Frances Pritchard, a slender blonde who looks like Gertrude Hoffman did a few years ago launched out in an act palpably reminiscent of “Three Is A Crowd” as done some seasons ago with Shelia Terry featured. Instead of a singer and dancer contesting for her, she had two dancers. And two dancers they were, too. Edward Tierney and James Donnelly, in a variety of weirdly rapid stepping took the first bows of the show. Miss Pritchard and stepped neatly and looked nice. She did a few impersonations. The trio went for a bully hand at the end.
Jane Dillon in a quick change melodrama came third. The changes were not amazingly quick and the melodrama was so “Melo” that in spots the house laughed out of turn. Some of the characters portrayed by Miss Dillon were intelligent, others amusing, others absurd. For a finish she dies in black, gasps “God bless the United States” and the orchestra hits up “Stars and Stripes.” Just an act getting by.
50 Mins.; Full Stage. With four principals, including himself, and an abundant chorus of boys and girls, Gus Edwards has assembled an entirely new routine of popular numbers for his latest revue edition, each carrying a separate share of equipment including costumes and scenery. The whole affair is quite elaborate, for vaudeville at least, running strictly to song without dialog, with an occasional speciality to break the schedule. Every number has been given an individual production, with each gathering its full share of results. The affair opens with a southern setting, the boys and girls dressed in appropriate garments, the melody carrying “The Song Farm” title, after which Edwards was bles “You Gotta Stop Pickin’ On My Little Pickaninny,” followed by “Bohemian Rag,” by Edwards, with a dance encore in which he is seconded by Lillyan Trashman. The number is catchy, but the dance, although helped by the girl’s striking appearance, runs a far second to anything else in the repertoire. Sallie Seeley’s specialty comes next, in “one.” Miss Seeley has a double voice with the low register sounding natural with the other resembling a well handled falsetto. She is one of the revue’s big features and landed a personal hit “Shadowland,” with Edward leading is a good production number on the spook order, with comic views projected from the picture machine for added effect. George Jessel’s specialty followed with impersonations of Bert Williams, Ruth Roye, Eddie Foy and Raymond Hitchcock. The Foy bit was well handled, but the others, aside from the resemblan in dressing, carried little value. Jessel has apparently a fund of undeveloped talent and is still young enough to come under Gerry ruling. He should be instructed to cover up his self-consciousness, now a bit too conspicuous, but still pardonable when his age is considered. “Just Around the Corner from Broadway,” a dandy ballad with a corking lyric and melody, was given before a drop of Times Square, and landed the singing honors of the piece. Edwards led it with the troupe handling the encores. “I Love You California,” “Panamala” and the finale came on next in order with a Panama Exposition set. A cute little miss programed merely as “Cutey Cuddles” was conspicuous in the cast, her age probably prohibiting her specialty. The revue held down the closing and of the Palace bill and with little competition, was easily the feature of the program. Edwards has given every detail especial attention and may be credited with one of vaudeville’s biggest productions. Where a house can stand the financial pressure, it should make a great attraction, for it can hardly fail anywhere.
18 Mins.; Full Stage. “Apartment 309.” A rather commonplace story molded into a semi-strong, but exceptionally well staged bit of drama is “Apartment 309,” in which Robert Edeson is being featured. The scene shows the handsomely appointed apartment of Nora Truman (Jane Haven) sister of Nat Truman (Mr. Edeson) a young newspaper man. It’s midnight and Nat, out on an assignment, drops in unexpectedly. He is scheduled to interview Amos Broadback, a local political pillar. Nora exhibits considerable nervousness over Nat’s presence and finally induces him to leave, just as Broadback is about to enter. In a few minutes Nat realizes the circumstances, both Broadback and the girl admitting their relations. He has ruined the sister who is understood to be 18 (but who looks much older from the front). Nat decides to kill him, and do as so after some plain talk, the shooting being done in an adjoining room. Broadback’s brother (Edward Wonn), who had been previously summoned by phone, arrives and is calmly told by Nat of the murder and as calmly arranges for the removal of the body. He in turn calls the family physician and they have the lighting system temporarily disconnected while the corpse is carried out. This allows for a weirdly dramatic situation and gives the turn a unique finish. Meanwhile the brother has advised Nat that the affair will be dropped to avoid any unpleasant notoriety, although this seems to peeve Nat, who evidenced a desire for arrest and revenge somewhere. The sketch carries a capable cast, but Edeson has little opportunity to display his acting ability, since the punch is but a tap in this instance and the climax as aforesaid but semi-strong. There are several interesting situations, but no really big moments, the piece reaching its dramatic pinnacle hen the brother, in discussing the affair with Nat, suggests the murdered man could have paid, to which Nat replies “He has paid.” Without a star “Apartment 309” would hardly carry but being equipped with one, it just about reaches.
16 Mins ; Full stage. A foreign animal turn, pretentiously staged and with a comedy foundation that will distinguish it from the average, but in its present state it is far too slow for American vaudeville. Belling and an assistant work in comedy clothes, the latter executing some fine falls. A burlesque bull fight, featured. brings the desired laughs, also a mule with the usual bucking routine, but on the whole the act lacks enough solid comedy sketch. An unnecessary encore took a few minutes and lacked a punch. For this country Mr. Belling will have to accumulate more speed.
Eddie Leonard and Co. opening intermission, cleaned up. Mr. Leonard is a favorite at the Palace and they wouldn’t let him wash up until he did “Ida” and Hobo Eyes.” Stewart and Olive, a dancing team, figure largely in the Leonard act. Mr. Stewart has everything as a soft shoe dancer and the Palace were quick to recognize his ability.
Bigelow and Clinton, second, had to battle with an incoming house, but succeeded in pulling out with three legitimate bows at the finish. They do a piano and singing turn of merit. There is no stalling or jockeying between numbers, both remaining on until their act is concluded.
Acrobats who believe it is necessary to talk, might profit by taking a good look at Mr. O’Donnell (O’Donnell and Blair). He doesn’t utter a syllable from the moment he steps on the stage to the finish, but by no means of pantomime keeps the house in an uproar for 15 solid minutes. Besides this low comedy pantomime gift, O’Donnell is a clever ground tumbler taking fall that are full of neck breaking possibilities, at least they seem to be. Following the Eddie Leonard act, second after intermission. O’Donnell and Blair were an unqualified riot.
Palo and Palet, with nearly ever known musical instrument and a few of their own invention, elided the deuce period as best. This pair were formerly known as Gallerini and Son. Now they work in clown but use the same run.
“Hello Husband,” by William Anthony McGuire, a local author, featuring Lulu McGuire, his wife, played with three plants and is show stuff, all about producing in bedroom farce. Mrs. McGuire is pleasant and the support was fair, with names not billed except for Hamilton Christy as the young husband.
