W. Horlick and Sarampa Sisters, formerly Herlick’s Gypsies, have a novel dancing act with a special blue eye, combining the whirlwind gypsy effect with Russian hock steps. They closed with an up-to-date acrobatic tango.
William Ebs, carrying his live dummy out in the suitcase, had the wise Palace bunch fooled, but when the dummy came to life and ran off the stage on his own power, they gave him a powerful hand, demanding an extra song by the midget.
The closing act, Weston’s Models, which relies on beauty more than speed was carried away on the momentum of the entire show, and swept over to a bang. This posing act, composed of two women and a man, is one of the most artistic and sensational acts of its sort in vaudeville today, relying on no host of accessories, the only real assistance being the marvelous lighting effects, with most the poses physical instead of art poses. Their “Marathon,” Gladiator” and “Forward” received heavy hands, and they held in a solid house.
Thomas Dugan and Babette Raymond found the closing intermission spot to their liking with their absurd sketch structure for unctuous funniments of Dugan and the quiet fending of Miss Raymond. Dugan’s smooth, unconscious fun is delightful, a neat delivery of spontaneous drollery and surprise comedy lines.
Jessie Brown and Effie Weston made a bright spot in the right place with their colorful series of dances and costume changes. They wear a million dollar’s worth of clothes, the value being in graceful designs instead of abundance of materials. The stepping is enlivening and has a wealth of variety for a two-girl combination. Gaps for changes are neatly filled by a pianist in evening dress who has a fragment of rhymed announcement for each succeeding number.
Billy Frawley and Louise, with Jack Lait’s sketch, furnish a snappy routine of talk, dance and singing that equals any combination in “one” that has come to the surface this long time. Frawley has a surefire comedy knack in all he does, and he does a varied assortment of things. Capital couple in a capital vehicle.
Beeman and Grace, musical and skating arrangement, opened. The pair make a good impression at the outset. Nice looking boy and striking pretty brunet girl and odd duet, with girl at the piano and boy playing harmonica, the boy later accompanying himself with a ukelele [sic]. This feature of the turn is a whirlwind skating finale. That boy has a one-foot whirl that is a wonder and all his maneuvers on the small mat are striking, particularly the dance on rollers with this girl.
Henrietta Crosman, that beloved artist, stage gentlewomen and expert high comedienne of legitimate school, carried “Every Half Hour” again to a fine point of entertainment. The laughter was not at her call whenever she reached her gifted hand for it. The character was a cameo, human, yet high-lighted. Albert Chianelli. In a brief episode in which he enacted an explosive Frenchman, was a power. Four honest curtains – and oh, how Miss Crosman knows how to take curtain!
Jack La Vier opened. The reviewer missed the turn at the matinee, but the house manager reported that La Vier amused and scored far beyond general results in that position. La Vier has always impressed here.
Then Trixie Friganza, on to a reception, on to a reception, into her new catalog of songs. She has cut out the full stage Camille bit and now closes with the floor-rolls on her Indian rug, Mandeli and his partner came in and worked this up for her and dragged her off on the rug to a scream. Still by far the best stuff Trixie has had in years. She now credits Al Von Tilzer together with Neville Fleeson. Last time it was Harry Breen who probably wrote the Redskin lyric. Miss Friganza need have no qualms about taking this program of good-natured foolishness into the east – it is to her order every minute. A solid hit here.
