Miss Marbe, on ahead of Baker, landed safely through her dancing wardrobe and appearance. She exhibits about as shapely a pair of Frankie Baileys as have been seen off the Amsterdam Roof. Two stunning costume creations, with sheer fishnet stockings, had the women buzzing and the undivided attention of the males. Miss Marbe is a graceful dancer of the high kicking variety, and while her voice isn’t a grand opera caliber, she registers her songs nevertheless through personality and intelligent delivery.
Baker did a lot of ad libbing with Benny Roberts. Everything he tried landed solidly. He has a new trick of repeating any gag the gang muffs and works it up for laughs. The plant in the box helps out at the finish, but Baker can dispense with him at any time, for he is in safety before the “stooge” butts in. He followed Fay Marbe and got a laugh on his entrance by pulling a few cracks about Miss Marbe’s physical assets, following it up with the remark, “It looks like a good week.”
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.
Frank Hall and Billie O’Brien, with a sketch in title only. “Frozen Out,” a singing and talking turn with a piano employed by the woman at the outset in parlor set, both going to “one” at the finish. The talk is mediocre and not any too well delivered. They pass on their singing voices.
Nell and Elsie Gilbert, No. 3, were easily the outstanding act on this bill. They sing well and dance a little in routine that has talk in between. A “blues” number was especially well handled, displaying excellent harmony and big time styles. Their short costumes in the early part of their offering is “small timey,” but their more classy appearance when they change to evening gowns compensates. With rearranged and brightened routine their talents should carry them on.
Farrell and Hatch, a couple of colored entertainers, were second, with piano and songs, the routine consisting mostly of comedy numbers that are well put over, especially by the one at the piano. A ballad by the other showed only a fair voice. Both are at their best in a jazz number at the finish, which threatened to stop the show.
The Three Kitaro Brothers, opening, however more than pleased. The pedal juggling of two of the Japanese won good laughs. One of the trio does some nifty tumbling, and his head climb up a flight of steps sent them away to a big hand.
Williams and Howard, comedy and straight, with some of the oldest gags in existence and a few not so familiar, had them laughing hard, finishing a hit with parody singing.
