Then came Lillian Shaw with a repertoire of song scenes devised by Blanche Merrill. Miss Shaw was literally a howling success as far as the audience was concerned. Her second number was slightly blue in spots, but when those particular spots arrived the Palace crowd shrieked their delight. There are some spots where the talk is a little bread as broad it may be a question how they will take it away from Broadway, but Miss Shaw is sufficiently show woman to know where and where not to use it.
Norman, “The Creole Fashion Plate,” a holdover the second holdover of the bill, by the way [Kaliz also having been at the house last week], had things all his own way from the beginning to the end. He held the stage for 25 minutes, and in addition to a regular encore number did two of his former successes.
Closing the intermission Arman Kaliz and his company of 14 in “Temptation” was a revelation to the audience in the magnificence of its staging and costuming. It is belled as “an allegorical opreatta,” and is exactly that, just as much like “Experience” as it could possibly be.
Frazer and Bunce closed, scoring better results than any of the preceding turns. The nut stuff of Bunce caused a howl, while his partner sailed away with equal honors in song delivery, unruffled by the antics of the former.
Doyle and Webb (colored) did well for the third post, finishing to big results with an old-fashioned exit of their high stepping variety. Their dancing got big returns and Miss Webb made everything out of an opportunity to shout her coon songs.
Gangler’s animal turn opening made much of the opportunity by getting some high results with the trained horse. The dogs seemed to respond to their master’s whip with a good deal of comedy antics and the turn closed with the agile creatures climbing the pole and loosening the curtain on which gold letters emblazoned their hope of pleasing, getting them a big hand, and they bowed in acknowledgment to three fast curtains.
[New Act] Violinist, 12 mins.; one. (Oct.28). Boy who looks 12 but probably around 18 enters playing semi-classical number on violin, the music preceding his appearance. Is dressed in ragged garb and absence of makeup gives his pale, wistful appearance which aids in sympathetic appeal.
Plays another number straight then sings a ballad in a sweet baritone, closing with a song and a violin accompaniment at same time. More than made good opening second half of roof bill.
[New Act] Songs and talk. 15 mins; one. One or town laughs sprinkled throughout with the girls appearance the main asset. She makes two changes and does four songs, one ballad. With a recitation inserted, offered by her partner, that they liked up on the Roof.
A clean cut looking couple but a bit shy on material, in so far as their conversation goes, and at their best while singing, but who presented a most acceptable No. 2 act.
Cantor’s Minstrels, despite current reports that they were tying it up downstairs, must have been off form upon hitting the Roof, as the act simply breezed through without interruption until one of the end men appeared as a dame of “color” and then managed to pry forth a few laughs. A good dancer, this boy, but only stepping out once alone. He is the backbone of the turn and subsequent events rest on him. Possibly the act was held back by being minus its “set” while working upstairs and the inability of one of the girls to do anything through reporting just out of a hospital. The Minstrels did fairly well – that’s all.
Wardell and Concourt walked in with comedy honors of the evening, their offering being exceptionally timely in the political crossfire as delivered by them on the eve of election. The only opposition they encountered, in this line, came from one of the end men in Cantor’s Minstrels, closing the first half, but the team topped the number of laughs he hung up previous to their entrance.
