Rekoma
Rekoma opened, a gentlemanly athlete in a series of rapid stunts, equilibriums and leaps. This turn did not go by the boards, as most icebreakers do, but went warmly with those who came promptly.
Sophie Tucker and Her Five Kings
Miss Tucker, the ambitious and aggressive girl who is forging new history in these parts in vaudeville and café work, issued an entirely changed program since last week at the same stand. Her “Kid from Madrid,” which she made a household gag at Reisenweber’s, kicked over a bang with a comedy Spanish tambo dance to close. Her baby-spot ballad was “Rockaby Lullaby” and she eased in a novelty in a “Floradora” sextet number, in which she wore the famous garb of that collection of historic vamps of a generation ago. She was driven to an encore and a speech – two speeches – and a third.
James H. Cullen
James H. Cullen, the beloved Jim who has played this section since many nowadays fathers were children, ambled on quietly, as always, and got a noisy hello. Cullen is as annual as Winter and a whole lot pleasanter. His boyish, innocent face conceals behind it the subtle mobility of the royal jester, the suave and unctuous wit. Jim said many a deep, wise crack off the tip of his smooth and ready tongue. One about Mary Garden was a classic. He could have remained for supper and keep the guests intact.
Nellie V. Nichols
This without the next-to-closing turn in the running and Nellie V. Nichols, tried and sterling performer, running below her grade. Miss Nichols followed two singing acts, but since there were six in a row almost every one did. Miss Nichols, however, followed several hundred, using material which in the main was trite and frazzled with wear.
At this day, in Chicago, a routine containing “Portuguese,” Moving Picture Ball,” “Wait Till You See,” and “Rose of Washington Square,” is handing out a lot of vets. In addition she did a special called “Don’t Let the Same Bee Sting You Twice” and a brief one incorporating the old gag about the Sunday school teacher talking about her twenty-one children and the stranger asking what part of Ireland her husband came from. She also did a Wop, in which Tony rhymed with macaroni and was from San Antonio. Miss Nichols holds an honored and established position in vaudeville; like an ambassador to a foreign capital, she should “support the position as befits.” She needs true, honest character songs and is big enough to have her own, with a popular one here and there, perhaps. If she does not want exclusive ones she might keep refreshing the ones she does want. She did not “go” as an artist of her caliber should.
Oscar Loraine
Oscar Loraine, with his fiddle, had them eating out of his hands when he stepped out, and before he was through they were howling. When he uncovered his plant in the box he proved a knock-out. And how that plant can sing, though she could do away with that shimmying with credit to herself and the act.
W. Horlick and Sarampa Sisters
W. Horlick and Sarampa Sisters, formerly Herlick’s Gypsies, have a novel dancing act with a special blue eye, combining the whirlwind gypsy effect with Russian hock steps. They closed with an up-to-date acrobatic tango.
William Ebs
William Ebs, carrying his live dummy out in the suitcase, had the wise Palace bunch fooled, but when the dummy came to life and ran off the stage on his own power, they gave him a powerful hand, demanding an extra song by the midget.
Weston’s Models
The closing act, Weston’s Models, which relies on beauty more than speed was carried away on the momentum of the entire show, and swept over to a bang. This posing act, composed of two women and a man, is one of the most artistic and sensational acts of its sort in vaudeville today, relying on no host of accessories, the only real assistance being the marvelous lighting effects, with most the poses physical instead of art poses. Their “Marathon,” Gladiator” and “Forward” received heavy hands, and they held in a solid house.
Henrietta Crosman
Henrietta Crosman, that beloved artist, stage gentlewomen and expert high comedienne of legitimate school, carried “Every Half Hour” again to a fine point of entertainment. The laughter was not at her call whenever she reached her gifted hand for it. The character was a cameo, human, yet high-lighted. Albert Chianelli. In a brief episode in which he enacted an explosive Frenchman, was a power. Four honest curtains – and oh, how Miss Crosman knows how to take curtain!
Jack La Vier
Jack La Vier opened. The reviewer missed the turn at the matinee, but the house manager reported that La Vier amused and scored far beyond general results in that position. La Vier has always impressed here.