Faber and Burnette, doing Flanagan and Edwards’ old act with the bed scene, made another clean sweep. These two chaps went through the routine, putting their talk and hoak across in a manner that marks them for the bigger time. They close in “one” with a ukulele and jazz kazoo combination with a parody song entitled “Topics of the Day,” taking them off for a half a dozen bows, with more if they wanted it.
Black and O’Donnell, man and woman, the man doing boob character to the woman’s straight followed. They begin with some bright chatter, getting laughter, the woman making her exit, while the man sings a comedy number. The woman reappears with a new costume and plays a rather lengthy selection on a violin, later changing to a jazz number, and how she can make that Stradivarius talk! The man is of a chubby type and surprises with a buck and wing, while the woman plays the violin, taking them off successfully.
Hobson and Beatty, girls, came next, a contralto who does comedy talk, and a soprano who never leaves “the sublime.” Worth better position on class, looks, ability and audience results.
McKay and Ardine held the next-to-closing spot with their former vaudeville offering. George kidded and clowned as usual, a whole lot of his fly stuff getting past the Fifth Avenue buunch [sic]. New touches were “Broadway Rose,” a ballad offered seriously by McKay as an encore. The latter was in a clowning mood for he walked on during the opening of “Going Up,” which closed the show, and after clowning a bit walked off with a tag line.
Rubina and Rosa were another girl team with violin and accordion and went on fourth, finishing to good applause after some interpolated singing and comedy attempts that got little.
Charles Morati and Grace Harris waste their efforts trying for laughs on old gags. She makes a stunning appearance and he is a good tenor. Their singing carries them over.
Clark and Verdi followed in the next to closing spot, carrying the comedy pace a notch faster. They are still using the statue act, but it looks like a lot of different and quite a measure of new matter is present. At the entrance, the old monicker, “Tony Bootz,” is recalled. Verdi tried to explain to Clark that he was a “salesman.” In doing so he inquired, “If I sell you something, what am I?” Clark replying. “A wise guy,” in dialect it sounded very funny. The comedians are getting more out of the descriptions of the statues and busts. One of the best was on Louis XIV whom Verdi called “Cockeyed Louis.” The comedy song finish and argument took them off to a good exit. The improvement in the turn is considerable and the team may pull a comeback, again getting the better houses.
Three acts held the second part after the “Topics” had been run. Bert Errol opened the section and flopped on his opening number without a ripple. A Spanish melody, his second song, got a little better results, and it remained for “Japanese Sandman” to pull anything like a real hand. “In Apple Blossom Tune,” with the impersonator clad in a bridal costume, was a hit. The Oriental number which followed did not receive any great return, but the comedy closing in one was “there.”
Farrell and Hatch, a couple of colored entertainers, were second, with piano and songs, the routine consisting mostly of comedy numbers that are well put over, especially by the one at the piano. A ballad by the other showed only a fair voice. Both are at their best in a jazz number at the finish, which threatened to stop the show.
Osterman, in fourth position, had first chance, and proved easy to digest. He comes back with practically a brand new act, and the boy won out. He delivered with a bang and tied up the show.
