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Keith-Albee managers' report book, March 3-November 3, 1913
Page 161
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PITTSBURGH, PA. GRAND OPERA HOUSE SEPT. 8th, 1913. THE YOUNGERS. Man and woman in athletic posing and balancing. 7 min., full stage. This is an artistic and attractive posing act, somewhat away from the conventional. DEMAREST & CHABOT. Instrumental musicians. 10 min. in One. Two young men playing the violin, cello and piano. They play very well, but the comedy is poor. In my opinion that act would be better without it. GENERAL PIZANO & CO. 15 min., full stage. Special drop showing the harbor of Tripoli with battleships. Three people, Pizano and two Italian boys who handle the stage for him. This is a sharpshooting act and one of real merit. Pizano's marksmanship is not excelled by that of Gen. Gaston Bordeverry. These two acts are much alike although the use of a woman by Bordeverry in the disrobing number gives his act a touch of color and thrill which the Pizano number does not possess. FOSTER BALL and Ford West 16 min. in One. Character study, "In the Day of '61." As a character study of a veteran of the Civil War, one of the members of this team does a splendid bit of acting. The other, a policeman, has a good voice which he uses only in a short excerpt from one of the operas. The offering would be much improved if another song could be introduced. As it is, the dialogue drags a bit, notwithstanding the facile character portrait of the old soldier. MARIE DRESSLER. Full stage; palace. 12 minutes. One hesitates to contemplate what would become of Miss Dressler's vocation if she ever lost her weight. She is just the same big, boisterous, gross clown as of yore and always bordering so dangerously near the suggestive, if not getting altogether over the line. Nevertheless, she stirred up a riot of laughter and applause and went as big as ever with her old stuff and the new numbers. She does an Isadore Duncan travesty, besides which the notorious dance of the Midway Plaisance is an effective "shock absorber." JOHN & MAE BURKE. 16 min. in One. Special drop. The same skit the Burkes have given us for a number of seasons. Mr. Burke is a droll comedian and an excellent ragtime piano player. If he had a partner who could sing just a little bit there would not be a more clever act of its kind in the business. ROBT. T. HAINES & CO. 16 min. Drawing room set, full stage. One act play entitled, "The Man in the Dark." While there is nothing strikingly new in this Raffles playlet, it is good entertainment and so well played by Mr. Haines and his company that it deserves a place on any bill. There is very little comedy, if any, in it- the story telling of a wife who was saved from a life of shame through the psychological intervention of a gentleman burglar. JULIUS TANNEN. Monologist. 15 min. in One. "The Chatterbox." Mr. Tannen has never done better for us than he is doing this week. His monologue is clean and thorough meritorious, and, save in a few spots, entirely new. KAJIYAMA. Full stage. Palace. 25 min. Japanese Caligraphic Expert. Kajiyama was tired out by an all night trip in a day coach and worked very slowly at both the afternoon and evening performances. He gave us practically nothing new,- nothing that we did not have two years ago. The act, however, is interesting from the viewpoint of an extraordinary exhibition of ambidextrous handwriting. A touch of comedy and a little faster tempo would improved it immensely. MOVING PICTURES. Pathe Weekly.
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PITTSBURGH, PA. GRAND OPERA HOUSE SEPT. 8th, 1913. THE YOUNGERS. Man and woman in athletic posing and balancing. 7 min., full stage. This is an artistic and attractive posing act, somewhat away from the conventional. DEMAREST & CHABOT. Instrumental musicians. 10 min. in One. Two young men playing the violin, cello and piano. They play very well, but the comedy is poor. In my opinion that act would be better without it. GENERAL PIZANO & CO. 15 min., full stage. Special drop showing the harbor of Tripoli with battleships. Three people, Pizano and two Italian boys who handle the stage for him. This is a sharpshooting act and one of real merit. Pizano's marksmanship is not excelled by that of Gen. Gaston Bordeverry. These two acts are much alike although the use of a woman by Bordeverry in the disrobing number gives his act a touch of color and thrill which the Pizano number does not possess. FOSTER BALL and Ford West 16 min. in One. Character study, "In the Day of '61." As a character study of a veteran of the Civil War, one of the members of this team does a splendid bit of acting. The other, a policeman, has a good voice which he uses only in a short excerpt from one of the operas. The offering would be much improved if another song could be introduced. As it is, the dialogue drags a bit, notwithstanding the facile character portrait of the old soldier. MARIE DRESSLER. Full stage; palace. 12 minutes. One hesitates to contemplate what would become of Miss Dressler's vocation if she ever lost her weight. She is just the same big, boisterous, gross clown as of yore and always bordering so dangerously near the suggestive, if not getting altogether over the line. Nevertheless, she stirred up a riot of laughter and applause and went as big as ever with her old stuff and the new numbers. She does an Isadore Duncan travesty, besides which the notorious dance of the Midway Plaisance is an effective "shock absorber." JOHN & MAE BURKE. 16 min. in One. Special drop. The same skit the Burkes have given us for a number of seasons. Mr. Burke is a droll comedian and an excellent ragtime piano player. If he had a partner who could sing just a little bit there would not be a more clever act of its kind in the business. ROBT. T. HAINES & CO. 16 min. Drawing room set, full stage. One act play entitled, "The Man in the Dark." While there is nothing strikingly new in this Raffles playlet, it is good entertainment and so well played by Mr. Haines and his company that it deserves a place on any bill. There is very little comedy, if any, in it- the story telling of a wife who was saved from a life of shame through the psychological intervention of a gentleman burglar. JULIUS TANNEN. Monologist. 15 min. in One. "The Chatterbox." Mr. Tannen has never done better for us than he is doing this week. His monologue is clean and thorough meritorious, and, save in a few spots, entirely new. KAJIYAMA. Full stage. Palace. 25 min. Japanese Caligraphic Expert. Kajiyama was tired out by an all night trip in a day coach and worked very slowly at both the afternoon and evening performances. He gave us practically nothing new,- nothing that we did not have two years ago. The act, however, is interesting from the viewpoint of an extraordinary exhibition of ambidextrous handwriting. A touch of comedy and a little faster tempo would improved it immensely. MOVING PICTURES. Pathe Weekly.
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