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