Variety (January 1950)

62 HOiJSV BBVnsWS Wednesday, January 25 , I950 Pai*aiiioiiiit» N« IT. 3ill Ijatoreiice* Jedn CarrolU t>orothy Claire, Jjay Walkers (3), Jerry Wald Orch (16 )*;: ••Thehna Jordon-* {Par), reviewed in VAt RiETY. Nov, 2, '40. ■ - \ • The yaried components of the I*eramOuht bill are a blend of good entertainment. Show has a fresh approach, with Bill Lawi’ence, one 01 the current faves of the jiiVe Bet, luring the sweater set, and more mature items that will please j all elements of vaude goers. -Lawrence Is i“2ing, Zing a Boom,’* to keep the the yideo^ areas by vMue of h^^ comedy Cugat calls on pearance^ ^wlth^ ^thur . C^df^ y j George DeWitt, who has joined the and his disking^ He _ gets on the i ^^eh for several theatre dates. He I rattles off line 61 tasfc patter, anff clavas cracking dancer, who turns in highly energetic “Cuanto Le Gusta.:* George Lopaz steps out of the band to trumpet his own arrangement of ‘Teanut Vendor.” Abbe Lane has her inning for torchy vocals on “South America Take It AWay,” “Miami ‘Beach. Khumba” and closes in a comedy bit with cugat on “Baby> It*s Cold Outside,” Redhead has a good deal both in the way of looks, height- ened by a .strapless gown, and v6- , Miuie BalU V* “Silver Lining,** d Jerome Kern cavalcade, with Helene & Howard, Bob WiUiatns, Jessica Haist, Shir- ley Van, Kay Holley, Norman Wy^ att, Harold Nojmtani Grant Gar^ nelt, Rockettes, Corps de Ballet, Cflee Club fe Mu«C Hall Symphony Orch; produced by Leon LeOmdoff, settings, Bruiip Maine; costumes, James Stewart Morcom; lighting effects, Eugene Braun; special ened by a str^i^s gown, ana Stilimdh. “My Fool cal styl^ and draws Heart" -. (RKQ.V, rewiewed in sppnse. Otto^ Bohvac of the.band (5^t_ jg 1949; has a vocal inning on the samba,' » string of pops that makes the most of his, basic appeal and walks off to boff mitts. string of imitations--Como, Mon- roe, Torme, Sam Spade, Jimmy j Cagney and., others ~ holding the ®^her mnger oo^ the [ stage 15 minutes for smash laugh Dorothy Claire, Cugat then batons band Bainbow, - who 5.^' in “Sin Timbal” to close, tirely Poliowing the Cugat run, house rence. Her numhers hav^ a^^iore j to legit bookings which- are : She makes a pq^rful audience dent in the opening slot, Jean Carrolli doing a repeat here, enhances her Stature as prob- ably the l^pst feitime monologist in 2_„ the business. Her disburses bn TVini'^ Martolo,Vohh Paul Xebeli purchasing a dress and the rac^; Schirmer, Frank Pa:nus Orch; track bit provide a solid finish : Jimd.** (Rep), ■toner turn.. ., •: other act on the session is the | The management has UnCarthed J ay Walkers (3), further discussed ■ ^ young native violin concert art- under New ^ Acts. ^ -ist, Joseph Habushka, who is cop- Jerry Wald, doing tbe ^^com- j.pjug.^pp honors in a layout replete paniment, has shoym bp with bne ’ ^jlth aboye average entertainment; of the best groups he s batoned in (ijg whams ,bver some classical .BOme.-time,-Most.bf-bis chores are ' devoted to backgrounding, but he leaves a strong Imprint on thC audience with Tutti Camarata’s j “Rhumbolero,** which shows neat j sensitivity in Interpretation./ In all, one of the more satisfac- tory Paramount shows. In fact, any turn on this program could fill next-to-closlng requirements. Jose. Paloinar^ Seattle ; Seattle, Jan. 20. Mignon, Mercer Bros., Michael [pets for accompamment. John Paul Foster, Brother Bones, Mel Porme. lLghel, young tenor who has been Ray Watkins House Orch (3); “Be- ■yond the Forest** (WB). Another top show for the Palo- His numbers are “Sweethearts, mar'this week/with ihe Mercer/‘i’ll Take You Home Again Kath- Bros., Michael poster and Brother jieen” and ‘Tm Dreaming.” Bones all pushing Mel Torme for [ The Two . Chords, a couple of top honors. iguys, have a comedy routine dur- Mignon, petite magician, opens j ing which they imitate name bands nicely with hep brand of chatter : with their lips and hands, but over- and well turned tricks which she’do some of the zany stuff injected •ells for, good returns. linto the routine. However, the cus- Mercer Bros., on second, have a j tomers liked it. zany precision routine that^s clever. Smart stepping, plus laugh-produc- ing mugging, got. them a big hand. With Jerome Kern’s music as its basic theme, the current Music HaU stage fare is a concise spec- tacle that utilizes most of the lavish production touches which this famed sh owplace has come to be noted for through the years. Only the dance team of Helene & Howard and the. dog turn Of Bob Williams are on hand to lend a ‘vaiide touche But the balance of the layout, howeverj Is capably handled by the Hall’s own staff, the Glee Club, Corps de Ballet, Rockettesi et al. As a curtain raiser, the male Glee /Club harmonizes some of ^ ’ at T mit«! tfln 2 Kerii’s familiar melodies,; aided by Joseph Si M a Jos,: Meivaltie ■ (3>, ^ the setting which places the unit in front of a; monster bust of the late composer. Corps de-Ballet fol- lows tO weave out intricate forma- tions which resemble. geometric patterns. Their class pirouetting Is also heightened by clever' lighting effects. Comedy dancC duo of HClene & Howard; who have played here sev- eral’timex,' appear -to - :be"perfectly- at home in delineating their satiri- cal footwork. A brisk jitterbug rou- tine as a closer gets them off to strong returns' Reminiscent , of “Showboat,” for which Kern did the score, is the Hall’s set, “On the Levee.” Oldrtime Mississippi at- mosphere Is captured well by the ensemble, clad in bustles and sport- ing parasols, while Norman Wyatt is competent, as a barker. * Despite the size of 'the theatre. Bob Williams registers handily in putting his two dogs through their paces. One canine’s lassitude In “refusing” to sit up, etc., wins laughs while a terrier’s sneezing upon Williams’ command, pips its rope-skipping makes for a neat bow-off. Her usual, the Rockettes sock : across; in dances devised by Russell Markert. Decked out In candy striped hustles, the gals pro- vide an eye-arresting scene prior to the entire company’s finale. Withal, this Leon Leonidoff pro- duction is an average Hall, show, not on par with the best, but obvi- ously .fine entertainment for the theatre’s varied clientele. Gilb. stuff, “Habanera.” “Romance” and ‘■Banjo and the Fiddle” for hefty returns. In opening slot are the McNal- lie Sisters; in pig tails, shirt waists and skirts to score solidly With bucolic ditties, “Arkansas,” “Can’t Get a Guy,”. “Square Dance” and winding with a square dance, in which some neat aero stuff is tossed in. Trini & Maholo, Spanish dance team, uncork some nifty terps, and climax, efforts with a number In which they manipulate the casta around .these parts for the last five weeks, is still a fave with the. chair warmers, and continues to click. Georgie Kaye, monologisL has a neat line of chatter, some of it bordering too close to the blue for m * .J ^ .f J. They to.ss around a few gags for a I family trade. His interp of a breather and then go into a Span-i French singer doing “April Show Ish dance routine that’s socko. ers” and “Last Roundup” goes Michael. Foster takes the next [over nicely; but is shaded by his spot, arid his smart material pays ! impresh of a psychiatrist examin- off in laughs. He tells how lie gof l ing an imaginary patient and leav- into show business, and does im-, ing the atidienco to decide which m-sonations of some singers he [ was the nuttier. Cops a swell mitt. Session is brought tO a close with Joe Schirmer, band’s banjoist, socking over a torried interp Eas worked with, scoring particu larly with a hillbilly and bop rou- tine. Brother Bones adds rhythm on [“Chattanooga ChoO Choo.” Big table knives and ‘ automobile.- bally by management and local wrenches to his fast clicking of the ; Marines for the nix is "bringing bones and winds up with a reprise [swell crowds to the house, Biz of his recording job with the bones jsWell at session caught: on “Sweet Georgia Brown.” Mel Torme opens with “Some- body Loves Me” to the obvious en- joyment of many bobby-soxers and Way You Look Tonight” in fine fashion. Follows with “St. Louis Blues” in jazz style and then takes over a set of drums for a fast finale with the pit band. Biz good at afternoon show. Reed. Orplitwiil, KX. Kansas City, J ah. 20; Xavier Ciigat Orch (18) with Abbe Lane, George DeWitt, Tata & Julio; “Without Honor** i UA ) . SaJne,. Keli;li^S9 Syracuse Syracuse, Jan. 25. Vince & Gloria Haydock, Carl- Palace, IS* ¥• Wong Sisters (21, Johnny Barnes, Bamberger & Pam, Rosa lie'"Allen, Harry Kahhe, Manor & MignOn, Steve EVans, Marie Louise & Charles; Don Albert house orch; "There*s a Girl in My Heart** (Mono), reviewed in Variety Nov. 23, ’49. ton Emmy & Madwags, 3 Arnauts, y * . \ fn • i-.i £» vrt ./ O t Charles (Slim) Timblin & Co. i 3) > [the two. New vaude bill at the Palace might use a slight change in slot-r ting of the acts, but otherwise is up to par, Bill opens with the Wong Sisters and Jolmny Barnes in the one and two slots, respective- ly. Since both are terp acts, they detract from each other’s impact. Hillbilly songstre.ss Rosalie Allen might better have been moved up from fourth position ts" ’Separate I especially well, they open with ft fast. Impressionistic “Fiddle-Fad- dle,” then do a fast rhythm turn which is backed mostly, by just the rhythm section of the orch for add- ed punch. Closer is a double-im- pression of George M. Cohan; done in his unique soft-shoeing, which they sock across, Steve Evans holds down next^to-closlng with some V outstanding impressions, made doubly good by his ability to look like the characters he’s Imper- sbnatirig, as well as talk like them; He wisely deviates from the norm by bringing in a John D. Rocke- feller bit and then .WQWS with his Impersohation of a foreign-type factory Worker loose: in a tavern with his week’s pay to spend. For a closer, he lets go at the audi- ence by satirizirig how they look to. him.-■■■'■/. /'j Miss Allen, Bamberger and | Pam> and Marie Louise and, Charles are reviewed under New | Acts. As usual; Don Albert and he Palace house oi'cfi does a fine ob of backing the acts, Stahl. PeiiUf-.PItt Pittsburgh, Jan. 19. Frankie Laine, Artie Dahn, Yvette, 4 . Step Bros., Gdynor & R6ss, Maurice Spitalny Hoxise Orch; -Trapped** (EL), Loew’s deluxer currently play- lug its first stage show in more than 15 years. Last flesh attraction here was Gab Calloway’s band in spring of 1935. Policy won’t be. a regular one, however; house in- tends to play only spot attractions, same as its WB competition up the street, Stanley, which had just three weeks of live talent during T949.“''''-~*:":— ~ To get back in the flesh . depart- ment again, Penn has put together a crack bill headed by Frankie Laine, who’s hotter than a pistol these days on .the heels or his smash disks of “Lucky Old Sun” and “Mule Train.” They were lined up for a couple of bloelcs around the theatre at opening, and there wasn’t any doubt of the magnet. The minute Laine stepped on the stage, nobody had to be told that. Tt’s a fast-moving bill from start to finish. At curtain, roller-skating team of Gaynor and . Ross is on unannounced on their special plat- form downstage in front of Mau- rice Spitalny’s house band and man and woman, .risking life and limb, are the poorest insurance risks of the yeai’. Do a* smart job of warming up the mob with their daredevil tricks, and Artie Dann follows pair on to give the tCam billing and to. handle the m;c. chores from there on. In. Four Step Brothers keep the ball rolling with some , dazzling hoofing at brealoieck speed, and are a solid smash. Some of their challenge stuff is amazing. . Yvette follows, wins the crowd in a walk with those warm, lush tones which she puts to a- stririg of ballads high up on the Hit Pa- rade. Lool^ like a million, too, in that low-cut, strapless gown. Tees off with“I Wish I Were in . Love Again,” then into“Don’t Cry, Joe,” “Dear Hearts and GentlC People” and “There’s No Tomorrow,’’ wrap- ping It up with “How Deep Is the Ocean.” Dann’s solo spot is a cleanup for him. Long-beaked comic throws his best material at them» and hits the bullseye continuously. Works hard and fast, winning the gang over immediately and keeping them that way. Saves his inevitable Durante impersonation for the last, and with this house, that' was Dann’s |-blocfcbusteri Capitol, W, Y. Ink Spots, Sant .Levenson, Betts Anthony, Allyn & Hodge, Betty Jane Watson ,& Jerry . Austeru Pat Henning, The Herzogs (31; “The Traveling Saleswoman** (Col). RKO-Keith’s has a sock show this week in this:N. Y. Palace unit headed by such oldtimers as Pat Henning, Slim Tirriblin and the Three Arnauts and Syracuse vaude-goers are crowding the turn- stiles. Well balanced lineup opens w'ith 'tapsters Vince arid Gloria The Wongs, a pair of attractive Chinese girls, get the bill off to a fast start with an acro-jive number and segue into rhythriiic acrobatics in which they demonstrate neat balancing; Gals finish with a fast double lift turn for welhearned ap- plause. Barnes, who appeared irii several Broadway revues (last was “Angel in the Wings”), pleases With his fast, loose-limbed tapping. He has more of an eccentric/style than: the usual tapster; and works with the entire width of the stage West cireuU, which operates the jwaj^s solid fun, as is:^ G house, and the Rhumba King Sixty minutes with the Cugat unit gives the Orpheum stage prob- (SUm) Timbiin's blackface preach- er routine. Anthony, Allyn and Hodge be- Date of the Xavier Cugat crew in the Orpheum IS first for the [dock, followed by . Carlton Ernmy ] while making It look easy,. He outfit in Kansas City\ and it’s a and his noyelty dog act The Three | scores with his “Stay-Go” dahee occasion for both Fox Mid- l ArrtaUts bird pantbmimicry^ is ril- |from “Angels,” and wraps up his ‘ bit neatly with a fine impi‘ession of the late BiU Robinson. Harry Kahne, billed as a “inenta wizard,” is doing the same act he’s done for 30 years. With surpris ing speed he writes first the alpha- bet and then long, wordk backward and upside down. He then demonstrates how to use his mind for three and four dif- ferent things simultaneously, and winds With an amazing mathemati cal feat, in which he takes a three digit number called out. from the audience and, fast as he ceri talk, calls out factors of the number to an assistant, who marks them on a i2-sqitare hlackboard. Each four squares vertically, horizontally and diagonally are then shown to total ably as much action as it has had . gin ivith a straight ballroom adagio in many a decade, pace being live-[offering, but tangle up for laughs ly and entertainment level high i half way through, which catches all the way, spicy with rhuriibas, ; the- customers off base. Perhaps congas and sambas. Band segues this talented trio should , stick to into “Guarare,” a samba; for open- adagio. . B.etty/ Jane Watson and er, and maestro takes over as m.c. Jeriy Austen, handsome pair, han- to follow. He puts orich through a j die the vocalizing pleasingly, medley of “Siboney” arid “La Palovj Coriilc Pat Heniiing, who follows, ina” in Latin tempo; and brings j is surefii’e with his zany monolog on dance team of; Tato and Julio. They terp through Cuban aero adagio and South American boogie for hefty returns. Dick Benedis brings his guitar arid iriiitations. The material is fa- miliar, but Henning sells it solidly. The Herzogs, femme aetialist trio, brighteri the closer with their high trapeze stunts. Novelty of brings He never got through Laine’s introduction before the Toof came ddWn, and for* the next 20 min- utes, it was the kind of a riot that used to take place Jn" the old Sinatra days. Laine works with au- thority now, and ease, too, and the kind of assurance success brings. He’S a different guy than the fidgety up-and-comer who played a nitery (the Copa) here two years ago. Kids pleasa nfly . with the youngsters down front and works up . an ; intiniacy with. them that pays off. He gives thorn “I've Got Georgia On My Mind,’’ “What Did I. Do to Be So Black and Blue” and a couple of others before sew- ing up with “Mule Train,” “Lucky Old Surt” and “As You Desire Me.’’ They kept hollering for more, and got It, and kept on hollering, even When there wasn’t any more. What there is about his bouncy voice that produces this. mass hysteria must be left to the psychologists, but the guy has something and he sells It big; v Cohen. The Capitol has laid out a class bill this session, with a groun* of real vaude vets, The Inkspots' parlayed against a., newcomer u presentation stages, Sam LevensAn It ^makes Yor well-variegated enter- tainment played against the Bbbbv Sherwood band and with the Juvp lys balancing act'arid warbler Bet. ty Reilly in the number one ^nd two spots, respectively. V Levenson .draws major attention in his. Broadway debut because he 1$ so startlingly unlike the stand- ai-d nitery-m.c. type comic. The guy not very long ago was a New York school teacher with a peri, chant for story telling. That led to club dates and finally his resigna- tion from pedagogy to take a full- time whack at yarn-spinning. Satis- factory development is indicated by the $2,000.a-week stipend he “ drawing for the present chore Levenson’s wholesome appear- ance is the first item in his favor in the change of pace he offeis from usual comics. He’s rotund with apple-red cheeks, wear^ glass- es and conservative dress. Second point that wins him votes is that the stories are just as antiseptiq as his appearance. He rocks the audience without once resorting to blue lines — another refreshing change of pace. Humor that he gives off at the present session is all nostalgia of his life as one of eight kids in a lower east, side New York family and coiriparison with present up- bringirig-of-children, .>4^evenson’s—] listeners find that much of the niirth is in the complete identifica- tion with their own childhood and the bringing up of thoir own kids. It all strikes home. There’s a ques- tion, however, how well it will go with audiences outside of New , to whom Jewish family hab- its are not so familiar. There’s ho doubt, though, that Leveiison is a born tale-teller with a fine sense of timing and the routine could probably be satisfactorily modified. Appearance of the Ink Spots ; marks return 6£ the quartet from a long stand abroad. Last few years has seen a change in their turn which has not altogether been for the better. There’s an exces- sive emphasis on clowning, rather than on the peculiar harmonics on. which the group built its reputa- tion. While some of the comedy antics add shovvmanship, too much of bouncing around stage; is just plain distracting from the singing,. Arid the boys are too good at the latter to take attention away froni it,' Evert in their actual warbling, however, there are too. many tricks now. They’d be better appreciated in doing such trademarked tunes as “If I Didn’t Care” in the man- ner in which audiences associate them with it. Miss Reilly, in. her familiar bill- ing as “The Irish Senocita,” tlii’pat- ily gives vent to her Latino-type numbers, some of them to her owtj guitar accompaniment. Her long, blonde hair arid the white gown sheathing a trim figure make her plenty aye-filling for genera lly good results. The Juvely couple are a very acceptable standard in their ball-balancing and hand-to- hand routines. Sherwood orch gats little oppor- tunity to extend itself musically, but does a creditable job in back- ing up the other turns, Slierwood is a personable m.c, and he and the -band-"get—m^rie-^amusmg-eojncdy— number in which the batoneer puts on a pair of earinuffs to silence the orch. Latter plays in panto- mime as long as Sherw'ood has Ins Gables covered, blasting as soon as he lifts thq muffs; Herb. Oi;finpia^ BiianU , Miami, Jan, 21. Marion Hutton & Jack Ddikilasy Leon Kramer, Alan Carrier. Flor- ida Tno, The Tdhnos, Lcs Rhode House Orch; "The Lady Takes : rt SaUor** (WBK Fair vaude layorit .-on tap this w©Gk ‘ Teaming of Marion Hutton and Jack Douglas points Up her ability. Although comedy routines With pariner need bolstering. work on rhythm tune.s is high pouu of the canto, • Leon Krairier hits for full uicas' ure-with his tenoriiig. Guy in action after a recent iim^s- ;i^.st of his stint is the “South I ^ cific” medley; Offed to solid ai plause. Alan Carrier emcees amoothi>> from the stand for neat workouts ;ing one of the gals ortstage as an, on “Sabre Dance;” ’‘Flight of the/audlericO plant is played up big for! the'^orlgirial number, Bumble Bee” and“TicO-Tico.” ; laughs and thrillSk Biz socko. ' anvi Micrnr Spotlight theh goes to Dulcina,' Manor and Mignon follow with slick ballroomology. Projecting Paris, Jan. 17. Mid^winter travel slump, with an accompanying scarcity of toiirH Ists, has tossed a wet blanket on Paris’night life. Except for a few spots, economic conditions have slashed grosses as well as stringently restricting bank crodits. and in own slit garners f^h’ returns with his Gomedic.^ A most stealing show, the Trio's contortionist sequence k^ P gasps and mitts coming steao) / for a wrapup. . V ’ , The Tannos handle the teipi » spot capably, while Le.s h- the orch backgi-ound in ziiigrj^sn ion..:-;-