Frietchie and written by Edgar and Harry B. Smith. The act focused around an election in Fredericksburg and included a parody on "Dixie" by Kolb and Dill. The production would last through at least January 19 when the next production, "Hoity Toiti" was announced in a Fischer's ad. This production had Kolb and Dill, along with Bernard, playing the role of banking businessmen who teach the art of poker playing. A production with Mrs. Charles W. Rhodes, had Kolb and Dill "be-Dutch" the act which featured Wagner on March 25 and April 4. The next production was "Helter Skelter" which was popular throughout mid-April, when the production of "Fiddle Dee-Dee" would return by popular demand. The "Fiddle Dee-Dee" production would last through the week of June 6, before "Twirly Whirly" would debut. The "Twirly Whirly" production would be replaced by a combination of two great plays "Under the Red Globe" and "The Three Musketeers". Premiering on July 13, 1903, Kolb and Dill would have a song called "I'm Going to Live Anyhow Until I Die" that featured six clog dancers. Kolb and Dill also would sing "Soldiers" which was noted to be a "coon song". The quartet of comedians with Kolb, Dill, Bernard, and Whelan was noted to be "very funny". The performance would again change on August 10, with "The Big Little Princess" and "Quo Vass Iss". The production was quite popular and was advertised as having 1900 people pack the theater to view the performance on August 12. Kolb performed as "Specky" in "The Big Little Princess" and a strong man in "Quo Vass Iss" and Dill continued in the role of a Dutch comedian. The production lasted until September 7, when "The Con-Curers" and "The Glad Hand" debuted. A new performance would begin on October 5, "The Paraders", a musical comedy. A detailed account of the act in the San Francisco Chronicle highlighted that the production had a flimsy plot and was saved only by the personal experience of the actor themselves, Kolb, Dill and Bernard exhibited their usual horseplay and comedic act. Though its initial portrayal was negative, the Fischer Theater ad responded with an ad stating for people to read the criticisms and avoided the sharpest denouncements of the San Francisco Chronicle review. The Fischer's ad changed quickly, the criticism no longer called as such and quickly the quotes attributing this "criticism" were removed from