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Keith-Albee managers' report book, October 27, 1913-May 11, 1914
Page 65
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PITTSBURGH, PA. GRAND OPERA HOUSE. DEC. 29, 1913. ENGLISH & JOHNSON. 6 minutes, full stage. Tango and Turkey Trot Dancers. this act is never for an instant in the same class with any of the other ultra dancing numbers we have played within the last two seasons, and yet it is not by any means a bad act. FRIEND & LESSER. 14 minutes in One. Singing, Talking and Dancing skit, "The Butler and the Maid," with character impersonations by Miss Lesser. An act that never rises above mediocrity and is altogether outclassed in a house like ours. McDEVITT, KELLY and LUCY. 17 minutes, full stage closing in One. "The Piano Movers and the Actress." The same droll comedy sketch with songs and dances that we played two or three times before, and the same laughing hit as of yore. BABY HELEN. 11 minutes in One. this is a wonderful child, and I believe, the cleverest juvenile artiste, without exception, we have ever played. She has matured in professional technique since we last played her, and in spite of the fact that she is only eight or nine years old, has all the little touches of artistry usually denoted in veteran performers. She has complete self-possession, not a trace of the amateur, and yet withal, a sweet, childish innocence. Her voice is nothing short of marvelous. She takes a high note, C above high C, sustains it beautifully, and then takes another as clear and resonant as a bell. She tells her stories of infantile precocity and lands every point effectively. APDALE'S ZOOLOGICAL CIRCUS. Full stage, 12 minutes. Apdale is a showman to his finger tips and what he has he presents with a "go and ginger" that raises his act far above the average animal attraction. There is a lot of comedy in it. LADDIE CLIFF. 13 minutes in One. The English Boy Comedian and Dancer is maturing rapidly. He has the same breezy personality and just as much ginger as when he first came to us, but I don't think his songs are up to the mark, nor is he going as well with our audiences. HARRY TIGHE & CO. In "Taking Things Easy." Full stage, 40 minutes. The act is entirely too long drawn out, and while it has several lively periods, there are moments when it lets down very perceptibly. Nevertheless, the act was a hit with our house yesterday. It is the same sort of college stuff that Mr. Tighe has always given us, but lacks good vocal qualities of former offerings. VAN & SCHENCK. 15 minutes in one, with Piano. There is not an act of its kind in vaudeville to-day that surpasses this one. These men's voices show remarkable contrast and they present their songs neatly and with refinement. The dialect of the baritone was splendid and the whole specialty gets over in A-1 style. THE STANLEYS. Silhouette Fun in Shadowland. 9 minutes in Two. Illuminated transparent drop. This is a renaissance of the old fashioned shadowgraph, formed with mechanical figures. It is a well handled exhibition with lots of comedy, and, moving from opening position in the afternoon to closing at night, held our audience better than most any closing act we have played this season. MOVING PICTURES. Pathe Weekly. Owing to the constant reiteration of parade subjects, we have taken this off and substituted a comedy picture and will probably continue to leave the weekly in the discard.
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PITTSBURGH, PA. GRAND OPERA HOUSE. DEC. 29, 1913. ENGLISH & JOHNSON. 6 minutes, full stage. Tango and Turkey Trot Dancers. this act is never for an instant in the same class with any of the other ultra dancing numbers we have played within the last two seasons, and yet it is not by any means a bad act. FRIEND & LESSER. 14 minutes in One. Singing, Talking and Dancing skit, "The Butler and the Maid," with character impersonations by Miss Lesser. An act that never rises above mediocrity and is altogether outclassed in a house like ours. McDEVITT, KELLY and LUCY. 17 minutes, full stage closing in One. "The Piano Movers and the Actress." The same droll comedy sketch with songs and dances that we played two or three times before, and the same laughing hit as of yore. BABY HELEN. 11 minutes in One. this is a wonderful child, and I believe, the cleverest juvenile artiste, without exception, we have ever played. She has matured in professional technique since we last played her, and in spite of the fact that she is only eight or nine years old, has all the little touches of artistry usually denoted in veteran performers. She has complete self-possession, not a trace of the amateur, and yet withal, a sweet, childish innocence. Her voice is nothing short of marvelous. She takes a high note, C above high C, sustains it beautifully, and then takes another as clear and resonant as a bell. She tells her stories of infantile precocity and lands every point effectively. APDALE'S ZOOLOGICAL CIRCUS. Full stage, 12 minutes. Apdale is a showman to his finger tips and what he has he presents with a "go and ginger" that raises his act far above the average animal attraction. There is a lot of comedy in it. LADDIE CLIFF. 13 minutes in One. The English Boy Comedian and Dancer is maturing rapidly. He has the same breezy personality and just as much ginger as when he first came to us, but I don't think his songs are up to the mark, nor is he going as well with our audiences. HARRY TIGHE & CO. In "Taking Things Easy." Full stage, 40 minutes. The act is entirely too long drawn out, and while it has several lively periods, there are moments when it lets down very perceptibly. Nevertheless, the act was a hit with our house yesterday. It is the same sort of college stuff that Mr. Tighe has always given us, but lacks good vocal qualities of former offerings. VAN & SCHENCK. 15 minutes in one, with Piano. There is not an act of its kind in vaudeville to-day that surpasses this one. These men's voices show remarkable contrast and they present their songs neatly and with refinement. The dialect of the baritone was splendid and the whole specialty gets over in A-1 style. THE STANLEYS. Silhouette Fun in Shadowland. 9 minutes in Two. Illuminated transparent drop. This is a renaissance of the old fashioned shadowgraph, formed with mechanical figures. It is a well handled exhibition with lots of comedy, and, moving from opening position in the afternoon to closing at night, held our audience better than most any closing act we have played this season. MOVING PICTURES. Pathe Weekly. Owing to the constant reiteration of parade subjects, we have taken this off and substituted a comedy picture and will probably continue to leave the weekly in the discard.
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