DIY History | Transcribe | Keith-Albee Collection | Keith-Albee managers' report book, April 30, 1906 - February 4, 1907, part 1

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Keith-Albee managers' report book, April 30, 1906 - February 4, 1907, part 1

Page 158

158

Report on show, Keith's Theatre, Providence, R. I., Week of November 12, 1906 (Charles Lovenberg, Mgr.)

This is what I call a "corking good shot" practically everything of any importance on the bill made good, comedy especially strong, and musical features very much liked. I have ever reason to expect a splendid week's business.

Morton, Temple & Morton. This is a act that will "get by" to open the show in the continuous houses, not fit to be considered from any other standpoint. 13 min. full stage, 3 shows. Can do a short close in one.

Mozarto. Novelty instrumentalist. This young man's work is composed almost entirely of playing upon two instruments at once, two xylophones and two clarinets, etc. He made a very neat appearance and the act is a decided novelty. He went exceedingly strong for an early position on the bill. I should consider him all right to play in the early spot in the 2-a-day houses. 10 min. in 1, 3 shows.

Earl & Bartlett. Irish comedy sketch; almost identical with the Kelly & Adams sketch; I should call it a little better. It went first rate in this position and is all right in the 3-a-day section. 16 min. in 3, 3 shows.

Columbia Comedy Four. I will have to bear out the statement of Boston that these fellows are just as good as many of the 2-a-day quartettes that we play. The audience seemed to agree with that opinion also. They have some new ideas altho as a whole, the act is built among the regular comedy quartette lines. 24 min. in 1, 3 shows.

Delmore & Oneida. This act is so well known that it requires no comment, held their place all right. 10 min. in 2, can work in one, 3 shows.

Little Zena Keife. This child is quite a Providence favorite and of course went exceedingly well here, and I see no reason why she shouldn't do well anywhere. She introduces a little Pony in the act (during the rendition of the song "Cheyenne") which adds for novelty and atmosphere. 12 min. 2 songs in one, then goes to two, closes with a short dance in one, 2 shows.

Le Brun Opera Co. Taken as a whole I consider this the best of the operatic trios. Mme. Le Brun's voice is not as good as Edith Decker's, formerly of the Grand Opera Trio, but the two men are so much better than the men of that act, that the ensemble work is more even. They made a tremendous hit this afternoon, and very deservedly so. 15 min. open in 1, close full stage, 2 shows.

Fred Ray & Co. Travesty act and the funniest of its kind in the business! The act has been described in the other houses so I feel no necessity of going into further details. 19 min. in 1, 2 shows.

Radford & Winchester. Well known comedy juggling act, which made good thoroughly. 15 min. full stage, 2 shows.

Olivatti Troubadours. This act is a little bit of a disappointment; not to me so much as to the audience. To the musician, the violin player's work is really remarkable, but he lacks "soul", the one thing needed in playing before a vaudeville audience. To anyone understanding technique, he of course, appeals,

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158 Report on show, Keith's Theatre, Providence, R. I., Week of November 12, 1906 (Charles Lovenberg, Mgr.) This is what I call a "corking good shot" practically everything of any importance on the bill made good, comedy especially strong, and musical features very much liked. I have ever reason to expect a splendid week's business. Morton, Temple & Morton. This is a act that will "get by" to open the show in the continuous houses, not fit to be considered from any other standpoint. 13 min. full stage, 3 shows. Can do a short close in one. Mozarto. Novelty instrumentalist. This young man's work is composed almost entirely of playing upon two instruments at once, two xylophones and two clarinets, etc. He made a very neat appearance and the act is a decided novelty. He went exceedingly strong for an early position on the bill. I should consider him all right to play in the early spot in the 2-a-day houses. 10 min. in 1, 3 shows. Earl & Bartlett. Irish comedy sketch; almost identical with the Kelly & Adams sketch; I should call it a little better. It went first rate in this position and is all right in the 3-a-day section. 16 min. in 3, 3 shows. Columbia Comedy Four. I will have to bear out the statement of Boston that these fellows are just as good as many of the 2-a-day quartettes that we play. The audience seemed to agree with that opinion also. They have some new ideas altho as a whole, the act is built among the regular comedy quartette lines. 24 min. in 1, 3 shows. Delmore & Oneida. This act is so well known that it requires no comment, held their place all right. 10 min. in 2, can work in one, 3 shows. Little Zena Keife. This child is quite a Providence favorite and of course went exceedingly well here, and I see no reason why she shouldn't do well anywhere. She introduces a little Pony in the act (during the rendition of the song "Cheyenne") which adds for novelty and atmosphere. 12 min. 2 songs in one, then goes to two, closes with a short dance in one, 2 shows. Le Brun Opera Co. Taken as a whole I consider this the best of the operatic trios. Mme. Le Brun's voice is not as good as Edith Decker's, formerly of the Grand Opera Trio, but the two men are so much better than the men of that act, that the ensemble work is more even. They made a tremendous hit this afternoon, and very deservedly so. 15 min. open in 1, close full stage, 2 shows. Fred Ray & Co. Travesty act and the funniest of its kind in the business! The act has been described in the other houses so I feel no necessity of going into further details. 19 min. in 1, 2 shows. Radford & Winchester. Well known comedy juggling act, which made good thoroughly. 15 min. full stage, 2 shows. Olivatti Troubadours. This act is a little bit of a disappointment; not to me so much as to the audience. To the musician, the violin player's work is really remarkable, but he lacks "soul", the one thing needed in playing before a vaudeville audience. To anyone understanding technique, he of course, appeals,