Type: Posing

17 Mins.; Full Stage (Special Settings). The famous poseuse of Great Britain made her first American appearance Monday at the Palace, New York. She is La Milo, exquisite of figure and artistic to a degree in her exposition of living statuary. Though in some of the posed pictures, La Milo is burdened only by the alabaster whiting for the miserable effect, the way it is done removes all taint of immodesty and any appeal to coarseness. While this phase of the Milo act doubtlessly disappointed those who looked for a sensational disclosure of the nude in art, everyone present at the Palace Monday appreciated that they were seeing a high-grade vaudeville posing turn, carefully thought out and well put on. La Milo did nine pictures, one a group of three, with La Milo in the centre, though this was left for the audience to decide for themselves, the principal poseuse not being identified nor distinguished in the group, excepting by her exquisite form. At the opening of the turn some moving pictures were sown of La Milo in Paris. She was fully gowned in these, wearing “clothes” and “hats.” Between poses, to fill in for settings, were “Cruickshank’s Sheet Lightning Caricatures,” a novel idea in bringing out sketch line drawing of America’s best-known men, but the outlines were decadently English in conception, the name attached to being the only proof of identity. Placed to close the Palace show, La Milo held the entire house at both performances, the matinee running until 5.45. as both houses Monday were capacity, this attested to a preliminary drawing power of the turn that nothing on the opening day’s bill in the theatre could dispute with it. La Milo should prove a draw over here. She may safely be depended upon to attract the classy set that is always on the lookout for this sort of thing when well done, also always anxious to see a woman’s perfect figure such as Milo possesses. This is a very big point on her favor, for a “classy act” with box office value means much to vaudeville nowadays. The common herd will also want to see La Milo, even though their crude ideas of nude posing are not fully carried out by her. Closing the first or opening the second half of the program would have been a more advantageous position for this number.

The Nightons closed with their posing turn. What remained of the audience appreciated the poses and applauded, but it was an impossible spot, especially for a quiet act. Opening intermission might be a preferable position for an act of this kind on any bill.