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Keith-Albee managers' report book, October 27, 1913-May 11, 1914
Page 5
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H.T. JORDAN PHILADELPHIA SHOW. NOV 17,1913. GORDON HIGHLANDERS. 13 min. F.S. A good looking act with lots of paraphernalia. Their versatility and agility give the quartette an air of importance. While their music is not strictly popular, their assortment of instruments pleases the audience. Applause quite generous. RAY CONLIN. 16 min. in one. A very clever boy with a dummy who has evidently been trained in some particulars by Frank Tinney. The dummy has a very bad temper and considerable comedy springs from that. The skill consists of the ventriloquist's puffing of a big cigar while the little wooden man sings, talks and whistles. All the way through, there was a ripple of laughter from the audience which seemed well entertained. MARIE & BILLY HART. 19 min. Fast entertainment from the jump-off, a novel idea and extremely original atmosphere. The act is largely a running monologue by Hart interrupted by very well done stunts from dancing to tight-rope walking by his partner. The act was punctuated by laughter and applause throughout and its cleverness was appreciated. CLEO GASCOIGNE. 11 min. in one. A cute and refreshing little person with a delightfully pure voice a bit tightened by nervousness. However, she is not a primadonna the managers will be fighting about and ended very badly on account of poor selection of songs. BERTON CHURCHILL & CO. "There Were Actors Then." 25 min. This act was distinctly approved by the audience as it progressed. The scene in the manager's office was rather weak. The Forum scene from "Julius Caesar" was very well done, Mr. Churchill's "Antony" being robust and pleasing. It was the curse scene from Richelieu, however, which won the audience. Mr. Churchill's cardinal was a splendid characterization of great dignity and power yet with a feebleness of age showing pathetically through. The contrast of the two classics with modern material is obvious, therefore, the scene in the manager's office seems a little cheap in its comedy and unnecessary to the action of the two plays, both of which are explained by a speaker before the curtain. The applause at the finish of the act was genuine, generous and long-continued. MORGAN, BAILEY & MORGAN. 12 min. Two boys and a girl. The girl cannot sing very well but she has a tango manner, while the two boys are wonders on the violin and banjo. Their ragtime had the audience jumping in their seats and they wanted to let them go so little that they stopped the show until the act came back. One big hit. CLARK & HAMILTON. 33 min. A complete and steady riot of laughter. Early in the act one man had to leave with hysterics and a great many almost died in their seats. Clark's peculiar mannerisms, finished style and quaint delivery had the audience captured from the opening. Once started they could not seem to stop laughing until on an encore he gave them a Japanese song and dance with his partner, Mabel Hamilton, who is otherwise almost negligible. A wonderful success. JULIUS TANNEN. 19 min. Tannen went to work with a will after all the talk of the act before and put his monologue over in great shape. He has a lot of fresh and bright material and registered with every point. His serious recitation at the end won him a hand. THREE SHELVEY BROS. 7 min. Sensational acrobatic contortion act that interested and held the house. They twist themselves into all sorts of shapes and do some remarkable balancing. KINETOGRAPH. The usual interesting quota of weekly motion pictures. GEN. REMARKS. A great vaudeville show with variety and class. Works up to a tremendous laughing hit throughout the entire last portion. CUTS BERTON CHURCHILL & CO. Expressions "Chambermaid to an elephant" and "My God."
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H.T. JORDAN PHILADELPHIA SHOW. NOV 17,1913. GORDON HIGHLANDERS. 13 min. F.S. A good looking act with lots of paraphernalia. Their versatility and agility give the quartette an air of importance. While their music is not strictly popular, their assortment of instruments pleases the audience. Applause quite generous. RAY CONLIN. 16 min. in one. A very clever boy with a dummy who has evidently been trained in some particulars by Frank Tinney. The dummy has a very bad temper and considerable comedy springs from that. The skill consists of the ventriloquist's puffing of a big cigar while the little wooden man sings, talks and whistles. All the way through, there was a ripple of laughter from the audience which seemed well entertained. MARIE & BILLY HART. 19 min. Fast entertainment from the jump-off, a novel idea and extremely original atmosphere. The act is largely a running monologue by Hart interrupted by very well done stunts from dancing to tight-rope walking by his partner. The act was punctuated by laughter and applause throughout and its cleverness was appreciated. CLEO GASCOIGNE. 11 min. in one. A cute and refreshing little person with a delightfully pure voice a bit tightened by nervousness. However, she is not a primadonna the managers will be fighting about and ended very badly on account of poor selection of songs. BERTON CHURCHILL & CO. "There Were Actors Then." 25 min. This act was distinctly approved by the audience as it progressed. The scene in the manager's office was rather weak. The Forum scene from "Julius Caesar" was very well done, Mr. Churchill's "Antony" being robust and pleasing. It was the curse scene from Richelieu, however, which won the audience. Mr. Churchill's cardinal was a splendid characterization of great dignity and power yet with a feebleness of age showing pathetically through. The contrast of the two classics with modern material is obvious, therefore, the scene in the manager's office seems a little cheap in its comedy and unnecessary to the action of the two plays, both of which are explained by a speaker before the curtain. The applause at the finish of the act was genuine, generous and long-continued. MORGAN, BAILEY & MORGAN. 12 min. Two boys and a girl. The girl cannot sing very well but she has a tango manner, while the two boys are wonders on the violin and banjo. Their ragtime had the audience jumping in their seats and they wanted to let them go so little that they stopped the show until the act came back. One big hit. CLARK & HAMILTON. 33 min. A complete and steady riot of laughter. Early in the act one man had to leave with hysterics and a great many almost died in their seats. Clark's peculiar mannerisms, finished style and quaint delivery had the audience captured from the opening. Once started they could not seem to stop laughing until on an encore he gave them a Japanese song and dance with his partner, Mabel Hamilton, who is otherwise almost negligible. A wonderful success. JULIUS TANNEN. 19 min. Tannen went to work with a will after all the talk of the act before and put his monologue over in great shape. He has a lot of fresh and bright material and registered with every point. His serious recitation at the end won him a hand. THREE SHELVEY BROS. 7 min. Sensational acrobatic contortion act that interested and held the house. They twist themselves into all sorts of shapes and do some remarkable balancing. KINETOGRAPH. The usual interesting quota of weekly motion pictures. GEN. REMARKS. A great vaudeville show with variety and class. Works up to a tremendous laughing hit throughout the entire last portion. CUTS BERTON CHURCHILL & CO. Expressions "Chambermaid to an elephant" and "My God."
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