Career Snippets

Admission prices for the Fakir of Siva's Marysville Theater show (Sept 1, 1860) were: Dress Circle and Parquette $1.00, Orchestra seats $1.50, Upper Circle, and Private Boxes $5.00.

Admission prices for the Fakir of Siva's Sept. 1, 1860 show at Marysville Theater were: Dress Circle and Parquette $1.00, Orchestra seats $1.50, Upper Circle 50 cts., Private Boxes $5.00.

Admission prices for the Fakir of Siva's Marysville Theater show were: Dress Circle and Parquette $1.00, Orchestra seats $1.00 (partially illegible), Upper Circle 50 cts., Private Boxes $5.00 (figures partly garbled in OCR).

A ventriloquist and wizard billed as 'Ventriloquist and Wizard' performed at Odd Fellows' Hall, with a Thursday evening show and additional performances through Saturday, admittance 15 cents (children less); the performer's name is too garbled in the OCR to trust as spelled.

Admission to Signor Blitz's performances at Odd Fellows' Hall was 30 cents (children 15 cents), with reserved seats 50 cents (children in reserved seats 25 cents); evening performances began at 8 o'clock, doors open at 7.

Admission to the National Combination Troupe's show at the Academy of Music was 25 cents, with reserved seats at 50 cents; Rufus Somerby was manager.

Admission to Signor Blitz's 1865 Odd Fellows' Hall performances was set at a general price with children 15 cents, reserved seats 50 cents, and children's reserved seats 25 cents.

A performer billed as 'Magician and Ventriloquist' (stage name illegible in OCR, rendered as 'SIGNOR ??G?') opened at Odd Fellows' Hall on Monday, February [1865], with evening and day exhibitions on Tuesday, Thursday, and Saturday afternoons; admission was stated in cents (partly illegible), with reserved seats at 50 cents and children half price.

Signor Blitz, billed as 'the great Magician and Ventriloquist,' performed one week at Odd Fellows' Hall starting Monday, February 13, with evening shows all week and grand day exhibitions on Tuesday, Thursday, and Saturday afternoons at 3 o'clock; admission 50 cents, children 15 cents, reserved seats 50 cents (25 cents for children).

Admission to Signor Blitz's show at Odd Fellows' Hall was 50 cents (children 15 cents), with reserved seats at 50 cents (children 25 cents); doors opened at 7, performance began at 8.

Admission to Signor Blitz's 1867 National Theater performances was 25, 50, and 75 cents, with no extra charge for securing seats; matinees were held Wednesday and Saturday afternoons.

Admission to Signor Blitz's National Theater show (June 1867) was 25, 50, and 75 cents, with no extra charge for securing seats; matinees held Wednesday and Saturday afternoons.

Admission to Martin's show at the Opera House was 25 cents, reserved seats 50 cents; a Grand Gift Matinee was held Saturday afternoon, Oct 10, admission 25 cents (per 1868 Columbus newspaper ad).

Martino's Opera House act (Oct 1868) featured a 'wonderful Living Head' and a beautiful 'Grotto of Flowers,' with admittance 25 cents and reserved seats 50 cents; doors opened at 7, show at 8; a Grand Gift Matinee was held Saturday afternoon, Oct 10, with presents for every child in attendance.

Admission at Tony Pastor's Opera House, 201 Bowery, was 25 cents with reserved seats at 50 cents, for the Gala Matinee on 1870-10-22 featuring ventriloquist Professor Morley.

A review of De Castro's show at the Greenlaw Opera House said his tricks 'excited the astonishment and laughter of the juvenile portion of the audience' and that his decapitation feat was 'cleverly performed' with 'complete' illusion, drawing 'a prolonged burst of applause.'

De Castro, billed as 'the great necromancer,' performed feats of magic and ventriloquism at the Greenlaw Opera House (reported 1871-04-20); the paper noted an immense attendance, that the tricks 'excited the astonishment and laughter of the juvenile portion of the audience,' and that his decapitation feat was 'cleverly performed' with the illusion 'complete' and received with 'a prolonged burst of applause.'

A New York critic wrote: 'Mr. Davies is the best ventriloquist we have seen in New York for many years. He seems able to imitate any variety of voice at any distance with the greatest ease,' also praising the dialogue and songs in his act (St. James Theatre, 1871-11-04 paper).

At the St. James Theatre in New York (per an 1871 review), Mr. E. D. Davies gave a ventriloquist performance alongside Offenbach operettas and Kate Brevort's 'Crystal Chimes'; the critic called him 'the best ventriloquist we have seen in New York for many years,' noting he could 'imitate any variety of voice at any distance with the greatest ease' and that his act included dialogue with local hits and songs.

At the Union Square Theatre (reported Jan. 7, 1872), 'the great attraction' was Mr. E. D. Davies, called 'the renowned ventriloquist and humorist,' with the paper stating he 'has at present no rival on the American stage' for humor and ability to please.

At the Union Square Theatre, E. D. Davies, described as 'the renowned ventriloquist and humorist,' was the theatre's great attraction; the paper (Jan. 7, 1872) said 'for humor of dialogue, real mirth...he has at present no rival on the American stage.'

De Castro, a necromancer and ventriloquist, performed before a large crowd at Odd Fellows' Hall (reported in a New Orleans, Louisiana newspaper, Jan. 16, 1872); the review said he 'exceeds in talent, both as a musician and ventriloquist, any one who has ever visited this city,' and noted he distributed gifts to the audience and would continue nightly levees through the week.

Admission to DeCastro's Academy of Music performances (1872) was 25 cents for children and 50 cents for adults, with no extra charge for reserved seats, and every child attending received a present.

DeCastro was billed as 'The Great Illusionist and Ventriloquist' performing two nights and a matinee, Friday and Saturday, February 17 and 18, at the Academy of Music (Charleston, S.C., per surrounding text), with new feats, gift giveaways, admission 25 cents for children and 50 cents for adults, matinee at 2 o'clock.

Admission to DeCasteo's Academy of Music performance was 25 cents for children and 50 cents for adults, with no extra charge for reserved seats.

At DeCastro's Academy of Music performance (Feb 17-18, 1872), admission was 25 cents for children and 50 cents for adults, with no extra charge for reserved seats.

Admission to Prof. Wyman's Wizard and Ventriloquist show at Odd Fellows' Hall, Wilmington, was 33 cents, doors opening at 7 o'clock to commence at 8.

Prof. Wyman, billed as 'Wizard and Ventriloquist,' performed at Odd Fellows' Hall, Wilmington, starting Monday evening March 18 with nightly shows that week and a Saturday matinee at 3 o'clock; admission was 25 cents, with a ladies' gold watch given away at the close of each performance.

Prof. Wyman, billed as 'Wizard and Ventriloquist,' performed at Odd Fellows' Hall, Wilmington, starting Monday evening March 18, 1872 and every night that week, featuring magic feats and giveaways (gold and silver watches, table sets, family Bibles, shawls); admission 25 cents, with a matinee on Saturday at 3 o'clock.

Prof. Wyman, billed as 'Wizard and Ventriloquist,' performed at Odd Fellows' Hall in Wilmington beginning Monday evening, March 18th, and every night during the week (per 1872-03-21 clipping), with a Grand Matinee on Saturday at 3 o'clock, admission 25 cents, and prizes including a ladies' gold watch, silver watches, table sets, family Bibles, and shawls given away after each performance.

Prof. Wyman, billed as 'Wizard and Ventriloquist,' performed at Odd Fellows' Hall, Wilmington, starting Monday evening March 18th and every night during the week (1872), with 'New and Wonderful Feats of Magic,' a matinee Saturday at 3 o'clock, and admission 25 cents.

Admission to Prof. Wyman's show at Odd Fellows' Hall, Wilmington was 25 cents, with doors opening at 7 o'clock and the show commencing at 8.

Billed as 'Wizard and Ventriloquist' performing at Odd Fellows' Hall, Wilmington, starting Monday evening March 18th and every night during the week, with a Saturday matinee at 3 o'clock; admission 25 cents, with prizes such as a ladies' gold watch, silver watches, and other items given away nightly (newspaper dated 1872-03-22).

Admission to Prof. Wyman's performance (wizard and ventriloquist) at Odd Fellows' Hall, Wilmington, was 25 cents, with doors opening at 7 and the show commencing at 8.

Prof. Guernsey, billed as 'The Great... Ventriloquist' (described as world renowned), performed at the Opera House on Friday evening, April 26th (1872), with admission 50 cents and 20 cents for children; doors opened at 7 and the performance commenced at 8 o'clock.

Admission to Prof. Guernsey's ventriloquist show at the Opera House was 50 cents for adults and 20 cents for children; doors opened at 7, performance began at 8 o'clock.

A reviewer wrote of the National Theater engagement: 'there is seldom such an opportunity for seeing two performers together both so good in their lines of business—magic and ventriloquism.'

A Memphis Appeal review said of the Memphis Theater show: audiences 'were kept in one continual roar of laughter while Mr. Davies and his speaking puppets were on the stage.'

At the Memphis Theater (Aug. 1872), Professor Davies, described as 'the wonderful ventriloquist,' was called by the audience 'the best that has ever visited this city'; he rapidly changed his voice among dolls and threw it into all portions of the house, keeping the audience laughing.

At the Memphis Theater (reviewed in the Aug. 28, 1872 newspaper), Professor Davies was called 'the wonderful ventriloquist' and 'the best that has ever visited this city,' noted for rapidly changing his voice from one doll to another and throwing it into all portions of the house, keeping the audience 'in a roar of laughter from beginning to end.'

A Memphis Theater review (Aug 1872) said the audience 'were kept in one continual roar of laughter while Mr. Davies and his speaking puppets were on the stage,' alongside illusionist Mr. Sargent's 'inexplicable feats of legerdemain.'

A newspaper reviewer wrote that the audience was 'convinced...that Mr. Davies is the best ventriloquist in the world' after his September 1872 performance at the Academy of Music.

The newspaper reported the audience was convinced that 'Mr. Davies is the best ventriloquist in the world' after his performance at the Academy of Music, Sept. 4, 1872.

Davies the ventriloquist performed at the Academy of Music alongside Sargent the illusionist; a reviewer wrote 'The ventriloquism of Mr. Davies is incomparably better than any similar exhibition ever witnessed here' and 'As a ventriloquist Mr. Davies stands unrivaled' (1872-09-06 newspaper).

Zamloch, billed as 'The Famous Magician Ventriloquist,' performed at Piper's Opera House on Saturday evening, February 1 (1873 issue), with admission prices of Dress Circle $1.00 and Parquette 50 cents.

Zamloch, billed as 'THE FAMOUS Magician Ventriloquist,' gave an entertainment at Piper's Opera House on Saturday evening, February 1 (1873), with admission prices of Dress Circle $1.00 and Parquette 50 cents.

Mr. C. D. Davies, described as 'the renowned Ventriloquist,' performed his 'original entertainment' at a grand matinee at Booth's Theatre on Wednesday, February 19, 1873, a benefit for the Masonic Hall and Asylum Fund; admission was $1 with no reserved seats.

Mr. G. D. Davies, described as 'The renowned Ventriloquist,' performed his original entertainment at Booth's Theatre on Wednesday afternoon, February 26 (per advertisement in a paper dated 1873-02-16), at a grand matinee entertainment in aid of the Masonic Hall and Asylum Fund, sharing the bill with Mrs. M. W. Fiske's 'Yarley's Wax Works'; admission was $1 with no reserved seats.

Mr. E. D. Davieb, called 'the renowned Ventriloquist,' performed his original entertainment at a matinee at Booth's Theatre on Wednesday, February 19 (1873), a benefit for the Masonic Hall and Asylum Fund; admission was $1 with no reserved seats.

E. D. Davies, billed as 'The renowned Ventriloquist,' performed his original entertainment alongside M. W. Fibre's 'Jablet's Wax Works' at a Wednesday matinee, February 19, at Booth's Theatre, in aid of the Masonic Hall and Asylum Fund; admission $1, no reserved seats.

At Piper's Opera House (Virginia City, July 1873), admission was: Dress Circle and Orchestra Chairs $1.00, Parquette 75 cents, Private Boxes $5.00; doors opened at 7, curtain at 8.

At Piper's Opera House, admission was Dress Circle and Orchestra Chairs $1.00, Parquette 50c (approx), Private Boxes $5.00; doors opened at 7, curtain at 8.

Alex Davis, billed as 'The Premier Ventriloquist,' performed in the afternoon matinee bill at Tony Pastor's Opera House on Jan. 12, 1874, alongside Miss Jennie Engel (American Songstress), Dick Sands and 'the Great Pendy,' and M. Gallagher with the $10,000 Box Trick.

A critic wrote that E. D. Davies's 'wit and originality are undeniable, and one can never grow tired of listening to the laughter-provoking sallies' of his figures Tom and Jerry, at the Metropolitan Theatre.

Admission at the Olympic Theater and Family Varieties (where the ventriloquist billed as 'the greatest known' was appearing) was 30 and 50 cents, with reserved seats at $1, per the 1874-03-30 listing.

Billed as 'the greatest known ventriloquist' for his last week at the Olympic Theater and Family Varieties, in a colossal combination bill with the Mawiens Family, admission 30 and 50 cents, reserved seats $1.

The Burlington Hawk-Eye reviewer wrote that 'the ventriloquism of Prof. Ashley cannot be excelled, and rivals the hero of that amusing book of Henry Cockton's Valentine Vox,' during a week-long run of Wallace Co.'s gift entertainment in town (1874), admission 35 cents.

A review of the Olympic Theatre opening (1874-08-11) said D. Davies, the ventriloquist, 'with his puppets... was as irresistibly funny as ever.'

A critic wrote that 'D. Davies, the ventriloquist, with his puppets, "Tom and Joe," was as irresistibly funny as ever' (Olympic Theatre, New York, per paper dated 1874-08-11).

DeCastro, billed as 'Magician and Ventriloquist,' made his 'first appearance in three years' with the Great DeCastro Troupe at the Opera House, including a 'Seance in Ventriloquism,' with admission prices Press Circle and Parquette full, Family Circle 50c, Gallery listed, and a Saturday matinee at 25c (dated 1874-11-15).

A review of the DeCastro Troupe's opening night at the Greenlaw Opera House said: 'His ventriloquism is indeed wonderful, for DeCastro has long since obtained perfection in this strange science.'

DeCastro, billed as 'the favorite Magiciast and Ventriloquist,' led the DeCastro Troupe in five nights and a Saturday matinee starting Tuesday, November 17 at the Regina/Reginald Opera House, sharing the bill with Jeppe (character actor), Miss Annie/Fannie (vocalist and staff-bell soloist), and Prof. Sheppard (pianist); admission was 50 cents dress circle/parquette, 25 cents family circle, and gallery price unreadable (Memphis-area paper, dated 1874-11-18).

At the Greenlaw Opera House's DeCastro Troupe engagement (Memphis, November 1874), admission was Dress Circle and Parquette 75c (implied), Family Circle 50c, Gallery 25c, with a Saturday matinee at 25 cents to all parts.

Harry Kennedy, billed as 'the youngest Ventriloquist in the world,' made his first appearance at the Metropolitan Theatre, 584 Broadway (opposite the Metropolitan Hotel), New York, managed by John Le Faver Manning, on a bill with the Jackley Family of acrobats, Mowcker and Sully, James Welch and Maud Le Moine, Tim Morris, Ella Stein, Ella Arnold, and Leo; admission was 50c, orchestra $1 (dated 1875-01-24).

Charles Young, billed as 'the great Ventriloquist,' performed at the Eighth Street Theatre (between Second and Third Avenues) in a Grand Olio combination of forty artists, with admission 30 cents, program from a listing dated 1875-02-21.

The Eighth Street Theatre's nightly Grand Olio (1875-02-21 listing) featured Charles Young the ventriloquist alongside the Schrotter Sisters, Ida Long, Marion Young, and others, with admission at 30 cents and a Washington's Birthday tableaux program.

A review reprinted from the Memphis Daily Appeal, quoted in an 1875-04-06 newspaper, described Professor DeCastro's performance at the Greenlaw Opera House in Memphis: 'His ventriloquism delighted and amused everyone present, for his mastery of this intricate science is thorough and perfect.'

Billed as 'The Wonderful Ventriloquist' appearing at the Bowery Opera House, No. 201 Bowery, in a stupendous entertainment with Mlle. Coka Estelle's Grand Parisian Ballet Troupe, Mons. Blandowski's 'The Bowery Duchess,' the Miaco Brothers, Miss Jennie Lindsay, and Miss Josephine Walby; admission 25c, 15c, 10c (New York, week of April 1875).

Harry Kennedy, billed as 'The Wonderful Ventriloquist,' appeared at the Bowery Opera House, No. 201 Bowery, New York, in April 1875, as part of Mlle. Cora Estelle's Grand Parisian Ballet Troupe bill with the Miaco Brothers, Miss Jennie Lindsay, and Miss Josephine Walby, admission 25c, 15c, 10c.

Billed as 'Premier Ventriloquist of the World' at the Bowery Theatre (manager Wm. B. Freligh), May 23 1875, on a bill with Donald McKay and his Band of Warm Spring Indians, Harry Brown of London Comique, Billy and Maggie Wray, pantomimist Charles Borelli, and 'The Wandering Boys of Switzerland'; admission 20 cents.

Dr. Villers lectured on 'Funny People We Meet' at the Opera House on Friday evening, October 1st (1875); the press described him 'as an elocutionist, mimic and ventriloquist he is a success,' and another paper (Republican Watchman, Greenport, L.I.) called him 'the chief' of 'all the amusing caracturists, mimics, elocutionists, and ventriloquists' seen.

On the night before this Nov. 12, 1875 report, Prof. Wyman, described as 'the renowned magician and ventriloquist,' gave a humorous entertainment at Odd Fellows' Hall to a large audience that applauded repeatedly.

A performer whose name is rendered 'Prof. Wightory' in this OCR was billed as 'The World-renowned Ventriloquist, with his Talking Heads' at The Coliseum on February 20, 1876, sharing the bill with Prof. Wolffenbach (drummer), Miss Nellie Atherton, a troupe called 'the Japs,' and the Waite Sisters; admission 25 cents.

Admission to Prof. Wyman's Ventriloquial, Magical and Marionette Seances at Taylor Opera House (May 1876) was 25 cents, with reserved seats extra.

Admission to Wyman's Ventriloquial, Magical and Marionette Seances at Taylor Opera House was 25 cents, with reserved seats extra, and a promotional building-lot deed near Hammonton, N.J. given to every ticket purchaser (1876).

The paper reported that audiences at his sleight of hand and ventriloquism show at Odd Fellows' Hall 'seem to think they got the worth of their money in show and gifts,' with a prize drawing including ten dollars won by the local bailiff on Monday night.

A reviewer wrote that Harry Kennedy 'made a great hit and brought down the house' at the Howard Athenaeum Troupe's performance at Music Hall.

The Clinton Herald reported that Martino, described as 'this celebrated ventriloquist and slight-of-hand performer,' gave an exhibition at the Davis Opera House to a big audience, calling his slight-of-hand feats 'marvelous' and his ventriloquism 'of the most laughable character.'

A newspaper review said Professor Pharazyn's performance of magic and ventriloquism at the Opera House 'was remarkably good and highly appreciated by the audience' and called the entertainment 'very pleasing and instructive.'

A newspaper review said Professor Pharazyn's performance of magic and ventriloquism at the Opera House 'was remarkably good and highly appreciated by the audience' (1877).

Admission to Prof. Pharazyn's show at the Grand Opera House was general admission 35 cents, balcony 25 cents, and school children 15 cents if purchased before 6 o'clock.

Admission to Prof. Pharazyn's magic and ventriloquism show at the Grand Opera House was general admission 35 cents, balcony 25 cents, school children 15 cents if purchased before 6 o'clock on the first day (1877).

General admission was 35 cents, balcony 25 cents, and school children's tickets 15 cents (purchasable only before 6 o'clock on the first day) for Prof. Pharazyn's ventriloquist show, per an 1877 advertisement.

For Prof. Pharazyn's ventriloquism show at the Grand Opera House (1877-05-02), general admission was 35 cents, balcony 25 cents, and school children's tickets were 15 cents if purchased before 6 o'clock on the first day.

Admission to the show featuring the ventriloquist was 35 cents general, 25 cents balcony, and 15 cents for school children (who had to buy tickets before 6 o'clock on the first day).

The show was billed as a 'Gold and Silver Gift Show' giving away 100 useful and valuable presents nightly, with the leading Monday night prize being a suit of cottage furniture valued at $44.00.

A reviewer wrote of Wood's Theater's bill: 'To see Val Vose, the great ventriloquist, is alone well worth the price of admission,' (October 23, 1877 paper).

Val Vose, billed as 'the Modern Ventriloquist,' headlined the Great New York Novelty Company at Wood's Theater beginning Monday, October (1877), at a salary of $500 per week.

Val Vose was engaged at Wood's Theater at a salary of $1500 per week, according to the October 23, 1877 newspaper advertisement.

Prof. J.T. Teel, billed as 'The Great Magician Ventriloquist,' performed at Smith's Opera House starting Monday evening, May 27 (Ashtabula), with features including two Educated Doves and admission at 25 cents.

Piper's New Opera House (John Piper, Proprietor and Manager) hosted Tony Pastor and His Entire Troupe including Harry Kennedy, Premier Ventriloquist, for one week starting July 1, 1878, with a Grand Saturday Matinee; ticket prices were Dress Circle and Orchestra Seats $1.00, Reserved Seats extra 50 cents, Gallery 50 cents, Private Boxes according to location.

At Piper's New Opera House (Virginia, Nevada), July 1878, dress circle and orchestra seats were $1.00, reserved seats extra 50 cents, and gallery 50 cents, with private boxes priced by location.

A Lancaster newspaper wrote of Prof. Armstrong's ventriloquism show: 'there never were better ventriloquial conversations and specimens of mimicry in Lancaster' and called it 'a larger quantity and better quality of fun and pathos for 25 cents.'

Prof. De Lafayette made his first appearance at Baum's Palace, Twenty-second St. and Cottage Grove/Indiana Ave. (Chicago), on Sunday Aug. 24, 1879, billed as 'The Wonder of the Nineteenth Century! The Greatest Ventriloquist and Sleight-of-Hand Performer,' with a standing challenge to any magician to equal his card tricks; admission was 15 cents, children 10 cents.

Prof. De Lafayette, billed as 'The Wonder of the Nineteenth Century! The Greatest Ventriloquist and Sleight-of-Hand Performer,' made his first appearance at Baum's Palace, Twenty-second St. and Cottage Grove/Indiana Ave., on Sunday, August 24, 1879, with admission 15 cents (children 10 cents); he also issued a challenge to any magician to equal his card tricks.

At Music Hall, Prof. Harrington's afternoon show cost 15 cents for children and 25 cents for adults (10 cents for children buying tickets in advance); evening admission was 25 cents with reserved seats at 35 cents.

At Music Hall's Christmas performance, afternoon admission was 15 cents for children and 25 cents for adults (10 cents for children buying tickets in advance); evening admission was 25 cents with reserved seats at 35 cents.

At the Opera House, in a performance of 'Humpty Dumpty' (reviewed in a newspaper dated 1881-01-04), the Sparks Brothers performed an 'Irish club and burlesque ventriloquism' act described as 'very funny.'

Professor Zera, billed as 'the magician,' performed at 'the Theatre' on the evening reported in the March 24, 1881 paper; his ventriloquism was described as 'particularly enjoyable' amid magic tricks and prize giveaways.

Professor Zera, a magician, performed at 'the Theatre' on the evening reported (1881-03-24 newspaper); the review states 'His ventriloquism was particularly enjoyable,' and he was to remain in the city performing nightly through the week.

Chalet was billed as 'The Master Ventriloquist' on a minstrel/specialty variety bill with John W. Morton, the Three Ratukins, Major Burk, Bob Slavin, the Diamond Brothers, Burt Haverly, Sam Dearin and others; admission $1, reserved seats $1.50 at the Opera House, per an 1881-06-03 newspaper notice.

Chalet, billed as 'The Master Ventriloquist,' appeared on a minstrel/specialty bill (with John W. Morton, the Diamond Brothers, and others) at a theater, admission $1, reserved seats $1.50 at the Opera House, per a June 3, 1881 notice.

Billed as 'The Greatest Ventriloquist' in the engagement of the Big Four at Piper's Opera House, sharing the bill with Wooley, Quinn & Morton's Minstrels, John Morton, The Three Bankins, Bob Slavin, Major Burke, The Three Arnolds, The Two Diamonds, and Sam Dearin; admission $1.00 and 50c, reserved seats $1 (Grand Saturday Matinee, per the June 4, 1881 newspaper).

Billed as 'The Greatest Ventriloquist' in the engagement of 'The Big Four' (Hooley, Quinn & Morton's Minstrels) at Piper's Opera House, with a Grand Saturday Matinee; admission $1.00 and 50c, reserved seats $1.

Chalet was billed as 'The Master Ventriloquist' in a minstrel and specialty troupe performing at the Opera House (per a newspaper dated 1881-06-04), sharing the bill with John W. Morton, the Three Hankins, Major Burk, Bob Slavin, the Diamond Brothers, Burt Haverly, Sam Dearin, and the Black Tambourines; admission was $1, reserved seats $1.50; the show was managed by Simon Quinlan with J. S. Sheppard as business manager.

Chalet was billed as 'The Master Ventriloquist' in a minstrel/specialty troupe show at the Opera House (per advertisement in the 1881-06-04 newspaper), sharing the bill with John W. Morton, The Three Hankins, Major Burk, Bob Slavin, the Diamond Bros., Burt Haverly, and Sam Dearin, admission $1.

Billed as 'CHALET, The Master Ventriloquist' in an 1881-06-05 advertisement for Tim [?] Minstrel Company's show at the Bush Street Theater in San Francisco, alongside John W. Morton, the Diamond Brothers, Burt Haverly, and Sam Dearin; admission $1, reserved seats $1.50.

A minstrel troupe advertisement (1881-06-07) listed performers including John W. Morton (comedian), The Three Rankins (musical act), Major Burk (military performance with musket and bayonet), Bob Slavin (ballads), Chalet (billed as 'The Master Ventriloquist'), the Diamond Bros. (Lew and Matt), Burt Haverly (eccentric comedian), and Sam Dearin, with admission at $1 and reserved seats at $1.50 at the Opera House, managed by Simon Quinlan and business manager J. S. Sheppard.

Billed as 'The Master Ventriloquist' in a minstrel and specialty troupe performance advertised in a newspaper dated 1881-06-08, appearing alongside performers including John W. Morton, Major Burk, Bob Slavin, the Diamond Brothers, Burt Haverly, and Sam Dearin, with admission at $1 and reserved seats at $1.50 at the Opera House.

E. D. Davies was billed as 'the Premier Ventriloquist of the World' with his talking figures 'Tom and Joe,' appearing with Herrmann's Great European Specialty Company at the Fulton Opera House on Friday evening, Nov. 24, 1882; admission was 75, 50, and 35 cents.

E. D. Davies, billed as 'the Premier Ventriloquist of the World,' performed with his talking figures Tom and Joe as part of Herrmann's Great European Specialty Company at the Opera House, Friday evening, Nov. 24, 1882, admission 75, 50, and 35 cents.

Milson, billed as "Ventriloquist," appeared on the bill at the National Theatre, Nos. 104 and 106 Bowery (New York), alongside W. T. Melville's company in 'Pirates of the Chesapeake,' Emerson and Clark, Pat Reilly, Healy and Saunders, Prof. Abt with his stereopticon, Rosa German Sketch Artists, and Grant, billed as a 'Genuine Negro Actress'; admission was 35c, 25c, 15c and 10 cents, with matinees Tuesday, Thursday and Saturday.

Admission prices for Frederic Maccabe's June 9, 1883 Music Hall performance were $1.00, 75 cents, and 50 cents, with the box plan at Robertson & Co's.

Admission prices for Frederic Maccabe's Music Hall performance on June 9, 1883 were $1.00, 75 cents, and 50 cents, with box plan available at Robertson & Co's.

At the Athenaeum, a reviewer wrote 'the most entertaining and preiseworthy feature of the show is the marvelous ventriloquism of Mr. Wells... No ventriloquist has ever traveled in the west or north west who has such a complete control of the voice, and his superior in this wonderful art is unknown.' (Nov. 22, 1883 review, exact town not stated but paper appears Montana-related.)

At the Athenaeum on November 22, 1883, a reviewer wrote of ventriloquist Mr. Wells: 'No ventriloquist has ever traveled in the west or north west who has such a complete control of the voice, and his superior in this wonderful art is unknown.'

The Bismarck Tribune wrote that 'the most entertaining and praiseworthy feature of the show is the marvelous ventriloquism of Mr. Wells' and that 'no ventriloquist has ever traveled in the west or northwest who has such a complete control of the voice,' describing a panoramic, historical, musical and comic entertainment given at the Athenaeum, reported in a paper dated 1883-12-05.

Carl Hertz, billed as 'the ventriloquist,' performed at the Opera House in Hopkinsville this evening at 4 o'clock, appearing alongside Prof. Oscar Gronier (musical prodigy) and Harry Kennedy (lightning change artist); admission was 10 cents for school children and 25 cents for adults.

Admission to the Opera House show featuring Zera Semon's ventriloquial combination was 10 and 20 cents, with reserved seats 10 cents extra (March 1885 advertisement).

Reviewed as 'a first class ventriloquist' performing with Suydam's Humpty Dumpty Company at the Opera House, in a performance reported in the local paper dated 1885-09-30.

Reviewed as 'a first class ventriloquist' performing with Suydam's Humpty Dumpty Company at the Opera House, in a performance described in the local paper dated 1885-09-30.

Admission for La Oardo's show at the Opera House was 35 cents downstairs with two envelopes, 25 cents upstairs with two envelopes, and 15 cents for children under 12, per an 1885 advertisement.

Admission to La Cardo's 1885 Opera House engagement was 35 cents downstairs with two envelopes, 25 cents upstairs with two envelopes, and 15 cents for children under 12.

Admission to La Gardo's show at the Opera House was 50, 35 and 25 cents (downstairs with two envelopes 35c, upstairs with two envelopes 25c, children under 12 15c).

La Gardo, billed as 'the greatest Magician and Ventriloquist of the age,' appeared with his Mastodon Gift Festival Comic Concert Company and Royal Marionettes at the Opera House, November 19, 20, 21 and a Saturday matinee (1885); admission was $1.00, with gift-night envelopes at 35c/25c and children 15c; managed by M. J. Waterman, lessees L. Brill, Jr., & Co.

Tickets for Fred W. Millis's Hawaiian Opera House performances were priced at $1, 75c., and 50c.; seats secured at J. E. Wiseman's box office, which opened Monday morning at 9 o'clock.

Popular prices for Fred W. Millis's Honolulu Opera House performances (1886) were $1, 75 cents, and 50 cents; seats secured at J. E. Wiseman's, box plan opening Monday morning at 9 o'clock.

Popular prices for his Honolulu Opera House shows were $1, 75 cents, and 50 cents; box plan opened Monday morning at 9 o'clock at J. E. Wiseman's.

Tickets for Fred Millis's Hawaiian Opera House shows in Honolulu (March 1886) were priced at $1, 75 cents, and 50 cents, with the box plan opened at J. E. Wiseman's office.

Popular prices for Millis's show at the Hawaiian Opera House were $1, 75c, 50c; seats secured at J. E. Wiseman's, box plan opening Monday morning at 9 o'clock.

Tickets for Millis' Hawaiian Opera House shows in Honolulu (March 1886) were priced at $1, 75 cents, and 50 cents; seats secured at J. E. Wiseman's, with the box plan opening Monday morning at 9 o'clock.

A local review said 'The rapid change of voice was marvellous, and the local hits fairly brought down the house' regarding his ventriloquism act at the Hawaiian Opera House, March 1886.

Popular prices for Fred W. Millis's Hawaiian Opera House show were $1, 75c, and 50c, with seats secured at J. E. Wiseman's.

Tickets for Fred W. Millis's 1886 show at the Hawaiian Opera House were priced at $1, 75c, and 50c ('75c' as printed, likely 50c), with the box plan opening Monday morning.

Tickets for Fred W. Millis's Honolulu Opera House shows were priced at $1, 75 cents, and 50 cents for evening shows; the Saturday matinee for children was 25 cents for children under 12 and 50 cents for adults.

Tickets for Fred W. Millis's Honolulu Opera House shows were sold at popular prices of $1, 75 cents, and 50 cents, with box plan opening at J. E. Wiseman's office.

For Fred W. Millis's Saturday matinee at the Hawaiian Opera House (1886), admission was 25 cents for children under 12 and 50 cents for adults.

Popular prices for Fred W. Millis's show at Hawaiian Opera House were $1, 70c., and 60c., with seats secured at J. K. Wiseman's, box plan opening Monday morning at 9 o'clock.

Tickets for Millis's Hawaiian Opera House show were advertised at $1, 75c., and 50c., with seats secured at J. K. Wiseman's box office (box plan opening Monday morning at 9 o'clock).

Tickets for Millis's Saturday, March 20, 1886 performance at the Opera House were $1.00, 75 cents, and 50 cents; the matinee admission was 50 cents for adults and 33 cents for children under twelve.

Tickets for Fred W. Millis's 1886 Hawaiian Opera House performance were priced at $1, 75c, and 50c, available at J. E. Wiseman's.

Tickets for Fred W. Millis's March 20, 1886 performance at the Hawaiian Opera House were priced at $1, 75c, and 50c, with seats secured at J. E. Wiseman's.

Tickets for Millis's Saturday March 20, 1886 performance at the Opera House were $1.00, 75 cents, and 50 cents, with matinee admission 50 cents for adults and 25 cents for children under twelve.

A newspaper reviewer wrote of Millis's Honolulu show: 'A large audience greeted Mr. Millis at the Hawaiian Opera House on Saturday evening, and his fine performance was thoroughly enjoyed.'

A Honolulu newspaper reported that 'a large audience greeted Mr. Millis at the Hawaiian Opera House on Saturday evening, and his fine performance was thoroughly enjoyed.'

For F. W. Millis's farewell matinee at the Hawaiian Opera House, children under 12 were charged 25 cents and adults 50 cents.

For Fred W. Millis's farewell matinee at the Hawaiian Opera House, admission was 35 cents for children under 12 and 50 cents for others and adults.

An exchange reported that the Black Crook company, presented at Music Hall on a Thursday evening, included among its variety acts scenery, dancing, athletics, and 'ventriloquism, etc., all good,' alongside a transformation scene finale.

Zera Semon performed at Boag's Opera House on Monday and Tuesday nights, with entertainments described as well attended and greatly enjoyed; reviewer noted he is a good sleight-of-hand performer and 'his ventriloquism is first-class.'

A. O. Duncan, billed as 'The Celebrated Ventriloquist,' performed at Albaugh's Grand Opera House on May 21, 1887, with a matinee at 2 and evening show at 8, alongside 'The World-Renowned Herbert Brothers,' as part of a bill including 'The New Black Crook' ballet; admission was 25 cents (matinee) and up to 60/75 cents.

Admission to the Buyub family's Opera House show was 50 cents general, 25 cents for children, and 75 cents for reserved seats.

Prof. J. P. Carey gave an illustrated lecture and an exhibition of ventriloquism at Odd Fellows' Hall, Port Deposit, on a Tuesday evening, under the direction of the Young People's Temperance Association; admission was 15 and 25 cents (Oct 15, 1887 paper).

Prof. J. P. Carey gave an illustrated lecture and an exhibition of ventriloquism at Odd Fellows' Hall, Port Deposit, on a Tuesday evening (per Oct. 15, 1887 paper), under the direction of the Young People's Temperance Association; admission was 15 and 25 cents.

Mr. H. V. Watkins, billed as 'the wonderful Ventriloquist,' performed at the 'New York Comedy and Specialty Company's Matinee' at Garfield Opera House on Saturday afternoon, October 22, 1887, alongside comedian Fred Warren and W. V. Williams (formerly of the Emma Abbott opera company); tickets combined with 10 cents admitted one scholar.

Admission prices for Andress's Opera House show were 50, 35, and 25 cents, with reserved seats available at no extra charge at Olivier's Book Store.

Alex. Wilson, ventriloquist, appeared with Weston Bros.-Morris Consolidated Specialty and Comedy Co. at Weston's Washington Theatre, in the musical comedy 'Way of the World', with admission 15, 25 and 50 cents (matinee 10 and 25 cents).

Alex. Wilson, billed as a ventriloquist, appeared with Weston Bros.-Morris Consolidated Specialty and Comedy Co. at Ferman's Washington Theatre (admission 15, 25, and 50c; matinee 10 and 25c), alongside Harry Rogers (character singer) and a juggler, in a program including 'Way of the World'.

Duncan, 'the ventriloquist,' performed as part of M. B. Leavitt's European Novelty Combination at the Academy of Music (Pittsburg); the Pittsburg Press reviewer wrote he 'has added some new features to his always excellent specialty' (reported 1889-01-26).

C. W. Williams was billed as 'the world's greatest ventriloquist' as part of Gus Hill's $25,000 Challenge Specialty Company, set to appear at Kernan's Theatre the week following this March 2, 1890 notice.

The company appearing at Kernan's Theatre included C. W. Williams (ventriloquist), Fisher Bros. (aerialists), Billy Carter (banjoist), Chip (a 5-year-old performer), Nellie Walters (sketch artist), James Black (legless dancer), and Gus Hill himself in a $10,000 challenge club act.

C. W. Williams, billed as 'the world's greatest ventriloquist,' was part of Gus Hill's $25,000 Challenge Specialty Company, set to appear at Kernan's Theatre (Washington, D.C.) the week following March 2, 1890, alongside Fisher Bros. acrobats, banjoist Billy Carter, child performer Chip, sketch artist Nellie Walters, and legless dancer James Black.

Admission to the Auditorium (where Van the Ventriloquist appeared) at Goodray's Theater was 10c; seats in the Theater were 20c, 30c and 40c; box seats 50c (Chicago, week of Jan. 12, 1891).

Van, the Ventriloquist, appeared on the bill at the Auditorium alongside George Holloway, O'Day and Cunningham, St. Claire, the Fenton Family, De Witt Cooke, and Ernest Martin, with two matinees weekly (Wednesday and Saturday), admission 10c-50c (per a Jan. 1891 newspaper listing).

Professor Wilson, billed as 'the ventriloquist,' performed as part of a minstrel show at Music Hall (reviewed January 22, 1891); the reviewer wrote he 'was good as he always is.'

Turner Opera House advertised 'the latest in magical feats, mesmerism and ventriloquism' for Friday evening, March 20th, admission 15c, 25c, and 35c (Manitowoc, per 1891-03-19 newspaper).

Admission prices at Cordray's Theatre in 1891: Auditorium 10 cents; seats in theatre 30c and 40c; box seats 50c, with seats reservable six days in advance at the box office (telephone 605) or at Schlompf's drugstore, corner Second and Columbia streets.

Van, billed as 'The Ventriloquist,' performed at the Auditorium on a bill with Kelly and Gardner (comedians and vocalists), Gibbons and Barrett, and Signor Cappola ('The Human Eel'), with admission 10c to auditorium and 20-40c for reserved theater seats, box seats 50c; matinees Wednesday and Saturday (per 1891-08-23 clipping).

Billed as 'The Ventriloquist' (stage name 'Van') at the Auditorium, corner Third and Madison streets, opening Monday, August 24, 1891, on a bill with comedians Kelly and Gardner, Gibbons and Barrett, and 'The Human Eel' Signor Cappola; admission 10c to Auditorium, 20-40c theater seats, 50c boxes.

Admission prices at the Auditorium were listed as 10c, with reserved seats at 20c, 30c, and 40c, seats reservable days in advance by telephone or at Lee & Schaumpt's drug store on Second street.

A critic wrote of the April 1892 Boston Howard Athenaeum Specialty Company show at the Grand Opera House that it was 'seldom, or never, a better specialty entertainment' and praised Mr. Duncan's ventriloquial skill among other acts.

A performance closed with 'an excellent display of ventriloquism by Prof. Lingerman,' which the paper called 'highly amusing'; admission was 35 cents, children 25 cents, reserved seats 50 cents (reported 1892-05-05).

A lawn party held on Alban G. Thomas' grounds (near Sandy Spring/Ashton) to benefit the Sandy Spring Lyceum featured tableaux, charades, music and ventriloquism, with over 200 people attending and a clear gain of about $300; no performer's name is given.

A Kansas City newspaper called Hugh Emmott 'the finest ventriloquist Kansas City people have had the good fortune to hear' after his Monday night performance at the Fairmount Auditorium (Aug 1895).

A critic wrote of Hugh Emmett at the Orpheum: 'the ventriloquist, is beyond question the best in his line ever seen in this city. His singing and imitations are really wonderful.'

Hugh Emmett, billed as 'the ventriloquist,' performed this week at the Orpheum theater, described as 'beyond question the best in his line ever seen in this city,' with singing and imitations called 'really wonderful.'

Billed as 'The Irish Ventriloquist' with Hopkins' Trans-Oceanic Company (Robert Fulgorn, proprietor and manager) at the Opera House, playing two nights with matinee and evening performances, reserved seats $1.00, admission 75 cents; advertised in a paper dated 1895-11-27.

A review from the Duluth News (Sept. 4th) reprinted in this paper called Pub. Watkins, the ventriloquist with the Georgia University graduates minstrel troupe, 'the best we ever saw' during a performance at the Lyceum in Duluth.

A review from the Duluth News (quoted, dated Sept. 4th) said of the Georgia University graduates' minstrel show at the Lyceum in Duluth: 'Pub. Watkins, the ventriloquist, was the best we ever saw.'

A critic at the Orpheum (San Francisco, per surrounding text mentioning the Baldwin Theater) wrote of ventriloquist 'Se_ommer' (name garbled in OCR) on 1896-03-29: 'The Orpheum has a very remarkable ventriloquist,' though 'it is a pity that he considers it necessary to season the first part of his performance with horse-play,' praising 'the skillful manner in which he endows his stageful of marionettes with speech.'

A Los Angeles Orpheum reviewer wrote that 'Mr. Segommer, the world's greatest ventriloquist and mimic, is a whole show by himself' (Los Angeles, April 23, 1896).

Hutch J. Emmelt, billed as 'the Celebrated Ventriloquist,' performed at the Vaudeville Theater on South Main St., Los Angeles, during the week commencing Monday, July 6, 1896, on a bill with Edison's Vitascope, dancer Papinta, and the Meers Bros. acrobats; admission was 10, 25, or 50 cents.

A newspaper review called Al Hazard 'a clever ventriloquist' who 'gives a very amusing entertainment with his funny family of wooden folk' at the Chutes Casino (1896).

Admission to the Chutes Casino and Pleasure Grounds, San Francisco, was 10 cents, with children's admission including a merry-go-round ride for 5 cents (1896).

Biondi, described as 'the greatest of change artists who has ever been seen on the Pacific Coast,' appeared at the Orpheum; the review noted his 'lightning like changes' and his 'powers as a ventriloquist,' which together let him play all the parts of a comedy (Orpheum, August 1896).

The Figaro wrote: 'Colby and Way, at the Orpheum, in their novel ventriloquial act, won favor at once. Mr. Colby makes his wit and humor tell in his ventriloquial conversations in the funny replies of his figures, and is excellent in his dialect assumptions and singing.'

Reviewer wrote 'Colby is the best ventriloquist we have ever seen' in a review of the Colby and Way act at the Orpheum (Los Angeles, per Nov. 4, 1896 newspaper).

A Los Angeles reviewer wrote of Colby and Way's ventriloquial act at the Orpheum (Nov. 4, 1896 edition): 'Colby is the best ventriloquist we have ever seen, and he has a way of presenting his specialty that makes it all the more pleasing.'

On Saturday evening, 21st [1896], Prof. H. G. Yearn, a Magician, Ventriloquist and Humorist, gave an entertainment in Acton's Pavilion for the benefit of the Jr. O. U. A. M.; doors opened at 7:30, admission adults 20c, children 10c.

Billed as 'Conjuror, Juggler, Ventriloquist and Fire Eater' with the Montague Faust Co. at the Opera House, Tuesday Dec. 15 (1896), featuring the Australian Bell Ringers and Miss Eunice Fernandez, Mandolinist; doors open 7:30, popular prices $1, 75c, 50c.

Prof. Montague, billed as 'Conjuror, Juggler, Ventriloquist and Fire Eater,' performed with the Montague Faust Co. at the Opera House on Tuesday, December 15 (1896), alongside the Australian Bell Ringers and Miss Eunice Fernandez (mandolinist); doors opened 7:30, popular prices $1, 75c, 50c, Bevan Montague listed as business manager.

Popular prices for the Faust Co.'s Opera House show in Honolulu were $1, 75c, and 50c, with doors opening at 7:30 and overture at 8 sharp (Dec. 12, 1896 ad).

At the Orpheum (San Francisco), a Swedish ventriloquist's act was described as one of the most popular acts seen at the house for some time; the Hungarian Orchestra was also gaining popularity there.

At the Orpheum (Nov. 30, 1897 review), the musical figures of Forjyce, the ventriloquist, were described as 'not uninteresting in their mechanical aspect, but on the whole the exhibition is too tame to be worth more than half the time devoted to it.'

A. O. Duncan, billed as the 'world's Greatest Ventriloquist,' appeared at Los Angeles' Society Vaudeville Theater, sharing the bill with the Misses Cooke and Linton (sharpshooters), Mlle. Leopoldine (aerialist), The Tobins (musical specialists), and others; evening reserved seats were 25 and 35 cents, gallery 10 cents, with regular matinees Wednesday, Saturday and Sunday.

Mr. and Mrs. Blitz, who had been with the Nellie Christine show during the Fair, gave a children's entertainment at the Academy of Music (Feb. 16, 1898) including sleight-of-hand, magic, and ventriloquism including Punch and Judy; proceeds benefited city schools; admission was 10 cents for children and 20 cents for adults.

Colby and Way performed 'the ventriloquist and the doll dance' as a novelty act at the Opera House (formerly 9th St. Theater), on a vaudeville bill with Al Wilson, Bogert & O'Brien, Al & Mamie Anderson, the Si-Vans, Bros. Gloss, Fannie Bloodgood, and Ahern & Patrick; matinee prices listed as 25c, children 10c, gallery 10c, box seats 50c (per newspaper dated 1898-03-20).

At Brien's Opera House (Crambs & Theiss, lessees), Thursday, Oct. 27 (newspaper dated 1898-10-23), Alex W. Wilson, ventriloquist, appeared with the London Gaiety Girls Extravaganza Co., alongside the Countess Sisters, McAvoy and Gilson, Yot Guichard (fancy danceuse), and Gus Mills; prices were Gallery 25 cents, Dress Circle 35 cents, First Floor 50c and 75c.

At Brien's Opera House for the Oct. 27, 1898 show featuring ventriloquist Alex W. Wilson, prices were 25 cents (gallery), 35 cents (dress circle), and 50c and 75c (first floor).

Lydia Dreams performed 'ventriloquisms' at Poll's Wonderland Theater during the week of 1898-10-24, on a bill with the farce 'A Strange Baby' (Sidney Wilmer, Walter Vincent, Olive White), the Review Comedy Four, and Harry Edson with his performing dog 'Doc'. Admission was 10 and 20 cents, with ladies' matinee at 10 cents.

The London Gaiety Girls Extravaganza Co. performed farce comedy and vaudeville at O'Brien's Opera House on Oct. 27, 1898, with prices of 25 cents gallery, 35 cents dress circle, and 50c-75c first floor.

Admission for the London Gaiety Girls show at O'Brien's Opera House (Oct 27, 1898) was 35 or 50 cents gallery, dress circle, and 50c-75c first floor (prices partly garbled in OCR).

At the Vaudeville Theater's week of Nov. 7, 1898 bill (which included ventriloquist Edward F. Reynard), evening reserved seats were 25c and 50c, gallery 10c, with regular matinees Wednesday, Saturday and Sunday.

A 1898 vaudeville program (apparently at a 'Society Vaudeville Theatre') listing a ventriloquist act among its bill gave prices as 10c, 25c and 50c, with matinee prices of 10c and a garbled second figure.

Hazzard was billed as 'America's Premier Ventriloquist' at the Los Angeles Theater, appearing Nov 14, 1898, alongside Prof. Martin and his Educated Dogs, Travelle the Conjuror/Juggler, John Delmore (Negro Impersonator), and other acts; tickets were 10c, 25c and 50c.

The Wonderland Theater's bill included Ed. Reguard the ventriloquist, with admission prices of 10 and 20 cents, and 10 cents for ladies in the afternoon.

At the Orpheum theater (week of March 14, 1899), J. W. Wlnton, billed as 'the ventriloquist,' was described as clever, with 'walking, talking, smoking figures' called among the best seen there.

At Mason's Opera House (Yakima, reported May 25, 1899), McDuff performed a ventriloquial exhibition of barnyard and nursery sounds that won him the heartiest recall of the evening, in a show featuring 'McSorley's henchman' and dancer Pinkie Mullally.

The Orpheum Family Theatre advertised general admission at 25c and 50c, with 'last six rows for Children under 12 years' at 10c, and reserved chairs at 50c, for a program including ventriloquist Al Hazard.

General admission at the Orpheum Family Theatre, Honolulu (1899-08-10 program), was 25c and 50c, with a reserved children's row at 10c and reserved seats at 25c.

At the Orpheum theatre in Honolulu (as noted in the Aug 30, 1899 paper), Al Hazard, described as a ventriloquist with 'no superior in the world,' was departing after his contract with the Orpheum terminated.

At the Orpheum (Honolulu, per Sept 21, 1899 paper), J. W. Winton gave a ventriloquial performance described as 'wonderful,' with his figures said to 'walk, talk, smoke and sing.'

J. W. Winton, billed as 'the Australian Ventriloquist,' appeared on the Orpheum bill, sharing the stage with Tom Brown (black-faced humorist), the Florenz Troupe, Howard's Ponies, Mr. and Mrs. Harold Haskins, La Page Sisters, Little Elsie, and Hawaiian Queens; reserved seats 25c, balcony 10c, opera chairs and box seats 50c (Orpheum, per Oct. 16, 1899 newspaper).

At the Orpheum theatre in Honolulu (Nov. 10, 1899 issue), critic wrote 'J W Winton is clever as ever and his ventriloquism is simply perfect.'

Billed as 'The World-Famous Ventriloquist' with an act called 'McGinty' at the Orpheum Family Theatre, appearing in a Grand Minstrel First Part with the Entire Orpheum Company, per a November 11, 1899 newspaper ad; general admission 25 and 50 cents.

At the Orpheum theater (Honolulu), Winton's ventriloquial act 'scored heavily' as part of a program that also included the musical farce 'Raising the Wind' and the farce 'Dutch Justice,' reported in the November 18, 1899 newspaper.

At the Orpheum (per 1899-11-18 notice), Winton's ventriloquial act was well received by the audience, described as having 'scored heavily' (OCR: 'soared heavily'), on a bill with the musical farce 'Raising the Wind,' Phil Rand and Miss Byron, and the farce 'Dutch Justice.'

Admission to the Orpheum in Honolulu (where ventriloquist J. W. Winton performed) was 25c and 50c general, with reserved chairs at 50c and children's seats at 10c, per the November 23, 1899 advertisement.

Billed as 'The World-Famous Ventriloquist' on a variety bill also featuring ragtime comedian Jackson Hearde, aerialists Flying Hirsch, and the Orpheum Stock Company musical farce; general admission 25c and 50c, reserved chairs 50c, children's seats 10c.

Billed as 'The World-Famous Ventriloquist' at the Orpheum Family Theatre, appearing on a bill with Marion and Clara Llewellyn, a comedy team, Edith Fletcher, Flying Busch, and Hearde and Dreyfuss, with a special Thanksgiving Day matinee (Thursday) and regular shows nightly; general admission 25c and 50c, reserved chairs extra.

Billed as 'The World Famous Ventriloquist J. W. Winton' at the Orpheum Family Theatre, Honolulu, for a Grand Special Thanksgiving program (Nov 29, 1899), among six new acts including the Musical Fletchers and Marion and Clara Llewelyn; admission 25c for adults, 10c for children.

Al. C. Lawrence, billed as 'Mimic and ventriloquist,' appeared on the Polite Vaudeville bill at Cox's Park Theater for the week beginning Monday, June 25, alongside Bimm, Bomm, Brrr, The McMahons, Harry Jenkins, Saxon & Brooks, and Cunningham & Cunningham; two performances daily except Sunday, afternoons at 1:30 and evenings at 8:15, admission 10c-20c evenings, 10c matinees.

A vaudeville bill billed as 'Unique Ventriloquist' appeared alongside acts including the Three Murrays, White and Harris, and Spaulding, with matinee daily at 2 and evenings at 8, lower floor 50c, balcony 25c, gallery 15c; venue name garbled in OCR (possibly National or Lyceum Theatre), dated 1900-09-09.

Charles E. Oilflln (name garbled in OCR), described as 'the illusionist and ventriloquist,' performed at the Father Mathew Opera House in Olyphant, doing 'some clever work' alongside Bohemian glass blowers, with exhibitions given every afternoon and evening during the week, admission 10 cents; reported in a January 22, 1901 newspaper.

At the Father Mathew Opera House in Olyphant, Charles E. Oilflln (name garbled in OCR, possibly 'Griffin'), described as 'the illusionist and ventriloquist,' performed at the Bohemian glass blowers' opening exhibition on the evening before this Jan 22, 1901 report, with exhibitions continuing every afternoon and evening that week; admission was 10 cents.

Alex Wilson, billed as 'Famous Ventriloquist,' performed on the holiday vaudeville bill at the Portland Family Theatre (Portland Amusement Co., lessee, Jas. E. Moore, Gen. Mgr.), with matinee daily at 3:30 and evening shows at 8:15; prices 10-20-30c.

At Poll's Theater (week of April 21, 1902), matinee prices were 10 and 20 cents (ladies 10 cents), and evening prices were 10, 20, and 30 cents.

Alex. W. Wilson, the ventriloquist, performed in 'The Actors Holiday' at Howe Opera House on a Saturday evening (reported in paper dated 1902-05-28); the reviewer called him 'one of the very best in his line ever seen here,' though the show drew a small house.

Alex. W. Wilson, billed as 'the ventriloquist,' performed in 'The Actors' Holiday' at Howe Opera House on a Saturday evening; the paper called him 'one of the very best in his line ever seen here,' though the show drew a small house.

At the Orpheum, week of July 21 1902, A. O. Duncan appeared as a ventriloquist; a reviewer called him 'a ventriloquist of exceptional ability' who 'made several hits last night on topics of interest and his voice sounded well in song,' keeping 'the house...in an uproar while he occupied the stage.'

At the Orpheum (week of July 21, 1902), a critic wrote: 'A. O. Duncan is a ventriloquist of exceptional ability. He made several hits last night on topics of interest and his voice sounded well in song. The house was kept in an uproar while he occupied the stage.'

At the Orpheum theater (reported Dec. 9, 1902), Lieutenant Carl Nobel performed with 'wonderful talking automatons,' described as 'easily the best thing at the Orpheum this week'; the reviewer called Nobel 'a wonderful ventriloquist' who 'manages to make the walking figures appear almost human.'

J. W. Cooper, ventriloquist, was billed among the acts of Lee's New Georgia Minstrels at the Opera House on Tuesday, Feb. 10 (per the 1903-02-06 newspaper), sharing the bill with William Shields (hoop juggler), the Housley Brothers ('The Aluminum Chimes'), J. E. Sherman, Ed Toliver (monologue artist), and Burton, Langford, Smith and Cameron; ticket prices were 25, 35, and 50 cents.

Billed as 'the world-renowned ventriloquist and mimic' with the Weston and Herbert vaudeville show, playing at the Opera House in Corvallis on Friday and Saturday (per Corvallis newspaper dated 1903-02-11), with eight other acts on the bill; tickets 25, 35, and 50 cents, on sale at Graham & Wells.

Admission for the Feb. 20-21, 1903 vaudeville show at Ushers' Opera House (featuring ventriloquist Hugh J. Emmett) was reserved seats 75c and gallery 50c (partially legible as '10o'), with seats available at Griffin's Book Store starting Thursday morning.

Vaudeville show Feb. 20-21, 1903 (likely Astoria, Oregon, based on accompanying bank report) featured Weston and Herbert, Hugh J. Emmett (ventriloquist, mimic, monologist), and the 4 Bragdons with 'Little Clifford, the Miniature Dockstader'; admission was reserved seats 75c, gallery 50c.

For the Weston and Herbert vaudeville show featuring ventriloquist Hugh J. Emmett at Usher's Opera House, Astoria, Oregon (Feb 20-21, 1903), reserved seats cost 75 cents and gallery seats 50 cents.

A performer identified in garbled OCR as 'Prof Chas Word/Ward' presented sleight of hand magic, a ventriloquist act, and a fire-eating act in a free exhibition in front of an Opera House, part of a show with a trained animal act, a diving dog, and other acts; admission to related show was 10 cents for children and 15 cents for adults (1903-03-13).

At Poll's Theater (reviewed in the April 28, 1903 edition), Trovollo presented a ventriloquist act described as 'the peer of any seen here,' with the reviewer noting he 'handles his voice in a truly marvelous manner and can accomplish all sorts of curious things with it.'

Reserved seats for the Weston Herbert Company performance at Larson's Theatre went on sale for popular prices of 25, 50, and 75 cents.

Reserved seats for the Weston Herbert Company performance at Larson's Theatre (May 11th) were sold at popular prices of 25, 50, and 75 cents.

J X Vernon was billed as "the Ventriloquist" at the Opera House, appearing Saturday, December 26 (1903), as part of a "Carnival of Entertainers" under direction of the Central Lyceum Bureau, admission 50c.

Dan J. Harrington performed a ventriloquist act described as 'good' on a variety bill that included the comedy sketch 'Dodging the Dodgers,' the Orpheus Comedy four, Misses Hoffman and Pierce, and Van Forsen and MacCauley; matinee prices were 10 cents, evening prices 10, 20, 30 cents, box seats 50 cents (reported January 19, 1904).

Durno and Company performed at the Opera House (Monday, February [1904], per the Higginsville-area newspaper), advertised as 'Fun Provokers' who entertained by mystifying, astonishing, imitating, ventriloquism, singing comic songs, playing instruments, and telling funny stories; billed as 'DURNO, The Mysterious'; general admission 35 cents.

Prices at Toll's Theater: evenings 10, 20, 30 cents; afternoons 10, 20 cents; ladies at matinees 10 cents; box seats 50 cents (per April 22, 1904 clipping).

Billed as 'Vernon, Ventriloquist' at the Orpheum theater on Spring Street, appearing on a vaudeville bill with Bertika Meuch and her Trained Birds, Alfred A. Karland (banjoist), Aida Uemmi, Dillon Bros., Ford Sisters, and Herrmann the Great and Marie Herrmann; prices 10c, 25c, 50c.

Billed as 'Vernon, Ventriloquist' on a vaudeville bill at the Newey Theater (matinee daily 2:30, evenings 8:15, admission 10c-30c), alongside Clayton, Marie White Stuart, Godfrey Henderson, Van Fossen McCauley, Hastings Burns, and Flo Adler (vocalist); paper dated 1905-02-17.

The reviewer wrote that those who think audiences have 'outgrown the age of appreciating the little automatons in the hands of a good ventriloquist' need only see this Garrick Theatre act to realize their mistake, per the April 14, 1905 newspaper.

At the Poll's Theatre bill featuring ventriloquist A. O. Duncan (week of 1905-05-13), evening prices were 10c, 20c, 30c; matinee 10c, 20c; ladies at matinee 10c; box seats 50c.

At the Orpheum (vaudeville bill) on the week of Sept 18, 1905, Arthur Prince 'makes good his claim to the supremacy among the world's ventriloquists,' smoking a cigar throughout the act while keeping up 'a running fire of raillery' with his manikin while drinking, described as 'something never before attempted by a ventriloquist.'

Arthur Prince, billed as 'The World's Greatest Ventriloquist,' appeared at the Orpheum theater (San Francisco) in his last week, with regular matinees Wednesday, Thursday, Saturday and Sunday; prices 10c, 25c and 50c (October 1905).

A reviewer wrote of Arthur Prince at the Orpheum: he has 'wonderful power of ventriloquizing without any apparent effort,' and 'I never saw anyone else do it... smoke and talk though I have heard Tetrazzini trill through a knitting needle.'

At the Orpheum (as visited by a reporter, 1905), ventriloquist Arthur Prince was described by the interviewer as 'the best you have ever heard.'

Arthur Prince, billed as the 'World's Greatest Ventriloquist,' appeared direct from London at the Orpheum theater on Spring Street, week commencing the night after publication (1905-10-22), on a bill with Leslie and Dailey in 'Going Abroad,' the Melani Trio, Franz Ebert, Dixon and Holmes, Hal Merritt, and Macy and Hall; admission prices were 10c, 25c, and 50c with matinees Wednesday, Saturday, and Sunday.

Advertised as 'World's Greatest Ventriloquist' direct from London, appearing at the Orpheum Theater on a modern vaudeville bill with Leslie and Dailey, Melani Trio, Franz Ebert, Dixon and Holmes, Hal Merritt, and Macy and Hall; matinees Wednesday, Saturday, Sunday; prices 10c, 25c, 50c.

The Orpheum theater's vaudeville program (per 1905-10-23 issue) listed ticket prices at 10c, 25c, and 50c, with matinees Wednesday, Saturday, and Sunday, headlined by ventriloquist Arthur Prince.

Arthur Prince, billed as 'World's Greatest Ventriloquist,' appeared 'Direct from London' on a Modern Vaudeville bill that also included Leslie and Dailey in 'Going Abroad,' the Melani Trio (street singers), Franz Kiight the Lilliputian, Dixon and Holmes (character singers), Hal Merritt (cartoonist and monologist), Orpheum Motion Pictures, and Macy and Hall in 'A Timely Awakening'; prices were 10c, 25c, 50c with matinees Wednesday, Saturday, Sunday (newspaper dated 1905-10-26).

Billed as 'World's Greatest Ventriloquist' in a Modern Vaudeville program 'Direct from London' at the Orpheum theater (Spring Street, between Second and Third), sharing the bill with Leslie and Harasy in 'Going Abroad,' the Melani Trio, Franz Ebert, Dixon and Holmes, Hal Merritt, and Macy and Ham, with Orpheum motion pictures; prices 10c, 25c, 50c; matinees Wednesday, Saturday, Sunday.

Vaudeville bill featuring Arthur Prince (billed World's Greatest Ventriloquist) alongside Leslie and Harmsy, Melani Trio, Franz Ebert, Dixon and Holmes, Hal Merritt, and Macy and Ham; prices 10c, 25c, 50c, matinees Wednesday, Saturday, Sunday.

Arthur Prince, described as 'original and witty', appeared as ventriloquist for his 'last week' engagement at the Orpheum on Spring Street, per an Oct. 30, 1905 listing (prices 10c, 25c, 50c).

A critic reviewing the new Orpheum bill on 1906-01-23 called Al Hazzard's ventriloquist-and-yodeller act 'somewhat ordinary,' though the show improved with the following acts.

Al Hazzard, billed as a 'singing ventriloquist,' appeared on the vaudeville bill at the Orpheum Theater, Spring Street, in this 1906 program alongside acts such as the Lulinni Grand Opera Trio and equilibrists Morrana, Nevaro and Morrana; admission was 10c and 25c for matinees, 10c-50c for evenings.

At the Orpheum Theater in Minneapolis (week beginning April 29, 1906), Paul Sandor's burlesque menagerie act featured Great Dane dogs dressed as ponies with mannequin riders, and their master was described as 'an expert ventriloquist'; the act was called one of the funniest in vaudeville.

At the Orpheum, Vernon 'the ventriloquist' performed an act using a dummy child, described in the review as 'one of the scientific wonders of the age', during a week's engagement that was extended due to popularity (Sept. 1906 newspaper).

A review at the Orpheum said of Vernon's ventriloquism act: 'Ventriloquism, one thing that never fails to attract old and young alike, has for its exponent at the Orpheum one of the cleverest performers in the business.'

A critic wrote that 'since the days of Harry Kennedy genuine ventriloquists have been rather scarce' and that 'many so-called ventriloquists have faked their way to fame,' but Vernon 'is earning his Orpheum salary because he delivers the goods.'

A critic wrote that Vernon 'talks out loud without moving his lips' and said 'Vernon, however, is earning his Orpheum salary because he delivers the goods,' noting that since Harry Kennedy's days genuine ventriloquists have been scarce and many so-called ventriloquists have faked their way to fame.

A review at the Orpheum (Sept. 16, 1906) said 'Coram is like no other ventriloquist in the world, in that he operates the dummy and perfects his illusions while many feet away from the figure.'

The New York Clipper, quoted in a Sept. 16, 1906 Orpheum item, said: 'O. M. Mitchell is a ventriloquist in a class by himself. He appears on the program under the caption of "The Phenomenal." He is said to have some new effects in throwing his voice that are novel and startling. He also has some patter that is a scream.'

At the Orpheum theater (week of Sept 22, 1906), critic called O. M. Mitchell 'undoubtedly the best ventriloquist who has ever been seen here,' noting he 'can throw his voice about the length of a city block.'

At the Orpheum theater (per Sept 22, 1906 newspaper), critic called O. M. Mitchell 'undoubtedly the best ventriloquist who has ever been seen here,' noting he 'can throw his voice about the length of a city block.'

Coram, the English ventriloquist making his first tour of America, was in his second and last week at the Orpheum theater (Minneapolis, per Minneapolis Journal, Sept. 27, 1906); reviewer said his voice 'grows bigger and more powerful than that of any ventriloquist ever heard here.'

Trovollo, described as 'a European ventriloquist with an act something different from the ordinary run,' appeared at the Orpheum for Christmas week, performing a comedy drama titled 'The Hotel Office' and introducing 'a number of unique ventriloquial novelties'; clipping dated 1906-12-22.

A review said of Trovollo the ventriloquist that despite being the headliner, 'the other nets are good' and that he 'doesnt provide a dry moment in his act' (Orpheum bill, per 1906-12-26 newspaper).

At the Majestic Theatre (week of Feb. 5, 1907), G. W. Williams, a ventriloquist, was called by many the best act on the bill; his 'imitations and his act in general' were praised as 'very high class,' amusing all classes of theatre-goers, and he was liberally applauded at both performances.

Hugh J. Emmett, billed as 'The Renowned Ventriloquist,' performed 'new and wonderful voice throwing experiments' at the Bijou Theatre on Thursday, Friday, and Saturday, March 1907, with admission 10 cents.

A review quoted in the paper said Kahe's ventriloquist act 'came in for their share of well-deserved applause' during the Gorton's Minstrels show at the Tampa Bay Casino.

The Bijou Theatre in Grand Forks, N.D. offered matinees daily at 2:30 and evenings from 7:30, continuous, with admission 10 cents, during Hugh J. Emmett's ventriloquist engagement in June 1907.

The Bijou Theatre in Grand Forks, N.D. billed Hugh J. Emmett the ventriloquist alongside moving pictures ('Lost in the Alps' and 'The Boar Hunt') and illustrated song singer Frank Holliday, admission 10 cents, around June 5-6, 1907.

A review of the Star Theater's opening bill said 'Dervin, the ventriloquist, caused many to marvel at his excellent display in this line.'

A review of the Star Theater's opening bill said 'Dervin, the ventriloquist, caused many to marvel at his excellent display in this line.'

At the New Crystal Theater, Albuquerque, admission for matinees was 10 and 20 cents and for evenings 10, 20 and 30 cents, during the week of Sept. 23, 1907 when a ventriloquist billed as 'The Great VCR VALIN' appeared.

The Great White Show Co. of Chicago carried what were said to be 'the finest set of ventriloquist figures ever manufactured,' made in London, England, especially for Prof. White, six figures costing $1000, appearing at the Opera House in Meade on Friday evening, Feb. 7, 1908, with a program of legerdemain, ventriloquism, second sight, and spiritualistic work; prices 15, 25, and 35 cents.

Charles Carroll, described as 'a ventriloquist of no mean powers,' performed at The Theatre in Montgomery on the vaudeville bill reported 1908-03-03; his dialogue was called excellent and his singing good, using a 'nigger and white boy' figure act with a man and woman, plus a dummy shown seemingly chewing tobacco.

At the Orpheum theater (week of March 14, 1908), Hyman Myer was billed as a comedy pianist; a critic wrote he 'does not pose as an imitator or a ventriloquist, but who is both, combining his unique talents in a medley of curious stunts.'

A review said Mr. and Mrs. George W. Hussey's ventriloquial musical act 'furnished much amusement' and that they were 'probably as good in this line as any similar performers who have made the circuit' (New Phillips Vaudeville Theatre, April 1908).

Al Baker the ventriloquist gave an entertainment at The Casino in Sharon, Connecticut on a Friday evening in early May 1908, under the auspices of the Sharon High School class of '08, followed by a dance with music from Turner's orchestra of Lakeville; the class realized about $15.00.

A newspaper review called A. O. Duncan 'a ventriloquist of considerable note' and said he had 'an entirely new act this year, something different from the average ventriloquial act' (Orpheum, August 1908).

A. O. Duncan, billed as 'America's Representative Ventriloquist,' performed at the Orpheum theatre (week beginning Sunday, August 2) on a bill with Midgely & Carlisle, Raffin's Simian Performers, Vinie Daly, Melville & Higgins, and The Edgertons; evening prices were 25c, 50c, 75c, box seats $1.00, matinees 10c, 25c, 50c.

Chas. Carroll, billed as 'Ventriloquist,' performed at the Dreamland Theatre alongside 'Gertrude & Robert Day' (musical and land pictures act); admission was 10c for adults and 5c for children, per a 1908 newspaper.

A Salt Lake City newspaper (Orpheum theater bill, October 1908) called Mabel Sinclair's act 'the best work in ventriloquism ever seen here,' saying her dummy figures 'appear to be almost human.'

At the Orpheum in Salt Lake City (reported Oct. 5, 1908), a critic wrote: 'As a ventriloqual artiste Mabel Sinclair did the best work in ventriloquism ever seen here, and her dummy figures appear to be almost human, so perfectly does she do her work.'

A reviewer wrote of Mabel Sinclair's Orpheum act: 'She has an act that is the acme of perfection, and so perfect is the illusion that one cannot refrain from believing that the dummy figures are real.'

At the Orpheum theater (week of October 10, 1908 issue), young woman ventriloquist Miss Mable Sinclair performed with a figure, described as 'a master of her profession'; with a cigarette between her lips and dressed in a Worth creation, she made the figure 'apparently sing and converse in a manner that is not only entertaining, but truly surprising.'

At the Orpheum (Salt Lake City, per Jan. 31, 1909 paper), a critic wrote 'A ventriloquist of international repute is the way Vernon is heralded,' noting 'his work is highly artistic and the figures he uses are so lifelike that they seem really to be living objects,' and that he had appeared there once before.

Vernon, billed as 'a ventriloquist of international repute,' appeared at the Orpheum theater (Salt Lake City) as reported January 31, 1909; the review said his work was 'highly artistic' and his figures 'so lifelike that they seem really to be living objects.'

A critic wrote of Vernon the ventriloquist: 'His automatons appear to be real living beings,' in a Salt Lake City Orpheum review dated 1909-02-01.

A reviewer wrote that Vernon 'keeps the audience in a gale of laughter by his marvelous work with his dolls' (Orpheum, Salt Lake, 1909-02-04).

W. E. Whittle, billed as 'The Celebrated Ventriloquist,' performed an act titled 'President Roosevelt on the Battlefield' at the Orpheum, with a bill including Helen Grantley, Leo Filer, Farrel Taylor and Co., Flo Adler, Dierich Bros., and George Austin Moore; program week of March 27, 1909 (evening prices 25c-75c, box seat $1.00).

Orpheum theater's evening prices were 25c, 50c, 75c, box seat $1; matinee 15c, 25c, 50c, box seat 75c, for the bill including ventriloquist W. E. Whittle.

At the Orpheum's March 28, 1909 vaudeville bill featuring ventriloquist W. E. Whittle, evening prices were 25c, 50c, 75c, box seat $1; matinee prices were 15c, 25c, 50c, box seat 75c.

Whittle, billed as 'the ventriloquist,' performed at the Orpheum theater, presenting 'something new in ventriloquism'; a reviewer called him 'a remarkable performer' whose work was 'the best ever seen upon the Orpheum stage,' per a review dated 1909-03-29.

Whittle, the ventriloquist, performed at the Orpheum theater (article of March 29, 1909), presenting 'something new in ventriloquism'; the reviewer called him 'a remarkable performer' whose work is 'tho be[s]t ever seeu upon tho Orpheum stage.'

W. B. Whittle, 'the English ventriloquist,' performed at the Orpheum theater with a 'wonderful performance with his...' act, described as excellent and humorous (per this 1909-03-30 review).

At the Orpheum theater this week (week of March 31, 1909), a critic wrote 'Whittle is a mighty good ventriloquist,' as part of a bill including Farrel-Taylor company, Helen Grantley and company, Flo Adler, Master Leo Filler, George Austin Moore, and the Dierichx Brothers.

At the Orpheum (State street), W. E. Whittle performed a ventriloquist act with an impersonation of 'the modern Tartarin of Tarascon,' described by the critic as 'about the best ventriloquist act that has been seen on State street.'

At the Orpheum (State street), W. E. Whittle performed a ventriloquist act with an impersonation of 'the modern Tartarin of Tarascon,' described by the reviewer as 'about the best ventriloquist act that has been seen on State street.'

The Garrick Theatre's matinee show (with the ventriloquist act) was managed and owned by W. L. Dockstader, matinees priced 10 and 25 cents.

Ver Vallin, billed as a ventriloquist, was the main feature of 'The Wood Family' program at the Majestic Theater (Bemidji, Minn., per paper's June 24, 1909 issue); the paper called him 'a wonder' and urged readers not to miss the week's bill.

Griff, billed as 'the Juggling Joker' and described as 'an entirely new stunt' for the Orpheum circuit, was reviewed as talking, acting, a droll comedian, and 'an extraordinary ventriloquist' whose act 'catches all'.

A reviewer wrote that 'from the moment he stepped on the stage until he left the quarter deck of the mock battleship the big theater resounded with laughter and applause' (American Music Hall, 1909-10-03).

Jas. T. Dervine, ventriloquist, performed at the Goodwin Opera House (Tempe, Arizona) on a Wednesday evening as part of the Great Albini company's show; the review said he had 'perfect control over his voice,' worked with 'several figures,' and gave pleasing imitations, called 'certainly a very clever performer' (article dated 1909-10-08).

Jas. T. Dervine, ventriloquist, performed at the Goodwin Opera House on a Wednesday evening (per Oct. 8, 1909 newspaper); the reviewer wrote 'Probably the best work of the evening was that of Jas. T. Dervine, the ventriloquist... never before has one been seen here who had such perfect control over his voice as Mr. Dervine.'

A reviewer wrote of the Orpheum newcomer: 'He is a rarely clever ventriloquist,' noting he added to his act 'by introducing a variety of humorous incidents; using his automatons in an unusually unique fashion.'

A review of the Orpheum, Oakland bill called him 'a rarely clever ventriloquist' whose act was 'one of the most novel acts ever presented,' using his automatons in 'an unusually unique fashion.'

Lew Woods, billed as 'That ventriloquist,' performed at The Star Theater (per 1909-11-08 issue) presenting an act in a 'Theatrical Agency' setting featuring his 'smoking boy' figure, described as 'one of the very best ventriloquists in the business,' on a bill with Lew Roberts, Scotty, and De Rosas Troupe of trained animals; admission was 10 cents for adults.

A review called Lew Woods 'one of the very best ventriloquists in the business,' saying his act was 'secured at a big expense' for The Star Theater and 'will send you all away laughing.'

A newspaper (Nov 20 1909) called Reynard 'the greatest ventriloquist who ever appeared at an Orpheum theater,' noting he is billed with a special distinction and 'has gone to a world of trouble and expense to stop his offering'; he entered in a huge automobile followed by a procession of dummy figures moving across the stage at his command.

Joe Knapp presented 'Daniel the Ventriloquist and Slight of Hand Artist' at Alcorn's Opera House, Hustonville, Ky., on Wednesday, November 24, 1909 (Thanksgiving Eve); admission was 15c for children and 25c for adults.

Advertised as 'Daniel the marvel of the century,' billed as a ventriloquist par excellence, appearing at Walton's Opera House on Monday night; admission 10c, 20c, 30c (the latter for reserved seats).

Daniel Daniels, billed as 'the great Magician and Ventriloquist,' was to perform at Walton's Opera House on Monday night, Nov 29, with admission prices of 10c to 30c, no higher.

Billed as 'Daniel the marvel of the century,' a ventriloquist 'par excellence,' performing at Walton's Opera House on Monday night; admission 10c, 20c, 30c (the latter for reserved seats).

Daniel, billed as 'the great Magician and Ventriloquist,' was to appear at Walton's Opera House on Monday night, Nov 29 [1909], with prices 10c, 20c, 30c, no higher.

Daniel, billed as 'the great Magician and Ventriloquist,' was to appear at Walton's Opera House on Monday night, Nov. 29 (1909), with prices 10c, 20c, 30c, no higher.

A critic wrote of Ed. P. Reynard's ventriloquist act at the Orpheum (Nov 27, 1909) that it was 'one of the finest acts in vaudeville' with mechanical effects 'figured to a point of perfection unexcelled in any one-man show on the stage.'

Daniel J. Harrington shared the Monday-Wednesday bill with Walter Bedell Co., The Musical Boudines, Nichols Croix, and Deer Y Francl at Proctor's Theatre, admission 5c.

Palean was billed as 'A Ventriloquist with Art and Production' at the Grand Opera House, described as 'the loader in his line and different from any who has appeared here'; admission was 10 cents.

Palean was billed as 'A Ventriloquist with Art and Production... The leader in his line and different from any who has appeared here,' appearing on a variety bill with Hall Staley's 'The Century Burglars,' the Dill Ward Singers and Dancers, and Francis Ward the hoop roller, at a theater with 10c admission (Grand Opera House, per Jan. 10, 1910 clipping).

A critic wrote of Carl Nobel's Orpheum act: 'Carl Nobel, the Scandinavian ventriloquist, followed them with a demonstration of ventriloquism that was something fierce. Whoever told Carl that he had any class as a ventriloquist, surely steered him wrong.'

Billed as 'Australia's Premier Ventriloquist' and 'Direct from English Music Hall Triumphs' at the DEVILLE theater, opening performance Monday evening at 8, admission 10 and 20 cents, on a bill with Frank Bush, Gladys Van, Lavender Richardson Co., Russell and Horans, The Country Choir, Rice and La Deal, Callan and Niemen, and motion pictures.

Billed as 'Australia's Premier Ventriloquist, Direct from English Music Hall Triumphs' on the opening performance bill Monday evening at 8, DeVille theater (admission 10c and 20c), per this 1910 newspaper listing.

George Lauder, billed as 'Austre!'an [Australian] premier ventriloquist, direct from E:.zlish [English] music hall triumphs,' appeared at the Casino theater, Seventh and F Streets, on a vaudeville bill with Frank Bush and others, per the January 30, 1910 newspaper; admission was 10c and 20c, continuous vaudeville with Monday evening performance at 8.

Marshall Montgomery performed a ventriloquism act at the Orpheum theater (reviewed in a 1910 paper); critic Walter Anthony wrote his dialogue with his manikin 'is not sprightly nor particularly interesting, but his stunts are amazing,' noting he eats, drinks, and smokes while voicing his 'sailor boy' figure and closes with a whistling act while holding the doll and blaming the sound on it.

A reviewer wrote of ventriloquist Marshall Montgomery's turn at the New Orpheum, May 1910: 'Marshall Montgomery, ventriloquist, is in a class by himself... Mr. Montgomery's act is undoubtedly the best exposition of ventriloquy the Orpheum stage has offered.'

The Orpheum theater's bill (1910-05-31 newspaper) included motion pictures ('Story of Ramona') every night at 10c, 50c, 75c, with a daily matinee at 10c and 50c.

A review of an entertainment at the Star Theatre (date given as 1910-06-04) said 'The professor is a good ventriloquist' but mocked his singing as 'nerve rocking rotten putrid'.

Billed as a 'Great Ventriloquist Act' on the bill at the Star Theatre (manager Joe Desberger), Monday-Wednesday, alongside The Jueneits (gymnastic act), Mabel Elaine (singing and dancing), Frank Long (illustrated songs), and moving pictures; admission 10c, children 5c.

An act billed as 'The World's Greatest Ventriloquist,' name garbled in OCR as 'Powers S Paulinaa,' appeared as the third act on the bill at the Star Theatre on June 16, 1910 (per the newspaper's own date), alongside a first motion picture, an illustrated song by Frank Long, and 'La Petit Shannon, The Boy Wonder'; admission was 10 cents for adults, 5 cents for children.

Billed as 'The World's Greatest Ventriloquist' at the Star Theatre, June 16, 1910, on a bill with a motion picture, an illustrated song by Frank Long, La Petit Shannon 'The Boy Wonder', the Shannon Trio, and another motion picture; admission 10c, children 5c.

Billed as 'World's Great Ventriloquist' at the Park Theater, sharing the bill with Miss Ethel May (soprano soloist), George Gardner (Irish dialect comedian), and The Great Crottons (strength act); admission 5c, 10c, 15c; Honolulu, T.H., per newspaper dated 1910-07-25.

Billed as 'World's Great Ventriloquist' at Park Theater, appearing with Miss Ethel May (soprano), George Gardner (Irish dialect comedian), and The Great Crottons (strength act), with Cunha's Orchestra and motion pictures; admission 5c, 10c, 15c (Park Theater, per July 25, 1910 newspaper).

Billed as 'World's Great Ventriloquist' at the Park Theater, appearing alongside Miss Ethel May (soprano soloist from Keith's), George Gardner (Irish dialect comedian), and The Great Orottons (strength act), with Cunha's Orchestra and motion pictures; admission 5c, 10c, 15c.

DYSO, billed as 'World's Great Ventriloquist,' performed at the Park Theater alongside Miss Ethel May (soprano soloist), George Gardner (Irish dialect comedian), and The Great Crottons (strength marvels), with Cunha's Orchestra and motion pictures; admission 5c, 10c, 15c.

Billed as 'World's Great Ventriloquist' on the bill at Park Theater, appearing alongside Miss Ethel May (soprano soloist from Keith's), George Gardner (Irish dialect comedian), and The Great Orottons (strength act), with Cunha's Orchestra and motion pictures; admission 5c, 10c, 15c (per July 26, 1910 newspaper).

Billed as 'World's Great Ventriloquist' performing at the Park Theater, sharing the bill with Miss Ethel May (soprano soloist from Keith's), George Gardner (Irish dialect comedian), and The Great Crottons (strength act), with Cunha's Orchestra and motion pictures; admission 5c, 10c, 15c.

Billed as 'World's Great Ventriloquist' at the Park Theater, appearing alongside Miss Ethel May (soprano soloist from Keith's), George Gardner (Irish dialect comedian), and The Great Crottons (strength act), with Cunha's Orchestra and motion pictures; admission 5c, 10c, 15c (Park Theater program, 1910-07-27 newspaper).

Billed as 'World's Great Ventriloquist' at the Park Theater, on a bill with Miss Ethel May (soprano), George Gardner (Irish dialect comedian), and The Great Crottons (strength act), plus motion pictures; admission 5c, 10c, 15c.

Billed as 'World's Great Ventriloquist' at Park Theater, appearing with Miss Ethel May (soprano), George Gardner (Irish dialect comedian), and The Great Crottons (strength act), with Cunha's Orchestra and motion pictures, admission 5c, 10c, 15c.

Dyso, billed as 'World's Great Ventriloquist,' performed at the Park Theater (as of August 2, 1910), sharing the bill with Miss Ethel May (soprano soloist from Keith's), George Gardner (Irish dialect comedian), and The Great Crottons (strength act); admission 5c, 10c, 15c.

Dyso, billed as 'World's Great Ventriloquist,' performed at the Park Theater (Honolulu) around August 2, 1910, on a bill with soprano soloist Ethel May, Irish dialect comedian George Gardner, and strength act The Great Crottons; admission 5c, 10c, 15c.

Dyso, billed as 'World's Great Ventriloquist', performed at Park Theater alongside Miss Ethel May, George Gardner, and The Great Crottons, with admission 8c, 10c, 18c (Honolulu newspaper, Aug. 3, 1910).

Dyso was billed as 'World's Great Ventriloquist' at Park Theater, sharing the bill with Miss Ethel May (soprano soloist from Keith's), George Gardner (Irish dialect comedian), and The Great Crottons (strength performers), with Cunha's Orchestra and motion pictures; admission 5c, 10c, 15c (Honolulu newspaper, 1910-08-03).

Tyler, billed as 'Ventriloquist' with 'His Wonderful Talking Dolls,' appeared on a bill with performing dogs and monkeys and motion pictures, admission 10c and 15c (Park Theater area, Hawaii newspaper, 1910-08-04).

Prof. Tyler, billed as a ventriloquist with his 'Wonderful Talking Dolls,' appeared at the Park Theater on the night of an 'Entire Change,' alongside the latest motion pictures; admission was 10c and 15c.

Dyso, billed as 'World's Great Ventriloquist,' performed at the Empire Theater with Cunha's Orchestra and motion pictures, sharing the bill with soprano soloist Miss Ethel May, Irish dialect comedian George Gardner, and strength act The Great Crottons; admission was 5c, 10c, and 15c.

Prof. Tyler, billed as 'Ventriloquist ... With His Wonderful Talking Dolls,' performed as part of a vaudeville bill (Casino Musical Comedy Co. related program), 1910, admission 10c and 15c.

Billed as 'America's Representative Ventriloquist' on a vaudeville bill (with acts including Annabelle Whitford, The Fives Olympirus, Frank White and Lew Simmons, Meluosb and Kennedy, De Lion, Pope and Uno, and Orpheum motion pictures), matinee daily at 2:15, evenings at 8:15, Aug. 14, apparently at an Orpheum theater; matinee prices 15c, 25c, 50c, night prices 25c, 50c, 75c.

The White Company of Chicago, billed as 'The Eminent Magicians Ventriloquists,' performed 3 nights at the Lyric (Y-R-I) Theatre, with Cambell Hamilton as proprietors, admission 10 and 20 cents, in an issue dated August 26, 1910.

A reviewer wrote of Derwin: 'Derwin the ventriloquist is not the best the Orpheum circuit has sent out nor the worst. His dialogue is very mellow,' referencing a manikin used in his act.

A critic reviewing the Orpheum circuit act wrote that 'Derwin tho ventriloquist Is not the best the Orpheum circuit has sent out nor the worst,' noting his dialogue was 'very mellow,' using the word in the sense applied to one of his manikins.

'Camm and Thiera' performed an act titled 'The Ventriloquist and the Maid' at the Empire Theatre (Frank A. Keeney, prop.), on a bill with Ed. Rice's Ten School Boys and Girls, the Greater City Quartette, and Wally Fitzgibbons, Sept. 13-14, 1910; matinee admission all seats 10c, evening orchestra 20c, balcony 10c.

The Empire Theatre program's ventriloquist act was said to never fail to get a laugh or other demonstration of appreciation from the audience.

A review of the Empire Theatre program said 'the capers of Will's silent partners in this net [act] never fail to get a laugh or some other demonstration of appreciation,' while other performers on the bill were not always so fortunate.

Ventriloquist 'Crenyon', assisted by his 'Wooden Headed Family', appeared at the Star Theatre (Orangon/Oranyon) on Monday afternoon, part of a program that also included Frank Long singing an illustrated song and Stutzman & May in a farce called 'The Soap Peddler', plus a motion picture play; admission 10c for children.

Pat Wharton, billed as 'the Minstrel Ventriloquist,' performed at the Cosmos Theatre (admission 10c and 20c) around December 5, 1910, on a bill with Dick Bridge & Co. in 'The Runaways,' Hughes Cole, Marion Harrison, Mills & Barron, and Caline Wiseman & Co.

A review at the Coliseum theater (Phoenix, per source) on Dec. 21, 1910 called Billy Sharrott 'a ventriloquist who is different from all others,' saying he uses only one figure, a departure from the ordinary ventriloquistic act, and that 'one simply can't help believing that he really throws his voice.'

Billy Sharrott, a ventriloquist, performed at the Coliseum (Phoenix) around December 21, 1910; a review said he 'is different from all others' and 'more clever than all others,' using only one figure, a departure from the ordinary ventriloquistic act, and called him 'probably the best ventriloquist who ever lived.'

Billed as 'Musical Ventriloquist' at the New Opera House, Washington D.C., polite vaudeville program changing Mondays and Thursdays, admission 10 cents, per Dec 22, 1910 ad.

Will Adams, billed as 'Musical Ventriloquist,' appeared at the New Opera House ('Polite Vaudeville,' program changed Mon. and Thurs.) per the 1910-12-22 Washington, D.C. newspaper, admission 10 cents, sharing the bill with George Lewis (German comedian) and The Barbaries.

At the Orpheum (per a review dated December 26, 1910), the ventriloquist Howard performed with his manikins; the reviewer wrote 'Howard breaks the record for long and short distance ventriloquism. If you don't like ventriloquists any more hear Howard.'

Richard Nadrage, the ventriloquist, pleased his audiences on the Orpheum bill (as reported in a 1911-01-14 newspaper), sharing the bill with El Cota, Billy Farnum and the Clark sisters, Alf Grant and Ethel Hoag, Jewel's manikins, and Mona Ryan and company.

Howard, described as 'the Scotch ventriloquist,' 'has made a hit with his finished work' at the Orpheum (review from Jan 18, 1911 newspaper, Alameda area).

The reviewer wrote that his work 'is both high class and entertaining' and called him 'the peer of them all' among ventriloquists who had appeared at the Orpheum.

Frank Rogers appeared as a ventriloquist at the Orpheum this week (week of March 8, 1911); the review called him 'a marvel' and said 'the manner in which he handles his dolls is far ahead of anything of the kind seen in many days,' with bright, snappy patter that kept the audience in a constant uproar of laughter.

Frank Rogers, billed as a ventriloquist at the Orpheum this week (week of March 8, 1911), was called 'a marvel' whose handling of his dolls was said to be 'far ahead of anything of the kind seen in many days,' with 'patter' described as bright and snappy, keeping the audience in constant uproar of laughter.

A critic wrote that 'either on or off the Orpheum stage, Mr. Rogers is in a class by himself as a ventriloquist.'

A critic wrote that 'either on or off the Orpheum stage, Mr. Rogers is in a class by himself as a ventriloquist.'

Frank Rogers, described as 'the colored ventriloquist,' performed on the Orpheum bill of the week (week of March 11, 1911); the review called him 'a wonder' and said unlike many ventriloquists seen before, audiences need have no fear of being entertained.

Described as 'the colored ventriloquist' and called 'a wonder' on the Orpheum bill of the week, with the reviewer noting that despite many ventriloquists having been seen, no one need fear being disappointed by Mr. Rogers.

A review said Hilda Hawthorne 'is a clever ventriloquist, whose act escapes detection even under the closest scrutiny' and also praised her soprano voice, at the Orpheum, April 1911.

Frank Rogers performed as a ventriloquist at the American Music Hall, Chicago, in a bill reviewed on May 12, 1911; the reviewer called him 'of average ability,' noting many other ventriloquists were more versatile and humorous.

G.K. Crenyon, described as 'an English ventriloquist', performed at the Orpheum Theatre; the review noted he 'shows a wider range of work than most men in his line, having a half a dozen dummies' and that his chorus song, in which all participate, is his best effort, with the finish where the cat gets into the game causing laughter.

A critic at the Orpheum wrote that Reynard 'is a ventriloquist of unusual ability nnd his act is rather elaborate for one of that character,' noting good scenic effects and that he 'goes in' for comedy, producing 'a very generous supply of laughs.'

A critic wrote that Tilford, the American ventriloquist, 'kept the audience guessing yesterday as to where his voice really was, for which mystification he received hearty applause,' at the New Lyceum Theater.

A review said of Tom Boce's ventriloquism act at the Victoria Theater, 'There is a lot of fun in the art of ventriloquism, when it is properly produced... Boce is a class by himself. The act is along original lines.'

At the Orpheum theater (Salt Lake City, per 1912-03-11 paper), a performer whose name is OCR-garbled as 'A. O. Dunenn' was described by the critic as 'a good ventriloqui[s]t,' appearing on the same bill as the 'Si Sieppein' step dancers and 'The Potts' bag-punching act.

Lested, described as 'the most famous of all American ventriloquists,' performed at the Orpheum Theatre (per a 1912-05-05 newspaper), throwing his voice while eating, drinking, and smoking, and walking through the auditorium without visible lip movement.

A reviewer wrote that 'The great Lester demonstrates that the ventriloquist still wields his magic charm over young and old' and that his act 'holds his audience during the 20 minutes he is on the stage' (Oakland Orpheum, per May 19, 1912 newspaper).

A reviewer wrote that 'The great Lester, ventriloquist, gathers a good share of the applause. He kept the audiences in laughter throughout his performance,' at the Oakland Orpheum, May 1912.

Reviewer wrote that 'The great Lester, ventriloquist, gathers a good share of the applause. He kept the audiences in laughter throughout his performance,' Oakland Orpheum, 1912.

A reviewer wrote that 'The great Lester, ventriloquist, gathers a good share of the applause. He kept the audiences in laughter throughout his performance,' Oakland Orpheum, 1912-05-20.

The reviewer wrote that 'The great Lester, ventriloquist, gathers a good share of the applause. He kept the audiences in laughter throughout his performance' (Oakland Orpheum, May 20, 1912).

Trovollo, described as 'the wonderful ventriloquist' with 'a large production, many figures to assist him and a quantity of unique stage effects,' topped the bill at what the article calls the Orpheum in Birmingham; the reviewer called him 'probably the best ventriloquist that Birmingham has ever seen,' noting he could change his voice from a baby's to an old man's, in a performance reported Sept. 3, 1912.

Laurence Johnston, billed as a ventriloquist, performed at the Murray Theater; a review called him 'one of the best ever heard in this city,' noting his one impersonation was 'interesting and out of the usual run' of such vaudeville acts.

Tilford's act with his figure ("subject") included comic routines about a "matrimonial agency" that would not send photographs to applicants demanding more than a $10,000 bonus, as reported at the Garrick Theatre in 1912.

Miss Mabel Johnston, billed as 'a woman ventriloquist,' performed on a vaudeville bill reviewed October 8, 1912; the critic wrote 'Her imitation of the circus barker is a good piece of work,' on a bill that also included the Six American Beauties, Cal Stewart, Shipps Comedy Circus, Al Espe, and Laura Roth, with music by the Pantages orchestra.

Miss Hilda Hawthorne performed at the Orpheum (per Nov 10, 1912 newspaper) and was described as 'one of the few women who masters the art of ventriloquism'; she was also noted as a soprano of merit.

At the Orpheum (per a November 10, 1912 clipping), Miss Hilda Hawthorne was described as 'one of the few women who masters the art of ventriloquism' and also noted as 'a soprano of merit,' appearing on a bill with Nellie Nichols, Robert and Lawrence Ward, Charles Olcott, Dane Claudius and Lillian Scarlet, and a dog act under trainer Ed Meredith.

Howard, 'the ventriloquist,' was a headline act at the Orpheum, performing a Scotch sketch titled 'At the Doctor's' featuring two mannikins described as 'Scotch boys,' including a comic tooth-extraction bit; the review said 'he is no average ventriloquist' and that his figures' 'prank and chatter' were 'so realistic' one 'almost forgets the clever performer.' Dated 1912-12-16.

A critic wrote that Elwood-Snow and Company 'presented a ventriloquial novelty that was more than ordinarily good' and that 'Mr. Elwood is the superior of most ventriloquists on the stage,' with an act 'appreciated by the audience' (Orpheum theater review, Dec 31 1912).

A critic wrote of the Orpheum act (Dec. 31, 1912): 'Mr. Elwood is the superior of most ventriloquists on the stage, and he has an excellent vehicle with which to display his ability... His act was appreciated by the audience.'

At the Cosmos Theater, Washington D.C. (reviewed Feb 4, 1913), Maximo, described as 'a clever ventriloquist,' performed with manikins on a bill with the Shaeffer sisters, Josie Flynn, Van and Vadette, and the Carl Dammann acrobatic troupe; reviewer wrote Maximo 'makes them talk as few girl ventriloquists have ever done in Washington.'

The newspaper called A. O. Duncan 'one of the best entertainers in his line who has ever been here,' noting he was 'a good singer and a man of pleasing personality, as well as being a good ventriloquist,' with an elaborate scenic outfit (Garrick Theatre, Feb. 21, 1913).

At the Hippodrome (per the March 7, 1913 newspaper), Howard Martel'e was described as 'a good ventriloquist' who 'causes a wooden doll to become almost human both in notions and speech,' appearing on a bill with the Chas. William Company and the comedians Morris and Collins.

At Poli's Theater vaudeville bill (per the Poli Press Agent column, dated 1913-06-17), Vannie, a ventriloquist, was described as 'out of the ordinary,' appearing alongside George Armstrong, the Three Laural Girls, Ollie and Flo Walter, Dubois the comedy juggler, and the Wallie Trio.

A reviewer wrote of Miss Bonner's Orpheum performance: 'As a ventriloquist Miss Bonner has few equals, and none superior ever came North.'

The reviewer wrote that Tilford 'has mastered the ventriloqulal art to a pleasing degree of certainty' and that his 'double monologue is clean and amusing' (Pantages theater, week of Aug 26, 1913).

At the Pantages theater (bill reported October 19, 1913), a critic wrote that 'Tilford, ventriloquist, is not only skilled in his art but has found new ways of putting it before the audience.'

A critic wrote of Lester at the Orpheum: 'Lester, the ventriloquist, is a hit on any bill. He has an original manner, a good line of talk and is pleasing performer... he lets the figure do practically all the talking.'

George Lauder, billed as 'the ventriloquist,' performed at the Orpheum theatre in Fargo; a review called him 'a wonder,' noting his act's accessories were 'unusually novel and varied' and that 'his face was absolutely immobile' (Fargo, week of Nov. 28, 1913).

George Lauder, billed as 'the ventriloquist,' performed at the Orpheum theatre in Fargo; a reviewer called him 'a wonder' with accessories 'unusually novel and varied' and noted 'his face was absolutely immobile' (Fargo, week of Nov. 28, 1913).

At the Orpheum theater (week of Jan 31, 1914), a critic wrote that Marshall Montgomery 'is not only an extraordinary ventriloquist, but has an ability to put over the clever little touches that go to make up a successful monologist.'

At the Orpheum theater, a ventriloquist act by Nan Acker and company was said to be 'immense' and 'filled with comedy,' part of a bill that also included the diver 'Enoch' and Arganta, as reported in a paper dated 1914-01-31.

At the Orpheum theater (week of Jan 31, 1914), a review said Marshall Montgomery 'is not only an extraordinary ventriloquist, but has an ability to put over the clever little touches that go to make up a successful monologist,' though his opening material was 'a bit too fast for some audiences.'

Florence Raymond, described as 'the English ventriloquist,' appeared as a novelty act and 'got the biggest laugh of the performance' by working on the audience's imagination, per this 1914 Orpheum theater review.

A Richmond newspaper (Murrette Theatre program, April 1914) said of Frank Rogers, 'the only colored man doing an act of this kind,' that he was 'very clever, it being impossible to see his lips move during the course of the act.'

A critic wrote that 'Ray Conlin is a ventriloquist of extraordinary ability,' performing on an Orpheum theater bill alongside John and May Burke, Clarke and Verdi, Sammy Burns and Alice Fulton, and Bertie Ford, with orchestra led by Levi Harmon, Jr. (per a 1914-09-05 newspaper review).

A reviewer wrote of Hugh Emmett's ventriloquial act at the Empire Theatre: 'Mr. Emmett Is so different from other ventriloquists that his work stands out both on account of its originality and the novel way In which the entire act is presented' (1914-09-22 newspaper).

Ventriloquist A. C. Duncan was appearing at the Garrick Theatre the week of Sept. 24, 1914, and a critic wrote his act was 'one of the best ventriloquist stunts that has ever been here,' noting he had 'absolute control of his voice' and could 'throw it' into his subjects with no apparent muscle movement.

Marshall Montgomery, described as a clever ventriloquist, played the Orpheum; his act was called 'always fresh and full of clever comedy and laughs,' and he also sings, talks, and laughs while drinking water and smoking.

Billed as 'The Boy From The South,' a ventriloquist act described as 'a big scream,' performing at the Opera House in Americus, Ga., week of October 26, 1914, alongside Webb, Dumont & Co. and three reels of pictures; admission 10c and 15c, matinee Wednesday.

Valentine Vox, ventriloquist, performed at the Orpheum theater (bill reviewed in a December 7, 1914 newspaper); the reviewer wrote 'the audience seemed to enjoy Valentine Vox, ventriloquist, the most. Vox has plenty of new jokes and is a fairly good singer.'

A review in the newspaper said Whittle, the ventriloquist, 'presents an excellent act' at the Cosmos Theater, week of December 29, 1914.

In a production of 'The Poor Little Rich Girl' at the National Theater, critic wrote that 'A. Allhouse brought both the art of the ventriloquist and the impersonator' to the show.

The Great Lester, described as 'an extraordinary ventriloquist,' was the hit of the new bill at Pantages theater (per the Alexandria/other paper, 1915-03-16); the review said 'His work is wonderful.'

A 1915 review said of Winona Winter's Orpheum act: 'A number of clever songs, pleasingly sung, an impersonation or two and an original bit of ventriloquism, makes a nicely arranged act that pleases.'

A reviewer wrote that 'Howard Martelle proved to be a clever ventriloquist' in the New York Cabaret Revue at the Century Theater.

The White Co., described as 'world's famous Magicians and Ventriloquists,' were booked to appear at the Unique Theatre in Ladysmith on Thursday, Friday and Saturday, September 16-18, 1915, admission 10 and 15 cents.

A critic wrote that 'Lester, the ventriloquist, pleases with his comical dummy' in a review of the Orpheum vaudeville bill dated 1916-03-04.

A critic wrote: 'Ed. Reynard is a ventriloquist that can travel anywhere in high class company. His act is novel in arrangement and the chatter exceptionally good,' in a review that also mentions Mlle. P. Anca performing at the Pantages theatre that week (1917-08-18).

At the Nixon-Colonial Theatre, a critic wrote that 'The Great Howard,' a ventriloquist, 'showed that he is one of the best performers in his particular line of entertainment.'

At the Nixon-Colonial Theatre (per the newspaper dated 1917-10-30), a critic wrote that 'The Great Howard,' a ventriloquist, 'showed that he is one of the best performers in his particular line of entertainment.'

A reviewer at the Orpheum Theater wrote that James Dervin 'the ventriloquist was working' and that some in the audience were 'unable to control their mirth,' though the reviewer called his act 'the least meritorious' on the bill.

James Dervin, billed as 'Comedy Novelty Ventriloquist,' performed at the Orpheum Theater on a mid-week bill; a reviewer wrote that although the audience could not control their mirth during his act, 'his act was the least meritorious' on the bill, which also included Stanley and Virginia, Vance and Taylor, and Edward's Song and Dance Review (Orpheum Theater, March 28, 1918).

A reviewer wrote that Martelle, as ventriloquist, 'shows a number of features that are above ordinary ventriloquist accomplishments' (Palace theater, May 1919).

A critic wrote that Alf Ripon 'has an amusing line of patter, some good songs and disguises his work splendidly,' and noted 'his life-size automatic figure also different' (Orpheum review, 1919-06-09 paper).

A reviewer wrote that Valentine Vox 'keeps the crowd wondering and laughing with the jokes and songs his dummies put over' (Pantages Theater, 1919).

Ray Conlin, billed as a ventriloquist, performed on the Pantages bill; the reviewer called his act clever and said he is 'a speed artist in his line' but noted his comedy 'dropped a little below the quality we expect for the admission charged at Pan.'

At the Pantages theater (Bulletin, 1919-07-29), critic wrote of ventriloquist Ray Conlin: 'presented a clever act and demonstrated that he is a speed artist in his line,' though noting 'his comedy... dropped a little below the quality we expect for the admission charged.'

Billed as a ventriloquist at the Great Palace theater vaudeville bill (week of Oct 21, 1919); reviewer wrote 'The Great Lester, ventriloquist, proved as popular as ever. His work is yet to be equalled.'

A critic wrote of The Great Lester's ventriloquist act at the Great Palace theater: 'proved as popular as ever. His work is yet to be equalled.'

A performer billed as 'Gaby,' described as 'comedian and ventriloquist,' was reviewed as 'a ventriloquist of a new order, whose work is dissimilar from the ventriloquial acts with which vaudeville audiences are familiar,' appearing on a bill with Shirli Rives, Billy Arnold, Regal and Mack, Creamer, Barton and Sparkling, and the Leach Waller trio (newspaper dated 1920-01-18).

A 1920 review called Lee Stoddard 'credited with being one of the most accomplished [ventriloquists] in American vaudeville,' noting his eccentricities were said to be brimming with merriment.

Gaby, described as 'a ventriloquist of a new order, whose work is dissimilar from the ventriloquial acts with which vaudeville audiences are familiar,' appeared on the same bill as Frank Laity (reported Jan. 18, 1920).

Lee Stoddard, billed as a ventriloquist, performed at a venue reviewed in a January 19, 1920 newspaper; the reviewer said he could make his voice 'drift to any point of the compass, at will' and 'carries on a three-cornered conversation all by himself,' comparing his skill to a Harry Lauder talking-machine record.

McCormick said that while riding a train about twelve miles outside a Canadian town, he used his ventriloquist voice to say the town's name aloud, causing fellow passengers (including his wife) to mistakenly gather their belongings and prepare to disembark.

A newspaper blurb said of Lester: 'Ventriloquism is his line but so different, so far above the others is he that he makes his accomplishment an original art.'

A critic wrote of Billy Syrratt: 'As a ventriloquist, Syrratt is all to the good,' noting there was 'not the slightest move of the lips' during his act at the Hippodrome.

A reviewer wrote of Billy Syrratt's ventriloquist act at the Hippodrome: 'As a ventriloquist, Syrratt is all to the good,' noting he sat and smoked a cigarette while carrying on a dual conversation with 'not the slightest move of the lips' as the words seemed to come from the dummy.

Captain Powers Co. performed a 'big ventriloquist act' at the Ulane Theatre and later at the Harte Theatre, admission 6 and 17 cents, as reported in a 1920-02-27 newspaper.

At the Harte Theatre in Bennington, Captain Powers & Co.'s ventriloquist act was billed alongside 'Mystery Girl' with Ethel Clayton and other films; admission was 6 and 17 cents.

At a Pantages circuit theater (bill printed in a paper dated 1920-03-02), Fred Allen 'has a singing and talking act in which he injects a bit of ventriloquism,' on a bill with Haas brothers, Lucie Bruch, and McGrath and Deeds.

At a Pantages circuit theater (bill reported 1920-03-02), Fred Allen presented a singing and talking act into which he injected 'a bit of ventriloquism,' on a bill with Haas Brothers, Lucie Bruch, and McGrath and Deeds.

Marshall Montgomery, described as 'a clever ventriloquist,' appeared on the new continuous vaudeville bill opening today at the Palace theater in Milwaukee, alongside The Wintergarden Girls and the film The White Dove starring H. B. Warner.

Marshall Montgomery, described as 'a clever ventriloquist,' appeared on the new continuous vaudeville bill opening today (1920-03-29) at the Palace theater in Milwaukee, alongside the Wintergarden Girls' style revue.

Marshall Montgomery, described as a 'well known ventriloquist,' performed at the Palace theater (continuous vaudeville, week of 1920-03-30); the review noted 'His act is the same but the jokes are new.'

Marshall Montgomery, described as a 'well known ventriloquist,' appeared again at the Palace theater's continuous vaudeville bill (week of March 30, 1920); his act was the same but with new jokes.

Billed as 'Vaudeville's Versatile Ventriloquist' at the Pantages theater with a bill opening April 1, 1920; his act was described as one of the most sensational ventriloquist acts in the country.

At the Hipp (Hippodrome) vaudeville, part of the Jean Belasco company's three-day engagement, a critic wrote of the ventriloquist act (performed by a team billed as something like 'Itarevy and Dael', name garbled in OCR): 'The ventriloquist act as a whole is the strongest of its kind ever seen here, the lady in the team being particularly clever.'

A critic wrote of a ventriloquist act in the Jean Belasco vaudeville company at the Hipp theater (April 1920): 'The ventriloquist act as a whole is the strongest of its kind ever seen here, the lady in the team being particularly clever.'

Wallace and McCarmack performed an act called "The Vale of Ventriloquism" on the bill at the Cosmos Theater (Washington, D.C. area) the week of May 20, 1920, alongside Mme. Zanda and the Mystery Band and others.

Wallace and McCarmack performed an act called 'The Vale of Ventriloquism,' billed at the Cosmos Theatre for the week of May 20, 1920.

Billed as 'Grace DeWinters, ventriloquist' on the vaudeville bill at the Orpheum theater, in a program described as 'A Ventriloquil Surprise,' with performances given through May 22, 1920, sharing the bill with Harry Cooper, the Dedic Veldi Trio, and Petty Heat and company.

A reviewer at The Murray called Mr. Coleman 'a clever ventriloquist' whose dummies appear to walk off stage unexpectedly at the finish of the act.

Wallace and MacCarmack furnished a ventriloquism act, described as 'scenic as well as funny and pleasing,' on the Cosmos Theater vaudeville bill in Washington, week of May 25, 1920.

Coleman and Ray, billed as 'The Millionaire Ventriloquists,' performed at the Murray Theatre in vaudeville on 1920-05-25, presenting walking dummies and walking dolls; Mr. Coleman was described as 'a clever ventriloquist.'

Billed as an act described as 'an unusually well staged act of ventriloquism' with comic scenic features, appearing on a vaudeville bill alongside Mme. Zenda, Black and White dancers, and Chick and Tiney Harvey (newspaper dated 1920-05-25).

Performed ventriloquism, described as 'scenic as well as funny and pleasing,' on the Cosmos Theater vaudeville bill in Washington (newspaper dated 1920-05-25), alongside George Lovett's 'Concentration' with Madam Zenda, Black and White, the Clipper Trio, A1 Lester and company, the Marlyns, and Chick and Tiney.

Admission to Prof. J. D. Hicks' performance at The Gem Theatre in Calico Rock was 25 cents for adults (children's price illegible in OCR).

On a vaudeville bill reviewed in a 1920-06-29 newspaper, an act billed with 'Frear, Baggott and Frear' included a ventriloquism act described as 'a surprisingly good demonstration of his powers as a ventriloquist'; the performer's name is too garbled in the OCR to confirm.

Frank Uabby (name possibly garbled by OCR) gave a demonstration of ventriloquism as part of the week's vaudeville bill at the Coliseum Theater, reported in a 1920-06-30 newspaper item.

The newspaper called Valentine Vox 'a ventriloquist of exceptional talent' with an act 'novel in the extreme,' and said he had 'gained the reputation of being vaudeville's foremost ventriloquist.'

The newspaper called Valentine Vox 'a ventriloquist of exceptional talent' with 'unusual powers of voice throwing,' saying he had gained 'the reputation of being vaudeville's foremost ventriloquist.'

Mr. and Mrs. Hugh Emmett performed a ventriloquism act described in a 1920-07-20 review as 'a delightful offering of ventriloquism, which is novel, highly entertaining and scores heavily in popular favor,' on a vaudeville bill with the Celestial Trio, the Carlos, Hayward and Lee, Jim and Flo Bogart, and Judson Cloe.

A review said 'Marshall Montgomery is a ventriloquist that ranks high in his line' and noted he had 'a line of jokes that are really funny' aside from making the dummy talk (per Aug 10 1920 newspaper).

A review of the Pantages vaudeville show at the Palace theatre called Mr. Coleman 'a remarkable ventriloquist' whose act 'is good in comedy.'

Coleman and Ray performed 'walking dolls' act as part of Pantages vaudeville at the Palace theatre, reviewed Tuesday evening (Aug. 1920); Mr. Coleman is described as 'a remarkable ventriloquist' and the act was called good comedy.

Marshall Montgomery, described as an 'exceptional ventriloquist,' 'won laughs with his talented dummy' in a vaudeville show that also featured Primrose's Minstrels, Albert Perry and company, and Miller and Lyles, reported in a 1920 newspaper (Sept. 7, 1920 issue).

Frank Gaby, billed as performing 'Original Impressions,' is described in an Orpheum theater review (Oct 2, 1920 paper) as a ventriloquist who 'no longer uses a dummy,' having dropped the figure this season; the reviewer calls him 'an exceedingly good' ventriloquist and says he is 'the only ventriloquist who carries on a conversation' in a three-voice dialogue act, which included an impression of 'a tired business man at home in the evening after a hard day's work.'

Frank Gaby, billed as a ventriloquist, is called 'an exceedingly good one' whose act 'Original Impressions' 'has scored heavily at all Orpheum theaters.'

Fred and Catherine Webster appeared with a ventriloquial novelty act on a vaudeville bill (Orpheum circuit), alongside acts including the Masuma Japs, Vera Walton, and Coakley & Dunlevy; reviewer said 'their ventriloquial novelty is one of the best anywhere and many a worse act of the kind has been seen on the Orpheum circuit.'

Fred and Catherine Webster performed a ventriloquial act on the Orpheum circuit, reviewed Oct. 1920, described as 'one of the best anywhere,' with Fred Weber's handling of a baby-figure in the act singled out as 'a scream.'

At Keith's Theatre, Philadelphia (week of Oct 26, 1920), a ventriloquist act on the bill 'captures second honors with ease,' according to a review in the Evening Public Ledger.

At the Temple Theatre in a 1920 Vaudeville Revue presented by Troop F, First Wyoming Cavalry, on Friday, November 5, 1920, Miss Katherine Cloos performed 'Snappy Bits of Ventriloquism' with a figure or act called 'Virginia Mummy'; the bill also included comedy twins, a jazz professor, a violin solo, tar babies, a Hawaiian spider dance, and other acts, admission 50 cents.

Hulan, described as 'the wizard and ventriloquist,' was exhibiting nightly to crowded houses, per a Richmond-area newspaper dated 1920-11-03; the item notes he 'never fails to amuse and to mystify.'

A. C. Astor, billed as a ventriloquist, appeared on the bill at the Palace (per Eddie Leonard's return engagement) reported November 23, 1920, alongside Eddie Leonard, Franker Wood and Dunce Wyde, Porin Baker and company, the Three Bobs, Burns and Frabito, and Davis and Pelle.

Don Kimmel, described as a young ventriloquist, demonstrated his skill at the Rotary children's Christmas party held at the Athenaeum, reported December 22, 1920.

Don Kimmel, a young ventriloquist, gave a demonstration of his skill at the Rotary children's Christmas party at the Athenaeum, reported in a paper dated 1920-12-22.

A review described Winona Winter as 'a great favorite while singing or giving her impressions of a ventriloquist' in a variety show featuring Richard Carle, Blanche Ring, Charles Winninger, Jay Gould, and the Bonnet Twins.

Howard Martelle, ventriloquist, performed as the third act on a vaudeville bill (with acts including Billy and Dot Zietler, and Frank Lewis and Jimmy Leonard), and 'made a wonderful hit'; he ate, sang, talked and whistled while throwing his voice into a comical dummy on his knee, and also threw his voice into the balcony and gallery (reported in a 1921-01-25 newspaper).

A review of The Great Howard's act at the Garrick Theatre said 'the deception is so clever that the spectator can hardly believe that it is not the dummies that are doing the talking and singing,' and noted 'Comedy is a strong point with Howard.'

A reviewer wrote that The Great Howard 'certainly deviates from the beaten path of the ordinary ventriloquist,' with deception 'so clever that the spectator can hardly believe that it is not the dummies that are doing the talking and singing,' and that 'comedy is a strong point with Howard.'

A review said of The Great Howard at the Garrick Theatre: 'the deception is so clever that the spectator can hardly believe that it is not the dummies that are doing the talking and singing,' and noted 'Comedy is a strong point with Howard.'

Frank Holland, who had appeared on the same bill with Valentine Vox, said Vox 'is one of the most refined and talented ventriloquists of the day, and has an act which is one continual round of laughter presented in a highly artistic manner,' and that he 'excels any ventriloquist on the present vaudeville stage.'

The act was reported as the hit of the bill at McVickers Theatre, Chicago, the previous week (per Frank Holland's account, published Feb 19, 1921).

Frank Holland, who appeared on the same bill as Vox, said Vox 'has the most appealing personality, and for class, ability and entertaining powers excels any ventriloquist on the present vaudeville stage,' as printed in a 1921 ad for the Murrette Theatre.

Valentine Vox, described as 'a clever ventriloquist,' appeared on the vaudeville bill at the Palace theater this week (week of April 5, 1921), alongside Imhof, Conn and Coreene's skit 'The Pest House,' Harry Kranz and Al B. White, Mullen and Frances, William Mandel and company, Booth and Nina, and Forrest and Church.

Valentine Vox, described as 'a clever ventriloquist,' performed on the vaudeville bill at the Palace theater the week of April 5, 1921, sharing the bill with Imhof, Conn and Coreene, Harry Kranz and Al B. White, Mullen and Frances, William Mandel and company, Booth and Nina, and Forrest and Church.

Charles R. Taggart, 'musical humorist,' was announced to appear on the 20th (reported April 13, 1921), performing Scotch sketches and tunes, ventriloquism, mimicry, violin imitations, and pianologues, under management of the Redpath Lyceum bureau; also known for his 'Old Country Fiddler' Victor records.

In a review of the Midnight Whirl show, the critic wrote that Winona Winter 'ably does she lead her chorus, and the power of the accomplished ventriloquist is hers' (Richmond, per 1921-04-28 clipping).

Vaudeville artists performing at B. F. Keith's Academy Theater in the week of 1921-05-09, with a novelty act combining ventriloquism, singing, and dancing, described as 'a fanciful skit' full of 'good, wholesome laughs'.

Valentine Vox, described as 'a ventriloquist of ability,' performed on a variety bill at the Rosinos Theater (Bijou/local theater), reported in a 1921-05-17 newspaper, alongside Eva Litt and other acts.

In a review of 'The Broadway Whirl,' the critic wrote that Miss Winona Winter 'brought back her agreeable smile and her unique voice to the local stage' and noted 'She Is moreover an expert ventriloquist to-day.'

At the Palace Hip (vaudeville bill) reviewed 1921-06-24, Alf Ripon is described as 'an exceptionally gifted ventriloquist' whose dummy 'Jigga' (name garbled in OCR) walks and talks in a fashion that has made the character famous.

A 1921 review (Aug. 5, 1921 newspaper) described the act of Ray Conlin and his figure 'Sparks' as 'a ventriloquist member,' noting Ray as 'a sleek individual' with 'a most persuasive smile' and numerous laughs in the offering, performed at a Thursday matinee.

After seeing him in parlor stunts at the Carter home, it was reported that 'his reputation as a high class artist is a very worthy one.'

Billed as 'The Great Lester, America's Foremost Ventriloquist' at the Opera House on Tuesday and Wednesday, August 23 and 24 (1921), shown alongside 'The Lottery Man' (Paramount) and 'Happy Daze' (Universal Comedy); admission 25c and 50c.

Billed as 'America's Foremost Ventriloquist' at the Opera House, Tuesday and Wednesday August 23 and 24 (1921), alongside 'The Lottery Man' (a Paramount Production) and Universal Comedy 'Happy Daze', with admission 25c and 50c.

Billed as 'The Great Lester, America's Foremost Ventriloquist,' he appeared as an extra attraction at the Opera House on Tuesday and Wednesday, August 23-24 (1921), alongside the Paramount production 'The Lottery Man' and Universal comedy 'Happy Daze'; admission was 25c and 50c for two shows.

At the Pantages bill opening Tuesday, August 30, 1921 at the Grand theater, Walters and Walters performed 'A Baby's Cry,' described by the Winnipeg Tribune as 'a modern ventriloquial performance with a pair of life-like dummies,' with crying so natural that audience members suspected it was a real baby.

A Great Falls reviewer wrote that 'it will be a long while before a Great Falls audience will have the opportunity of listening to two more skilled ventriloquists than Walters and Walters.'

A Great Falls reviewer wrote that it would be a long while before the city saw two more skilled ventriloquists, calling the pair 'an oddity' with 'charm and admirable stage presence.'

Arthur and Leah Bell performed 'ventriloquism and musical interludes' on the bill at the Cosmos Theater for the week reported Sept. 8, 1921, alongside Saxie Holdsworth, Paul and Walter Levarr, Sam Lewis, Allen and Austin, the Halkings, and the Durand Players.

At a theater bill reported 1921-09-13, 'Arthur and Leah Bell give an exhibition of ventriloquism which is brightened much by the personality of the girl of the team.'

Reviewed as part of a colored minstrel show at English's theater (1921-09-30 issue), described as 'a ventriloquist of some ability, but his turn should be shortened to obtain the best results.'

The Georgia Minstrels performed at the Victory Theatre in Lamar, drawing a packed house; the review called their ventriloquist and novelty performers 'the best ever on the stage in Lamar.'

At the Aldine theater's November 1-2, 1921 vaudeville program (which included the ventriloquist act), orchestra and loge seats were 22 cents before 6 P.M. and 41 cents after 6 P.M., with balcony seats ranging from 11 to 22 cents, all including war tax.

John Raymond, described as 'a ventriloquist of note' and one of the youngest in his profession, was playing vaudeville (per a 1921-11-13 newspaper) with a humorous routine of songs and dialogue.

John Raymond, described as 'a ventriloquist of note' and one of the youngest in his profession, was playing vaudeville with a humorous routine displayed in various song and dialogue segments, as reported in a 1921-11-13 newspaper.

'The Great Ler,' described as a well-known ventriloquist, appeared with 'The Popularity Queens' (a vaudeville quartette of singers) for the last half of the week starting Thursday afternoon at the Orpheum, per the Nov. 13, 1921 newspaper; other acts on the bill included the Haailr Kavelle troupe, Hilly Miller and company, and Krrapp and Cornalla.

The Great Ler, described as a 'well known ventriloquist,' appeared with vaudeville act 'The Popularity Queens' for the last half of the week at the Orpheum, starting Thursday afternoon.

A South Bend critic wrote of The Great Lester at the Orpheum: 'He gives fifteen minutes of real entertainment and, if not the greatest, ought to be willing to invite comparison with any other ventriloquist for cleanness of lines, for versatility and for real skill. It is an act that would fit into any program, one that the children will remember and the older boys and girls welcome.'

A South Bend reviewer wrote of The Great Lester at the Orpheum: 'He gives fifteen minutes of real entertainment and, if not the greatest, ought to be willing to invite comparison with any other ventriloquist for cleanness of lines, for versatility and for real skill.'

A South Bend reviewer wrote of The Great Lester: 'He gives fifteen minutes of real entertainment and, if not the greatest, ought to be willing to invite comparison with any other ventriloquist for cleanness of lines, for versatility and for real skill.'

The Great Lester, billed as the 'world's greatest ventriloquist,' performed at the Orpheum in South Bend during the week of November 18, 1921, described as 'renewing acquaintanceship with South Benders.'

A South Bend reviewer wrote of The Great Lester's Orpheum act (week of Nov 18, 1921): 'He gives fifteen minutes of real entertainment and, if not the greatest, ought to be willing to invite comparison with any other ventriloquist for cleanness of line[s], for versatility and for real skill... an act that would fit into any program, one that the children will remember and the older boys and girls welcome.'

Charles Ross Taggart, billed as 'The Old Country Fiddler,' performed a program including violin, piano, impersonations, and ventriloquism at the B.A.C. auditorium as the second B.A.C. Lyceum number, reviewed favorably by the local paper (Nov. 1921).

A critic wrote that Winona Winter 'has such a gift for ventriloquism that this particular number won stormy encores' in the review of 'The Broadway Whirl' at the Jefferson theatre.

A reviewer wrote that Taggart 'proved his success as an able entertainer when he so cleverly held his audience turnout the evening' at the B.A.C. auditorium performance reported November 25, 1921.

A Richmond reviewer called Great Lester 'the most accomplished ventriloquist that has ever been seen in Richmond,' noting he had 'a steady line of comic conversation for himself and the dummy' and performed feats 'probably never seen here before,' adding he was billed as this being his 'first appearance outside of the Keith and Orpheum big time theatres.'

A Richmond newspaper critic wrote that Great Lester 'is the most accomplished ventriloquist that has ever been seen in Richmond by the writer,' noting he 'possesses a steady line of comic conversation for himself and the dummy, and performs several feats probably never seen here before.'

A Richmond reviewer wrote that Great Lester 'is the most accomplished ventriloquist that has ever been seen in Richmond by the writer,' possessing 'a steady line of comic conversation for himself and the dummy' and performing 'several feats probably never seen here before.'

Advertising called Great Lester 'The International Ventriloquist,' claimed by press and critics to be 'the peer of all ventriloquists,' and noted this was his first appearance outside Keith and Orpheum big-time theatres.

A Richmond newspaper reviewer wrote of Great Lester at the Murray theatre: 'He possesses a steady line of comic conversation for himself and the dummy, and performs several feats probably never seen here before,' calling him 'the most accomplished ventriloquist that has ever been seen in Richmond by the writer.'

Howard Martell, described as 'a clever and versatile ventriloquist, with an entertaining line of chatter and one of the first walking dummies seen by vaudeville patrons so far,' performed on a vaudeville bill (with Fred and Al Smith, Manning and Hall, and Chic and Tiny Harvey) at the Strand, as reported in a 1922-01-16 newspaper.

A review said Miss Bell 'has a wonderful control of her facial and throat muscles, and completely deceives her audience with great skill.'

A newspaper critic wrote that Miss Bell 'has a wonderful control of her facial and throat muscles, and completely deceives her audience with great skill.'

A review said their act 'closed by a written for this clever young couple' number in which the dummy and Miss Bell's dance caused 'the most mirth provoking' effect.

Albert Richard, a ventriloquist, appeared on a variety bill with the Marlon Sisters, Pete Curley Trio, the Palmers, and the Latina troupe; a reviewer called him 'a ventriloquist of some ability who would do well to improve his closing,' at the Lyric theater, 1922-02-21.

A performer billed as 'ventriloquial comedian' (OCR garbled name, possibly 'Lew Trafford') was announced for the Strand Theater's program beginning Sunday, on a bill with Rose and Dell, McCreery and Doyle, and Ward and King, per a March 15, 1922 newspaper notice.

Lew Tilford, described as 'a ventriloquial comedian of exceptional talent,' performed on the bill with the Royal Pekin Troupe at the Strand Theater, following Rose and Dell's opening act.

Lew Tilford, described as 'a ventriloquial comedian of exceptional talent,' performed at the Strand Theater alongside the Royal Pekin Troupe, Rose and Dell, McGreezy and Doyle, and Ward and King, per a review printed 1922-03-20.

A performer named Tllford (name possibly garbled by OCR), described as 'a ventriloquist,' appeared on the vaudeville bill at the Strand Theater along with McOreexy and Doyle, and Ward and King, per a 1922-03-20 newspaper review.

Frank Eisenberg performed as a ventriloquist in a specialty number at a school show reported in the newspaper dated 1922-04-14; the review said 'the least that can be said is that Mr. Eisenberg proved to be as good as most professionals one sees in the vaudeville houses.'

In a 1922-04-14 amateur theatrical review, Frank Eisenberg performed as a ventriloquist in a specialty number; the critic wrote 'the least that can be said is that Mr. Eisenberg proved to be as good as most professionals one sees in the vaudeville houses.'

The Jolly Jester, described as a 'popular health clown and ventriloquist,' was scheduled to give two performances at the Star Theatre in Viroqua on Friday, May 5 (1922), at 10:30 a.m. and 2:00 p.m.; free for children, 15c for adults.

The Jolly Jester, described as a 'health clown and ventriloquist,' gave two performances at the Star Theatre in Viroqua on Friday, May 5 (per the Viroqua newspaper dated 1922-05-03), at 10:30 a.m. and 2:00 p.m.

In a vaudeville review (Keith's theater, May 23, 1922), a performer called 'Mr. Smith,' described as 'artist, a gentleman and a soldier,' appeared in a kelly green suit and gave what the critic called his best material: 'travesties on ventriloquism and mind reading.'

At a Keith's theater vaudeville bill (reviewed in a paper dated 1922-05-23), Kern Redmond and H. Wells performed a comedy act whose highlights were 'travesties on ventriloquism and mind reading'; the reviewer said Wells' makeup 'looks like a cross between a camel and a seasick mule' and called the act 'one of the best received on the program.'

Valentine Vox, called one of the best living ventriloquists, performed at the Grand theater the week of Aug. 10, 1922, with an act titled 'The Clubman' featuring a page-boy figure named Buttons; the review said he made the page 'sing and talk in such a manner as to give the impression that two voices are singing at the same time.'

A critic wrote that Winona Winter, appearing with a traveling comedian's company (reviewed 1922-12-14), 'not alone revealed a fine profile but also extraordinary accomplishments as a ventriloquist.'

Vernon, described as 'a ventriloquist of much ability who handles six dummies very cleverly,' performed at the Orpheum as part of a vaudeville bill including Firmin and Olsmith, Jack Marcils and Delores, and the Nippon Duo, per a December 15, 1922 newspaper review.

A vaudeville reviewer described Ray Conlin as a 'sub-vocal comedian, a ventriloquist whose voice is absolutely under his control,' part of a bill that also included Pauli and Bias in 'The Ca-Weda' and featured Shirley Mason in 'The New Teacher' at the Majestic Theatre (paper dated Jan. 4, 1923).

Reviewer wrote of the Aldine Theatre ventriloquist: 'Conlin is quite an expert in his line. He puts life into a dummy in the shape of jokes on people and things, songs...'

Reviewer wrote of Ral Conlin at the Aldine Theatre: 'Conlin is quite an expert in his line. He puts life into a dummy in the shape of jokes on people and things, songs...' (1923-01-05).

A review of the vaudeville bill at the Majestic theater (week of Feb. 14, 1923 issue) said: 'If ventriloquism pleases, Valentine Vox is sure to score a hit with anybody.'

Vernon, billed as 'the man who put the trill in ventriloquism,' performed on a bill at the Palace theater alongside Fred Jarvis, Freddie Harrison, the Jack George Duo, and Ethel Dare and company, in final performances reported 1923-02-24.

The Great Lester, billed as one of the cleverest ventriloquists and comedians playing over the Orpheum circuit, performed his act with an 'almost human dummy' at the Palace theater, on a bill with John Alden and the Sandell Sisters, Carney and Rose in 'Lost, A Husband,' and the Trenello (Trennell) Trio, as reported March 31, 1923.

At the Majestic theater (week of April 10, 1923), 'Lester Co., ventriloquist' was reviewed as a headliner-caliber act; the review said 'Lester Co., is a ventriloquist who tops any act of his kind on the Majestic stage this season. The laughing, crying and singing of the dummy are good.'

A critic wrote of Lester Co. at the Majestic (1923-04-10): 'Lester Co., is a ventriloquist who tops any act of his kind on the Majestic stage this season. The laughing, crying and singing of the dummy are good. And the dummy had a good definition for chicken whisky.'

A reviewer wrote that Montgomery 'performs all the tricks of his trade, which means everything accomplished by past masters of ventriloquism,' and that 'he was enthusiastically received' (Strand Theater, week of April 16, 1923).

A Strand theater review said 'Many ventriloquists have been seen in Washington during the present season, but few can compare with Montgomery.'

A critic wrote that Montgomery 'performs all the tricks of his trade, which means everything accomplished by past masters of ventriloquism,' and noted he 'was enthusiastically received' (Strand Theater, 1923-04-16).

At the Cosmos theater (unnamed city, per newspaper dated 1923-05-29), Frank Gabby appeared doing an Ed Wynne impersonation with what was called 'the best offering of ventriloquism of the year.'

Frank Gabby performed an Ed Wynne impersonation and 'the best offering of ventriloquism of the year' on a variety bill also featuring Diaz and Powers, Ward and Raymond, and Nan Travellne, as reported in a 1923-05-29 newspaper.

Ray Conklin, described as 'a talented ventriloquist,' appeared on the variety bill at the Palace theater, alongside Hurst and Vogt, the Philmers, and the Georgalts trio, with the film 'A Tailor Made Man' featuring Charlie Ray (1923).

Ray Conklin, described as 'a talented ventriloquist,' performed on the variety bill at the Palace theater, as reported in a newspaper dated 1923-06-06.

E. E. Jeffries of Union performed animal imitations, causing each to give its 'college yell,' and was described as 'a clever imitator' and 'a ventriloquist of ability' in a program reported in a 1923 newspaper.

Rae Conlin performed a ventriloquist act on a vaudeville bill; a critic wrote 'Rae is good. His stuff is new and he forgets all about St. Peter... His stuff is clean and sparkling with wit.'

The paper stated of Al Baker: 'As a ventriloquist he is said to have no superior. Original, keen of wit and the possessor of natural ventriloquial powers, he always pleases.'

The newspaper said of Al Baker: 'As a ventriloquist he is said to have no superior. Original, keen of wit and the possessor of natural ventriloquial powers, he always pleases.'

The reviewer wrote: 'As a ventriloquist Mr. Rhoads ranks among the very best, his manipulation of the figures and the various voices which seemed to eminate from the figures brought forth mertious applause.'

The reviewer wrote: 'As a ventriloquist Mr. Rhoads ranks among the very best, his manipulation of the figures and the various voices which seemed to eminate from the figures brought forth mertious applause.'

A reviewer wrote that Duncan 'succeeds admirably well in closely imitating all the weird sounds peculiar to a radio amplifyer, commonly known as static.'

A critic wrote that 'Duncan succeeds admirably well in closely imitating all the weird sounds peculiar to a radio amplifier, commonly known as static.'

Fred Weber, a ventriloquist, performed on a Pantages bill and was described as 'by far the most clever of this class of entertainers who has visited the Pan in recent weeks,' with his baby imitation, singing and comedy, carrying on three conversations or impersonating two characters other than his own.

Fred Weber, a ventriloquist, performed at the Pantages ('Pan') theater around Dec 25, 1923, and was called 'by far the most clever of this class of entertainers who has visited the Pan in recent weeks'; his act included baby imitation, singing, and comedy, and he carried on three conversations or impersonated two characters besides his own voice, sharing the bill with John Eretto's 'Mounters' and Paul and Erna Hanan.

The Great Lester appeared on the new bill (at the Palace) and was described as 'recognized as one of the best ventriloquists,' per a 1924-01-08 review.

Franco, described as 'a serio-comic entertainer as a ventriloquist,' was announced to appear at the Apollo Theater for the Saturday matinee, January 19 [1924], per the Crandall neighborhood theaters listing in this 1924-01-13 article.

A critic wrote that Valentine Vox is 'a ventriloquist of unusual ability' who 'proved especially acceptable in his presentation of a song in two voices,' assisted by 'the usual rag doll' (Lyric, 1924-01-25 newspaper).

The reviewer called Vox 'a ventriloquist of unusual ability' who 'proved especially acceptable in his presentation of a song in two voices.'

A reviewer at the Cosmos Theater described Valentine Vox as 'a ventriloquist... who will make you sit up and take notice' and called him 'a good one.'

A reviewer called Valentine Vox 'a good one' and said he 'will make you sit up and take notice' at the Cosmos Theater, 1924.

Maxon and Morris performed a manikin act at the Cosmos Theater the week of Feb. 12, 1924, described as bringing 'laughable manikins you will love,' with one described as 'awfully cute.'

Miss Wallace offered 'a clever ventriloquist feat when her voice follows a dummy as it is carried off the stage,' as described in a review of the act 'On the Beach.'

Franco, described as 'a ventriloquist of unusual skill,' was booked as a special added attraction the following Saturday at Crandall's Ambassador Theater (16th Street and Columbia Road NW), per a Washington DC newspaper dated 1924-03-23.

A critic wrote that the Walters' ventriloquist act was 'so familiar, yet always absorbing' and that 'this imitation is perfection, and ventriloquism is not what it used to be.'

Walter and Emily Walters performed 'their ventriloquist act' (described as familiar and absorbing) on a vaudeville bill reviewed 1924-05-06, which also included Pert Kelton, Reck and Rector, and W. Horlick with the Sarampa Sisters.

A reviewer wrote of Bud Lorraine at the Columbia theater: 'Mr. Lorraine is easily a ventriloquist of the first magnitude. The clever line of chatter that is handed back and forth between him and the dummy would be sufficient for a show.'

A reviewer wrote of Bud Lorraine at the Columbia theater, 1924-06-21: 'Mr. Lorraine is easily a ventriloquist of the first magnitude. The clever line of chatter that is handed back and forth between him and the dummy would be sufficient for a show.'

Marshall Montgomery, billed as a ventriloquist, headed next week's vaudeville bill at the Strand Theater in Washington, D.C., as reported August 17, 1924, followed by the Yong Wong Troup of Chinese acrobats and Tony Cornelia and company.

A reviewer called Marshall Montgomery 'one of the best ventriloqulal artists who ever appeared on a local stage' and said his work with his boy dummy 'is the acme of perfection in the art of ventriloquism' (Strand Theater, Washington, D.C., August 25, 1924).

Marshall Montgomery headlined at the Strand Theater in Washington D.C. (week of August 25, 1924) with an act billed as 'An Evening at Home,' described as one of the best ventriloquial artists who ever appeared on a local stage.

Newspaper review said Marshall Montgomery, assisted by Lucille DeHaven, was the headliner at Loew's Bijou (Birmingham) with a skit titled 'An Evening at Home,' described as 'full of unusual ventriloquist stunts and humor.'

A Birmingham reviewer called Marshall Montgomery the headliner of the Loew's Bijou bill, with his skit 'An Evening at Home' full of unusual ventriloquist stunts and humor.

The paper called him 'without question the world's' leading act in the ventriloquism line and said fair visitors judged his act 'absolutely the leader.'

The newspaper called The Great Lester 'without question the world's' [best] in the ventriloquism line and said fair visitors found his act 'absolutely the leader' (Eagle River, 1924-09-11).

A reviewer wrote that Howard's act 'affords not a few originalities in the art of ventriloquism,' with a high point where 'he impersonates the radio and throws in voice, to all audible appearances, to the roof of the theatre'; the effect was called 'amazing' and he had difficulty breaking from the applauding audience.

A reviewer wrote that Howard's ventriloquism 'has for many years been a mystifying art, and when it reaches the perfection that Howard has acquired it takes on an added mystery,' calling him 'in a class by himself as to ability and the staging of his number' (Lyric theater review, September 24, 1924).

A critic wrote of Howard: 'Ventriloquism has for many years been a mystifying art, and when it reaches the perfection that Howard has acquired it takes on an added mystery. He is in a class by himself as to ability and the staging of his number.'

William Ebs, billed as a ventriloquist, appeared on a vaudeville bill (with Eileen Schofield and dancers, Dollie and Billie, Mile. Dupree, and Galletti and Kokin) reviewed in a Washington, D.C. newspaper dated October 13, 1924; the reviewer said he 'has a very good act.'

In the act 'Ketch and Wilman,' offering real harmony, Ketch (of the duo) is described in a review as 'a good, able ventriloquist,' on a vaudeville bill reported in a paper dated 1924-10-20.

Valentine Vox performed a ventriloquism act titled 'Relaxation,' described as a 'novel and original idea in the art of ventriloquism,' on the Pantages theater bill (1924-10-31), sharing the bill with the Capps Family, Cortelli and Dowd, Dance Carnival of 1924, and Clairmont Bros.

Valentine Vox performed an act called 'Relaxation,' billed as 'Novel and original idea in the art of Ventriloquism,' on the Pantages stage bill (1924-10-31 newspaper).

A Pantages circuit listing also billed Valentine Vox performing an act titled 'Relaxation,' described as a 'novel and original idea in the art of ventriloquism.'

A 1924 newspaper item (dated from the paper's issue of 1924-12-19) describes 'Vernon, ventriloquist supreme,' performing with an assistant described as an unusually attractive young woman, on a bill that also included the comedy sketch 'Oh You Flirt' featuring Al Weymer, Mabel Carr and Eva Sargent.

A newspaper (1924-12-20) described a ventriloquist named Vernon as performing alone with seven separate inanimate figures, some of which sang, some talked, and one only laughed, each in a different tone of voice, calling it 'a thing practically unheard of.'

At a theater (bill including Billy Gross and Company, Rialto and La Mont, and George Austin Moore) reviewed in this Dec. 21, 1924 newspaper, Vernon was billed as 'the man who put the trill in ventriloquist' and described as 'one of the greatest of all ventriloquists, with a range of voice that is declared to be greater than any prima [donna]'.

A. C. Castor (also printed as 'A. C. Astor'), billed as 'The Globe Trotting Ventriloquist,' performed on a Pantages vaudeville bill offering 'a host of original tricks in ventriloquism' in an all-comedy program of novelties (reported 1925-01-06).

In a vaudeville bill (reviewed in a 1925 newspaper clipping), headliners billed as 'Bam Lewis and Sam Dody' performed a comedy act including 'a ventriloquist burlesque' which was described as 'well done.'

A Brownsville newspaper reviewer wrote of Musical Braken: 'As an entertainer, Braken is in a class by himself... Musical Braken is said to be one of the highest salaried single entertainers on the vaudeville stage.'

Bud Lorraine, billed as 'the only Cow-Boy Ventriloquist,' performed at the Palace Theatre in Mandan for the matinee and two night shows around 1925-03-30, described as having 'a clever line of dialogue' and passing 'out many laughs to his audience.'

Critic Walter D. Hickman wrote in the Indianapolis Times (June 5, 1925) that 'Lester, ventriloquist, has no rival on the American variety stage,' after seeing Lester and his dummy perform over twenty minutes at the Palace theater.

A reviewer wrote that Montgomery 'works himself into favor with audiences through his extraordinary ventriloquistic art' and called it 'the best act of its kind' seen there in seasons, reviewing his performance at the Majestic.

Marshall Montgomery, a ventriloquist, performed at the Majestic Theatre on Aug 9, 1925, with Lucille DeHaven assisting by singing and doing the 'straight' for his act; the review said he 'works himself into favor with audiences through his extraordinary ventriloquistic art' and called it 'the best act of its kind that's been through here in seasons.'

Valentine Vox, ventriloquist, assisted by Florence Talbot, performed an act called 'Relaxation' at the Earle Theater, reviewed August 31, 1925, praised as 'an excellent performance.'

A 1925-08-31 review described Walter and Emily Walters, ventriloquists, as 'past masters of their art,' performing on a bill that also included Van Cello and Mary, Coscia and Verdi, Starke Patterson and Laina Cloutier, and Miss Lindsey and her pony Sultan.

Valentine Vox, ventriloquist, performed an act called 'Relaxation' assisted by Florence Talbot at the Earle Theater, reviewed in a paper dated 1925-08-31, on a bill with Jimmy Gildea Co.'s 'The Great Lovers' and 'A New Revue.'

At the Palace vaudeville bill starting Thursday matinee (week of Nov. 8, 1925), Ray Conlin was billed as 'a master among ventriloquists with an unlimited fund of comedy at his disposal,' sharing the program with George Watts (comedy/singing), Gus Thalero's animal act, the Three Reddingtons (gymnasts), and George Choos' 'Danceland' revue.

For the Palace theater's Armistice Day program (Wednesday), Ray Conlin, described as ventriloquist and ex-doughboy, performed comedy as part of three vaudeville shows at 2:30, 6:30, and 9, alongside singers Ernest Ball, Hawley and Watts, acrobats, and trained animals.

A critic wrote that Mr. Weber 'is exceedingly clever and at every performance has given several curtain calls,' describing his ventriloquist act 'The Stage Door Johnnie' at the Augusta Opera House, 1926-01-16.

Vaudeville review (newspaper dated 1926-02-02) describes Coram as a ventriloquist who sports a monocle, a slight English accent, and a dummy, and 'kept the crowd calling for encores'; the reviewer called him 'a good one, whose only failing is trying to put over some aged jokes.'

A 1926 newspaper reviewer wrote of ventriloquist Coram, who performed with a monocle, slight English accent, and a dummy: 'Yes, he's a ventriloquist, but a good one, whose only failing is trying to put over some aged jokes.'

Metro-Goldwyn's 'The Unholy Three,' showing Tuesday and Wednesday, March 16-17 (per this March 10, 1926 ad), starred Lon Chaney in the role of a Ventriloquist, described as 'his crowning triumph as the Ventriloquist,' with Mae Busch and Matt Moore; tickets 20c, 30c, 40c.

At the Grand Theatre on Tuesday, March 16, 1926, a 5-act vaudeville bill included an act billed as ventriloquist (name garbled, possibly 'Lester', described as 'World's Foremost Girls Ventriloquist'), alongside Jim Wire's 'Aerial Chatterbox,' the Dion Sisters' 'Texas Blues,' and the Yoki Japs 'Cherry Blossoms from the Land of Japan.'

A critic wrote that Edgar Bergen's act 'offer[ed] one of the most completely amusing acts of its kind the writer has [seen],' with new comedy material and a satisfying performance (April 3, 1926 review).

Leo Bill, described as 'the famous French ventriloquist,' was featured on the bill at B. F. Keith's Theater the week of May 19, 1926, headlined by Pat Rooney, Marion Bent, and Pat Rooney 3d, and was said to introduce new tricks.

Described as 'the famous French ventriloquist' Leo Bill, featured on the bill at B. F. Keith's Theater the week following May 19, 1926, heading with Pat Rooney, Marion Bent and others; he was said to 'introduce new tricks.'

Leo Bill, described as 'the famous French ventriloquist' and 'a popular idol on the continent,' performed at B. F. Keith's Theater during the week of May 23, 1926, on a bill headlined by Pat Rooney, Marion Bent, and Pat Rooney 3d, alongside Kate Smith, Dare and Wahl, Joan Jahn and the Baldwin Sisters, Josephine Harmon and Georgia Sands, and Julius Fuerst and company.

Leo Bill, described as 'the famous French ventriloquist, a popular idol on the continent,' appeared on the bill at B. F. Keith's Theater the week of May 23, 1926, headlined by Pat Rooney, Marion Bent, and Pat Rooney 3d, with Kate Smith and others also on the bill.

Leo Bill, described as 'the French ventriloquist,' performed on a vaudeville bill reviewed in a Washington newspaper dated 1926-05-24; the reviewer called him 'most amusing.'

Ray Conklin, billed as a ventriloquist, performed on a vaudeville bill (reviewed in a 1926-07-14 newspaper); the review said he 'pulls the usual gags, but also gets off a bunch of new ones, and his act goes over fairly well.'

George Bell, described as 'the ventriloquist of the family,' appeared with his figure 'Bobby' in several humorous acts as part of the Bell family's varied program (dancing, ventriloquism, sleight-of-hand, trapeze) at the Dittmann Theater on July 25, 1926.

Walter Walters and company performed a ventriloquist act on a vaudeville bill, described by the reviewer as 'funny and clever, a combination sufficient to wring much applause from the avid mob.'

DeVeaux and Dell 'Joe' offered 'Just a Man, a Maid and a Dummy,' billed as 'a unique ventriloquist oddity in a hotel lobby,' at the Palace Theatre, as reported December 9, 1926.

DeVeaux, Dell 'Joe' performed 'Just a Man, a Maid and a Dummy,' described as a ventriloquist oddity set in a hotel lobby, at the Palace Theatre on December 9, 1926.

A reviewer wrote that their act 'is unusually well-dressed and moves along smoothly and with purpose,' praising the ventriloquist act (1927-04-11 clipping).

At the Palace Theatre, Mandan, Johnny Woods 'The Comedy Ventriloquist' appeared on the same vaudeville bill as Thelma 'The Singing Violinist', Ryan O'Neill, Mr. and Mrs. Walter Hill Co. in 'Poor Old Jim', a dance revue called 'Going Some', and George O'Hara in a comedy drama.

A newspaper critic reviewing a vaudeville bill (Palace theater program, 1927-06-21) described Vernon as 'a ventriloquist who has the bad taste to impersonate the "hair lip" and the "stuttering guy,"' and urged him to 'give us healthy dummies at least.'

In a review of the film 'Simple Sis' at the Palace theater, the critic wrote: 'Ray Collins does a ventriloquist act just about like all ventriloquist acts—good if you like them.'

Critic Carolyn Jacks wrote that at the Palace (Thursday, per Oct. 6, 1928 paper), Wilton and Weber's 'falsetto voices and trick ventriloquism proved most amusing,' particularly praising Weber's comic face.

A critic wrote of the Palace bill: 'Same old ventriloquist act Ray Conlin, although the lines were newer than is usual.'

A review called Willis 'the best liked of all vaudevillians who ever played at the Palace' and said the act with Jerry was 'the most hilarious gloom-chaser you ever did see', furnishing 'as good entertainment as you'll see anywhere in the States.'

A review said Willis 'made his first appearance last evening, and judging by the applause he received and earned he is the best liked of all vaudevillians who ever played at the Palace,' describing his act as song and dance, storytelling, playing 'a funny little instrument', then a ventriloquist dialogue act with his dummy partner 'Jerry'.

A review in the Palace theater's local paper said Willis's 'ventriloquist act with Jerry is entirely new,' and praised him as a versatile entertainer who played flute, 'sweet potato,' and mouth organ, did dances, sang, and performed three different bills of 30 minutes each on his third and last vaudeville engagement there.

The Palace theater bill for the night included News, 'The Fight Pest' Charlie Chase Comedy, and Harry C. Willis and Jerry in 'Song—Dance—Ventriloquism,' with ticket prices 10-20-50 cents and Loges 60 cents.

Billed at the Palace as 'HARRY C. WILLIS and JERRY in Song—Dance Ventriloquism', playing 7:15-9:15 tonight and Thursday, tickets 10-20-50 cents, loges 60 cents.

At the Palace theater (advertised October 3, 1929), 'Harry C. Willis and Jerry' performed a 'Song—Dance Ventriloquism' act, with admission priced 10-20-50 cents.

Harry C. Willis and Jerry performed a 'Song—Dance Ventriloquism' act at the Palace theater, billed with a Charlie Chase comedy 'The Fight Pest' and newsreel, admission 10-20-50 cents (Oct. 3, 1929 listing).

A critic wrote of Marshall Montgomery's Palace theater act: 'he has the most intelligent looking dummy we've ever seen which he operates with skill and humor,' and praised his rapid delivery of jokes with the dummy.

At the Palace theater, in a vaudeville revue, Mickey Gifford and Lee Gresham, assisted by Pearl Harris, offered a comedy act that included 'a ventriloquist imitation that is novel and originally presented,' alongside performers Williard Singley, Peggy St. Clair, 'Whitey' Roberts, and Fayne and DeCosta.

A 'neatly dressed stranger' calling himself a ventriloquism instructor collected $60 from Sheriff D. C. Duggan and his deputies in Athens, Tenn. for a first lesson in ventriloquism, then failed to appear for the promised second lesson, as reported June 18, 1930.

At the Palace theater (bill reviewed in a paper dated 1930-10-14), critic Hope Halpin wrote that Wilton & Weber's 'comedy ventriloquist singing always clicks.'

Theater review called the vaudeville bill including 'Les Nichols the whistling ventriloquist' part of a bill that 'averages pretty fair entertainment.'

Advertised as 'The World's Foremost Ventriloquist,' George Bell appeared on stage at the Queen Theater in Brownsville with his show 'Animated Puppets,' featuring '18 Dummies' in a 30-minute act, on Friday and Saturday (paper dated 1935-05-09); admission was 10c-15c.

Billed as 'The World's Foremost Ventriloquist,' George Bell appeared with his show 'Animated Puppets' at the Brownsville Queen theater, Friday and Saturday (week of May 9, 1935), described as featuring dummies giving '30 minutes of Glee'; admission was 10c-15c.

Ventriloquist Edgar Bergen has left (bequeathed) a fund of $10,000 to ensure his figure Charlie McCarthy 'will live forever and keep on talking' after Bergen's death, as reported in a January 31, 1937 article.

Ventriloquist Edgar Bergen and his dummy Charlie McCarthy, who had been appearing jointly on Rudy Vallee's radio program, were signed for Sam Goldwyn's $1,500,000 production 'Goldwyn Follies' (reported March 3, 1937).

Ventriloquist Edgar Bergen and his dummy Charlie McCarthy, known from joint appearances on Rudy Vallee's radio program, were signed for Samuel Goldwyn's $1,500,000 production 'Goldwyn Follies' (reported 1937).

Bergen said Charlie's head was made up by a man on Van Buren St., and that he paid $36 for Charlie's manufacture, after previously using a papier mache dummy with a mask effect.

Bergen said a maker on Van Buren St. (name illegible in OCR) made the head for his figure Charlie; he paid $36 for Charlie's manufacture, replacing an earlier papier mache dummy mask he found unsatisfactory.

A magician and ventriloquist show was given at the High School Auditorium on Saturday evening from 7:30 to 9 p.m., sponsored by Boy Scout Troop 34; ventriloquist Jerry O'Toole was featured with his dummy, described as 'Charlie McCarthy's alleged cousin.'

Joe King, ventriloquist, performed at a card party and floor show held Thursday at the Annapolis Hotel, benefiting the Children's Hospital blood and serum bank, sharing the bill with comedy singer Ellis 'Tiny' Meeker and his orchestra and soprano Erline King (reported in a Feb. 18, 1940 newspaper).

The performance by Alva Brower's troupe cost the school $15, and admission was charged at 5 cents per person to cover the cost.

Admission to the April 1 Browning H.S. Novelty Program featuring ventriloquist Alva Brower was 35 cents for adults and 20 cents for students, with students also admitted on Lyceum tickets.

Ventriloquist Bob Neller appeared in a vaudeville stage show (produced by Gene Ford) alongside Vilma and Buddy Ebsen, soprano Marjorie Gainsworth, the Kanazawa Japs, and Marjorie King; a critic wrote he 'is at least as clever as Edgar Bergen.'

Walter Waller, described as a ventriloquist 'of the Edgar Bryan standard,' performed at a Cedars Ladies' Night event, putting across his act 'in a manner that brought repeated applause.'

Edgar Bergen, described as a 'master ventriloquist,' performed weekly on NBC radio with his figure Charlie McCarthy, appearing 'Sunday after Sunday' (Deseret News, June 21, 1940).

Franceen, billed as 'the Ventriloquist,' performed on stage (noted at the Hippodrome/Cameo listings) in a 1940-08-16 newspaper theater schedule, appearing 'On Stage at 8:15 P.M. Only.'

Chris Cross, described as 'an especially able ventriloquist,' performed as a specialty act during the Sammy Kaye stage show, alongside the Nonchalants (athletic slapstick artists) and the Three Debs (tap dancers).

Chris Cross was described as 'an especially able ventriloquist' performing as a specialty act with Sammy Kaye's music show, alongside the Nonchalants (slapstick acrobats) and the Three Debs (tap dancers), per a 1940-09-07 review.

Edgar Bergen (AP, Hollywood, dated 1940-10-06) announced plans to produce his own motion pictures under a sign reading 'Bergen McCarthy, Ventriloquism and Motion Pictures,' acting as his own scenarist, director and producer.

In 1940, Edgar Bergen announced plans to produce his own motion pictures featuring his dummy Charlie McCarthy, with a planned sign reading 'Bergen McCarthy, Ventriloquism and Motion Pictures.'

Thelma Jean Graham was a 12-year-old girl ventriloquist from Nashville, described as Edgar Bergen's new protege and the most interested spectator at the Charlie McCarthy broadcasts each Sunday over NBC.

Thelma Jean Graham, a 12-year-old girl ventriloquist from Nashville, was described as Edgar Bergen's new protege and the most interested spectator at the Charlie McCarthy broadcasts each Sunday over NBC.

Bob Evans, billed as 'the ventriloquist,' was 'the main addition' to a Tommy Dorsey band variety show reviewed in a 1940-10-26 newspaper; the critic wrote 'He is good, which is something we should be reluctant to say about the three Fonzales.'

Dorsey's touring band show (reviewed 1940-10-26) was described as a '50 minute variety performance that covers everything from grade A plus swing to ventriloquism.'

A reviewer wrote that Jack Super and his dummy Elmer 'managed to keep the mysterious art of ventriloquism still a mystery to a good portion of the house,' calling the act 'cleverly done' with the illusion remaining unbroken throughout.

Vox and Denning, billed as 'King and Queen of Ventriloquism' with an act called 'Buttons,' performed on stage in a theater bill reported in a December 18, 1940 newspaper, sharing the bill with the Homer L. Kitt Accordionettes, Weldon Barr, Felipe de Flores, and The Rhythm Rockets.

Bob Neller's ventriloquist figure was named Reginald J. Trickpuss (OCR uncertain on exact spelling), described as his 'wooden partner' at the Book-Cadillac Casino, Detroit, in 1941.

At an inter-city club meeting at Old Point (reported January 24, 1941), a nine-year-old girl's impersonations and ventriloquism were 'enthusiastically encored' by the large audience present.

At a club program reported in a 1941 Virginia newspaper, Mr. Winn performed a ventriloquist act as part of an evening of sketches, skits, and scenes alongside an operetta, a reading, 'Phantasie Macabre,' a country dance, and a choral pageant review.

Bob Neller, described as 'the ventriloquist,' appeared alongside Marjorie Gainsworth, Billy Branch and company, Gil and Bernie Mason, and the Rhythm Rockets in a variety stage show, per a newspaper dated 1941-02-28.

Joe King, ventriloquist, was billed to perform with a troupe called 'The National Revue' (director Yassie Schwartz) for the 176th Infantry, 29th Division at Camp Meade on the night of April 3, 1941, under the District Defense Council.

Valentine Vox, described as a 'well known ventriloquist of vaudeville,' was featured to entertain at the Tacoma Elks lodge program at the temple on a Wednesday night, presided over by new exalted ruler Kenneth M. Kennell, with Ruth Denning also on the program.

A Detroit ventriloquist named James Masters was fined $3 in Joliet, Illinois (reported April 11, 1941) after being charged with disturbing the peace by throwing his voice around a bus station, including frightening a Redcap and making an empty bench say 'Hello, Toots, how's tricks?'

James Masters, described as a Detroit ventriloquist, was fined $3 in Joliet, Illinois (reported April 11, 1941) on a charge of disturbing the peace after frightening a Redcap by making an empty bus station bench say 'Hello, Toots, how's tricks?'

Jack Dempsey (the showman, former vaudeville booker) said one of the best ventriloquists of all time was the feminine member of the vaudeville act of 'Halter and Halters' (Miss Walters), whom he considered the best ventriloquist available when he was a Keith-Orpheum booker, ranking her above Edgar Bergen.

Jack Dempsey (the showman, not the boxer) said: 'one of the best ventriloquists of all time was the feminine member of the vaudeville act of Walter and Walters. When a Keith-Orpheum booker, I considered Miss Walters the best ventriloquist available with Edgar Bergen second.'

Edgar Bergen developed two hen figures, Maisie and Matilda, described as 'the newest additions' — Maisie young and skittish, Matilda older and experienced.

Edgar Bergen said he picked hens for Maisie and Matilda because 'I have a cackle quality in one of my voices,' explaining a ventriloquist must fit his characters to his voice and tailor his humor to fit his characters.

Edgar Bergen said Maisie and Matilda 'give me an opportunity to kid the women,' and that he intended to use them as a night club act.

Ventriloquist Edgar Bergen described his figures Charlie McCarthy (wise, knows all the answers) and Mortimer Snerd (dumb, with buck teeth, receding forehead, sloping nose, slanting chin), and newer hen characters named Maisie and Matilda, created to give him material to 'kid the women'; quoted saying 'A ventriloquist must fit his characters to his voices... he must tailor his humor to fit his characters,' per the July 8, 1941 newspaper.

Senor Wences performed a ventriloquist act as part of a Pan-American themed stage show reviewed alongside the film 'Moon Over Miami' at the Capitol theater, 1941; the reviewer called it 'a joyful departure from the usual corny gags passed between master and dummy' with 'a smooth routine with a number of new angles' and said 'the Senor's technique with ventriloquy is extraordinary.'

Jerry McSafety, described as 'the Charlie McCarthy of the Detroit Police Department,' performed his ventriloquist act in person at the matinee at the Riviera Theater on August 12, 1941, with partner Officer Wayne Fdrnelius (name uncertain due to OCR garbling).

Critic wrote of the Earle Theatre stage show: 'The ventriloquist turn which isn't is called Parker and Porthole and you probably won't guess how it's done, but it's good.'

At the Earle Theater's stage show (Sept 13, 1941 review), an act called 'Parker and Porthole' was billed as a ventriloquist turn, though the reviewer notes it 'really isn't a Ventriloquist at all'; the bill also included a trained seal (Sharkey), table tennis champion Coleman Clark, tap dancer Sunny Rice, and the Roxyettes.

At the Earle Theatre (Washington, D.C.), stage show reviewed in a 1941-09-13 newspaper included a ventriloquist act billed as 'Parker and Porthole,' which the critic notes 'isn't' really a ventriloquist act, sharing the bill with a trained seal (Sharkey), table tennis champion Coleman Clark, tap dancer Sunny Rice, and the Roxyettes.

A stage bill reviewed in a 1941-09-13 newspaper (apparently at the Earle theater) included 'Parker and Porthole,' described as 'a ventriloquist act, not extraordinary,' alongside a ping-pong act (Clark Coleman and George Hendry), a trained seal (Sharkey), tap dancer Sunny Rice, and the Navy Blues Sextet.

Patrolman Waino A. Fernelius, known as 'The Voice of Safety,' performed a ventriloquism act with his dummy Jerry McSafety at two neighborhood theaters for $10 a performance, leading to a 60-day suspension for conduct unbecoming an officer (reported Nov. 6, 1941).

Edgar Bergen, described as 'a famed radio ventriloquist,' starred as himself with Charlie McCarthy in the comedy film 'Look Who's Laughing,' shown at the Rialto Theatre Thursday, Friday and Saturday (per Dec. 21, 1941 newspaper).

Ventriloquist Joe King performed at the Arlington (Va.) Kiwanis Club's Christmas party at the Arlington Theater, alongside magician Harry Baker and the Kiwanis Club Boys' Band (reported Dec. 24, 1941).

Joe King, ventriloquist, performed at the Arlington (Va.) Kiwanis Club's Christmas party for children at the Arlington Theater, alongside the Kiwanis Club Boys' Band and magician Harry Baker (reported in a December 24, 1941 newspaper).

Ventriloquist Joe King performed as part of the entertainment at the Arlington (Va.) Kiwanis Club's Christmas party at the Arlington Theater, alongside magician Harry Baker, on December 24, 1941.

Joe King, ventriloquist, performed at the Arlington (Va.) Kiwanis Club's Christmas party at the Arlington Theater on December 24, 1941, alongside magician Harry Baker.

Dr. Porter, a ventriloquist of Felton, was a guest at the Delaware House in Smyrna last week (as reported in a paper dated 1941-12-25, though the item's antiquated style suggests it may be a reprinted older item), where he entertained several citizens with his 'well concealed art,' much to the amusement of their friends.

Edgar Bergen, described as 'a famed ventriloquist,' starred with his dummy partner Charlie McCarthy in the film 'Look Who's Laughing,' shown at the Midland theater starting Sunday, Dec. 28, through Wednesday, Dec. 31, alongside Fibber McGee and Molly and Lucille Ball, per the newspaper dated 1941-12-25.

Edgar Bergen is described as 'a famous radio ventriloquist' playing himself alongside Charlie McCarthy in the film 'Look Who's Laughing,' also starring Fibber McGee and Molly and Lucille Ball, showing at the Beverly theater (1942-04-01).

Roy Howard, ventriloquist, was listed among celebrities appearing at a patriotic community event (with Hoot Gibson and Johnny Reh's Punch and Judy show) reported April 5, 1942.

A critic wrote that Senor Wences' act 'is so refreshingly novel in comparison with other and less entertaining bits of ventriloquism.'

Senor Wences, described as a South American ventriloquist, appeared on the bill at the Capitol theater, with his act called 'refreshingly novel' compared to other ventriloquism acts.

Senor Wences, described as 'the South American ventriloquist,' performed on the bill at the Capitol theater alongside the Stuart Morgan Dancers, the Bailey Sisters, Fredericks and Lane, and the Rhythm Rockets (reviewed April 17, 1942).

Rev. W. W. Enete, a Baptist missionary and native of Louisiana, graduate of Stetson University, Florida, was described as 'the ventriloquist missionary' who performed with his 'talking doll' figure named 'Sammy' while visiting from Rio de Janeiro, Brazil; he had served seventeen years in Brazil and left his post in October due to his son's illness.

Admission to the Decoration Day shows at Brendel's Manor Park (1942) featuring ventriloquist George Horn was 35 cents for adults, free for children under 10.

Marshall Montgomery, described as 'master ventriloquist,' heads a new revue that opened at Casino Royal, sharing the bill with toe dancer Vivian Day, the dancing Ballatores, and a sextet of chorines (as reported June 2, 1942).

John Hawkins, billed as a ventriloquist, appeared in the new floor show at Club 666, produced by Betty Taylor, alongside the Three Business Men of Rhythm, Jean Brady, Bob Love, Vance the banjo king, and the Eight Adorables, with Lanky Bowman's orchestra furnishing the music (reported 1942-06-13).

In a 1942 vaudeville bill (reviewed in a newspaper dated 1942-06-28) featuring the Herzog Sisters, The Volga Singers, and Jane Froman, Senor Wences appeared billing himself as 'a gentleman of originality' but was described by the critic as actually a ventriloquist who also juggles.

A 1942 review said of Senor Wences: he 'is not only clever, but has a sense for character,' and noted his act evoked the atmosphere of expensive night clubs.

A stage show titled 'Leroy the Wizard' was booked for the Belknap Recreation Hall on Monday, August 10, one night only, featuring 2 hours of magic illusions, ventriloquism and mystery acts; admission 10c, 20c and 30c, tax included.

'Leroy the Wizard' stage show played the Belknap Recreation Hall on Monday, August 10, one night only, featuring two hours of magic illusions, ventriloquism, and mystery acts, with Little Shirley Leroy (age 7) performing an acrobatic dance routine; admission was 10c, 20c and 30c, tax included.

Fred Ketch and Jerry, a ventriloquist act with a dummy named Jerry described as 'a close runner of Charlie McCarthy,' performed as part of 'Treasure Island Follies of 1942' at the Blaine County Fair in Montana (per the Aug. 7, 1942 newspaper).

Fred Ketch and Jerry, described as a 'unique ventriloquist act' with a dummy named Jerry compared to Charlie McCarthy, appeared with the 'Treasure Island Follies of 1942' at the Blaine County Fair in Montana, August 1942.

Ventriloquist Edgar Bergen, 'the man behind Charlie McCarthy,' bought many signed articles, books and pictures at the Barrymore estate auction, which he said he would give to purchasers of War bonds on his forthcoming tour (reported 1942).

Charlie McCarthy is described as having a 'definite personality' with whimsy and 'devilishness' that makes him 'the nation's bad boy,' according to Bergen.

Bergen said he always uses his ventriloquism on the radio, describing the technique as not throwing the voice but 'a directing and diffusion of the voice,' calling it 'a sort of cultivated grunt' that redirects the voice from the throat so it seems to come from another direction.

Ophelia was described as 'a naughty old gal' figure of Edgar Bergen's that did not appear on his radio shows, accompanying him on the 1942 Army tour to Juneau.

Charlie McCarthy is described as having 'a definite personality,' and Bergen said the dummy could get 'inexcusably fresh' if gag writers took over the show, needing to be 'punished' when he got out of hand.

Bergen said ventriloquism 'is not exactly the throwing of the voice, but rather a directing and diffusion of the voice,' calling it 'a sort of cultivated grunt' that keeps the voice from seeming to come from the throat.

Edgar Bergen, filming 'Here We Go Again' with Charlie McCarthy, Fibber McGee and Molly, said ventriloquism did not originate with him but with birds, and that he began practicing ventriloquism at age 12 using bird calls first.

Edgar Bergen, described as a 'famed radio ventriloquist,' stars with his dummy Charlie McCarthy in the film 'Look Who's Laughing,' opening Sunday at the Capitol Theatre (per Oct. 10, 1942 newspaper).

Senor Wences, described as a 'famous international ventriloquist,' was billed to headline the stage revue at the Earle Theater in Washington, D.C., opening Friday alongside the film 'Desperate Journey' (Washington Daily News, Oct. 26, 1942).

Bill Lang was billed as a 'ventriloquist extraordinary' in a variety entertainment lineup alongside Wessley Swails (tenor) and Marie Anderson (soprano), as reported in the 'Here There' column, October 31, 1942.

Reviewer described Senor Wences as a ventriloquist 'who makes a dummy's head from his fist and a hank of hair' and is 'amazing with his repartee carried on in three distinctly different voices' (Earle Theatre stage show, Oct. 1942).

Bill Lang, described as 'ventriloquist extraordinary,' was featured among performers (including dancer, tenor Wessley Swails, and soprano Marie Anderson) in a variety show reported in an Oct 31 1942 newspaper item titled 'Here & There.'

Senor Wences, billed as 'the Continental Ventriloquist,' appeared on stage at Warner Bros. Theatre, F St. Near 10th, Washington D.C., in November 1942, on a bill with Jack Holst, Milady, and Lombardi with his music, alongside the Roxyettes.

Newspaper described Senor Wences as 'famous international ventriloquist' whose stage revue at the Earle Theatre, Washington D.C., was held over for a second week alongside the film 'Desperate Journey' starring Errol Flynn and Ronald Reagan.

Ichiro Sasaki performed a 'magic and ventriloquism' act as part of an evening program (with tap dances, a scout drum and bugle corps, and vocal numbers) reported in a 1942-11-27 newspaper.

Jack Super, described as 'a ventriloquist, a confident young man with a talent for making a dummy talk,' performed on a bill introduced by Bob DeHaven; the review said his performance 'was a splendid one' and he 'kept the audience interested throughout his act.'

Jack Super, a ventriloquist described as 'a confident young man with a talent for making a dummy talk,' performed at a theater in a show sent out by Bob DeHaven, reviewed in the December 3, 1942 newspaper.

A performer known as 'Bob' conceived the idea of becoming a ventriloquist while working a night club engagement in Chicago; he bought a 'dummy' doll from a Chicago department store for $3.98 and, with his mother's help, dressed it and gave it a wig for a professional stage appearance (per 1942 article).

Four years before this 1942 article, 'Bob' was given an audition at the State Lake Theatre in Chicago and was immediately signed for an engagement there due to his proficiency in ventriloquism; he later played leading theatres and nite clubs nationwide and joined Eddy Duchin's band for a ten-week tour to Rio de Janeiro, Brazil, performing before the President of Brazil.

Bob toured with Eddy Duchin's band on a ten-week goodwill tour to Rio de Janeiro, Brazil, performing before notables including the President of Brazil (reported 1942-12-17).

Ventriloquist Joe King and his partner Winnie Mae were announced to entertain at the Arlington Kiwanis Club's Christmas party for underprivileged children, held Thursday at 9:30 a.m. in the Arlington Theater, Columbia Pike and South Fillmore Street, Arlington, with Mrs. Franklin D. Roosevelt attending; other features included magician Carl E. Brockway and motion pictures.

Joe King, ventriloquist, and his partner (figure) Winnie Mae were announced to entertain at the Arlington Kiwanis Club's Christmas party for underprivileged children at the Arlington Theater, Columbia Pike and South Fillmore Street, Arlington, at 9:30 a.m. on Thursday (per Dec 18, 1942 announcement).

Joe King, ventriloquist, with his partner Winnie Mae, was announced to entertain at the Arlington Kiwanis Club's Christmas party for underprivileged children at the Arlington Theater, Columbia Pike and South Fillmore Street, Thursday 9:30 a.m. (Dec 18, 1942 issue).

Joe King, ventriloquist, and his partner Winnie Mae were to entertain at the Arlington Kiwanis Club's Christmas party for underprivileged children at 9:30 a.m. Thursday in the Arlington Theater, Columbia Pike and South Fillmore Street, Arlington (per Dec. 18, 1942 announcement).

Ventriloquist Bob Evans opened in a new show at the Book Casino (Detroit) with his dummy figure named Jerry, described as 'the wise-cracking wooden dummy who perches on ventriloquist Bob Evans' knee' and jokes with ringsiders; other acts on the bill included Rosita and Deno (dance) and juggler Lew Hoffman (1943-01-13).

Joe King, described as an Arlington County ventriloquist, performed with figures Brandywine and Dadburnit at the President's Birthday Ball floor show, 10:30 p.m., Washington Golf and Country Club, reported January 29, 1943.

Joe King, described as an Arlington County ventriloquist, performed with figures Brandywine and Dadburnit in the floor show at the President's Birthday Ball at the Washington Golf and Country Club, tomorrow from 9 to 12 p.m. (per the 1943-01-29 edition), sharing the bill with Owens and Johnson (three girl hillbillies) and Barney Puck's Quartet.

Ventriloquist Bob Evans performed with his figure Jerry O'Leary at the Book Casino in Detroit, part of the Casino Revue (reported January 29, 1943).

Jerry O'Leary was the wooden-headed dummy of ventriloquist Bob Evans, described as ribbing ringsiders, ogling the orchestra leader Dolores, and singing in a high treble voice as he strolled with Evans from table to table at the Book Casino, Detroit.

Ventriloquist Bob Evans performed with his figure Jerry O'Leary at the Book Casino in Detroit, reported 1943-01-29, entertaining ringside guests and 'the beautiful orchestra leader' Dolores.

During the Book Casino act (1943-01-29), the figure Jerry O'Leary quipped, 'So that's what that six-cent stamp was for,' after Evans said, 'I'll pay you just what you're worth.'

Joe King, described as 'Arlington County ventriloquist,' performed with figures Brandywine and Dadburnit in the floor show at the President's Birthday Ball at the Washington Golf and Country Club, held 9-12 pm on 1943-01-30 (per article dated 1943-01-29), alongside Owens and Johnson (hillbilly trio) and Barney Puck's Quartet, with Arthur C. Stickley II as master of ceremonies.

Ventriloquist Paul Winchell (billed as "Paul Winched" in the OCR) appeared with his figure Jerry Mahoney, described as "America's great ventro-mimic," in the in-person stage show at the Michigan Theater featuring Vaughan Monroe and his band, reported Feb 4, 1943.

The Michigan Theater's 'in person' show (reported Feb 4, 1943) included Vaughan Monroe and his band, Marilyn Duke, Ziggy Talent, the Four Vs, the Murphy sisters, tap dancer Johnny Mack, ventriloquist Paul Winchell with Jerry Mahoney, and Phil Brestoff and the Michigan orchestra, plus the film 'Three Hearts for Julia.'

Ichiro Sasaki performed as ventriloquist in the 'Scouts-travaganza' show presented Sunday night at Dining Hall 1, Topaz, Utah (reported in the Topaz, Utah newspaper dated March 12, 1943); he also served as director of the program.

Ichiro Sasaki appeared as a ventriloquist in the 'Scouts-travaganza' program presented Sunday night at 7:30 PM in Dining Hall 1 at Topaz, Utah (reported in the March 12, 1943 newspaper); he also served as director of the program.

A critic (Gregg Frankel, in The Washington Daily News, April 24, 1943) wrote that this ventriloquist's act 'definitely has entertainment value' and that 'He doesn't have the slightest trouble arresting your attention.'

Canfield Smith performed 'a rib-tickling ventriloquist act' at the State Theatre, Hartford, on the bill with the Radio City Music Hall Glee Club, Gordon and Sawyer, and Dorothy Keller (per Hartford newspaper dated 1943-06-25).

Canfield Smith performed a 'rib-tickling ventriloquist act' at the State Theater, Hartford, in a show reviewed June 25, 1943, sharing the bill with Gordon and Sawyer in 'Just Good Fun,' the Radio City Music Hall Glee Club, and Dorothy Keller.

Al Robinson, ventriloquist, and his dummy Alkali Ike performed at the Town Hall on a Thursday evening, presented by the Ladies' Aid Society under a committee headed by Mrs. Oliver Bowen; the show was reported as a sensation with the audience's hilarity attesting to its success.

Bill Wienke, billed as 'Ventriloquist,' performed at Brendel's Manor Park (10 miles west of Baltimore on Route 40) on Sunday, October 10, 1943, with shows starting at 1 P.M., admission 50 cents (children under 10 free).

Admission to the October 10, 1943 show at Brendel's Manor Park was 50 cents, with children under 10 admitted free.

Bobo, described as 'the famous magician, ventriloquist, and entertainer,' was scheduled to perform at New Hanover High School on Wednesday, per a November 10, 1943 notice.

A newspaper column about Fort Huachuca (Nov. 25, 1943 issue) said of the USO Show Troupe No. 70 performance on Nov. 17, 1943: 'The ventriloquist act was the best ever seen at Ft. Huachuca.'

Stanley Burns performed a 'Ventriloquism Extraordinary' act, billed as 'tops' in his profession, at Loew's Poli Theatre stage show reported 1944-01-12, with shows at 1:20, 4:00, 6:30, and 9:00 p.m.

Junior is a new Edgar Bergen dummy character in 'Song of the Open Road,' described as an exact miniature replica of Charlie McCarthy who apes his senior by disliking W. C. Fields.

Junior, a new Edgar Bergen-created dummy figure appearing in 'Song of the Open Road' (1944), was described as an exact miniature replica of Charlie McCarthy who apes his senior including disliking W. C. Fields.

In the film 'Song of the Open Road,' the figure Charlie McCarthy turns ventriloquist himself, performing with a replica of himself called Junior on his knee (per 1944-02-24 newspaper item).

In the film 'Song of the Open Road,' Charlie McCarthy turns ventriloquist, using a replica of himself called Junior on his knee.

In the film "Song of the Open Road," Charlie McCarthy turns ventriloquist himself, appearing with a replica of himself called Junior on his knee.

In the film 'Song of the Open Road,' Charlie McCarthy turns ventriloquist, using a replica of himself called Junior on his knee.

John 'Wonderful' Cooper, ventriloquist in vaudeville for about 50 years, appeared with his dummy on WRGB, General Electric's television station in Schenectady, during an old-time vaudeville show called 'Gay Nineties' (reported April 1, 1944).

John "Wonderful" Cooper appeared with his dummy before the cameras of WGB, General Electric's television station in Schenectady, during an old-time vaudeville show called 'Gay Nineties' (reported 1944-04-01).

A 1944 review said 'Roy Douglas has worked out a very commendable ventriloquist patter, with a number of situations which have not been seen before,' as part of the Trade Winds show.

A critic wrote that 'Roy Douglas has worked out a very commendable ventriloquist patter, with a number of situations which have not been seen before.'

Charles Mack, described as Charlie McCarthy's creator, also made the ventriloquist figure Eddie Dolan used by Roy Doglas at the Trade Winds.

Admission to the May 14th variety show at Brendel's Manor Park (10 miles west of Baltimore on Route 40) featuring ventriloquist Dr. Gray was 50 cents plus tax, with children under 10 free.

While performing in Puerto Rico, Roy Douglas slammed his dummy Eddie into its case at the end of the act; a native patron was so upset he complained to an Army chaplain, who then relayed a request that Douglas be scolded for his cruelty 'toward the small, crippled boy' who assisted him in the act.

Sergt. Dooley and Pvt. Greene performed 'a terrific ventriloquist act' at Casino Royal, as reported in a Washington D.C. entertainment column dated May 26, 1944.

Admission to the June 4, 1944 show at Brendel's Manor Park featuring ventriloquist Bill Weinecke was 60 cents plus tax, with children under 10 admitted free.

Bill Weinecke, billed as 'Ace Ventriloquist,' performed at Brendel's Manor Park (10 miles west of Baltimore on Route 40) on Sunday, June 4th, in a show also featuring the Skunk Valley Trio, Porter and Company, The Cats and the Fiddle, Smokey and Henry, and the California Whirlwinds skaters; admission was 60c plus tax, children under 10 free.

Chriss Cross, described as 'a versatile sort of ventriloquist,' performed at the Earle Theatre (Washington, D.C.) on a bill with the Roxyettes, the roller-skating team Gaynor and Ross, ballet dancer Carol King, and mistress of ceremonies/vocalist Eileen Ritter, per a review dated June 10, 1944.

Chriss Cross, described as 'a versatile sort of ventriloquist,' performed on a program at the Earle theater alongside the Roxyettes, roller skaters Gaynor and Ross, ballet dancer Carol King, and mistress of ceremonies Eileen Ritter (Washington, D.C., 1944).

Admission to the July 30, 1944 show at Brendel's Manor Park featuring ventriloquist Charles Heckler was 50 cents plus tax, with children under 10 admitted free.

Ventriloquist Paul Winchell was the hit of a stage show at the Capitol Theatre (Washington, D.C., per this 1944 clipping), appearing alongside Sammy Kaye's band; the article jokes he and his 'precious little brat' figure might rival Edgar Bergen.

At the Capitol theater (Washington, D.C., per Oct. 6, 1944 edition), Sammy Kaye's band headlined the stage show but the reviewer called ventriloquist Paul Winchell the hit of the show, comparing him to Edgar Bergen.

Kae Carole is described as 'a woman ventriloquist' whose dummy was made by the same woodworker who fashioned Charlie McCarthy (reported 1944-10-08).

Edgar Bergen, described as 'the NBC ventriloquist,' was reportedly earning $10,000 a week for his radio show as of this 1945 article.

Edgar Bergen, described as 'the NBC ventriloquist,' was reported in a January 10, 1945 newspaper column to be earning $10,000 a week for his radio show, compared to $1,000 a week earlier in his career.

Brandywine was the name of Joe King's ventriloquist dummy, described as 'black-faced,' brought to a Children's Hospital polio ward party in Washington, D.C. (reported Jan. 25, 1945).

A ventriloquist's 6-foot wooden dummy figure belonging to a soldier-ventriloquist at Fort Meade Regional Hospital was burned by soldiers for warmth, as reported in a 1945-03-19 newspaper account.

George L. Horn, described as 'the ventriloquist,' was fined $5 and costs by Judge James Clark in Howard County, Maryland, for performing on Easter Sunday at Brendel's Manor Park, under a 1723 Sabbath-breaking law (reported April 11, 1945).

George L. Horn, described as 'the ventriloquist,' was fined $5 and costs by Judge James Clark in Howard County, Maryland, for performing (ventriloquism) for pay on Easter Sunday at Brendel's Manor Park, under an old 1723 Sabbath-breaking law (reported April 11, 1945, Ellicott City, Md.).

William J. Brendel, operator of Brendel's Manor Park, was fined $5 and costs for employing ventriloquist George L. Horn and hillbilly singer John A. 'Happy Johnny' Zufall to perform for pay on Easter Sunday, per a Howard County, Maryland jury ruling reported April 11, 1945.

William J. Brendel, operator of Brendel's Manor Park in Howard County, Maryland, was fined $5 and costs for employing the ventriloquist George L. Horn and hillbilly singer John A. 'Happy Johnny' Zufall to perform on Easter Sunday 1945.

Hillbilly performer John A. (Happy Johnny) Zufall performed alongside ventriloquist George L. Horn at Brendel's Manor Park in Howard County, Maryland on Easter Sunday, 1945, and was fined $5 and costs for performing for pay on a Sunday.

Betty Hutton, described as 'a good amateur ventriloquist,' is learning the manipulation of a doll dummy to use in her next film, 'Cross My Heart' (reported 1945-04-18).

Roy Douglas said of his dummy Eddie: "I've had several dummy makers swear they could reproduce a head for Eddie for a nominal $100... but Eddie and I were both disgusted with the results."

Ventriloquist Roy Douglas of 'Trade Winds' paid dummy maker Mr. Marshall about $250 for his figure 'Eddie,' after Marshall's price had risen from a flat $35 for a mechanical baby figure in earlier years.

Winnie was one of ventriloquist Corp. Warren Whitney's dummies, used to entertain wounded servicemen in England; its head was reported stolen from his parked car in Cleveland.

Burnwell was one of ventriloquist Corp. Warren Whitney's dummies, used to entertain wounded servicemen in England; its head was reported stolen from his parked car in Cleveland.

In Cleveland (per Sept. 26, 1945 news item), the heads of Corp. Warren Whitney's two ventriloquist dummies, 'Winnie' and 'Burnwell,' were reported stolen from his parked automobile.

Charlie McCarthy is described as the wooden dummy ('little wooden stooge') of ventriloquist Edgar Bergen, as reported in a Hollywood item dated Nov. 7, 1945.

Bob Evans, described as 'the talented ventriloquist at Radio City Music Hall,' is mentioned as performing there, with a note he will enter radio if he can find an ace script writer (per a 1945 newspaper column).

A benefit stage show on June 14 (1946) at the Greenbelt Theatre included 'Roy Howard and Eddie Allen—Ventriloquist Act' alongside Johnny Ray's Punch and Judy act, comedian Handsome Charlie, and five other acts, to benefit the Child Care Center; adults and children 50c.

Dick Lane, billed as a ventriloquist, appeared as part of 'Major Bowes' All-Star Graduates' in the Capitol Theatre's stage presentation for the theater's nineteenth anniversary, 1946.

Dick Lane, billed as a ventriloquist, appeared as part of the 'Major Bowes' All-Star Graduates' stage show at the Capitol Theatre's nineteenth anniversary program, September 1946.

The listing states of her act, 'We believe to be the only act of its kind,' in a 1946-10-03 Washington D.C. newspaper advertisement.

Rex Weber, ventriloquist appearing at the Capitol Theater the week of October 22, 1946, was awarded the U.S. Treasury Department's Silver Medal for distinguished service in war finance from 1941 to 1945, presented by Vernon L. Clark, national director of the U.S. Savings Bonds Division.

A free show featuring a 'Ventriloquist and Magician' along with colored motion pictures was advertised at the Harriet Theatre, Hardin, Montana, at 1:30 P.M. on Saturday, January 18 (per the Big Horn Implement Co. ad, 1947).

A 'Family Party' stage show on Saturday, January 18 [1947] at the Harriet Theatre in Hardin, Montana included a 'Master of the Banjo,' colored motion pictures, and a Ventriloquist and Magician act, with a lunch event at noon and the show at 1:30 p.m.

Captain Powers, Ventriloquist, was featured in 'Professional Vaudeville' at the New Astor Theatre in East Hartford, billed for one night only (per a 1947-01-31 newspaper).

Ralph Smith, billed as 'Popular Ventriloquist' with his figure Danny McGuire, performed as an added attraction at Broadway Gym in Marysville, Ohio area, Wednesday March 26 at 8 o'clock, admission 20c and 40c, on a bill with Ivan Wilcox 'The Merry Magician.'

Broadway Better School Club presented Ivan Wilcox 'The Merry Magician' and Ralph Smith the ventriloquist with Danny McGuire and Charlie McCarthy the 2nd, Wednesday evening March 26th at 8 p.m., admission 20c and 40c.

Ralph Smith, billed as 'Popular Ventriloquist,' performed with Danny McGuire (and dummy Charlie McCarthy the 2nd) at the Broadway School Club event at Broadway Gym, Broadway, Ohio, Wednesday March 26 [1947] at 8 o'clock, admission 20c and 40c.

Ralph Smith, billed as a 'Popular Ventriloquist,' performed with Danny McGuire as an added attraction to 'Merry Magical Mysteries' in Mt. Victory on Wednesday, March 26 (1947), 8 o'clock, admission 20c and 40c.

A 1949-01-06 newspaper announced 'The Famous Marathon Comedy Team' with '3 Other Big Acts' performing Music, Juggling, and Ventriloquism at Bluffton High School Auditorium, Bluffton, Ohio, on Friday, January 7 (1949).

On Friday, January 7 (1949), at 8 P.M. at Bluffton High School Auditorium, Bluffton, Ohio, 'The Famous Marathon Comedy Team' show billed 'Music, Juggling, Ventriloquism' as part of Marathon's Biggest Farm Show.

Tickets for Warren Simms's performances were $1.20 and $1.80 for the morning and afternoon shows, and $1.80 and $2.40 for the evening performance.

Bobo, billed as 'Comic Juggler, Ventriloquist', appeared with magician Warren Simms in a 'Day of Magic' show at Lisner Auditorium (21st and H Streets N.W.) on Saturday, Nov. 19, with performances at 10:30 A.M., 2:30 and 8:30 P.M.; a Smith College Club scholarship benefit, tickets $1.20-$2.40.

An advertisement for 'A Day of Magic' featuring magician Warren Simms billed 'Bobo, Comic Juggler, Ventriloquist' to appear Saturday, Nov. 19, 10:30 a.m., 2:30 and 8:30 p.m., at Lisner Auditorium, 21st and H Streets N.W., Washington, D.C., as a Smith College Club Scholarship Benefit.

Warren Simms, billed as 'The Famous Magician,' headlined 'A Day of Magic' at Lisner Auditorium, Washington D.C., on Saturday, November 19 (1949), with Bobo, comic juggler and ventriloquist.

Warren Simms, billed as 'The Famous Magician,' presented 'Day of Magic' with Bobo, described as a Comic Juggler and Ventriloquist, at Lisner Auditorium (21st and H Streets N.W.), Saturday November 19, 1949, with performances at 10:30 a.m., 3:30 and 8:30 p.m.

Bobo was billed as 'Comic Juggler, Ventriloquist' alongside magician Warren Simms in 'A Day of Magic' at Lisner Auditorium, 21st and H Streets N.W., Washington D.C., Saturday, Nov. 19 (1949), with shows at 10:30 a.m., 3:30 and 8:30 p.m.

Pi Bobo was billed as a 'Comic Juggler, Ventriloquist' appearing with magician Warren Simms at Lisner Auditorium, Washington, D.C., on Nov. 19, 1949.

Warren Simms, billed as 'The Famous Magician... Comic Juggler, Ventriloquist,' performed in 'A Day of Magic' at Lisner Auditorium, 21st and H Streets N.W., on Saturday Nov. 19 (per 1949-11-18 newspaper), with shows at 10:30 a.m., 3:30 and 8:30 p.m.

A 'DAY OF MAGIC' show at Usher Auditorium, 21st and H Streets N.W., billed 'The Famous Magician Warren Simms with Bobo, Comic Juggler, Ventriloquist,' held tonight at 8:30 P.M. (per paper dated 1949-11-19), with tickets at $1.20, $1.80, $2.40 (tax included), as a benefit for the Smith College Club Scholarship.

Warren Simms, billed as 'The Famous Magician,' headlined 'Day of Magic' at Usher Auditorium, 21st and H Streets N.W., Washington D.C., with Bobo the comic juggler/ventriloquist, tonight at 8:30 P.M. (per Nov. 19, 1949 newspaper).

Warren Simms was billed as 'The Famous Magician' headlining a 'DAY OF MAGIC' show at Usher Auditorium, 21st and H Streets N.W., with Bobo, a comic juggler and ventriloquist, tonight at 8:30 P.M. (per paper dated 1949-11-19).

Advertisement for a 'Jerry Mahoney' ventriloquist doll described as Paul Winchell's famous figure, priced at $5.98, a 24-inch doll dressed in the clothes 'Jerry' wears on stage.

The Jerry Mahoney ventriloquist doll, sold for $5.98, was 24 inches tall with a moving head and mouth, and came with a free booklet titled 'How to Be a Ventriloquist.'

An advertisement offered 'Paul Winchell's famous Jerry Mahoney Ventriloquist Doll,' a 24-inch doll with moving head and mouth, dressed in the clothes 'Jerry' wears on stage, priced at $5.98 and including a free booklet 'How to Be a Ventriloquist.'

The Jerry Mahoney ventriloquist doll, associated with Paul Winchell, was advertised for sale at $5.98, including a free 'How to Be a Ventriloquist' booklet.

Billed as 'Banjoist Extraordinary' and 'Ventriloquist Comedian,' Ruwe Looey appeared at a free entertainment show at O'Neill High School Auditorium, O'Neill, Nebraska, on Saturday, March 4 (per a March 2, 1950 announcement), sharing the bill with Chuck McCauley, Barbara Kelly, and acts including juggling, bag punching, singing, tap dancing, and acrobatics.

Virgil Hummer Rowe, billed as 'Rooey', performed as banjoist, ventriloquist and comedian at a free show at O'Neill High School Auditorium, O'Neill, Nebraska, Saturday March 4 (1950) at 2 P.M.

At a circus side show (admission 40 cents) reviewed in this July 28, 1950 article, a young man tripled as a magician, ventriloquist, and juggler; the reviewer said he 'would not have won prizes for proficiency at local amateur hours.'

A 1950 television critic wrote that Bergen performed his ventriloquist show on film but did it on a theater stage before a studio audience, and criticized him for not using more imaginative camera techniques with his 'particular cast.'

A 1950 newspaper column on Bergen's television work says 'with him, ventriloquism has gone beyond the original trick of seeming to throw the voice into the mouth of a dummy by talking without moving the lips,' noting his figure Charlie McCarthy 'has taken on a definite personality of his own.'

Billed as a ventriloquist on the Capitol Theatre's stage show, appearing alongside headliner Connee Boswell, the Youman Bros. and Frances, and dancers Teddy and Phyllis Rodriquez (Washington, per the paper's 1951-03-30 edition).

Critic Harry MacArthur wrote that Bergen's recent TV try was 'such an improvement over his first' and noted Bergen 'is willing to work at being a ventriloquist again,' citing better discipline of his facial muscles while listening instead of talking.

Critic Harry MacArthur wrote that Bergen 'is willing to work at being a ventriloquist again' and noted he was 'using discipline on those facial muscles when he is supposed to be listening instead of talking.'

Advertised as 'Master Comedy Ventriloquist' on a variety bill, part of a stage show apparently at the Capitol Theatre (per the 1951-06-05 newspaper page).

Dolorez was billed as 'Master Comedy Ventriloquist' on a stage show at the Capitol Theatre alongside Evans & Evers, dancers, and the Sam Jack Kaufman Capitol Theatre Orchestra (Capitol Theatre, 1951).

A short film titled 'A Swiss Miss Ventriloquist Cat' was shown as a short subject at the Park Theater on Friday and Saturday, Aug. 3 and 4, 1951, alongside the feature 'I'll Get By'.

An advertisement for 'The Mesmerising Ventriloquist' listed admission as $1.00 at the gate for adults, 75c in advance for adults, and 60c in advance for students, tax included (newspaper dated 1951-10-05).

An advertisement billed an act as 'The Mesmerising Ventriloquist' with admission of $1.00 at the gate for adults, 75c in advance for adults, and 60c in advance for students (tax included).

Edgar Bergen, described as a 'famed radio ventriloquist of Swedish descent,' donated $4,500 to the American-Scandinavian foundation to help American graduate students study Scandinavian humor in Denmark, Norway and Sweden (reported 1951-12-17).

Ventriloquist Jimmy Nelson will take over the sales pitch segment on Milton Berle's "Star Theater" after Sid Stone's last appearance on Christmas night, as reported in a paper dated 1951-12-19.

Ventriloquist Jimmy Nelson was set to take over the sales pitch segment on Milton Berle's 'Star Theater' after Sid Stone's last appearance on Christmas night, per a December 19, 1951 newspaper item.

George Horn, billed as 'Ventriloquist and Dog Act,' performed at the AG Center Auditorium in Gaithersburg, Md. on Wednesday, February 6, 1952, alongside acts including 'The Plainsmen' and 'Teachers Beau.'

George Horn, Ventriloquist and Dog Act (billed as a Radio and Television star with 'The Plainsmen'), was scheduled to perform at the AG Center Auditorium in Gaithersburg, Md., on Wednesday, February 6, 1952, alongside acts 'Teachers Beau' and 'Twine from Around the World.'

George Horn, billed as 'Ventriloquist and Dog Act,' was scheduled to perform at a free event at the AG Center Auditorium in Gaithersburg, Md. on Wednesday, February 6, 1952, alongside 'The Plainsmen' radio/television stars.

George Horn, billed as 'Ventriloquist and Dog Act', performed at the AG Center Auditorium in Gaithersburg, Md., on Wednesday, February 6, 1952, on a bill with 'The Plainsmen' radio and television stars.

Dick Weston, billed as 'Ventriloquist', appeared on a stage show at Chambers School Auditorium on Thursday, Feb. 14, sharing the bill with Earl Dunn ('the man with a thousand voices'), The Connor Duo (juggling), Jimmy Dolly Connor and their trained dogs, and Darlene Wigham (accordionist).

Dick Weston, billed as 'Ventriloquist,' appeared at the Chambers School Auditorium event on Thursday, Feb. 14 [1952], on a bill with Earl Dunn ('the man with a thousand voices'), the Connor Duo, Jimmy Dolly Connor and their canines, and accordionist Darlene Wigham.

Ventriloquist Edgar Bergen and Charlie McCarthy headlined WCCO's Aquatennial Radio Show at Minneapolis Auditorium, 7:45 P.M., Saturday, July 19, sharing the bill with Marion Marlowe, Frank Parker, Julius La Rosa, Cedric Adams, Bob De Haven, the Minneapolis Choralaires and Wally Olson's orchestra.

Ventriloquist Edgar Bergen and Charlie McCarthy headlined WCCO's Aquatennial Radio Show at Minneapolis Auditorium at 7:45 P.M. on Saturday, July 19 (1952), sharing the bill with Marion Marlowe, Frank Parker, Julius La Rosa, Cedric Adams, Bob De Haven, the Minneapolis Choralaires, and Wally Olson's orchestra.

A large 1953-01-20 vaudeville double-show at Uline Arena and the Capitol Theater in Washington included 24 acts covering 'everything from ventriloquism to grand opera, from ballet to the finger-stand act of Unus.'

A performer listed as 'Evan Kress, ventriloquist' was billed among the acts for the polio benefit show at Sullivant Gardens, starting at 9 p.m., admission 25 cents for children and 50 cents for adults.

Kin Swan, billed with figure 'McGhee' as a 'Scottish Ventriloquist', performed at Lisner Auditorium on Wednesday, November 3, at 8:30 PM, in a one-performance-only show also featuring Robert Wilson, Jack Anthony, Margaret Mitchell, Will Starr, Bertha Ricardo and Tammas Fisher, emceed by Neil Kirk.

Billed as a "Scottish Ventriloquist" act with figure "McGee", part of a variety bill (with Jack Anthony, Margaret Mitchel, Will Starr, etc.) at Lisner Auditorium, one performance only, Wednesday, November 3, 8:30 PM.

On NBC's 'Comedy Hour' (Sunday night, per April 19, 1955 newspaper), Edgar Bergen appeared with Charlie McCarthy and Mortimer Snerd on the same show as comedienne Miss Carson; the critic joked that after his 'lazy ventriloquial years' on radio (where his lack of visible mouth movement went unseen), Bergen could use lessons from Miss Carson, whose impersonation of Jo Stafford involved singing without moving a facial muscle.

A TV critic wrote that 'Edgar, a comedian with a deserved reputation for being a wit, and a vanished reputation for ventriloquism gets good laughs in the interviews' on the NBC-4 special 'Inside Beverly Hills,' scheduled for January 29.

Billed as 'Renor [Señor] Wences, the ventriloquist' in a prelude/warm-up act of a stage show at the National Theatre, alongside the Three Houcs (jugglers), singers Sandra and Sonia Warner, the dancing Dunhills, and dancers Darvas and Julia, with Danny Kaye headlining (Washington, D.C., 1956).

A classified ad (Richmond area, 1956-12-13) offered a new 'Charlie McCarthy ventriloquist doll' for $2, listed alongside roller skates at 3741 Harding Dr.

J. P. Schanley of the New York Times, quoted in this June 6, 1957 paper, called Senor Wences 'a gifted ventriloquist' among the non-musical participants in a television program.

Walt Walter, billed as a 'ventriloquist-deceptionist,' was to perform at the Jaycee Varieties show at Smyrna (High School) on Thursday, Oct. 10, 1957 at 7:30 p.m., presenting 'two types of ventriloquism, near and far' and singing in two voices at the same time; the benefit show also featured Dave Monahan, The Puppet-Aires, Doris Hart, Tom Perkins and Elizabeth Doubleday, Clem Faust, and emcee Jimmie Evans; admission was $1 for adults and 75 cents for children.

On Oct. 10, 1957 at 7:30 p.m. in the Smyrna High School Auditorium, the Jaycees' 'Varieties of 1957' program included musical novelties, Puppet-Aires, tap dancing, song, comedy, ventriloquism, and juggling acts, with Jimmie Evans as master of ceremonies and comedian.

Another ventriloquist figure (voiced by 'Elmer,' referring to Jimmy Nelson) called Jimmy Nelson 'a classy ventriloquist' from whom one could 'always learn something,' quoted in a 1958-04-20 article.

At an orphan's party his jaws were stiffened by peanut butter on bread, causing his ventriloquist act to go wrong ('I got all messed up with my act').

Pastor McNutt reported that young people came to the crusade, and the newspaper stated Victor Etienne 'is reportedly one of the outstanding ventriloquists of the day.'

Ventriloquist Paul Winchell, with Jerry Mahoney and Knucklehead Smiff, starred in Harry Romm's production 'Stop! Look! And Laugh!' featuring The Original Three Stooges, opening at the Monroe Theatre (per a July 20, 1960 newspaper listing).

Ventriloquist Paul Winchell, with his figures Jerry Mahoney and Knucklehead Smiff, starred in 'Stop! Look! And Laugh!' opening at the Monroe Theatre, also featuring the Marquis Chimps and Officer Joe Bolton (per 1960-07-20 newspaper).

Billed as 'Ranger Hal's Favorite Ventriloquist,' Mike the Clown performed in person on the outdoor stage at the Rockville Drive-In Theatre, Rockville, Md., during the Gala Spring Frolic on Thursday evening, April 26, 1962 (per week beginning Sunday, April 22, 1962 listing).

Billed as 'Ranger Hal's Favorite Ventriloquist MIKE the CLOWN', appearing in person on the out-door stage at the Rockville Drive-In Theatre, Rockville, Md., during the Gala Spring Frolic on Thursday evening, April 1962.

The Harlem News described Bob King as 'a master in the art of Ventriloquism' with a 'distinctly high class' style of presentation, noting the fun really starts once he brings someone from the audience up.

A reviewer wrote that Bob King 'is a master in the art of Ventriloquism' and that his act becomes especially fun once he brings someone from the audience up.

The reviewer wrote that Armida Averette's ventriloquism act 'was one of the few moments of the show that held my attention,' though her singing and dancing 'was not up to par with her ventriloquism act.'

Armida Averette performed a 'between-the-scenes ventriloquism act with a dummy that has much merit,' according to a review in a 1963-07-02 newspaper, which called it 'one of the few moments of the show that held my attention,' though her singing and dancing were said not to be as good as her ventriloquism act.