The record-union. [volume] (Sacramento, Calif.) 1891-1903, 1892-08-13
ADJUSTMENTS.

The Metropolitan Theater was crowded
last night. There was not vacant seat
in the house. The entertainment was the
farce-comedy, "Hoss and Hoss," with
the leading parts by the authors, Charlie
Reed and William Collier. The COM
pany is one Of very capable burlesque
and dance and song people, and they give
speciality acts that are very clever, and
managed to keep the audience in most
merry humor. Reed and Collier would
have done themselves credit by conceal
ing the identity of the authorship of
"Hoss and Hoss." If they have not had
chronic mental WEAKNESS and intellect
ual prOstratiOn ever since they conspired
to string the bits of forced Witticisms, old
and new gags, slang phrases, patent
medicine almanac jokes and original
puns together that compose the farce,
then they are more than common clay.
If their intention, however, was to bur
lesque tarce-cOmedy, TO ridicule the
ridiculous and the whole long line
of trash, that under that title has held the
stage so long and crowded the legitimate
to the wall, then they have achieved emil
nent success. For Gloss and Hoss'' is
indescribable hodge podge, a mixture of
the ridiculous on its lowest level, with
burlesQue in its broadest phase. But it
laugh so much that they are ready to
break into outlaws, no matter if the
proyocation be so senSeless as to sink to
the level of the capering and grimacing of
a monkey. As such proVocatiOn "Hoss
and Hoss" is entitled to the palm. AS it
is probably about the last leg of farce
comedy, ii must be said it kicks vigor-
ousiy. 1t would be a very strange farce
that has not nowadays some streaks of
genuine wit. 'HOss and Hoss'' has a few
such, some satirical raps and some new
punS, like GASES in desert of ancient
gags and forced witticisms The rap at
farce comedy is hard where Collier tells
a dancer who inquiries what she shall do,
This is q iarce-comedy, do ANYTHING
you please" The burlesque of a hood
lum ball by Collier and Miss Allen, and
by Reed and Miss Crater is excellent.
The baritone, with basso quality, of j. w
Myers Is so line in his solos that 1t comes
to one like refreshing breeze in a sultry
day. The dancing of Louise Allen, which
is of the high-kicking and kangaroo or
der, is among the best OF its class, and
burlesque dance byI j. b. Gentry are
more than clever - they are superior.
Arthur MoultOn, who was the foil to
Frank Daniels in Little Puck" is thor
oughly good in his part, vivacious, musi-
cal and unstudied. Collier is an oddity:
as character actor original, dry
and grotesque, and match for Charlie
Reed. The latter is as OF old. He is
Charlie Reed; as he was, so he is. While
not versatile, still popular, and to his
audiences satisfying. He was received
with round of hearty applause, and
driven by demand to sing "Tamales," a
song he cannot escape from, since no
other is so good mimic OF the Italian
vendors, who have encroached upon the
business of the sad-eyed Mexican ped
dlers, who jealously look on and see
their trade snatched from them. The
applause was generous and constant last
night, and the company has every reason
to be pleased with the favor with which it
met. FLOSS and Hoss" again this even
ing, and though the troupe leaves for the
north tonight, Mr.. Reed promises a COM
plete. unhurGied, and mo cut" perform
ance.