Stars of Vaudeville Series #1: George Jessel

As part of the research for my book No Applause, Just Throw Money: The Book That Made Vaudeville Famous, I worked up hundreds of biographical sketches of the principal stars of vaudeville. Going forward, I’ll be posting them here on the artists’ birthdays.

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GEORGE JESSEL

Jessel, known invariably as “Georgie” did a little bit of everything in show business: kid act, comedian, songwriter, singer, Broadway actor, and movie producer are just some of the roles he filled. Yet he gained his greatest fame in vaudeville with a one-sided dialogue routine, a “telephone conversation” with his mother that anticipated similar routines by Bob Newhart three decades later.

Young Jessel and Cantor

Young Jessel and Cantor

Jessel (b. April 3, 1898) started performing as a child to help earn money when his father became ill. He debuted at the age of nine at the Imperial Theatre (116th Street and Lexington), where his mother worked as a wardrobe mistress. With Jack Weiner (later an agent) and Walter Winchell (later a famously cruel gossip columnist) he formed a singing group, the Imperial Trio, which sang songs to accompany slides. Then he performed with Winchell and Eddie Cantor in the Gus Edwards sketch “School Boys and Girls”. Joe Smith of Smith and Dale knew Jessel quite well during this era – he used to buy him ice cream. Charlie Chaplin, who also caught the act at this time, was more impressed with Winchell.

As he grew older, he formed a two-act with a young man named Lou Edwards (no relation to Gus) called “Two Patches from a Crazy Quilt”

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As a young man, he began to doing the “mama” bit, which apparently made even President Wilson crack up:

Hello, mom. This is Georgie, your son. Yes, the one from the checks…So tell me, Mom, what’s with Anna’s feller? They got engaged finally. Good, good. When’ll they get married? He has to wait? Wait for what? They’ve been going together for ten years and – oh, he’s waiting for a job. Did he at least give her a ring? He’s waiting for me to lend him the money. I see, Look, Mom, what’s the hurry, why does she have to get married? She’s still a young girl. After all, thirty-eight ain’t so old…Willie wants to talk to me? Okay, put him on. Hello, Willie. Ya a good boy? Good. How ya doing in school? Teacher’s got a grudge against you. I see. You want my autograph. Only last week I sent you four and a few weeks before I sent you—oh, I see, for every six of mine you can swap for one of Eddie Cantor’s.”

Jessel performed several of these routines, changing the material with each engagement, and usually signing off with with ”Yes, mama, the check is in the mail. Good night.”

In the 1920s, he graduated to Broadway shows, where he was a major star. Most notably, he played the title role in the stage version of The Jazz Singer (1925). He blew his big shot at the silver screen for demanding prohibitively high insurance to appear in the 1927 film version, it being such a “risky” venture. The role went to Jolson instead, and because of that one decision, Jessel, who was nationally well-known until the 1970s, is a historical footnote today.

After a couple more Broadway shows The War Song (1928; co-wrote) Sweet and Low (1930); and High Kickers (1931; which he co-wrote), Jessel did finally make his mark in Hollywood—but as a producer. He made pictures for 20th Century Fox for 11 years, including atrocious bio-pics of the Dolly Sisters and Eva Tanguay.

The Billy Rose Theatre Collection, The New York Public Library for the Performing Arts

The Billy Rose Theatre Collection, The New York Public Library for the Performing Arts

In later years, the conservative Jessel was best known as a familiar face on television variety shows and as the U.S. Toastmaster General to six presidents, an unofficial, semi-political position, rather like Bill Robinson’s honorary mayorality of Harlem. He was still performing two weeks before he died in 1981.

Here’s a unique tv show, Jessel hosted in 1969, Here Come the Stars was similar in format to Dean Martin’s Celebrity Roasts, with fewer insults, and of course the host was for some reason dressed like a General:

And to bring us all the way up to the present, Billy West based the musch-mouthed Yiddish-inflected voice of the character Dr. Zoidberg on Futurama on Jessel’s:

To find out more about Jessel and the history of vaudevilleconsult No Applause, Just Throw Money: The Book That Made Vaudeville Famous, available at Amazon, Barnes and Noble, and wherever nutty books are sold.

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18 Responses to “Stars of Vaudeville Series #1: George Jessel”

  1. Hey Travis– great idea for feed for your site.

    Your RSS feed is messed up, though– it read a bunch of font formatting as text.

    I forwarded it to you, so you can diagnose the problem and fix it.

    “Dr.” S.D.

  2. [...] Stars of Vaudeville Series As part of the research for my book No Applause, Just Throw Money: The Book That Made Vaudeville Famous, I worked up hundreds of biographical sketches of the principal stars of vaudeville. Going forward, I’ll be posting them here on the artists’ birthdays. [...]

  3. [...] next great leap came with pictures, which was ironic in light of the Griffith incident. When Jessel blew his chance at the film version of The Jazz Singer (1929), which was to be the first talkie, [...]

  4. [...] of the same cloth as Benny Rubin, and traveling in the same pack (which also included George Burns, George Jessell, Eddie Cantor, Jack Benny, et al.) this singer/comedian’s most famous bit consisted of rhyming [...]

  5. [...] Earlier he had been in Gus Edwards “Newsboy Sextette” with Eddie Cantor, Walter Winchell and George Jessell, and numerous other acts subsequently, so he, too, was a vaudeville [...]

  6. [...] 1945, George Jessel made the lives of the Dollies into a preposterous bio-pic starring June Payne and Betty Grable. The [...]

  7. [...] fired from Bedini’s act so he could take it. Also in the cast of the Kid Cabaret was a young George Jessel, with whom Cantor became lifetime friends. In the act, Cantor played Jefferson, a blackface butler. [...]

  8. [...] their field, they were tops. George Jessel said “Willie Howard was the best of all the revue comics, bar none”. In 1929,  Variety called [...]

  9. [...] went on to bigger and better things. Famous products of the Gus Edwards mill include: Groucho Marx, Georgie Jessell, Eddie Cantor, Phil Silvers, Walter Winchell, Ray Bolger, Eleanor Powell, Sally Rand, Bert Wheeler, [...]

  10. Murray Echols Says:

    Outstanding website. So much work by you and each so complete. Is there an index of all of your Stars of Vaudeville?

    • Thanks! No, no index — no real way to do that in the blog format, but I do do have it broken down by categories, and also there’s a search function. I may see if I can turn these entries into another book — that would have an index, of course. Thanks again for your kind words.

  11. [...] George Jessel is credited with giving them their new stage name. At a 1931 booking at Detroit’s Oriental Theatre where he was M.C., the girls were mistakenly billed as the “Glum Singers”. Jessel noted that “Gumm” wasn’t much better, and suggested they take the last named of NY drama critic Robert Garland. [...]

  12. [...] machine, which is why he was able to boast such a distinguished alumni: Groucho Marx, Eddie Cantor, George Jessel, Walter Winchell, Eleanor Powell, Mae Murray, Phil Silvers, Bert Wheeler, Jack Pearl, the Duncan [...]

  13. John Tinsley Says:

    Do you have any info on a vaudeville act “Temple and O’Brien” thanks John

  14. About Temple and O’Brien / Randine Thoen & Jim O’Brien

    Randa and her husband Jim entered show business separately around the turn of the century. Randa was a ring girl for John L Sullivan’s bare-knuckled boxing matches. Jim had a vaudevile comedy act and was looking for a partner when he met Randa. Together under the name of “Temple and O’Brien” (Irene Temple and Jim O’Brien) they enjoyed a big-time career from 1909 until vaudeville died out in the late 1920’s. Temple and O’Brien was one of the top singing and dancing teams in the nation. They did all the big houses from Los Angeles to Chicago to New York and Paris and shared the stage with Will Rogers, Irene and Vernon Castle and other famous performers of the era. They felt the highlight of their career was entertaining the troops in France during WWI.

    On retiring in the late 20’s, Rand and Jim co-managed a hotel in Detroit Michigan for a number of years.

    Randa and Jim were in their 70’s when I (Tom Johnson) knew them in the late 40’s and early 50’s. They left their job in Detroit and had retired to a small house in Glenwood, Minnesota, where my Grandfather, Olof, lived. Jim used to love showing me tricks that he would pull out of a steamer trunk he kept in the living room.

    I loved Randa….. When I knew her as a kid she looked like a throwback to the 1920’s; her clothing and hair hadn’t changed styles since the flapper era…..a near perfect image of Betty Boop. She loved to laugh and dance and didn’t mind at all spending time with us little kids.

    Ref: Bozeman, Montana news paper, March 1961; Viola-Thoen Keller; Pope County Museum

    More About Randine Thoen:
    Baptism: March 31, 1878, Pastor Lars S. Markhus, Big Grove Lutheran Church.
    Burial: 1961, Glenwood, Minnesota.
    Confirmation: September 10, 1893, Pastor Nils J. Giere, Big Grove Lutheran Church.

    More About Randine Thoen and James E O’Brien:
    Marriage: Chicago, Ilinois.

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