Thornton Flynn, a tenor, was next to closing and scored the first big hit of the evening. He formerly did a single and was recently with “Cinderella On Broadway,” and prior to that was identified as Carroll and Flynn. He is now as assisted by a woman pianist and should be given consideration for the bigger circuit.
Henry Santrey and Rand, closing the vaudeville half, walked off with major honors. The nine boys whaled the melodies all over the place and in addition had Santrey working exceptionally hard in front of ‘em, which added together made up a bear of a performance. This double quintet is still a two to one favorite every time they start.
There were two really good sketches on the bill. The first was the John Hyams and Lelia McIntyre offering, “Maybloom” with a couple of songs. It is a neat idea, nicely done, but not an act that will ever be a riot. It is one of theses pleasantly quiet turns that are liked but never raved about.
The third hit was down in the second half and delivered by Edith Clifford, who was scheduled to open the late section, but was moved down a number, being preceded by the Russian Cathedral Singers (New acts) who were originally programmed in the first half. Miss Clifford hit home with “Oh, What a Boy,” and followed it with “Going Up.” The first with a slight tinge of the suggestive got over in great shape. Roy Ingraham at the piano sung, “Ireland Was Meant To Be Free” and scored. Then Miss Clifford, after a change, put over “Simple Mary Ann” and “Weaker Sex” neatly finally offering “Nathin’” for an encore.
Then came Lillian Shaw with a repertoire of song scenes devised by Blanche Merrill. Miss Shaw was literally a howling success as far as the audience was concerned. Her second number was slightly blue in spots, but when those particular spots arrived the Palace crowd shrieked their delight. There are some spots where the talk is a little bread as broad it may be a question how they will take it away from Broadway, but Miss Shaw is sufficiently show woman to know where and where not to use it.
George Bobbs and Eddie Nelson were a smashing hit in fifth position. Nelson’s rendition of the “Rockabye Dixie” melody, stopped the act completely. Both made speeches, but what the audience wanted was more of Nelson’s singing.
Bobby Adams and Jewell Barnett, a blonde and a red-head came on for the first hit of the evening. Miss Barnett, a good looking auburn haired beauty, officiates at the piano, while Miss Adams, a patootie of the blonde type sings songs with a little different twist. Both girls do a single numbers and harmonize on their ballads. For an encore the girls did a number called “Uhu” that proved a riot. Here’s an act that is ready for the big time for an early position having youth, looks and talent.
Trixie Friganza, who had the honor of opening this theatre, had the pleasure of having the audience remembering her well. She received an ovation on her entrance, and every one of her numbers and points got hearty acclaim.
Marie Gaspar, a sweet patootie, a recruit from the local cabarets, suffered with a cold and was hindered by a piano player who wanted to be eccentric. Miss Gaspar opens with one of those summery little dresses that made every one in the house love her, also doing a Cinderella number while sitting on the piano. Then the piano player had his {tuning?}, and Gaspar makes her appearance in an iridescent decolette [sic] shimmy gown, singing a couple of blues numbers, doing an eccentric jazz dance for her exit.
Frazer and Bunce closed, scoring better results than any of the preceding turns. The nut stuff of Bunce caused a howl, while his partner sailed away with equal honors in song delivery, unruffled by the antics of the former.
