Variety (Jan 1939)

174 House Reviews Third of a Century VARIETY Anniversary Issue Wednesday, January 4, 1939 MAJESTIC, N. Y. Al Trahan-Sandra Lynde, Molly Ticon, Eddie Garr, Fats Woller- Myra Johnson, Wiere Bros,, Cinda Glenn, Mark Plant, Bernice Stone, Don and Bud Gilbert, June Boyd, Gloria Rich, Mei Toy, June Hart, White & Manning, Earl McDonald, Marianne Mosner, Vera Nargo, Herma and . Frederico Novello iCanastrellis), Five Jansleys, Julian Fuhs and house orchestra (10). With an intermission lobby crowd that looked like old Sunday nights at the NVA, three-a-day vaudeville returned to Broadway Friday right (30) under aegis of Kurt Robits- chek, former London and Paris vaude producer, and the Shuberts. With some tightening, better spot- ting of acts and a little 'dressing' to live up to label of 'produced vaude,' revival looks to be more than just another death rattle, even though quartered ,in a side street (45th). Not quite the old Palace yet, nor as zippy as Billy Rose's Casa Manana frolics, but well worth the $1 tops. It's No. 2 for the Shuberts who also have the 'Hellzapoppin' (Winter Garden) quasi-vauder and ■who will be going for a third shortly Et the Cort with'Frank Fay in charge. Robitschek's show was first planned for the B. S. Moss Broadway (Cine Roma). Its present side street presentation cuts down the nut, but the location is a bar- rier. At admish of from 50c to $1.50 top on weekends, it's figured the 1,717-seat house can make a profit on a capacity nut of $14,000 Weekly, hall going for talent. Shov/s go on at 2:30, 6:30 and 9.00 p.m. daily, which wiU necessitate con- siderably pruning. Show was di- rected by Robitschek and Georges Banyai for their Vaudeville Artists,- Inc., also booking. On production end, first thought Is that more coin could have been spent in framing show. Scrim cur- tains and condensed proscenium Jooked too cheap. Backdrops are not much better. Built-in frame for stage looks unfinished. Spotting of house band on stage for sessions also lessens the impression, since 10 pieces look lost and drab behind plainly lettered music stands. Orch is not the type to be staged in first place. That, however, is the only fault. It plays the show very well, except for a brassihess. that was par- ticularly noticeable while on ros- trum. Besides needing some severe cut- ting of long, winded routines (pro- ducer had already dropped line of girls), show could also have used a little dancing. Went overboard on novelty, acrobatics and comedy, but neglected to spot a good terper or team. Singing also was light, rest- . ing mostly on Molly Picon and Mark Plant, latter too much on the heroic baritone plane.. Presence of three femme m.c.'s, Cinda Glenn, Vera TNargo and Marianne Mosner, doesn't help. Former earns her way with some gagging and later with her own contortion specialty and by working in bits. Other two, delegated to de- liver (in rhyme) introes of acts, slow up the proceedings. Nothing special in looks and absolutely blah on per- sonality, they detract. Under corny title of 'Vaudeville lilarches On,' show, with a number of 'repeats' who have played locally recently, gets under way via over- ture of 'You Got Me.' Mark Plant's voice booms the title song by Frank Galen, Abe Burrows and Robert Katscher, while surrounded by ani mate acts. Different acts fade in and out for theme picture. Gilbert Bros., last on, remain with their plenty .. snappy horizontal bar work muscling, Got swell returns for their opening trick. • Initial bit finds Miss Glenn work Ing with Miss Mosner,, Plant and Earl McDonald (latter strictly legit) in coipedy bit, 'Love Tragedy in Paris,' Biz of hubby finding lover in apartment and feeding sentence,- ending words for Miss. Glenn to weld into advertising copy while running on and off stage. Only cute. ' Band takes to the stage for youth parade, dropping back to pit at finale. Robie's idea is to spot some un- laiowns in every show. He does that. Just, spots 'em. He should be more discriminating instead of per- mitting full acts to sneak by the cutting rpom. The 'Give Them a Chance' lineup comprises June Hart,* pert accor- dionist who. dances a little while playing (band almost blew her off apron); CMoria Rich, -blond toe tap- ster; Mei Toy, Chinese swing singer who first warbles a native ditty then 'Tisket': June Boyd, -xylophonisf who dances whUe'playing; Bernice Stone, moderate acro-contort dancer, best in violent split and twist, and White and Manning, comedy, dancers and knockabout mixed team. Last men- tioned are standard and first in merit. Work some nifty comedy into speedily and .cleverly routined act. Do takeoff on Spanish and adagio terping, i?irl being tossed several leet throu.§h air before a split. McDonald and Miss Glenn return •gain Iti double entendre blackout donfe in two parts. 'Spraintd Ankle' bit is done straight at first with ' lifi^ts on durinf; ostensible normal conversation while girl is helped to a chair. With gUhihiers but sounds like old 'Stop, Johnny!' parody song.j It dlso sounds out of place, to say the least. Wiere Bros., Molly Picon and Al Trahan, in order named, comprise rest of first act, preceding 10-minute intermission. . "The imported Wieres took the house by storm with their dance lunacies and crackpot unison work. Turn is perfectly timed and exceptionally funny. Best of all it's fresh. Boys work in tux, doing vio- lin playing and head balancing, acro- batics, comedy dancing. Had to do brid.ged-back twists clear across stage to beg off. Miss Picon's piquant preserj'ce is ideally spotted, following Wieres, but lilce some who follow her she is around 'just a lit.tle too long. Very arresting with her 'Hands' song number and 'Old Shawl' and could bow out before 'Woiking Goil,' though latter is as well done as other two. Abe Ellen- stein conducted for, her. Trahan's session, unlike his stand at Casa Manana, was permitted to slagnale. Ran full gamut, bluer bits adding to negative effect. Still a sock act, but should know by now when , to stop mugging and reaching. Following intermission, Novellos (Casastrellis in circus field) went' through ladder balancing. A girl, a man and a dog form cast. Unsup^ ported ladder climb by man, fol- lowed by balancing and dog climb- ing up alone for balancing on man's head, is the repertoire. Miss Glenn's solo session of arm contortions fol- lows. Also in need of pruning. Five Jansley's, another muscle turn of risley workers (recently at Loew's •State), are sandwiched in between Eddie Garr and Fats Waller-Myra Johnson combo. All male quintet work with supporting shoulder chairs throughout. They display better- than-average tossing of lighter mem- bers from feet of two sitters, foot spinning, etc. Trahan, Picon and Glenn come in for comedy relief. All good. Garr's mild opening of singer- mimicry is overcome via his other impersonations and gagging. It's n<9t new, but vet has appeal. Waller's turn, more than overdone, saw them start walking. Gives too much time to himself before bringing on Miss Johnson for socko 'SmaU Fry' ren-' dition. Then the usual stage group- ing for finale. Hurl. MUSIC HALL, N. Y. Jeanne Devereaux, Jane Sproule, Whitey's Jitterbugs, Les Juvelys, Rockettes, Ballet Corps, Glee Club, Symphony Orch under direction of Erno Rapee; 'Topper Takes a Trip' iUA), reviewed in this issue of Variety. it doesn't look so- hard. The act was formerly at the International Casino. For the Rockettes, doing a tap routine of fair caliber, but far from the hit of the show as they usually are (Juvelys are the stuff on this show), a fourth platform comes up from the pit and remains station- ary with the stage as space on which the line girls work. Flags with the world's fair trademark fall in from the sides for the finale. Char. Orpheum, Vancouver •• A fast and fairly entertaining stage show for New Year's sup- plants the Christmasy two-part pro- duction that was carried past Yule on a two-weeks stay, although pic- ture was changed for the holdover week. With 'Topper Takes a Trip' (UA) on the screen, a fine laugh comedy, there can be no complaints. Leon Leonidoff, who staged the New Year show, is showing off the Hall's mechanical equipment for the out-of-towners, and also telling them subtly, but surely, that there's going to be a world's fair in these parts shortly. He labels his show 'Dawn of a New Day,' slogan for the forthcom- ing ('39) exposition, and bends the current production down to a flag- waving finish after having infused various touches that represent double-truck ads for Grover Wha- len's big blow off on Long Island. It is a fitting tribute that the Hall pays the fair, in keeping with simi- lar plugging this New Year's from other sources,, including theatres, night clubs, hotels, etc. On the opening with the symph orchestra on the stage, a large trademark of the fair in neon is used as background whUe an ar- rangement of Jerome Kern numbers is played, including selections from 'Show Boat' and 'Roberta.' As this finishes, the neon sign goes up and the orchestra moves upstage against a drop symbolizinjs; the fair (peri- sphere and trylon), comes into place. Showing them, including plenty, of out-of-towners. what they can do with tliat Hall stage equipment, up from the pit comes the glee club singing the official song of the N. Y. fair, plus 'I'm a Jitterburg.' This platform piece moves upstage as the orchestra group rises into the -air to appear over them, and from the pit comes another load, this time the ballet troupe. Terracing th.e plat- forms, the orchestra moves higher and the glee club rises a way, while the ballet corps does a very clever and somewhat unorthodox number with drums. While Whitey's Jitterbugs, four couples of Negro shagsters work with the glee club, for the ballet number the topper is Jeanne Deve- reau. She does a toe specialty of acceptable value when the tenor of the number turns to toytime. ac- companied by fitting music. Ballet girlies dance on the drums, laid in a circle, as a novelty touch. The ballet-number is a bit long. Following is Les Juvelys, one of the cleverest acts ever, seen oti any stage. ' The routine includes s6me opening acrobatics^ balancing on" a bdard that is plac^id -under a cyl- inder'and some-hi!ad-to-head bal- ancing with vuhb'.j! balls between as cushions that / represses even if Vancouver, B. C. Dec. 30, Jan Rubini, Savimv White. Peggy Taylor Trio, Galli Sisters (3), Ed- ward Sisters (2), Rahn Ormond (m.c); 'Thanks for Everything' (20th). y Nicely spotted to grab the holi- day cream, this unit, billed as 'Hi Ho Hollywood Review,' builds to good audience reaction. Customers, who expected slap-dash affair of art- ists picking up Xmas gravy, were surprised to see a show that really •clicks on good-old-time-vaude for- mula throughout. Spotted a.f^ainst a paint job of Grauman's Chinese theatre, five acts are capably emceed by Rahn Or- mand, who, however, insists upon dubbing in amateur magic and one spot of Ben Bernie patter in verse. Ormand just finished a stint in a western pic. And has nice appear- ance on stage in tails. Edwards Sisters open with clever hoofing. The colored pair do noth- ing spectacular, but give freely to get show off to easy start. Heavy build-up by m.c. on the Eddie Can- tor discovery angle sets stii.ge for clever,vocals by three Galli Sisters. Kids swing out With plenty of ani- mation and. grab the audience from the start. Two older girls ■ play to youngster, who stands on a box in the center; latter really sells the act with exceptional personality. First-rate arrangements and excel- lent pipes combine to make trio a real click.' Sanimy White is hoke artist from away back. Opened a little slow, but caught on fast to smash finish with eccentric terping. White delivers a sentimental speech about the return of vaude. Audience was so well sold that they ate up the talking, although wanting more dancing. Number foxu: spot has Jan Rubini doing fiddle solo< Even more hoke here, with audience crying in their beer over old faves. House dusted off organ as support for encore, with lighting effects taking star part here. Peggy Taylor Trio climaxes show with sophisticated terping and then ■completely fools audience by break- ing into 3' knockabout routine. Biz good. Hilk. STATE, N. Y. Paul Whiteman Orch, Les Lieber, Clark Dennis, Joan Edwards, Four Modernaires: 'Young in Heart' (.UA.) . Paul Whiteman at the State is. a snug fit, for the patrons here like performers with experience, not jads. On that-score, of course, Whiteman deUvers solidly. His unit has genial pace, good pop music and balance. What's more, it evokes nostalgia—a category in which Whiteman certainly has an edge over his contemporaries. He could sell plenty on .that angle alone, but he doesn't overwork it. There are new faces and new tricks in adequate doses. Program runs only 48 minutes, to- gether with a newsreel whose in- nards were left in the cutting room, and 'Young in Heart.' Due to the holiday b.o.. the State is turning this biU over plenty fast to get the cus- tomers. By the same token. White- man IS really robbed of five min- utes given over, to the winners of a Loew jitterbug contest. These wild-eyed kids have abso- lutely no place on the bill. This foolishness represents a letdown to the Whiteman show, the crazy antics of the kids clashing violently with the smoothness of the orchestra. Twenty-seven piece combo (White- man fronting in maroon garb) opens snappily with 'I've Got Rhythm,' then swings into one of those Whiteman medleys that milks every remnant of sentimental memory from the patrons, especially when *he veteran Mike Pingitore winds it i."P brilliantly. Les Lieber has a novelty turn at this point with some tooting on 10c piccolos, the turn serving more to bring on the specialties than anything else. Joan Edwards (New Acts) follows and gets across a healthy wallop on ap- pearance, vocalizing and prior radio buildup. -Whiteman tries to sell her as a genuine New York girl, which is unnecessary since she can stand well enough on her own, and who in New York gives a hoot anyhow. At this point Al Gallodoro, from the sax section, spins out a triple- tongue version of 'Nola' that im- presses. The turn is smart for Whiteman has a sax-clarinot sec- tion of nine then whose work cer- tainly should be highlighted with a well-placed' showoff turn. Clark Dennis (New Acts), tenCr, is introduced as a newcomer from Chicago. Wherever he's from, he's learned how to get the most out of NEW ACTS JOAN EDWARDS Singer 7 Mtns. State, N. T. This miss is new to the records as a solo performer, though not new to the stage. She once toured as a Gus Edwards act, a fact that's distinctly overshadowed by her radio work, she's niece of Edwards. She's been mainly with Paul Whiteman, however, with whose unit she was caught at the State. She makes a nice appearance right from the start, is gracefully gowned in white and has poise. As for her singing, it leans toward swing. Voice is polished, though her gestures are pretty stylized and aren't necessary. Buisiness with the hands is okay in operetta or novelty, but it has no significance in most pops. Sang three numbers when caught, 'You Go to My Head' (her only bal- lad), 'Small Fry' and 'Where Has My Little Dog Gone.' This represents good progression, and to fine results. Gal can hold her own in any niche requiring an accomplished pop singer. Edge. CLARK DENNIS Tenor 10 Mins. State, N. T. Paul Whiteman, with whose unit Dennis is currently vocalizing, intro- duces the, tenor as a newcomer from Chicago. No record of him here before, but there's a good chance that there'll be one. Lad has one of those voices that runs off the top end of the keyboard, and he knows how to sell it. Also, his coaching has been fine. That boyish pep comes from study, not nature. Opening with 'Reverie' is a safe bet anywhere, and Dennis doesn't miss it. 'Begin to Begin' and 'Lone Prairie,' also two very safe selec- tions, for the range is good, and this is the kind of stuff Whiteman can back up so brilliantly that it would be pretty hard to flop. Personality is adequate. But the criticism applicable to another mem- ber of the Whiteman unit, Joan Ed- wards, anent use of hands goes here, too. It's almost as bad to wave 'em around as to stick 'em in the pock- ets. This is somewhat minor, how- ever. Edga. KIM LOO. SIS (4) Singing, Dancing 8 Mins. Stanley, Pittsburgh Unusual -at any time to find a Chinese sister quiret, even if they aren't sisters, on the stage. Even lack of hoke, a tribute to it, for un- doubtedly it's right out of the salami basket from top to bottom. Mystics start off by blindfolding more so to find they're all extra- ordinarily, attractive and with plenty of s.a. With that much novelty for a starting point they should capital- ize more on their advantages. But turn's a combination of good and bad, needs to be tightened and speeded up a bit and could stand a new idea or two. As it is, act's pretty conventional save for a socko acrobatic single that's turned in by one of the Kim Loos near the finish. Only three of them make an appearance at the getaway,, neatly gowned in native pajamas, doing a weak vocal pre- lude at the mike for the snappy semi-shag they eventually break into. It's good hoofing and more of it wouldn't hurt. They could chuck the vocals. Fourth follows them on alone for a couple of songs that are just fair and an impression of Ella Fitzger?ild tisket-tasketing that's only slightly better. Then comes the acrobatic fiash and all four of them are on again at finish whirling around with rag-doll partners. It's a weak cur- tain. Too familiar for one thing and flatly done for another. Gals should brush up, stick more to the terp end and, with their looks and easy man- ner, could be a cinch. Not under the present setup, however. Cohen. lAXSE SIGNS CONTRACT WITH PHILLY THEATRES Philadelphia, Jan. 1. Two-year agreement covering all stagehands' and electricians em- ployed in Warner and indie houses here was inked last week by the In- ternational Alliance of Theatrical Stage Employees. Principal out- come of more than six weeks of em- battled negotiating was restoration of half the pay cut imposed on the grips in 1933. Other half was given them two years ago. Contract is for a 48-hour work week, but under a verbal agreement men work only 40 hours each in order to spread out employment. Similar two-year termer covering lATSE men in legit houses was signed in September. the patrons. It's a strong spot on the bill. Very peppy version of "Hallelu- jah' by the orchestra—giving room for individual work—greases the way for the Four Modernaires, who clown through a medley and 'Ferdi- nand.' They merit this spot and hold it down all right, but some kind of switch on the bill to get the comedy fdrther up front and the vocals in the last niche might be better, especially since Goldie, the comic trumpeter, briefly follows them. Their 'Ferdinand' business has punch. Jitterbugs—of whose tweeds, sweaters and red silk panties, the less said the better—wind up incon- gruously. Biz .socko at last afternoon show Thursday (29). Edga. ORIENTAL, CHICAGO Chicago, Jan. 1., Son and Sonny, Boice and Ladd, Bester West and Lucille Page, Bea Kalxnus, Kamia, Borrah Minevitch Harmonica Rascals; 'Tarnished Lady' (RKO). On the whole there's a good show here this week, with eight showgirls added for flash. Son and Sonny, standard colored hoofers, are solid, as always, and Boice and Ladd are a good hokey, crossfire act with femme getting over some lowdown comedy. Gag- ging son.etimes is a bit too fast for the aud, however; the punchlines should be emphasized a little more. Bester West and Lucille Page, al- way a click with their respective comedy and dancing, still go over here and show themselves to be suit- able for niteries and vaude any- where. Bea Kalmus, after five months at the Royale Frolics, nitery here,- moved here for the singer as- signment and smashes' over with her pops. Her 'Cavalcade of Stars' par- ticularly is dynamite. Kamia does a 'Dance of the Seven Sins,' in which she shifts from one 'sin' costume to another. Bojrah Minevitch's Harmonica Rascals offer a reprieve. Their act isn't as good without their leader, who has been in Hollywood mostly, but it gets by nevertheless. House orchestra Js steadily deterioratmg, playing mis^^ erably at last show Friday (30). Gold. SHUBERT, NEWARK , , Newark, Jan. 1. Lou Holtz, Helen Morgan, Abbott and Costello, Betty Hutton, Ann Mil- ler, 6 Antalaks, Leo Freudberg's pit orch. Eddie Sherman and Sam Stiefel have brought first-class vaudeville back to Newark at the Shubert Opening last week with Ben Bernie and six acts, plus newsreels and shorts for intermission, house did capacity with four shows daily, ad- mission price being 25c to 75c. Sher- man claims he has a five-year lease from the Prudential Life Insurance Co. on house. If he can continue the grade of acts he is starting with, he should strike gold here. That will be his problem. Harry Richman is booked in for the near future. Sherman has other houses, two in Philadelphia, one in Atlantic City and other spots. He can • guarantee time to acts, which should help his booking problems. His present bill at the Shubert is Billy Rose's Casa Manana show, with Lou Holtz and Helen, Morgan starred. Newark hasn't seen such a star-studded bill in years, the near- est approach being the vaude pro- grams Mart Darcy is putting on at the Paramount-Newark. Lou Holtz, as the m.c, sets the tempo of the show and does a grand job. Helen Morgan, minus the piano, sobs her way into the hearts of the patrons with 'My Bill' and peps them up again with 'You Go to My Head.' Her gowns are the last word in gorgeousness. Abbott and Costello, the former a recruit from burlesk, put on a zanie act that equals Holt's crazy talkfest. It's a new team and a good one. They are going places. Betty Hutton, billed as Jitterbug No. 1,. lives up to her title in every way. Ann Miller, remembered for her work in the pic, 'You Can't Take It With You,' shows she can really dance. True to form, the layout ends with the familiar acrobatic act, and this time it is the Six Antalaks who give a couple of chills and thrills, in their dizzy balancing act Leo Freudberg, of WOR, is the pit orch leader and does a good job. Wisely, the management only puts on newsreels and shorts. No third- rate film is^narring the bill. Sherman has 'got something that Newark wants, provided he can keep up the quality of the shows. Dalz.