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

Page 229

PITTSBURGH, PA.
GRAND OPERA HOUSE.
OCT 20th, 1913.
HARRY DE COE.
Full stage. Interior. 8 minutes. Chair and table balancing. Mr. De Coe has one or two new tricks. He is only an opening act, however.
VAN BROTHERS.
13 minutes in One. Special Drop. Comedy musicians. This is a mediocre act, but will get by nicely in No. 2.
HOMER MILES & CO.
17 minutes. Full stage. Sketch, "On the edge of things." Mr. Miles again plays his familiar character of the apartment house janitor, like his former vehicle, "On a Side Street." Though quite obvious throughout, the act points to a good moral and pleases our audience. However, it will never set the world afire.
NICHOL SISTERS.
13 minutes in one. Special drop. The same artistic girls with the same artistic act. In spite of the fact that their dialogue is all familiar to our audiences they were a tremendous hit. Their songs are new and they will strengthen any program in which they appear.
MERCEDES and Mlle. Stantone
19 minutes, full stage. Drawing room. Telepathic act. Mlle. Stantone at the piano, blindfolded, playing tunes whispered to Mercedes as he passes among the audience. This is a highly mystifying, wholly satisfying and entirely gratifying novelty. It is going to cause a lot of talk and speculation. Mercedes works well and if he has a trick, he never tips off his hand.
CLAUDIUS and SCARLET.
15 minutes in one. Special drop. Banjoists. "The call of the Sixties." This man and girl played tunes that were favorites with the generation now passed, throwing the words of the old time ditties on the curtain as they thrummed out the tunes. The whole audience sings them without any prompting from the banjo players. This is certainly one of the very good things in vaudeville to-day.
CLOWNLAND.
Jesse Lasky's newest production. A musical fantasy in black and white. 24 minutes, full stage. The tempo of this act is its salvation. If it did not move at high speed it would be lost. The company includes some very good voices, but notwithstanding the fact that "Clownland" has been touted as the equal, if not the superior of "The Redheads," it is not at all entitled by any consideration to rank in the same class. It is noisy entertainment with the characteristic Lasky "finish," and includes a touch of Ziegfeld, in that part of the skit is played in the audience, the entire company running up and down the aisles.
SAM and KITTY MORTON.
15 minutes in one. Playing, "Back to where they started." The Morton's have never done better for us. While their act contains much of the old material, there are some new features and it is a riot from start to finish.
COLE & DEHANY.
7 minutes. Full stage. Society dancing. this team is not excelled in the graceful performance of ultra-modern dances, and held our audience to the end.
MOVING PICTURES.
Pathe Weekly. Somewhat more varied than usual.

Saving...

PITTSBURGH, PA. GRAND OPERA HOUSE. OCT 20th, 1913. HARRY DE COE. Full stage. Interior. 8 minutes. Chair and table balancing. Mr. De Coe has one or two new tricks. He is only an opening act, however. VAN BROTHERS. 13 minutes in One. Special Drop. Comedy musicians. This is a mediocre act, but will get by nicely in No. 2. HOMER MILES & CO. 17 minutes. Full stage. Sketch, "On the edge of things." Mr. Miles again plays his familiar character of the apartment house janitor, like his former vehicle, "On a Side Street." Though quite obvious throughout, the act points to a good moral and pleases our audience. However, it will never set the world afire. NICHOL SISTERS. 13 minutes in one. Special drop. The same artistic girls with the same artistic act. In spite of the fact that their dialogue is all familiar to our audiences they were a tremendous hit. Their songs are new and they will strengthen any program in which they appear. MERCEDES and Mlle. Stantone 19 minutes, full stage. Drawing room. Telepathic act. Mlle. Stantone at the piano, blindfolded, playing tunes whispered to Mercedes as he passes among the audience. This is a highly mystifying, wholly satisfying and entirely gratifying novelty. It is going to cause a lot of talk and speculation. Mercedes works well and if he has a trick, he never tips off his hand. CLAUDIUS and SCARLET. 15 minutes in one. Special drop. Banjoists. "The call of the Sixties." This man and girl played tunes that were favorites with the generation now passed, throwing the words of the old time ditties on the curtain as they thrummed out the tunes. The whole audience sings them without any prompting from the banjo players. This is certainly one of the very good things in vaudeville to-day. CLOWNLAND. Jesse Lasky's newest production. A musical fantasy in black and white. 24 minutes, full stage. The tempo of this act is its salvation. If it did not move at high speed it would be lost. The company includes some very good voices, but notwithstanding the fact that "Clownland" has been touted as the equal, if not the superior of "The Redheads," it is not at all entitled by any consideration to rank in the same class. It is noisy entertainment with the characteristic Lasky "finish," and includes a touch of Ziegfeld, in that part of the skit is played in the audience, the entire company running up and down the aisles. SAM and KITTY MORTON. 15 minutes in one. Playing, "Back to where they started." The Morton's have never done better for us. While their act contains much of the old material, there are some new features and it is a riot from start to finish. COLE & DEHANY. 7 minutes. Full stage. Society dancing. this team is not excelled in the graceful performance of ultra-modern dances, and held our audience to the end. MOVING PICTURES. Pathe Weekly. Somewhat more varied than usual.