Eva Tanguay Comes To Town Once Again

by Laurel | January 2nd, 2014

02 January 1914

Tanguay Rag

Tanguay Rag
by Blanche Merrill
Sheet Music Cover

Electric Spark of Vaudeville Has New Songs, As Usual All About Herself

Time changes Eva Tanguay little, if at all. Theatergoers are still disputing as to whether the original “nut” comedian is really shrews and clever, or actually crazy. Meantime Eva goes on singing about herself in her good-natured seemingly egotistical way and coining good coin of the realm, regardless of such slight opposition as the booking magnates man throw in her way. She returned to the Court Square Theatre with her own vaudeville company for two performances yesterday and entertained in the way peculiar to her and which has carried her though many seasons of success from the box office and popularity point of view. Her songs are all new this season and as ever they are all about herself., her personal affairs, her likes and dislikes and her idiosyncrasies, etc. Her costumes are likewise, all new and brilliant and original, a different one for every song. Her success, , personally, is as pronounced as ever and at the performance last evening the audience applauded long after she had bowed her acknowledgement and received a huge basket of flowers, in the they hope that she would give the vaudeville classic, “I Don’t Care,” a number that has contributed largely to her name. For some reason or other, however, she did not respond to the invitation.It is always interesting to watch those who view the Tanguay for the initial time. Many of them expect vulgarity, or at lease mild salaciousness in her work. She has never depended upon these, Her performance has in it nothing to cater to the prurient minded. It appeals to those who look for the bizarre and unusual. They find both in the Tanguay. The electric spark of vaudeville is what she is. You either like her immensely, or you pass her up altogether. And the box office records indubitably prove that there are for more theatergoers of the former class than of the latter. She divides with George Cohan and Harry Lauder the distinction of being imitated and imitated, but none of her imitators actually “gets” her. She is inimitable. And it is just as well, for one Tanguay is all that is necessary. In addition to her songs this season, Miss Tanguay closes the performance with a waltz and a tango, both danced with her newly acquired husband, Johnny Ford.

Ford also gives a dancing and comedy special on his own account, as he did last season. He is a remarkably “loose” stepper but would do well to curtail his act, leaving out much of the comedy. Ford is not another Frank Tinney whose style he is apparently emulating.

The Nicholas Nelson troupe give one of the prettiest hoop rolling, and diabolic spinning performances every seen in this city. Their work is quick and snappy and decidedly pretty to watch. A troupe of Arabs does some thrilling acrobatic and pyramid work. Burt Shepherd, the Australian whip performer does some different stunts in his line. The Orlando trio sings more or less pleasantly, one of the women having a voice that ranges from deep baritone to high soprano. Weber, Beck and Frazer offer a “rathskeller” act of some merit. Walton and Brand are atrocious in a singing and talking specialty and the Gougets are very ordinary musicians.

From The Springfield Republican.

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