Davis and Pelle held about half the house in with a flashy routine of lifts, hand-to-hand and acrobatics. The men make a neat appearance in tights and athletic shirts, the understander showing a remarkable physique that is upheld by the strength of his one arm elevations of the top mounter. It’s a dandy turn for either end of the bill.
Handers and Mellis (New Acts) were pinch hitting for Rome and Gaut, off the bill. The boys landed safely and were followed by Beth Beri, the graceful California girl, assisted by Jay Velie and Paul O’Neill. The act is standard dancing turn and can follow any of the steppers. Miss Beri is a shapely, wholesome looking girl who reaches near contortions in some of her bends, and the two boys are clever hoofers. One of the males is a clever pianist and vocalist as well. They scored easily.
O’Donnell and Blair, No. 3, made them yell with the rough, low comedy sketch, “The Piano Tuner.” Some of O’Donnell’s falls look dangerous, the finish, rocking astride a tall ladder mounted on top if the piano, making the audience gasp when they weren’t yelling with each teeter. The ultimate collapse was a howl and they were soundly applauded.
Miss Marbe, on ahead of Baker, landed safely through her dancing wardrobe and appearance. She exhibits about as shapely a pair of Frankie Baileys as have been seen off the Amsterdam Roof. Two stunning costume creations, with sheer fishnet stockings, had the women buzzing and the undivided attention of the males. Miss Marbe is a graceful dancer of the high kicking variety, and while her voice isn’t a grand opera caliber, she registers her songs nevertheless through personality and intelligent delivery.
Baker did a lot of ad libbing with Benny Roberts. Everything he tried landed solidly. He has a new trick of repeating any gag the gang muffs and works it up for laughs. The plant in the box helps out at the finish, but Baker can dispense with him at any time, for he is in safety before the “stooge” butts in. He followed Fay Marbe and got a laugh on his entrance by pulling a few cracks about Miss Marbe’s physical assets, following it up with the remark, “It looks like a good week.”
Margaret Padula (the cards read Marguerita) had her first try at the Palace. Opening intermission she offered a pleasing piano and song single which took her off to four bows. Miss Padula’s playing of the piano drew real returns. So did her whistling, accomplished like a man. She has selected her songs well, and there is a little idea connecting them. Since starting out as a single. Miss Padula has gone upward steadily so the palace appearance means something.
Dave Kramer and Jack Boyle packed home the comedy smash for the late part of the show, taking the next to closing spot. Following the Vera Gordon act Kramer had plenty of chance to kid about it for laughs. When he spilled some Yiddish Boyle inquired what he was talking about. The answer itself was a laugh: “What do you care as long as they are laughing.” Kramer, too, got plenty of fun with the breath-souse, but beseeching Boyle to argue with him and getting “stewed” on the aroma.
Vera Gordon, the Yiddish actress, appeared in “Lullaby,” the Edgar Allen Woolf tragi-comedy. The sketch divided headline honors with Joseph E. Howard’s revised “Chin Toy.” It took the film “Humoresque” to give Miss Gordon high rank on the spoken stage. Judging from the way she was accepted at the Riverside several weeks ago and both performances Monday she is due for a long stay in vaudeville.
Unquestionably the percentage of Jewish patrons will aid Miss Gordon in New York. Her performance in “Lullaby” cannot be denied high praise. She brings a catch to the breath in her serious moments. Her dialect dealing comedy is sure fire, even if natural. But the big laugh of the turn came when she asked the detective whether the man who her son had defrauded out of $230,000 would settle for $200,000. The Palace bunch accorded the act seven or eight curtains.
18 Mins.; Full Stage. Ralph Dunbar, he of lyceum and Chautauqua fame, sponsored the Salon Singers in vaudeville, the turn having just reached New York after an extended tour of the Orpheum Circuit in the west. It carries three men and two women, one of the male members accompanying on the piano. Two quartet numbers, one at either end of the repertoire are filled in with five solos, each member having an opportunity to exhibit his or her individual ability. A comparison in this division would not be exactly the proper thing. Suffice to say the entire quintet acquitted themselves finely, combining to offer one of the most artistic straight singing specialties the big time uncovered some seasons.
11 Mins.; Full Stage. Nice looking couple, the man working in evening clothes, the girl in a pretty white satin dress. They offer the conventional routine of modern dances, including the tango, waltz, fox trot and one- step, and while from a standpoint of gracefulness they seem somewhat better than the average, the fact that they have chosen the modern dance idea is a severe handicap in itself. Still this team can follow a majority of the others and could make a great many who have been getting money for it around here throw their dancing slippers away. If the big time audiences are willing to stand the tango thing any long, Weimers and Masse can distribute it as well as any.
