Type: Comedy - Musical

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.