Charlie Wilson, just a nut, gave them what they wanted. He has an easy delivery, and when he mixes up his speeches it sounds natural. He worked hard and was a runner-up for laughing honors. Howard received a reception, and when he sang the old favorites there an ovation.
The Three Rubes, after stepping out and knocking ‘em for the laughing hit through no fault of theirs, flopped at the finish. They were to close with a roll under the curtain, but the curtain didn’t move, and when they forced it up it refused to roll down. They look their bows smilingly, but – what they said back stage can only be surmised.
Claudia Coleman, giving her impressions of females that we meet, was on a little early, but her pleasing mannerisms and easy style of work obtained recognition.
The show is opened by Willie Hale and Brother, jugglers, but more than jugglers. Whether it is Willie Hale or the brother is not know, but the taller of the team has a personality worthy of a musical comedy hero. His showmanship and pleasing smile makes the act deserving of a spot. The closing trick of the other chap on a globe got them off with five bows.
12 Mins.; Full Stage. Two men and two women compose this foreign act that is made up of young contortions and acrobatics. The younger of men does the contortional twisting, different from the customary run. One of the women also contorts, while the other man is mostly acrobatic, and the third male does nothing of account. Of its kind it is very good, and, closing the Palace show this week, holds attention.
“At Home” 15 Mins.; Five (Special Set). Described progamically as a sequel to Mr. Morton and Miss Glass’ former act, “My Lady of the Bungalow,” “At Home” becomes another chapter in the series that allows of this young couple talking, singing and dancing, each doing a share in a nice engaging manner that firmly sends the turn over. The set is a country cottage, practical so far as a screen door will suggest. Through that door exits and enters both principals at different times. When Miss Glass first exists in that direction, one of the vaudeville surprised of the decade follows. She gives as a reason for leaving the stage, to dress herself for a call. Immediately upon passing from view behind the door, a Victrola is heard playing a “Maxixe.” Mr. Morton displays displeasure at again hearing it, but as he is standing upon a dancing mat and there is nothing else to do, the young man commences a soft shoe dance to the “Maxixe” strains. He goes through with it to loud applause, the house orchestra odd enough to see a dance to Victoria music on the variety stage, but a soft shoe to a “Maxixe” and to get away with it! The opening is also a bit odd. Miss Glass is calling her husband (Mr. Morton).; He appears rolling a lawn mower. Attached to the handle is a small basket, in which is the baby. Some cross-fire conversation on marriage (known as “repartee”) follows, then the “Maxixe,” with a bit of talk, Miss Glass having reappeared by this time, gowned to walk, but seats herself on the steps, playing the guitar and singing. The turn closes with a rag duet, the couple meanwhile pushing a baby carriage to and from, across the stage, mingling in some steps. The act could close in “one” with this number, though it would take them out of the nicely set garden. Mr. Morton and Miss Glass have a worthy successor in “At Home.” They create the atmosphere the title suggests, they are young and they are nice, they are talented and worth the price (to make the rhyme) which should get them time.
Man and woman, apparently foreigners, with a routine of two dancing numbers in which they feature some excellent spins and whirlwind work. They look good, work gracefully and can dance, but there’s hardly enough for the present dancing requirements of big time vaudeville. They open at the Palace and except for occasionally applause in appreciation of a spin or twist, failed to arouse any noticeable enthusiasm.
A high-class act with many good points. Three young men who appear are not at ease at all times, and make an awkward appearance, but when it comes to music, they are at home. The program is varied and they get into the good graces of an audience readily, offering ensemble numbers with ‘cello, violin and piano, and also solo numbers. Max Steindel is a good ‘cellist, and Ferdinand at the piano shows excellent technic. The act is well fitted for big time. It was received with great warmth Monday afternoon.
Scanlon, Denno Bros. and Scanlon were second. Opening as a male quartet, they go into an unusually clever routine of dancing, which opens with a buck schottische, followed by a double buck. Here one of the members removes a top hat, revealing a woman’s tresses. She is a corking stepper, and some excellent buck stepping at the finish with a ring-around, all grasping hands and never losing a tap brought them back for an encore. The ensemble harmonizing just passes, but one member out over “Vacant Chair,” a corking ballad, as a solo to good results.
Redford and Winchester opened with their burlesque magic, juggling and comedy stunts, and registered solidly. The act hasn’t been altered since the days of Madison and Winchester, but remains a good comedy acquisition for the tee off spot.
