13 Mins.; Two; One. Man and a woman with good voices, sing and attempt comedy. With comedy strengthened they will have a good chance for the popular priced houses.
10 Mins.; Full Stage (Special Set). Two people, a man and a woman, in a very fast act start things with experiments in water fountains, first shown in the country by the old Ten Ichi Troupe, a Jap organization. The two get a lot out of this style of work and immediately show a few so-called Hindu mysteries which, while not new, prove very interesting. This act should be kept busy.
11 Mins.; Full Stage. Two young Spanish dancers, probably the most authentic of any of the so-called Spanish performers. These two are brother and sister, the former a dancer unexcelled by any steppers who do this type of dancing. His partner is rather heavy but is improving, so that now she gets her share of the applause. The boy does some twirling of the feet that is bound to go over. The couple open with “Malaguena and Bollero,” a very much Spanish affair in which. The click of the castanets figures largely. The girl follows with “El Garotin,” another of this style in which she does considerable bending and squirming. They use “La Cucipanda” next, closing with a whirlwind trot. This last is the only American movement in the act and they handle it capably. These young people should be working steadily, as the boys is a natural dancer and his sister has possibilities.
“Kloroform N.G.” (Special Drop). Val Trainor has a new vehicle that is bound to make the, laugh. A special drop on a railroad station in a tank town is used. In itself this is good for a laugh or two. Mr. Trainor is a drummer with dancing shoes as his line. He jumps off the train and bumps into a comedy miss who tells him she is an artist’s model. After some talk they tell their names, learning they were childhood friends. He speaks of his shoes, and says that he will demonstrate them. This he does with a little dance. Finally they decide to get married and end with singing “Home to Indians.” Lots of business that is certain laughs. Trainor does some magical stuff with the changing color of his gives, which will also gain them interest. His partner has a string of slang that can bump to best of them. As a laughing of comedy two-act Trainor and Helene are there. They can fit into any bill.
15 Mins.; One. Grace Gibson, using a pianist, attempts the style of three different stars in her character song efforts. Irene Franklin, Connie Ediss and Bret Williams appear to have been her guiding stars. She sings a song recently sung by Miss Ediss at the Alhambra, London. Miss Gibson’s efforts, however meet with certain success and she should prove popular.
15 Mins.; One. Billed as presenting “Life Studies in Prose and Song,: Helena Phillips has somewhat of a novelty in that she really does present life studies in a finished manner. However, the songs might profitably be accentuated, which at present carry the act notably a musicalized recitation of Kipling’s “Danny Deever” which closes. The first half of the time is spent in the usual monologistic anecdotes while the last half is given over to the songs. Here, where Miss Phillips is known locally as Mrs. Chas. E. Evans, she was fairly well received.
10 Mins.; One. Comedian and straight. Former interrupts talk of partner, then goes into a sob recital called “Mother.” Both sit on suit case and sing “Let me Sleep,” using a few daffydills for the finish. Small time.
14 Mins.; One. The action of this little skit in “one” takes place in the shadow of the Sphinx. The woman has strayed from a party of tourists and the man is an animal collector for a circus. The lost one appeals to him for direction. Some flip talk is passed back and forth. The man does two songs and displays a good voice. The act can fit in on a small time bill to advantage, although not strong enough for the next to the closing spot.
11 Mins.; Three (Special Set). Musical Chef is a man who plays a number of instruments without any particular class to any. His main idea is to have each instrument encased in some article of the kitchen. He takes a pot from a stove and it is a banjo inside. He then goes from one thing to another, ending up with a bassoon disguised as a hatrack. Others used are a saxophone, one-string broom, and a clarinet. “Chef” has an act which is going too slow at present. It should prove big time material with more snap. Musical turns along similar lines are not uncommon, though the most familiar have been of the farm yard.
12 Mins.; One. Fred M. Griffith has evidently been playing in vaudeville for a long while, but has not been in New York in some time. He does magic, all palming, his best handling eight little red balls, holding them at one time in both hands. It is very good work, also the continual rolling of one of the balls between four fingers. Some trick matter with a handkerchief brings a little laugh. Griffith depends to a large extent upon his talk, nothing wildly funny, but humorous enough in a quiet way. His finish is the old business of informing something in the audience his future wife’s name. It was seemingly new to the Columbia audience Sunday.