Variety (Dec 1939)

44 VARIETY VAUDE-NIGHT CLUBS Wednesday, December 6, 1939 Night Club Reviews COTTON CLUB, N. Y. ~ (6th EDITION) Louis Armstrong Orcli, Maxine Sullivan, Stump and Stumpy, Aland and Anise, Bobby Eroiis, Kaloah, Sonny Woods, Vencssa Aiiimon, Chorvis il6), Showgirls (6), Soccar- ra's Orch; music and lyrics by Sammy Cahn and Saul Chaplin; dances, Clarence Robi7ison; orches- , trations, Will H. Vodory; settings,! Francis Feist. j Louis Armstrong and Maxine Sul-; livan may be swinging in a dream at. the Center theatre in Radio City, but i they're topping a very wide-awake i show at the Cotton Club. It's the | latter's sixth edition since moving down to Broadway from Harlem and ' possibly its best. I C.C. had been marking time for; several weeks between productions with variety shows, sans chorines and showgirls, and was not alto- gether happy. Lack of production told at the b.o., but this jive opiy should put the spot back on a well- paying basis. Sunday night (3). four days after the show's Wednesday midnight opening, immediately fol- lowing the debut of ArmsU'ong and Miss Sullivan in 'Swingin' the Dream' that same evening at the Center, the C.C. was jammed at the dinner hour. 'Dream' curtails Arm- strong's C.C. chores at the dinner shows because of his early appear- ance at the Center, but doesn't af- fect Miss Sullivan. Most notable thing about this pro- duction, in comparison with previous Cotton Club shows, is its variety and tapering-oflC from the spot's usual slam-bang hoofing and noisiness. It's politer and more palatable over a 90-minute stretch. Other plus fac- tors are the costuming of the 16-girl line and eight showgirls, and excel- lent dressing up of the small stage over the band platform. Armstrong and Miss Sullivan, in- dividually and when together, dis- pense strong entertainment and hold the show's b.o. reins. Their two duets are with 'You're a Lucky Guy,' original by. Sammy Cahn and Saul Chaplin that has good commercial possibilities, and later with 'You're Just a No-Account.' For the latter Miss Sullivan does a characterization of a lazy shoe-shine boy. In her solo spot, the songstress gives out with 'It's My Turn Now' and her standby "Loch Lomond,' while Armstrong's own session is taken up with 'Jeep- eis Creepers' and his own 'What Is This Thing Qalled Swing,' vocally and trumpeting. They're unmistak- able clicks. Another standout is the Stump and Stumpy team of comics and hoofers, who are an h.o. of the C.C.'s last va- riety show. These kids are as whammo on a nitery floor as they are on a stage, their takeoffs on Don- ald Duck and Ted Lewis being espe- cially strong. They have an excep- tionally fine comedy sense. Otherwise, the show's personnel is in the nature of specialties. These include Aland and Anise, mixed hoofing team, who swing a minuet; Bobby Evans, another h.o., who does a solo song-dance session and leads the ensemble in a couple of numbers: Kaloah, thigh-grinding, belly-rolling virtuoso; Vanessa Ammon, who's on for brief Balinese terps in the effec- tive 'Bali Bali' production number, and Sonny Woods, vocalist with Armstrong s band, who gets an in- ning with 'Night and Day' early in the show. Along with 'Lucky Guy,' Cahn and Chaplin have also contributed a song called 'Hoy-Hoy-Hoy,' which is sung by Stump and Stumpy. It's strictly Harlem, however, and segues into the C. C.'s introduction of a new dance, the 'Shorty George,' which is little more than a slight variation of the boogie woogie. There's no program credit for the show's producer, but whoever he is, he didn^t have a very bright Idea in the opening screen bit, which depicts scenes from films in which Miss Sul- livan and Armstrong appeared. It's a slower-upper and doesn't establish the names any more securely in the audience's minds. On the other hand, Clarence Rob- inson, who did the dances, assisted by Al Richards, has come up with a well-trained line of 16 girls. Soc- carras' Orch plays for dancing. Scho. Leon & Eddie's, N. Y. HAVANA-MADRID, N.Y. EMMETT OLDFIELD with EDDIE WARE presenting ANYTHING MAY HAPPEN STRAND, New York NOW (Week Dec. Ist) HELD OVER 2 Additional Weelcs Dec.8th-Dec. 15th Personal Direction WM. SHILLING 1560 Broadway, New Yorl< P.S.—Thanks to Harry Mayer Nile Wits (C), Donald Burr, Ruth Sato, Eddie Davis. Joe Vcnuti orch mith Don Dnrcy and Eltner Beachler, Godoy Conoa orch (7), Lou Martin 0Tc)i (3)-, Line (10). Leon & Eddie's, after 11 years, tosses precedent under the bar and comes up with a flock of changes this season. First off, it has taken to name bands—unheard of before Ramona and Her Men of Music started a six-week engagement at the spot beginning of October. She was followed for two weeks by Joe Venuti, with Lenhie Hayton in next. Precedent-smasher No. 2 is the ad- dition of a line of gals. There are 10 of them, drilled by producer Bobby Sanford. Special songs have been turned out for the show by Kenneth Hecht and Sidney Bass. About the only two things that havenlt-becn changed at L & E's this year are L & E. Eddie Davis still makes up a major portion of the en- tertainment with his original patter songs, seemingly never-ending, in response to demands of a faithful coterie of 52d streeters who appar- ently never tire of them. Current' show, when caught, ran way overboard on length, some- where around two hours. Curbing of the encores by Davis, despite the demand, is almost a necessity in view of the long girly numbers and a troupe of youngsters, the Nite Wits (6), giving a half-hour of orig- inal skits in the manner of the gang that was at the Village Vanguard, N. Y.. and later at Radio City's Rain- bow Room. Line opens the proceedings keynot- ing 'It's Evening in Paris,' sung by m.c. Donald Burr; Femmes are oke on looks, being particularly smootho around the gams. Routines are mod- erately simple as befits the limita- tions of the locale. Burr's piping is also satisfactory without being par ticularly outstanding. Gals, at the close of the show, invite customers from their seats to teach 'em the conga and other S. A. rhythm steps. It's a nice stunt. Joe Venuti's band adds to the length of the performance by doing a specialty which he has been using for some years and which shows signs of datedness. It's a March of Time sequence which Is topped off by Venuti thrusting out his jaw to provide an amazingly good likeness of Mussolini. Elmer Beachler, of the band, does the M. of T. announcing, while Don Darcy does most of the specialties, which includes some neat baritoning and a pit> of an imitation of the palsied vocalizing of Carmen Lombardo. Ruth Sato is an Oriental-looking femme who does a Chinese dance as before and after 'the'coming of the Marines.' First, in long mandarin coat, is tn classic style, while the coat Is shedded for the latter portion tor a shim-sham in G-string and bra Nite Wits (New Acts) are mildly funny, showing signs of still being in the embryonic stage with Improve- ment likely. Working in association with the experienced Eddie Davis will no doubt go a long way toward aiding In this direction. Herb, Sergio Orfo, Nano Rodrigo Orch, Juanito Sanabria Orch, Kosita Rios, Estela and Papo, Tapia and Maclovia, i4Tturo CoTtez, Elba Valladares. Pe- drito antf Francisco, Getie Alvarez, Maida Del Valle, Lolita Co7izatez, Olpa Mender, Nona Monte;. Zi^dra de la Conde, Rita Eliza, Vida Valdez, The Santeras. Captioned 'A Night in Havana,' this peppery revue at the Havana- Madrid, on Broadway, is really a cavalcade of everything Latin. Em- braces Brazilian, Argentinian, Cuban, Mexican and Puerto Rican songs and dances, deftly blended and nicely paced by Sergio Orla, a rotund little comic who affects tortoise-shell gog- gles and who'is actually the brains behind this floor show. He not only staged and produced it but nl.so de- igned the authentic and intriguing costumes. This is more than just the usual Spanish omelet of song and dance. It's a showmanly potpourri of everything, mixing the class with the lesser. The eight girls are all look- ers and the specialiots effective all the way. Estela and Papo. lor example, are Afro-Cubana rhumbaists in the hotcha manner. Rosita Rios so- iranos and leads the numbers well, lolding down her own solo spot. Arturo Cortez is an above-par war- bler. Cesar Tapia and Ruiz Maclovia give out with the Spanish terps to Bizet's 'Carmen' for musical back- ground. Pedrito and Francisco are the bongo players backing up the rhumbaists and the Afro-Cuban stuff danced by The Sanleras. All the other specialists likewi.se jell well into a compact 45 minutes that make this $1.50 table d'hotery a bargain. Nano Rodrigo is a regular NBC maestro and Juanito Sanabria, alter- nating maestro, is equally good. Leo is the maitre, who knows his clien- tele, and the Angel Lopez-Ramon Ferror management has one of the standout spots along the street. Abel. Cocoanut Grove, N. Y. (PARK CENTRAL HOTEL) Pancho orchesfro, Dinora, Ralph de Villa Dancers. Pancho Is what is known as a class maestro and the Park Central's Co coanut Grove is by no means a class room. It's no humpty-dumpty either, but it's not a Persian Room or La Conga, the environments usually associated with the South American maestro. Pancho does good enough dansapation job and, in fact, seems to be drawing some of his old crowd, but there's no doubt the booking was a mental hurdle when first essayed. Only the b.o. barometer in weeks to come will answer it. Pancho knows how to mix up his straight terp music with the con- garhumba stuff. Prime idea of the booking is to lure supper biz, and he may do that too, since the pop- priced dinners take care of them- selves in this large hostelry. Dinora is a holdover. She's a sort of road company of Diosa Costello, an attractive looking, paprika seno- rita with a hotcha maracas style to break up her vocal interludes at the mike. Also billed, but not seen at this catching, are the Ralph DeVilla conga dancers. Abel. given to Garwood Van's orch, which has built up quite a following with its smooth dance music. Floor show is on the alright side, but it's Valles who gives it a lift with his show- manly touches. Maine stein songer gives the payees ($1.50 cover) a good run for their tabs, poking around In every turn and exercising his tonsils on a half dozen numbers. Gay informality ot the evening's fun Is infectious and the convivials warm up fast. No sooner Is one turn oft than Vallee and the others shift props, move around pianos and deport with mani- acal glee. It's all good for lau^h.i and helps to humanize Vallee with those who may hav6 appraised hicn as spoiled headllner. The Vallee repertoire of .songa hasn't changed much, his prime ef- fort being 'All Points West.' with material aid by Elliott Daniel at the novachord. He still affects.a dead- pan seriousness In his singing, but this gives away to unrestrained play- fulness when the mood of the even- ing lightens. Vic Hyde, one-man swing band, and Ames and Arno, knockabout acrobats, are the rowdy- dowdies and score handsomely. Hyde manipulates four or five in- struments at one time and tosses in a few hoof beats. A-A bang away at cnch other, take hard falls and go through other bruising routines. A natural for this spot and a show- stopper. For straight singing there are the Three Debutantes, lately with Ted Fio Rito, and the King's Men, one- time with Paul Whiteman. The malei have it all over the femmes. Frank Cook harmonicas while accompany- ing himself on the guitar, a neat trick but not new hereabouts. Van's crew pldys the dances and a crowded floor best attests to hia popularity with the Bevhills and pic- ture crowd. He's been around for years and delivers tuneful, tangy dansapation. His rhumba numl>eri are especially arresting. Pofjgy Goodwin vocals nicely. Helm. VICTOR HUGO (BEVERLY HILLS, CAL.) Beverly Hills, Cal., Nov. 29. Rudy Vallee, Ames and Arno, Vic Hyde, Frank Cook, Three Debutantes, King's Men, Peggy Goodwin, Car- wood Van Orch (11). There's still plenty of magic to the name of Rudy Vallee in this silk- stocking precinct. His name in lights and ads are responsible for the surge of trade to this swank chophou'se. AH else Is incidental lest mention is ' Nat Vincent and Nancy Morrison have placed .'In the Lilt of a Sweet Irish Song' with Sun Music Co. The ballad had previously been tried out on the westcoast by the writers themselves. SMASH HIT— J9 wk. resldontlal rata at New Y<>rli'« Ilotol Eniplrfl—at the galew»y to Times Square. Gtvea you a nne room with prlvftte, tiled lavatory Hnd toilet, with private bathroom, tlD.^o. .See Mlu Farrlsa, Aaat. Mki'., today. CO. i-HOO. HOTRT. EMrlKK nrosdwar and SM Bt. New T«rk ANOTHER BLITZKRIEG I Just Finished a Sensational Engagement * at the GLASS HAT * and Selected to Open the NEW CONGRESS CASINO CONGRESS HOTEL. CHICAGO, DEC. 21 Thank* to Mr. RALPH HITZ and Mr. CARL SNYDER Sincerely MARC BALLERO My Manager EDWARD RILEY 1560 B'wey, N. Y. To All AFA Members Who Participated in the AFA Death Benefit Fund: It you have already rec^-ived a letter-and-ballot on llquidallngr the DBF,.then please return letter properly marked to the AFA, K>60 Broadway, New York, hniiiedlately. (Ballots reaching the AFA later than Jan. 10, 1940, cannot bo accepted.) If you have not received (he letter-and-ballot, then ple;i9e wrlta to the AFA .slating whether you are for or against abolishing the AFA DBF. Your letter nnist reach the AFA, 1560 Broadway, New Y'ork, before Jan. 10, 1940. Don't Fail fo Attend the AFA Membership Meeting, Friday, Dec. 15, 3 p.m., at Union Church Holl, 229 W. 48th St., New York THREE OXF-ORD 30 YS East: JACK DAVIES MILTON BERGER "MUSICAL CARICATURISTS" Now Playing STRAND, New York (Week Dec. 1st) Partonal Managamenti DAVID P.' O'MALLEY, 140 No. Dearborn St,, Chicago Wast: HARRY QREBEN