The show was well given extra comedy strength this week and De Haven and Nice were the first to start the laughs. They have inserted a whistling bit (“Humming Bird”) at the close of the “Mulligan and Mulligan” bit. The balloon number resulted in a roar and the rest was easy for them. At the close for the encore bit the “cop” enters, tears the warrant up and shakes hands.
Kramer and Boyle, closing started off in the same sent as the sketch just off in the same set as the sketch just as a kid on it, and it helped to hold ‘em out front. With all due respect to Miss Haynes, it seems safe to say every one was just as well satisfied with the two boys, and this was manifested through the announcement of the hurry call having been sent out for them being greeted with applause.
The O’Mearas succeeded, offering four dances, assisted by a pianist who rendered the inevitable “my conception,” and announced that which was to come with short recitations as is the way with the boys who sit on the stool these days. The fast stepping of the pair at the finale was the main bid for popularity delivered and it registers. Approval was stamped all over that last one.
George Jessel did more then his share in helping the bill along with his revue, and finished soundly with a short speech tacked on. Running through without changes as to the general layout, with the possible exception of the insertion of “Margie” as a melody for the team in the act to sing, the appearance of the piece remains in splendid condition with the girls looking extremely well and every one accepting their share of the burden that combined to put the act among the topmost of this style of entertainment. Jessel, of course, stood out, getting to the audience early with his intimate manner, and was “in” before he had gone half-way.
Opening the second part were Tom Patricola with Irene Delroy, who sounds new as Patricola’s assistant. The girl plays nicely, and Patricola had no trouble. Miss Delroy has magnetism, she carries herself like a performer, and looks well. His finish with the guitar is one of the best comedy hits in vaudeville. At the matinee the two-act had been next to closing. Patricola worked them to death for bows, alternating, but he got them.
Following then was Gertrude Vanderbilt, with Dean Moore, accompanist, remaining 21 minutes, and Miss Vanderbilt dancing for the finish. Not much dancing but enough to make the house want more. Previously they had gone through the turn as routine when before in New York with the exception that at night one song was omitted. The Vanderbilt act held up through Miss Gertrude’s hard work, and she is still working too hard. But 21 minutes seemed long. Some effort should be made to reduce the running time. Mr. Moore is doing better with his “nance stuff” but just as badly with the ballad.
The first section had been closed by the Doners in their second week. During intermission and stretching it a bit, Edwards David made a Police Hospital Fund appeal, drawing a few laughs on his facetious remarks anent the cops, at the same time humoring up the house for the collection boxes. For the four days of the fund collecting, inclusive of Sunday night, the Palace had taken up around $1,100. Mr. Davis referred to without mentioning the Morning World, which had been panning the Police Hospital from the public for several days. He said there were objectors to everything, and in this case they could be set down as conscientious objectors.
The usherets passed little straw baskets up the aisles. The girl on the right-hand aid of that row of boxes having nothing but box seats to collect from, when she reached the last box had two one dollars bills in the basket and some small silver, probably around $4 in all. There are 12 or 14 boxes on that side.
[New Act] Songs, talk, piano, 13 mins; one. Frank Morrell after a long illness is back with plump, good-looking blonde partner, who plays the piano and vocalizes pleasingly in a clear soprano voice. This, couple with Morrell’s tenor, insures that department.
The talk and monologing between numbers in all familiar and consists mostly in Morrell’s efforts to kid his partner.
The act as framed is all right for the smaller and intermediate houses mainly through Morrell’s personal following, the girl could aid by making a change of wardrobe during the action.
The hit of the show went to Adele Rowland, fourth. She did eight numbers, assisted by a pianist. Handicapped by vocal limitations, Miss Rowland easily overcame that obstacle through sheer force of personality and a knowledge of stage technique that embraces a thorough understanding of song delivery. This was best evidenced through her handling of “Nobody Knew,” a semi-dramatic recitative number, and “Apple Blossom Time,” a pop ballad, both widely different in theme and each put over with proper shading and expression.
[New Act] Gymnast, 10 mins; full stage (special hangings). Hurio is a classy gymnast of exceptional strength. He works off the floor entirely, using a high pedestal as a starting point. Upon the pedestal at first he does a posing. Hanging close to the stand is a single ring upon which he performs his first gymnastic exhibition.
Some distance down stage hang a pair of regulation rings. Hurio leaps from his pedestal to them. The stunt is pretty and it looks a lot easier than it is. He drops to the floor several times but always reaches the rings from the pedestals. Heavily musculated, neat in appearance and performance, Hurio adds something by dressing his act with velvet hangings. Good opening turn.
