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Keith-Albee managers' report book, March 3-November 3, 1913

Page 174

PITTSBURG, PA.
GRAND OPERA HOUSE.
SEPT. 22, 1913.
LO LOTTE.
Roller Skating Bear. Full stage. 9 minutes. This is a fair opening act.
FRANK MULLANE. Monologue and Songs. 17 min. in One. Mr. Mullane has a good singing voice and gets over with it nicely. He has not much personality, however, and while his stories are mostly new, they lack "punch" requisite for a real hit.
BERT WHEELER & CO.
Full stage. Exterior. 7 minutes. This is one of the best burlesque juggling acts we have played and is full of grotesque novelties, in the performance of which Mr. Wheeler employs a lot of queer mechanical devices that are prime "laugh getters."
McKAY & ARDINE.
Special drop in one, passing into full stage, Palace; close in one. Patter, singing and dancing skit entitled, "On Broadway." Mr. McKay is a clever comedian and a splendid dancer. Miss Ardine does a toe dance and serves as a feeder for his patter. It is a good act, even without the suggestive lines we were compelled to eliminate.
BRANDON HURST &  CO.
In "The Girl," by Edward Peple. A one act dramatic sketch played by three men, with a surprise comedy finish. It is a little story of intense dramatic interest. Worth a spot in any bill and played with fine discrimination.
LITTLE CLEO GASCOIGNE.
Diminutive Prima Donna. 11 min. in One. Miss Gascoigne looks like a child and sings like a mature artiste. Her selections from the Grand Operas are given with an artistic finish that would do credit to a diva.
Jesse L. Lasky's "THE RED HEADS"
52 minutes in special full stage set. This is far and away the best act Lasky has ever produced and is played by an abler company than he has ever had, with the possible exception of the suffragette satire, "In 1999." It is a real musical comedy with a connected story, full of bright lines, swiftly moving action, clever dances and a sartorial array that will make the women folk talk. James B. Carson, the principal comedian, is a scream. His Perlmutter stuff is as good as anything Sam Bernard ever did.
RAYMOND & CAVERLY.
Wizards of Joy. 17 minutes. Special drop in One. These two German dialect comedians are always a hit with us, and they were yesterday, in spite of the fact that they still stick to the old routine of jokes, even the antediluvian "What Street" dialogue. Their drop is so funny that they had the audience screaming with laughter before they make their appearance. They are due, however, to get some new chatter.
MAY WIRTH and GREAT WIRTH FAMILY.
Australian Equestrians. Full Stage. 9 minutes. This is certainly the best riding act we have ever played. Young Miss Wirth is a thriller. She is pretty, graceful and takes long chances with her somersaults on the running horse's back.
MOVING PICTURES, PATHE WEEKLY
It seems to me the Pathe people have gone a long way out of their road to give Secretary of State, William Jennings Bryan, a gratuitous slap. Makers of moving pictures for public exhibition should be careful not to offend the political faith of any portion of an audience that pays to be entertained.

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PITTSBURG, PA. GRAND OPERA HOUSE. SEPT. 22, 1913. LO LOTTE. Roller Skating Bear. Full stage. 9 minutes. This is a fair opening act. FRANK MULLANE. Monologue and Songs. 17 min. in One. Mr. Mullane has a good singing voice and gets over with it nicely. He has not much personality, however, and while his stories are mostly new, they lack "punch" requisite for a real hit. BERT WHEELER & CO. Full stage. Exterior. 7 minutes. This is one of the best burlesque juggling acts we have played and is full of grotesque novelties, in the performance of which Mr. Wheeler employs a lot of queer mechanical devices that are prime "laugh getters." McKAY & ARDINE. Special drop in one, passing into full stage, Palace; close in one. Patter, singing and dancing skit entitled, "On Broadway." Mr. McKay is a clever comedian and a splendid dancer. Miss Ardine does a toe dance and serves as a feeder for his patter. It is a good act, even without the suggestive lines we were compelled to eliminate. BRANDON HURST & CO. In "The Girl," by Edward Peple. A one act dramatic sketch played by three men, with a surprise comedy finish. It is a little story of intense dramatic interest. Worth a spot in any bill and played with fine discrimination. LITTLE CLEO GASCOIGNE. Diminutive Prima Donna. 11 min. in One. Miss Gascoigne looks like a child and sings like a mature artiste. Her selections from the Grand Operas are given with an artistic finish that would do credit to a diva. Jesse L. Lasky's "THE RED HEADS" 52 minutes in special full stage set. This is far and away the best act Lasky has ever produced and is played by an abler company than he has ever had, with the possible exception of the suffragette satire, "In 1999." It is a real musical comedy with a connected story, full of bright lines, swiftly moving action, clever dances and a sartorial array that will make the women folk talk. James B. Carson, the principal comedian, is a scream. His Perlmutter stuff is as good as anything Sam Bernard ever did. RAYMOND & CAVERLY. Wizards of Joy. 17 minutes. Special drop in One. These two German dialect comedians are always a hit with us, and they were yesterday, in spite of the fact that they still stick to the old routine of jokes, even the antediluvian "What Street" dialogue. Their drop is so funny that they had the audience screaming with laughter before they make their appearance. They are due, however, to get some new chatter. MAY WIRTH and GREAT WIRTH FAMILY. Australian Equestrians. Full Stage. 9 minutes. This is certainly the best riding act we have ever played. Young Miss Wirth is a thriller. She is pretty, graceful and takes long chances with her somersaults on the running horse's back. MOVING PICTURES, PATHE WEEKLY It seems to me the Pathe people have gone a long way out of their road to give Secretary of State, William Jennings Bryan, a gratuitous slap. Makers of moving pictures for public exhibition should be careful not to offend the political faith of any portion of an audience that pays to be entertained.