DIY History | Transcribe | Keith-Albee Collection | Keith-Albee managers' report book, March 3-November 3, 1913

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

Page 252

252

PITTSBURGH, PA. GRAND OPERA HOUSE. NOV. 3RD, 1913.

THE BE ANOS. 10 minutes - full stage. A neat little contortion act, doing all the old tricks in the old fashioned way. It seems to me it were high time contortion acts passed to limbo of the small time.

CEBELLOS & DESMOND. 10 minutes in One. Aerobatic dancing and singing. A young man and young woman. This is an exceptionally good act of its kind, particularly the acrobatic dancing.

THOS. JACKSON, assisted by Bernard Cavanaugh. 15 minutes, full stage. Sketch entitled, "A Letter from Home," a two man act by John Stokes. It is hardly an act for the higher class vaudeville. It does not look at all classy, and although Mr. Cavanaugh plays his part exceptionally well, the story reaches an anti-climax when Mr. Jackson reads a "letter from mother" that drags its weary length along for five minutes. Everybody knows who the letter is from and what it says before it is read. If it were condensed into a few lines the act would be the better for the pruning.

MERRILL & OTTO. 15 minutes in One. Miss Merrill and Mr. Otto were somewhat of a disappointment this time. They are clever people, and the last time we played them were a big hit. This time they just get by, for the very sufficient reason that their material is not good.

THREE KEATONS. 18 minutes, full stage. The same rough and tumble knockabout act that the Keatons have been doing for years. It is as rough as they make them, though our audience laughs immoderately all the way through.

FREEMAN & DUNHAM. 13 minutes. Special drop in one. Ragtime songs by two young men, who get over nicely.

FRITZI SCHEFF. Full stage, 15 minutes. Drawing room. The beautiful prima donna of Mile Modiste, is the prettiest picture we have had on our stage in years. She attracted a fashionable audience, the largest opening we have had this season, except a holiday, and delighted everybody. Her voice is just as good, as sweet, limpid and liquid as it was when she was in Grand Opera, and later when she reigned supreme in light opera. Her accompanist, Eugene Bernstein, awakens sincere applause by his excellent solo work.

BERNARD GRANVILLE. 20 minutes in one. The Twentieth Century Comedian. A young man of charming personality and remarkable versatility. Granville is about the cleverest thing in the way of a one man act the season has brought our way. He does a little bit of everything, singing, dancing, chatting and personating. Last night out audience recalled him many times and at last he made a delightful little curtain speech, Next to Miss Scheff he is surely the hit of out bill.

DELMORE & LEE. 12 minutes, full stage. Aerial gymnastics on a revolving ladder device. The same old act; just as slow as ever.

MOVING PICTURES. Pathe Weekly. So uninteresting we took it off after the afternoon performance and substituted a comedy.

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252 PITTSBURGH, PA. GRAND OPERA HOUSE. NOV. 3RD, 1913. THE BE ANOS. 10 minutes - full stage. A neat little contortion act, doing all the old tricks in the old fashioned way. It seems to me it were high time contortion acts passed to limbo of the small time. CEBELLOS & DESMOND. 10 minutes in One. Aerobatic dancing and singing. A young man and young woman. This is an exceptionally good act of its kind, particularly the acrobatic dancing. THOS. JACKSON, assisted by Bernard Cavanaugh. 15 minutes, full stage. Sketch entitled, "A Letter from Home," a two man act by John Stokes. It is hardly an act for the higher class vaudeville. It does not look at all classy, and although Mr. Cavanaugh plays his part exceptionally well, the story reaches an anti-climax when Mr. Jackson reads a "letter from mother" that drags its weary length along for five minutes. Everybody knows who the letter is from and what it says before it is read. If it were condensed into a few lines the act would be the better for the pruning. MERRILL & OTTO. 15 minutes in One. Miss Merrill and Mr. Otto were somewhat of a disappointment this time. They are clever people, and the last time we played them were a big hit. This time they just get by, for the very sufficient reason that their material is not good. THREE KEATONS. 18 minutes, full stage. The same rough and tumble knockabout act that the Keatons have been doing for years. It is as rough as they make them, though our audience laughs immoderately all the way through. FREEMAN & DUNHAM. 13 minutes. Special drop in one. Ragtime songs by two young men, who get over nicely. FRITZI SCHEFF. Full stage, 15 minutes. Drawing room. The beautiful prima donna of Mile Modiste, is the prettiest picture we have had on our stage in years. She attracted a fashionable audience, the largest opening we have had this season, except a holiday, and delighted everybody. Her voice is just as good, as sweet, limpid and liquid as it was when she was in Grand Opera, and later when she reigned supreme in light opera. Her accompanist, Eugene Bernstein, awakens sincere applause by his excellent solo work. BERNARD GRANVILLE. 20 minutes in one. The Twentieth Century Comedian. A young man of charming personality and remarkable versatility. Granville is about the cleverest thing in the way of a one man act the season has brought our way. He does a little bit of everything, singing, dancing, chatting and personating. Last night out audience recalled him many times and at last he made a delightful little curtain speech, Next to Miss Scheff he is surely the hit of out bill. DELMORE & LEE. 12 minutes, full stage. Aerial gymnastics on a revolving ladder device. The same old act; just as slow as ever. MOVING PICTURES. Pathe Weekly. So uninteresting we took it off after the afternoon performance and substituted a comedy.