The entire show was fairly good entertainment. The Three Bobs, in the opening spot, were really one of the big outstanding hits of the show. The trio are providing one of the real novelties in opening acts with their trained bull terrier and crow. The bird and dog make the act a sure thing from an applause standpoint, and the club swinging that the boys exhibit earned heavy applause at the conclusion of the offering. The turn really stopped the show.
Georgia Campbell, assisted by three men in Southern setting, dialect and ditties, was kidded at things, the matter being saccharine. I [sic] one of those routines designed as sure fire. “Sweet Adeline” and “She Lives Down in Our Alley” are representative numbers of the selection. Closed to a polite demonstration.
Ralph C. Bevan and Beatrice Flint, fourth, also drew down a racket, and their billing, “A Slight Interruption” went after their act rather than for it. Bevan is a keen eccentric and Miss Lint a statuesque straight in oolala gowns.
10 Mins.; Full Stage (Special Set). The present Palace engagement of the Okabe Japs marks their American reappearance after an extended tour of Europe. The aggregation, eight in number, work within one of the prettiest Oriental sets ever displayed on a vaudeville stage, carrying everything down to a special ground mat. Seven men and one woman make up the troupe, with a youngster featured in the work. This little chap who resembles in a way an overgrown Billikin, is a marvel at topmounting and ground work, keeps continually active and is very prominent in the most difficult routines. The turn consists of the usual ground and foot juggling with some exceedingly sensational work done on the box platforms. A few pyramids on hand-stands are also injected with excellent results. The okabes make a splendid vaudeville number for their particular line of work, running up with the two or three of the best in their line. They opened the Palace program and scored an emphatic hit.
: 17 Mins.; One. “Master and Man.” Act opens with talk on the war which is pertinent and to the point. Carries a good quota of laughs. Cantor in black face and Lee playing straight. After war talk, Lee sings “Carolina” and Cantor comes on for “Victrola” and “Snyder’s Grocery Store.” Cantor does some travesties on pictures that are laughable. Cantor also pulls a lot of “cissy” stuff which is unusual in blackface. Act ends with a brisk duet. Went so well at the Palace that Cantor had to make a speech. Good comedy act, and out of the beaten rut.
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.
Lyons and Yosco stepped out and went to work, not losing a soul and using only three numbers made it short and sweet, to give way to “An Artistic Treat,” a posing act of high merit.
Dainty Marie, her first reappearance at this house where she met with a serious accident, came back with as much nerve and as good “from” as ever. Her act runs with more speed than when here, due to a different routine.
