Variety (Mar 1939)

52 VARIETY VAmETY HOPSE MFWEWS Wednesday, Mareh 22, 1939 MUSIC HALL, N. Y. Symphony orchestra, Emo Rapee, Mischu Violin, Fronte Nowicki, con- ductors, Violo Philo, GeoTge Meyer, Allen Stanley, Dale Vemer, Robert I/indrum, Clorice GoWner, Ballet Sestet, (Lida AncMtina, Ivan Trie- sault, William Dollar, Louise For- Twca. Nicholas Daks, Marie Gri- nialdi), Corp De Ballet, Rockettes; 'Love Affair" (RKO); reviewed in VAniETV Morch 15. Fairybook fantasy motivates the. main production number in this week's stage event It's lal>eled Three Glass Hearts' and combines briUiant stage and costume Investi- ture, with choice choreography. The fable's recital spotlights the individual talents of a mixed sextet of ballet artists and brings on the house line for the usual optical treat in grace and movement. Florence Rogge, ballet director, has not only snatched this show's honors but she's raised the level of imagery and technlQue that much higher for. herself ana the troupe. Outside of the ballet innhig the backstage impresarios haven't much to crow about The opening Item is monopolized by Viola Fhilo's soothing soprano. She does the 'Jewel Song? Following the ballet number the presentation returns to words and melody, this time using the services of the choral ensemble. They're, all in blackface and the reason is a special bit of material, 'Jonah and the Whale,' cooked up by Arthur Schwartz and Albert Stillman. George Meyer and Allen Stanley are the cheerleaders of this vernacularized epic from the Bible, and for the fadeout the travelers part to reveal Jonah comporting himself comfortably in the living , room, which the scenic artist has set up in the interior of his papier mache whale. Dale Vemer, the magician, takes over next wiUi a routine that In- volves handkerchiefs, eggs, paper, sand and aluminum rings. From the rear of the house Itlooks con- sistently unexciting. Before the Rockettes are allowed to shine in that one and only brand of precision pedal rhythm, the customers have to listen to something in rhyme and notes tagged "Bhy&m Talk.' Rob ert Landrum, abetted by Clarice Goldner, tries hard to make the verses sound interesting but it all shapes as just a lead-on for the girls' dance. Biz good opening night (Thurs.)'. Odec. mimics a femme chirper with a swing band. Tosses a bunch of tunes toge&er in a falsetto and style, that s in this groove. It's nitty satire. Paul Remos and his pair of midg- ets are the heaviest scorers in the layout Little fellows, dressed as kids In short pants and socks, are irresistible in their attraction. Brought on in suitcases, they open with a swell tap routine and then go iiito aero bends while balanced on Remos's palm. Most of it is the same stuff they've been doing for some time, only addition, and. a pip, be- ing one of the tykes balancing via a stick held in his teeth on a stick in Remos's mouth. Finale with the midgets atop .a pole on Remos's shoul- der, one playing chimes and the other swinging a lariat Very strong. Routining is weakest spot in the act there being several rauier long stage waits, which could easily be filled with one of the midgets doing a spe- cial^. Shaggers more or less standard, although particularly long on looks, both boys and gals. Plenty of s.a. lent by togging femmes in sweaters. Herb.. ADELPHL LONDON London, March 14. Beotrice Applevard A George Cerhardt, Low & Webster, Nicol & Martin, Mills Broty^s (5). Claude Dompier & BilHe CorlyJe, Four Or- tons, Levonda, SCanlev Uowtyoa-a, Calgary Brothers (2>, Cecil Lvie Co. HIPP, BALTO BaltimoTe, March 19. Fredysons (7), Edword Roecfcer, Paul Svdell & Spotty, Ray Mayer & Edith Evans, The Dolinoffs & Raya Sisters (WLove Affair (RKO). FOX, PHILLY Philadelphia, March 17. Hal Kemp orch (14), Judy Starr, Bob Alien, Soxte Dotoell, Micfcev Bloom, JacTc Le. Maire & Eddie Kusby, Paul Remos & His Midgets, Shaggers <4), Adolph Komspan house baTuL' 'Tou Can't Cheat an Honest Mari (U). With the new vaudfllm policy now In its fourth week here, and with what is figured °to be strong b.o. draw on the screen,.Fox this sesh has let up somewhat on the quantity of flesh hypo for Its marquee. - Only- two acts have been added to the Hal Kemp troupe, Paul Remos . and hid midgets and a crew of four shaggers. Both are strong, but almost mean- ingless in lights. Lack of Hollywood or other name attraction,- however, has no bearing on the quali^ of en- tertainment this turn, because the show hums nicely most of the way. Biz was overflowing when caught at last show Friday, With a crew of 13 under his baton, Kemp tees off with 'I Go for That 'You're a Sweet Little Headache' and 'Jeepers.' Band for the most part sticks to a rather honiyish idiom, only very occasionaUv turning to ' real swing. While the sweet may be better for prolonfed listening or a cocktailery, it distmctly doesn't have the punch that the wild jive crews get out of music- for a short stage sesh. Kemp wisely compensates for this, in part, by maintaining a visual as well as oral show all the way. Various members of the troupe are experts at clowning and there's something besides musi'; going on all the time. Keinp himself, of course, m.c.'s and does an excellent job. He's pleasant and. humorous, and doesn't take himself too. seriously. Fea- tured vocalizing with the band -is taken care of by Judy Starr and Bob Allen. Allen ezhibs a nice set of pipes in a deep-voiced brand of crooning and clicks soldidly with 'Get Out of Town,' 'I Have Eyes' and 'Date with an AngeL' Mi^ Starr, billed over Allen, With a lesser voice and a sigularly peculiar style of phrasing, is harder to digest' Does 'Heart Belongs to Daddy,' 'I Cried for You,' 'Had It Coming to You' and 'Hold Tight.* Nice looker, she meshes only mildly and gets off easily. Comic angles In the Kemp out- fit are handled by Saxie Dowell, Mickey Bloom and Jack LeMaire. Dowell does his standard Ten Little Bottles' and then adds a new nifty In a brand of double-talk that he calls 'Fish.' Gets the audience doing .It for a couple of choruses. Mickey Bloom provides a swell novelty turn oh a toy trumpet, while Jack Le- . Maire has difficulty in getting away after he drops his guitar, -wraps a kerchjet.''.around his noggin and Nice playing layout here, a bit heavy on the nght end, but effective nevertheless, wealth of novelty and versatility makes up for lack of ac- tual sock and supplies an ideal sup- plement to film, 'Love Affair.' Ray Mayer, making a -vaude comeback after a stretch in pix, supplies some name value and a needed comedy Ult Strong opening by The Fredysons, Continental teeter board septette, who do all' the standard "balancing and tumbling stuff in addition to their effective catches by way of the see-saw. Closing trick of a somer- sault to a four-high, a real sock, and a bow-getting finish. . Make swell spot for Edward Roecker, legit smger, in the deuce. Of sure stage presence and possessed of a knowing pair of pipes, he does 'Rosalie,' 'Did Your Mother Come From Ireland,' the Inevitable, 'Ol' Man River,' and for an encore, 'Sweethearts.' With a better selection of numbers, this nice appearing lad should be able to. hit the bigger brackets, and presents possibilities for musical comedy or films. Paul Sydell, unusually spotted In the trey, more than holds his own with his clever handling of his canine partner. Rings the bell in resounding style. Is followed by Ray Mayer, in ten gallon headpiece and down home get-up, wanging a minia- ture piano for -^pical vocal and session of gags in which he intros his partner, Edith Evans, ragtime singer of a style reminiscent of former days of vaude. Combine in vocal. Thank the Man Upstairs,' announced as an ori|inal by Mayer, and - timely in lyric content. Mayer has an easy style and knows his way about, scor- ing easily and effectively for a beg- off. The Dolinoffs and. Raya Sisters close. A dance flash nicely costumed and skillfully tricked with a closing illusion, three femmes and male partner combine some okay hock and aero stuff effectively. Fmishing routine, in front of black curtain banked by two brilllantiy lit ques- tion marks in which girls disappear into the background and then go into seemingly impossible feats of levita- tion, a strong novelty and a nice windup for the entire doings.' Biz okay. Burm. This show is practically devoid of the femme element and has too big a sprinkling of dumb talent. House is also getting bad Monday nights (with the management claiming biz picks up during the week), which makes it very tough for the acts. Appleyard and (^rhardt two ball- roomers, have .one of those conti- nental valse acrobatique things, last- ing three minutes, with male giving out a prop grin. Following them are Low nnr'. Webster, name suggesting two prominent Idcial cartoonisU, with line of gab which is anybody's. Nicol and Marthi are a couple of Scottish comics on unicycles, best offering bein>! as stews. Mills Brothers, now numbering five, with the back one just strum- ming the guitar, isock wil'i 'Dinah,' 'Sixfy Seconds Got Together,' 'Mul- berry Bush,' with much better ar- rangement than hitherto sung around here, and 'Lambeth Walk.' also novel as rendered by this quartet For an encore, boys give out with 'Just a Kid Named Joe,' and their themer, 'Tiger Rag.' Claude Dampier is an Australian who has been around for years, only coming into his o-wn in the last few years through radio work. - Essays Slaying the piano as accompanist to is femme jfoil, BiUie C^lyle. His grimacing is much ahead of his ma- terial. Audience liked him. Four Ortons, here the opening wee!:, four weeks ago, when they were barely noticed, fare much bet- ter this trip in straight vaudeville. Second half has Levanda, conti- nental foot juggler, opening, followed by Stanley Holloway, also now a radio name, but starred before that Holloway specializes in Lancashire, and Cockney dialect songs, a sort of male Grade Fields. He is also the creator of the Sam Small characters. Calgary Brothers have been iii the business for 20 years, but this is their first date for General Theatres. Boys deport themselves well -with their comedy aero burlesques, Rus- sian dancing, and general hoke stuff, Looks like GTC will accept them into its told. Closhig is Cecil Lyle -with some smart legerdemain, ranging from the disappearing woman in cabinet to the cutting of a rooc by members of the audience, and then joining it together igain. It has all been done before, but always interests. Rege. the show's opener atter the bands theme. Following her is Terry Allan, band vocalist He has a nice voice, but too much dramatics. His eyes are closed half the time; in the other half-his gestures are almost hypnotic. Lorraine and Rognan have been coming along for the past several months. They are a finished comedy team now, the temme's eccenmc body contortions being good for continuous laughs. Male partner is a perfect feed and ah okay dancer on lis own. Their closing burlesqued 'Blue Danube Waltz' is a wow piece of taugh business. Cross and Dunn, with their stand- ard character songs, and Mildred Bailey, gargantuan swing vocalist with a radio-disk rep, follow in that order and are successive scorers. The shagsters finale. . Despite the lateness of the hour of the last show, the house was pretty well filled. At a 40c admish, the business was deserved, the show being a bargain at that price. The picture, British-made 'Edge of the VoWd,' can't be given much credit for b.o. pull. Arthur Fisher Is booking this house. If the Brandts keep the elas- tic off their bankroll Fuher may have a winner again. Scho. EMBASSY, N. Y. The death of a nation occupies the spotlight here this week, tiiougb there's nothing new in the way of action shots to describe the present Czech situation. Distance doesn't permit more timely reels on the present setup, but the narration is timely, and the use of stock shots, taken last tall at the first crisis, enable the newsreels to maintain in- terest. Universal liandles the most footage on the Czech situation, while Metro and Par follow in that order. Along with Movietone and Fathe, they all go into the entire Central and West- ern European tempest to form a. graphic picture. I%the . shows France preparing against the possible invasion of Ger- many with the building of trenches. Par reels England building bomb- proof shelters. There are other simi- lar clips, detailing the preparedness note that's the signal of all Europe today. Rest of the bill Is diversified and interesting. Sports has a big quota, with baseball in the major league training camps topping the card (Pathe). Joe Louis ranching on the 'Coast is a poor interview XPar). He sports a dead pan, says a few words that are negligible and pops off a six-shooter tor indefinable reasons. The significance of the ascension to the Pontifical throne of Cardinal Paccelt is explained by Bishop Dono- hue of New York, who suggests that the new Pope will relentiessly fight for world peace. The Bishop's talk Immediately follows the coronation: of the Pope in the Vatican, The lat- ter is reeled unimpressively-as the camera was -at too great a distafice.> FLATBUSH, B'KLYN Red Horvofs orch (15), Dale Win fhrop, Lo^aine & Roffnan, Terrj/ Allan, Cross & Dunn, Mildred Bailey, Shag Dancers (6); 'The Edge of the World' (British). The Brandts, after a couple of years of announcements, have finally come through with a -vaudeville pol- icy in one of their Greater New York theatres. Ifs to their credit that their initial stage layout at this once ace Brooklyn vaude spot shows an expensive investiture of talent and scenery. Continuation of the same type of talent in the future may mean the first really successful vaudeville revival in these parts. All the others have failed because the followup shows suddenly showed a pitch in the pocketbook. The Flatbush was originally built by Keith's as a straight-vaude house in 1013. Loew's had the house for a while, then B! S. Moss and finally the Brandts under whom it has been operated as a grind picture spot In- stitution of the vaude nolicy shows a dearth of picture product more than anything else. Yet being the only full-week stage show house in Brook- lyn now, the Flatbush may be able to get by regardless of the type of films, if the vaudeville is kept on ^ high level. The initial show is ex- cellent Red Norvo's .band, plus Mildred Bailey (Mrs. Norvo), and Cross and Dunn, provide an excellent enter- tainment and marquee backbone for any vaudeville theatre.. They are aided by Lorraine and Rognan, fine mixed comedy pair. Dale Winthrop, a good rhythm dancer, and an even- ly mixed sextet of shag dancers- Novelty of the latter has worn off by now and, closing the show, they arc its only weakness. Norvo's aggregation is excellent in swing arrangements, ,the maestro standing out at the vibraharp, but falling down on the introductions. If he hasn't got .marbles in- Ms mouth, he at least sounds like it, Also, at the last show Friday (17), his aggregation tailed to play the 'Blue Danube' music correctly for Lorraine and Rognan. The band was still tooting after the team! had fin- ished their dance and taken the first bow. Perhaps the musicians were tiredi the last show that night not going on until 11:30, which is why Saranac was bom. Opening day's sked evidently had been mixed up the f our-shows-a-day policy not war- ranting such a late siar^ Dale Winthrop's session of two rhythmic .tap xoutines, both .good, ' Paris, March 14. Jacqueline Figus, Quatuor Mtdo Robert Jlocca,. Carmen Romero, Re- mne Se Shanley, Treki, 4 Kfiaddocles teine Paulet, Jean Ramo & Rossot^ ti, Rita Georg, Gaudsmith Brothers. Jean Sablon, Eight Lucky Chinese Girls. STANLEY, PITT Pittsburgh, March 17, Al Donahue orch (12), Paula Kelly, Ethel Shutta. Harry Savoy. Les Chezzis (2); 'Oklahoma Kid' (WB). Swing deluge supplied by Artie Shaw and Benny Goodman during the past fortnight gives way this week to something a bit more peace- ful in AI Donahue's music. Dona-i hue has a sleek-sounding outfit al- though its entertainment appeal is limited tor the stage in present form. For the ballrooms, plenty okay, hut deluxers require additional novelr ties and a visual addenda Donahue doesn't- have right now. Bookings didn't help him any either, tor in ad- dition to his own vocalist Paula Kelly, Ethel Shutta's also on hand and Harry Savoy likewise has an un- billed femme partner who warbles, making things too tip-heavy on the tonsil end. Whole layout adds up to just an average show. Opening performance Friday was an endurance test with everybody apparently trying tO'hang up records, and presentation ran al- most 90 minutes. Practically half an hour was subsequenUy trimmed, and unit was running considerably smoother at supper time. Cutaway medley includes 'Can't Be Love,' 'Blame It On My Last Affair,' with'Donahue warbling a chorus, and 'Could Be,'' which leads to Miss Kelly's entrance. Gal, who got her first break here year and a half ago with Dick Stabile's crew, has come a long way. She's got what it takes in looks and voice, and smacks across four numbers with room to spare. Band came in too loud on her 'Hold Tight' and nullified vocal effective- ness, but trombone-trumpet obUgato at opposite mikes on her 'Heart Be- longs to Daddy' was fine. For 'Mul- berry Bush,' drummer steps down tor some comedy biz, and Miss Kelly finishes strong -with 'I Cried for You.' Les Ghezzis follow her and tied up show with' their strong-arm stunting. One of the best two-man acrobatic turns around, boys wowed 'em all the way through and then topped themselves with that old funny-bone encore of theirs, a ahaj routine on the hands. It's a laugl capper, and just the right thing to follow their grinding body flexes. Donahue swings next into another medley, this time theme songs from well-known pix. Gets off ^Perfect Song,' 'Sheik of Araby,' 'Charmaine,' 'Singing in the Rain,' 'Sonny Boy,' 'Carioca,' 'Heigh Ho' and 'Alexan- der's Ragtime Band.' Good idea, but he slows it do-wn -with announce- ments between each number. Could and should talk his pieces over the opening bars.. Ethel Shutta nicked out an okay session for herself but choice of songs could have been better. Also, strangely enough, appeared a bit ner- vous at this viewing. Clicked I>est with 'Love Will Never Hurt You,' a parody on 'Ferdinand the Bull' and her old standby, 'Ozarks Are Gelling Me Home.' That'Get Out of Town* on the Dewey purge which site -was asked to remove from her repertoire at Versailles in Manhattan isn't so hot, and 'I Get Along Very Well Without You' not the Shutta type. Donahue gets another inning with 'Begin the Beguine' and 'Deep Pur- ple,^ with Miss Kelly coming back for a chorus. Harry Savoy's a push- over next to closing. Customers are ripe for comedy at this point and Savoy shoots it at 'em from both bar- rels. Mopped up. But shrewd edit- ing would have made him twice as effective. Brings on a femme stooge lor a couple of minutes and leaves her on alone to sing 'FD.R. Jones,' which act could also do without Band's at it again at the curtain. Kelly gal Gaelicizing 'A Pretty Girl Milking a Cow,' and cutely, just ahead of fast finish. On the whole, too much show and most of it mild. Dave Broudy*s overture collection of Irishtballads appropriate -to . St. Patrick's Day, with Par newsi^eel and 'Merrie Melodie' cartoon coming between feature ahd presentation. Cohen. ABC, PARIS Mitty Goldin is stepping back into variety. after running a review tor several months. Show is spotty, but the average is plenty high to keep them coming at the ABC, the townV only music hall spot offering any- thing like class talent Jean- Sablon^ just back from the U. S, tops this bill which, also -car- ries some ofteh-seens and some tepid turns, including four singers, one band, two acrobatic, one dogi and a couple of miscellaneous acts. Opener is Jacqueline Figus, young . dancer specializing in toe taps. Routine car- ries nothing out of the ordinary tor its type, but gal Is a looker, grace- ful enough, and performs some ^lits and hand turns that are good. Could improve by playing more to the audience, but she catches on well nevertheless. Ouatuor Mida, following, is an' Anglo-Saxon-Continental mixture with one guitar, selling a la the Mills Brothers. Rendition of 'Solitude' is close to American artists' arrange- ment which sells probably because of that as it catches best of alL Own arrangement of comedy number lags; and other renditions pull only mild^. Robert Rocca Is young product ol French stage. He sings his own verses comprised of topical gags; which does all the pulling as he has no voice. Some verses complete a tjme of act French never fire oi^ which is the principal raison d'etre. Spanish dancer Carmen Romero- splits two numlsers -with the dance team Regine and Shanley. Single's two numbers show fair examples ni what originates from down below the I^enees, with some good show- manship helping to overcome other shortcomings. Gal is graceful enough but her weakness is lack of diversity. Regine and Shanley show some good form -with woman outshining male end to a marked degree. Their two offerings bring one especially tidy demonstration-of-talent qn the part of the femme in a futuristic Bum<- her. Man shows best on lifta and turns to keep act at good level. Some able flute playing Inter- spersed with gag Imitations and fast talk is what Treki has on the ball. Registers medium -well. Bizarre costume and makeup seem -unneces- sary, while imitations of Hitler and Mussolbil fall flat The Four Krad- docks bring falls, tumbles, balanchig and buildups that please. Comic of act has some good falls and antics for wholesome laughs throughout . whUe other three do buildups. Act moves at rapid pace but is n. i. h. on the appearance side. Reine Paulet Is a. Trench warbler with a good voice to put over typical French songs. She Imows her audi- ence, and all' of five offerings eetch to nice results. Seen on thiB stage before, and well received. The eleven-piece band of Jeaq Ramo and RossetU has been ftlajrlnfl with some success on the Riviera and will probably make the heat of these parts. Offerings are varied enough with some good harmony by trio. But with exception- of one short spot by two trumpets, rhytiim is for the most part lacking in harmony sec- tions. First trumpeter shows best of !itngles while three saxes doubling on fiddles help the tango end of the output Leadership is on the lazy side, and ap'pearance of whole could be - much Improved to show better class. Opening . second half Is another shiger, Rita (Seorg, Viennese, and tu- though her offerings are in French, and she by tar has the best singhig voice on this bill, she somehow cant get the songs over to the returns they deserve. Her artistry is polished and she plays it for all it is worth, but couldn't real^ rouse house on day caught Three well trained dogs carry the Gaudsmith Brothers through to Spod returns. Comedy is okay, with dogs doing more than their p^ on sonie well timed tumbles, bufld-ups, etc. It takes just oup half hour for Jean Sablon to get on and off. With his final numbers being backed by the Ramo and RossOtti band, we audience wouldn't let him go. He croons latest popular French com- Sositions. but catches best on ren- ition of old French song, as orig- inally sung, and then to modern swing time. His is a more polished act since he returned, and he gar- ners plenty. Oddly enough he Is booked, as The King of the Mike In the Countiry where the Mike is King? Some out-of-the-ordinary contor- tions and balancing shown by the Eight Chinese LucI^ Girls. All ap- pear to be under sixteen, and their appeal Is based almost entirely on limbemess and manifold b.uild-ups they can assume singly or in en- semble: Act is rich enough in pre- sentation and catches weU enough for the closer. . .Htij*.'