings Indian clubs, just a pair of them, then punches a couple of bags-one at a time-with a most amazing- self assurance. Crude incom8etent and amateurish.