Variety (Oct 1938)

40 VARIETY VAUDE^NITE CLUBS Wednesday, October 12, 1938 Nitery Reviews International Casino (NEW YORK) an assistant for the show, the hI-» di-ho Artist singing and taking part in many of the show's bitj^ starting right from scratch with the opening, 'A Lesson in Jive.' This biso high- lights Harold Nicholas. For the wi +K..«,.«u -o^^t^t isf- dance session, Calloway give? out ble through Pans n ght life start- his usuaUy strong hooftunery.. Al- {^^f««^^o*^«K«^1«^nf"**'Shir''p^^^ ri^ ' temating rhumba band is. Soccarea* Monocle, lesbo .joint. wherem.,De-| j^j.^^ ^.^g^ ^-y^^^ „ Cruz, a personality looker, had the j'^q^ (^y^;^, Clifford C. Fischer production of ; first-night'irs wondering as to her Scho. two revues, 'Plaisirs de Paris' and 'Montmartre a Minuit' (different din- ner and supper shows), staged by Louis iLemarchand and Jean Le Ssj/eui, respec; dances, Natolic Ko- marova; music, George Komaroff: costumes, Mme. Jeanne Saunai (Paris) from sketches hy Freddy Witiop; scenery, Lavignac & Pellegry avd Ravmcnd Deshays, also slzetched by Wiitop; plostic groups, Femand Buton. Principals:. Chase, Szrban, Kreis, Veronica: DeCruz, 3 Shvrettos, Alexis Kosloff, Vera Naroo, Georne Bruay. flood & flood. Carmen Tor- res. Ernie Dillon, Tito, Valde.t .& Corinne, Rio Bros., Les .Christiani (6). Marian Manning, Grace & N'.lzko. Franklyn D'Amore & Anita, Harald & Lola, Eileen O'Connor, Emma &' Henry, 50 shonogirls.'chori^- tars, ballet, etc.; Larry Clinton and Vincent Travers orchestroji; $1,50 m',nimum; opened Oct. 5,-'38, to $10 premfere. Clifford C. Fischer will put the International Casino unquestionably into the black this and next year^ His two revues, marking his initial adlvent into this Broadway soot, con- stitute money entertainment of the nth degree—b. o, for the gross and exceptional value on lavishness of production, spec, flash, color and general extravaganza. It's the No. 1 cabaret entertain- ment in New York today, for pro- duction .and value, and that means probably also in America. It's a type of Ziegfeldian presentation which only a 1,000-capacity audi- torium, such as the International Cs'ino. could afford. As it is, from a trade aspect, it's fortunate for Fischer, and both the managements of tl^e I-ntemational (N. Y.) and the London (Eng.) Casinos, that the shuttling back and forth of the shews makes possible an amortiza- tion of production investment which, ot 'rrwise, no one spot could afford. r very thin f». about the current re- vue is bigtime and showmanly. To be;'in with, the dinner show, •Pleasure of Paris' and the suxjper revue. 'Montmartre at Midnight.' are two entirely different specs. . Thus, it doubles the incentive for return trade. Having seen the dinner show, it's a lure to come back for the after-theatre portion, and vice versa. In London, this idea worked out excellently for the b.o. In Lon- don, too, where the tariffs are high- er, ihe dinner hunch pays a guinea (a shade over $5) and then, if want- ing to linger until the midnight show, there's an extra tariff of five shillings ($1.25 J as a couvert charge. This doesn't take into consideration that they're more given to wincr •buying than in America, so the av- erage checks are quite high. [The London Casino was the,old Prince Edward theatre; Marius Poulsen is managing director, partnered with Fisher and others]. On Broadway, Fischer and Bob Christenberry, v.p; of the Hotel As- tor, and also managing director of the International Casino since the bank stepped in, have worked out a nifty idea of a Streets of Paris. This is on the spacious second-floor lounge, with all sorts of Parisiana, cide-shows, gadgets, .knicknacks, etc., plus the usual supplementary dance floor where Larry Clinton al- ternates from within and without. As for the -show itself, brought over intact from the' London Ca- sino, it's a much more lavish revue than what this reporter saw in Lon- don this summer. Elaborated, em- bellished and extended, it's embar- rassied by riches of talent and pro- duction investiture, but an editing job can take care of that easily, ' The girls are lookers. There's quite a bit of nudity. There's one act, Tito Valdez and Corinncwho wear the limit in- little, and the most dar- ing terp routine seen on any New York or Parisian rostrum. It's part of the 'exotic' sequence, and it's cer- tainly that. Valdez is a Cuban youth, with a fine figure, which he shows almost wholly, wearing a G- string almost comparable with a burley stripper. The highlights are many. The "beauty* factory opens smartly. The lace wedding is a sumptuous oroduc- tion, primaed by, Marian Manning, and deftly motivated by Grace and Nikko. They later, register with . a fine comedy conception , of hokum ballroomology which almost fools one from the start, until the stu- diously accidental trip-uns croo uo. Les Crlstiani (6), acrobatic off shots of the famed Christiana equine family, known in America, do amaz- ing feomersatUts and risleys to three- hif'h and four-high catches. There are disconcerting seouences which the pruning will correct, such as the bike act and the acrobats In the Paris street carnival scene. Then, too, the Rio Bros, somehow intrude as b.eing too American in this Frenchy show. Franklyn D'Amore, with his amaz- Infe lifts over the back-of-the-chair (his old mainstay), now has a shape- ly looker, as an aero foil. The. chamr paghe finale is a flash. ''Montmalrtre at Midnight.' staged by Jean LeSeyeaux, is a saucy ram- identity; Les Ambassadeurs (class spot on the Champs-Elyseses, which, incidentally Fischer and his aqso- cite, Henry. Lartigue, operate); the Nudiste. Gn<l Rn^My MaximJs (IQr.'i) for the finale. It's a snappy supper revue, ideal tor the hour, and apain hiffhlights Tito Valdez, Eileen O'Connor in a ballot solo. Hnrr^'i and Lola (with their tiptop snake dance which they first .showed in Fischer's original French Casino re- vue). Marian Manning, and others. Fischer nut the .French Casino into big money for three seasons, until overexpansion . .by. i his,. asso- PERSIAN RQOM (HOTEL PLAZA. N, Y.) Snliy Clark, The Hartmans, Eddy Duchin Orchestra. NEW ACTS ci£it.9s started to count tjgainst-them, and it looks like he'll moi-e than '•e- peat here at the International. The French Casino ■ is now Billy Rose's Casa Manana, with a vaudeville pol- icy, so it's not a case again of two Frenchy, revues bucking each other as occurred when Jacques Charles and Pierre Sandrihi inau.gur.ited- the I.C.'s new policy last year, thus further helping the French Casino's financial undoing. Abel. COTTON CLUB, N. Y. Cab Calloujoy Orch (15), Soccares Cuban Orch (7), Nicholas Bros. (2), Dandridge Sisters (3), Whyte's Lindy Hoppers (6), Mae Johnson, Timmey & Freddie, Sister Tharpe, June Richmond, Jig Saw Jackson, Estralita, Berry Bros. (3), W. C. Handy. Razz-ma-tazz in full blast moved back to Broadway Thursday night (6), when the Cotton Club reopened its third winter season below New York's Mason-Dixon line. It pos- sibly was the most auspicious in ertertainment-promise . of several nitery openings that night, but this tee-off production unfolds disap- pointingly in contrast with the C.C.'s shows of last season and the year before. It's the type of production that shows a heavy coin expenditure, but not in the right places; plenty of costumes and dusky girls, hoofers and shouters, but too few actual entertainment socks in a show that runs well over 90 minutes. And with the exception of Cab Calloway, there's little in the way of marquee lure in the numerous talent lineup. Also, and per usual with colored shows, there's almost a complete lack of comedy. With only one laugh break in the layout, .and that a spe- cial song by Mae Johnson ('Scarlet O'Hara From Lenox Avenue'), the show sums up >to continuous and successive shouting and hoofing Brash and, brassy, its forte becomes •a blasting din upon the ears long before the finale. Naturally, it's" Harlemese and not making any pre- tentious claims of sedateness, but 90 minutes of this type of stuff is too much. With the pruning probable after the tee-ofi performance, the presentation should shape up as bet- ter and-more bearable entertainment. Benny Davis and J. Fred Coots, as in tlie past, contribbed the score and lyrics. Tunes are good, but, with the exception of Miss John son's delivery of 'Scarlet,' they aren't given flattering vocalizations. Charles Davis, new for this spot, staged the i^roduction and routined the overworked chorus of 16. Dances and the show's pacing are both okay. Plus Miss Johnson's Mae Westian interpretation of .the 'Scarlet' spe cial, which pokes David O. Selz- nick and Clark Gable in its ribald lyrics, show's standouts include the Dandridee Sisters (3) (New Acts), Sister Tharne (New Acts). Bf»rry Bros. (3), Nicholas Bros. (2), Tim- me.y and Freddie. The Dandridge girls swing 'A-Tisket' and 'Swing Low Sweet Chariot* in their first spot, later helping in the delivery of 'Madly in Love* with Calloway June Richmond, buxom shouter. and a choir. Their style is refreshinslv unique. Sister Tharpe is also novel, giving a lively roller interpretation to 'HfiUeluiah Brown.' 'Rock Me' and The Preacher.' Fast and fu- rious hoofing of the Nicholas and Berr.v Bros, is standard and effective in their respective spots, but oil greater Imnortance Is the uncover ing of Harold . Nicholas (evidently the younger'of the two brothers) ?s a distinct personality by himself. In general, he's greatly reminiscent of Bill Robinson. Timmey and Freddie are good hoofers, but their comady. somewhat along Buck and Bubbles lines, doesn't carry much weight. They al-so sing I've Got a Heart Full of Rhythm.' Other personalities Include Jig Saw Jack"3on, acro-contortionistic dancer with a dash of snakehins, and Estralita, whose thigh-grinding and shimmying fronts Miss John- son's sinking and the chorines danc- ing to 'Congo Conga' (Harlem ver- sion of the rhumba). In the pro- gram, it's Pableto and Estrdlita, but the former wasn't in the show bnen- ing night. For the finale, 'St. Louis, Blues,' W. C. Handy, composer, is brought out for- some" trumpet licks. Wl^yte's Lindy Hoppers (6) are Aver- age. Calloway turns the baton over-to Paul is back at the door, Eddy Duchin is back on the podium and all is well' with the Persian Room. It's old home week again. It's also New Year's eve «^n dertaln nights, with turnaway biz. and the bright, young things fighting their way in. If you have it good mme, it's not so much of d -struggle, because this is one of tl>osc fortunate rooms wheve they can well afford to pick their cusooniers. Show, per se, is boxoffice. Eddy Duchin pianologing his dansapation, and Grace and,.Paul Hartman with their smash, hoke ballroomology and magico, insure that. Then, too, there's Sally Clark (New Acts). She's in on a rain-check, a Roose- velt in-law relationship and a Back Bay background. That's probably wortk $100 a week to any smart nitery, even if it didn't figure to drag' in a few ol her socialite pals as potential customers. To return to the professional as- pects. The Hartmans were extended to do everything in their libretto on the night caught and, from under- standing, that's a usual occurrence. They work hard and generously, and are met with commensurate acclaim. They're an ideal booking in this smart room. As for Duchln's terp tunes, they're the samt sparkling as- sortment which e'^tablished him in the old Central Park Casino days and onward. Abel. Grosvenor House, London London, Oct. 4. Al Trahan, with Sandra Lynde, is an outstanding act in a well-bal- anced show. Probably his biggest laugh is 'I don't sing so good, but I sing like a real man.' His routine is^lightly changed from his last isit here, .but in essence the act is e^same. ' A goodly portion of the hour's entertainment is provided by the choi'us. Their first number reveals them in-unusual costumes, but not overly attractive. Perhaps Paul Os- card knew this and deliberately de- signed .them with that in mind so that their, several appes^rances would be cumulatively appealing. If so, he succeeded admirably. Captain of the troupe. Christine Forsyth, re- vegls an attractive personality, but might make it even more so if in her solo dance the costume was de- signed for less out and out leg dis- play. The young ladies clean up with their finale, which is the 'Yam' number from the Astaire-Rogers film, 'Carefree,' supplementing it with their conception of 'The Lam- beth Walk.' Agar Young and Co., a two-men acrobatic burlesque team, are good gymnasts, do a lot of ludicrous things, but do not seem to be in- nately funny. The only other act is Flora Duane and Earl Leslie. Miss Duane was here three years ago and scored emphatically with her Bat Dance at Grosvenor House, but with Leslie she does a routine burlesqing dancing of the tintype era, clad in the period. Acceptable to the cus- tomers. Paul Oscard's back drop settings and costuming help materially to the generally good effect. Jolo. JOHNNY MESSNER ORCHESTRA 4&Mino. Strand, N. T. The Johnny Messner band, includ- ing the music-box style, is from the Hotel McAlpin, N. Y., but lias not reached the point of perfection as an entertaining outfit where it can comr pete on Broadway ,'• with better known orchestras. It needs much more* polish, a more effective setup all around, better handling of swing numbers, arrangements, etc., and an improvement in the vocal 'depart- ment.' ' On engagement here, Messner closes with, the .number that should open-his performance. He. is teeing off with an arrangement of 'Exactly Like You,' while sighing" off with an arrangement of 'Marie.' Other numbers art 'Pocketful of Dreams,' murdered vocally, a college medley and .the music>'box portion with one of the boys, billed as Prof. Cole- Slaw. The Vocalizing' .'by Messner and bandsmen in connection with, the collegiate medley is Very weak. Two numbers are done •<vith the piano-like music - box', excellently played and a novel feature of the band. Messner 'himself specializes on the clarinet.. He is a modest type, making a nice appearance. He has been getting a moderate radio build- up of late around New York. Band carries a vocalist, Jeanne D'Arcy, covered also as a New Act. Chor. ■ BILLY GIBSON LOSES FINGER IN A BRAWL Billy Gibson, ex-vaudevillian, lost a finger in a brawl with Frank Lom- bardo in a Broadway drugstore. Latter i.s out on bail after pushing Gibson through a showcase and slugging store's cashier early last Sunday a.m. Lombardo entered the store bleed- ing and asked for aid. When told t(J pay he got tough and allegedly hit the cashier. Gibson, standing nearby, slugged the inebriated Lombardo with a chair, and was then pushed through the glass case. Raze Pitt Vaudeir Pittsburgh, Oct 11. Davis theatre, mecca of Pittsburgh vaude's heyday, will be torn down to make room for a parking lot. Following vaude's decline, Davis was taken over by Warners, which tried vaudfilm for awhile and then straight pictures on double-feature policy. All flopped here and when Warner leaso exoired, two years ago, house was closed. MARY SMALL Sinking 11 IVlins. Strand, N. V. Mary Small has been playing around considerably, but not in New Acts. Her 11-minute stint with swing songs is close to tops. She is a singing entertainer who is going much farther, probably both on the stage and on the air. She's currently with the Ben Bernie radio commer- cial for Half-and-Half. When clocked here, she was clear- ing the jumps very creditably with a routine consisting of 'Alexander,' 'Small Fry' and a clever operatic ar- rangement of 'Flat Foot Floogee.' plus a brief encore. Armed with a lot of personality, fine selling ability and an appealing voice, the in- gratiating iVIiss Small (she's a rather petite type in keeping with her name) stopped the show here open- ing day. Char. JEANNE D'ARCY Singing 8 Mins. Strand, N. Y. Jeanne D'Arcy, vocalist with the Johnny Messner Hotel McAlpin music-box orchestra, may develop, but she looks far from an overnight possibility on present form. Doing two numbers here with the Messner band, 'Jump, Jump' and 'You Go to My Head,* she fails to show well in the first-mentioned, but goes smartly in the other. Faulty amplification may have Interfered with her swing rendition of 'Jump.' The other pop is done in a sweet, subdued manner and sold effectively Miss D'Arcy is pretty weli equipped as to personality and looks. Char. SISTER THARPE Singinr 6 Mins. Cotton Club, N. Y. Holy Roller interpretation of spiritual-type songs is something new for show biz, and Sister Tharpe's delivery, vocal and physi- cal, IS plenty forte. She was a stand- out click with the Cotton Club's opening night (6) mob. First tune is 'Hallelujah Brown,' written by Benny Davis and J. Fred Coots, following with 'Rock Me' and The Preacher.' She accomoanies herself on a guitar. Scho, DANDRIDGE SIFTERS (3) Sinsringr 9 Mins. Cotton Club, N, Y. Dandridge Sisters, introed by Cab Calloway as from the Coast, are something of a sepian edition of the Andrews Sisters. They swing the pops and nursery rhsrmes in much the same rhythmic style, also giving a jeep interpretation to 'Swing Low Sweet Chariot.' Girls are light-skinned and nice- looking, with the middle femme especially strong vocally. First time out in this show they run through 'A-Tisket' and 'Swing Low.* Later they get some help from Calloway on 'Madly in Love,' Cotton Club show tune by Benny Davis and J. Fred Coots. They, impressed the opening night crowd. Scho, SALLY CLARK SonTs S.Mins. . Hot I PlazJi, N. Y. Sally Clark is a Boston socialite, related through marriage to the Roosevelt family. She started her professional career at the Ritz, Bos- ton, and is now here for a couple of months on an alleged competitive buildup to Eve Symington which— it has/ benn publicized—^has its foundation in a back-of-the-gcenes scran with MCA, the same agency nov/ booking Miss Clark. The q.e.d. epH<? th*!re. The blueblood blues-singers had their vogue for. a spell and may still continue to do so if for no other rea- son than they have wide socialite ac- quaintanceships; ■ But, of the bunch Miss Symington (Senator •' Wads- worth's daughter) alone achieved anything like professional standing or anything like a big league in- come. Miss Clark is strictly tyro. She does two pops at the mike, 'Devil and Deep Blue Sea' and 'Small Fry' in uncertain, throaty-voiced manner, sans style or distinction. But, as stated, she must bring in some busi- ness, so that should make it all right with smart rooms of this calibre, where polite audiences usually de- port themselves in ratio to their white ties and .Mainbocher models. Abel. MARILYN MESEKE ('Miss Ataierloa') yfi\h Miss Utah and Miss Jack- sonvllle Sifi.?lni:. Dancinr 20 Mins. Italian Gardens, Pitt. Nice little^ turn that's bpen built around 1938 'Miss America.' In last couple of years Atlantic City Ijeauty crown hasn't been based exclusively on looks; talent counts a lot, too, so at least gals can show something in addition to pretty gams and faces. Most recent winner-has the old-time requisites and the "new ones as well. Better than average tap-dancer and novelty of seein»( 'fairest in land,* who can also turn in a neat bit of hoofing,' should put the act into im- mediate favor. For niteries 'Miss America' is ac- companied by two other contestants in '38 Atlantic City pageant, 'Miss Utah' and 'Miss Jacksonville.' They're likewise plenty easy on the eyes, with the Utah gal revealing an excellent voice of almost operatic caliber, and Florida miss coming through with first-rate acrobatic control dance that looks strictly pro. Their specialties consume major portion of the act, but gals do a little floor parading as well, first in eve- ning gowns and then in bathing suits, a la the pageant For local en- gagement, Ruth Willock, 'Miss Pitts- burgh,' has been added to the turn. All right on face and figure, but short on talent, with a slight, un- cultivated singing voice that has tough time making grade even via the mike. Cohen. TWO NOVELS Danolng^ 4 Mins.; One Apollo, N. Y. With something more conservative than their current bliie or purple tails, this pair of colored hoofers are okay fof lower case niteries and such. Work hard here, but are con- fined by time and space and seem to have the ability to enlarge upon the four minutes alloted their fast and rhythm taps. Two beat their, plates in near per- fect unison In speed taps, then shift to close quarters, one behind the other, for rhythm work. EARLE and FRANCES Dancing Apollo, N. Y. Blanche Calloway couldn't remem- ber this mixed pair's names when introducing them with plenty of ad- jettives. They're on twice here, first time in unimpressive soft shoe rou- tine and again fronting Miss Callo* way's orch. It's the latter spot where they shine for a few minutes In hard shoe taps. Act is from the west and pre- sent a neat appearance in white tails, femme half togged out same as her partner. Alternating in solo breaks, legging of each is neatly executed, with the male appearing the smoother. Adds up okay. THE KIDOODLERS .(3) Songs, Instrumental 6 Mins. Century, Balto. Kidoodlers have some draft via radio network build-up. Nice ap- pearing lads, dressed a la collegiate, remain seated throughout entire act behind bank of xylophones and as- sembly of assorted musical props. JSing to accompaniment of lone guitar, interpolating licks on toy in- struments. Have developed rather unique style and give out With fair- ish potoourri of vocal imoressions. After brief opening, do "Tiskef a la moppet singer, accompanied by toy 'fiddles, horns, whistles, cymbals and xylophones. Close with b'»rnyard medley, including all the familiar sounds. As caught here, spotted in pit, act contributed a novel and entertain- ing interlude. For.regular vaude lay- out, stationary set-up behind bank of gadi'ets, will prove monotonous in nerformance and a problem in handling. Burm. BETTY HUTTON Sin«:.ing 11 Mins. Casa Manana, N. Y. A swing singer find. Betty Hutton is an overnight discovery at a time when , the hotter the vocalistics the better. And she's as burning as they come. , Miss Hutton Is a petite and some- (Continued on page 42)