Williams and Taylor
Williams and Taylor, colored performers one doing comedy, got most out of their dancing. They gave a little of soft-shoe stuff, then a comedy song, followed by never failing eccentric dances.
Jack and June Laughlin
Jack and June Laughlin, with a special “cyc,” in a singing and dancing routine, the act depending mostly on the stepping, picked up the running of the show. They overlooked their bows.
Trixie Friganza
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.
Grant Gardner
Grant Gardner, billed as Mons. Grant Gardner, has about a minute of mysterious music, with lights changing, leading one to believe almost anything, making his appearance from the opposite side of the spot in grotesque blackface make-up. He explains the psychology of laughter, telling a few humorous stories, topped off with eccentric dance, and for an encore plays a peculiar cornet.
Jim and Marian Harkins
Jim and Marian Harkins didn’t have much to work on, as Jim’s work depends on the preceding acts, but received as many laughs as were in the audience. They finished to a hearty hand and four bows.
Bradley & Ardine
Bradley & Ardine, in full stage showing an interior of a charming bungalow, danced and sang, but had hard going. Their little piano player gave the act some real assistance, though carrying that smile that says “I know I’m good,” and he proved it when all three of them took a bow, separately, he getting his share of the applause. They came back for an acrobatic dancing finish that carried them off to a hit as hits went at that performance.
Marie Gaspar
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.
La France Brothers
La France Brothers suffered a stage wait on opening, hurtful always to a closing turn. But the first flash at their dizzy production, all lighted up and worth waiting for, made a lot sit down who had stood up. The head balancing and equilibristic feats throughout were mastery and the showmanship noteworthy. Splendid closer.
Murray Kissen
Murray Kissen and his quartet in the Hungarian rhapsody burlesque of honored lineage, picked up on high and crashed. In the intimate Palace the moving picture bit and Kissen’s excruciating “imitations” at the end got wallop after wallop. This one completely panicked all the way and after.
Frisco
Frisco, returning with by far the best act he has ever shown, went through and over. Loretta McDermott and Eddie Cox give him more and better support than he ever got from any jazz band. Loretta is the cute dancing jelly bean of always, and Cox sings melodiously and hoofs it brilliantly. Frisco has acquired poise, which does not hurt his Apache character and does help make him as an entertainer. He gets in all his dancing and whizzes over (if one can whizz and stutter at the same time) many a nifty. Frisco has been credited with handing out more bright lines and using less than nay other natural jester of the day. Now he uses a few famous cracks himself. He is a headliner at last, not as a freak or a fad. He entertains today. Whereas hitherto he was a Chicago institution reputed to be a New York sensation, and Chicago claims its own verdict on its own institutions.