Variety (Jun 1939)

.^Tedneedaj, June 7, 1939 VARIETY HOUSE REVIEWS VARIETY 37 STATE, N. Y. Block & SMy, Irving Caesar, tolth C««W 'Dixie" Marks. Milt Brltton's luifld. Helen Reynolda Co.. Gray Stage bill ruimlDg an hour and 20 minutes deserved much better busi- ness on the opening afternoon, pef- (onnance running smoothly and building up to a bellylaugh finale supplied by Milt Brltton and his mad musicians. Jesse Block and Eve Sully, plus Irving Caesar, are the headline turns, with Block the m.c. The. duo saves Its stufl lor later, when they get their share of giggles stepping ofl with a vocal. Earlier he kids about the prices at the World's Fair and works in a good gag about a nude violin. Caesar gets better as he goes along. Ee explains the reason for his 'songs of safety,' first heard on the radio, which opened a new 'field for the ]&rlcist. He wanted to do something constructive, something that would get him into Heaven, he says. With Gerald 'Dixie' Marks at the piano, Caesar sings these 'message' num- bers with vim: 'When You're Watch- ing a Parade* and 'Hot and Cold ^Composer drew the best returns when caught with 'Oh, What a Day .That Will Be,' alluded to as the •white man's spiritual', a lyric anent the end of all war. For encore he gave what was called a Roumanian folk song, said to be his newest num- ber. Called 'Love Is Such a Cheat', tuna has a Atelodious Yiddish air and is sung with spirit Medley of his earlier scoring numbers is also accompanied-- by comment For in- ■tance, Tea for Two' might indicate bis favorite beverage, but actually, ' he says, he likes coSee. 'Want to Be Happy', 'Crazy Rhythm,' 'Sometimes I'm Happy' and 'Just a Gigolo' are also in the medley. Brltton, Introduced as the 'clown prince of swing* by Block, Is back after a long lapse and thQ act de- livers a comedy punch. And with only one little squirt of seltzer and only one violin broken. Understood that- after the first show there was a powwow with the front of the house and some of the extraneous rough stuff eliminated. It isn't missed. Tommy Raflerty, who formerly had his own 'two' act is the new chief comic and a wow. He's a natural clown and also an excellent hoofer. Runner-up amonjg the bands- men is Irvine JaiTe, whose opening ■tuff on the E string and a bit wih a loose fiddle string is - unusual. Chubby Silver and Joe Brltton are also featured. Always good is the maestro number and the roughhouse . finale, 'Poet and Peasant'. Show is off to a fast stert with the Helen Reynolds roUerskating act The five minutes on the smaU mat make that form of skating seem speedier than steel runners on ice. There were a couple of falls that the girls took on high. The Gray Family, consisting of five girl bru- hets and a boy, supply something ,exceDtlonal in ensemble top dancing, "Gray Bonnet' and a Scotoh number atanding out Hildegarde Halliday goes into the Block and Sully rou- tine at one point getting some laughs with what she cfiUs a hay fever sola Ibee. deftly Into the scrim presentation backgrounding the Uncoln' feature. The girls in this number do a cork- ing routine with their crinoline un- der-panties (ante-bellum costuming) matched by like parasols. It's one of the Gae Fosterites' prettiest routines. The Variety Singers are chiefly an offstage harmony septet also dress- ir.v the rostrum as occasion demands. Paul Ash per lisual bat. i a good show from the pit Business rather lleht openihg (Fri- day) night final performance.Abet STATErLAKE, CHI ROXY, N. Y. Sylvia Manon & Co. (3), Jack Powell, Winfield & Ford, Variety Singers (7), Goe Foster Girls. Pou; .Ash house orch; "Young Mr. Lincoln' (20th), reviewed in this issue. Bright stage show at the Roxy, in nice contrast to the 'Lincoln' feature on the screen. It's a good blend of sundry varieties, with enough pro- duction values to properly set it off. The major shorteoming is that "wintry' look lent the show by one heavy black velvet drape, and also some of the girls' costumes in the 'Sophisticated Lady' number, which, it satin,' look more like velvet anc hence not aptly seasonal. But the talent values are there. Sylvia Manon, with her male trio of stalwarts. Is catapulted around to her standard 'Blue Danube' routine. Jack Powell, with his rhythmic drumstick comedy nonsense, Is now billed as an 'international star,' hav- ing been back and forth frequently, most recently to Sweden and adja- cent Norse countries. With his novelty traps work the mainstay, the blackface comedian, in chef's getup, is extending his hokum with bits of effective byplay. The Juvelys (2), in amazing teeter board acro-comedy, do difficult Btunts, and, in fact missed a couple at this show. They wisely don't re- prise 11 things go awry. They have Plenty in their routine, such as the head-to-head balancing, with one and later two rubber balls in be- tween; the teeterboard balancing looking very difficult and flashy, and the rest of it Wlnfleld and Ford (New Acts) are alumni of Tip, Tap and Toe, and Plenty okay on the hoof. They blend into the riverboat background, that, in turn, being the finale, and segue PARAMOUNT, N. Y. Chicago, June 3. Bums & White, Larimer & Hud- son, Joan Abbott, Pout Kirkland, Bell's Hawaiians. Tip, Tap & Toe; Sgt. Madden' (M-G). Good vaudeville biU, with the re- marlcable Bell's Hawailans holding down the big spot This troupe, with their ukes and grass skirts, is suit able for family time anywhere. In the vaude half the talent Is solid and standard. Burns and White make good with their clean- cut dancing bit and comedy dancing. Dennis White doubles' as mc. and does a good job ot it Larimer and Hudson go over nicely here with their bicycle act the tramp comedy being especially effective. Paul Kirkland clicks strongly with his balancing, of the ladder and paper cone. t Joan Abbott makes an eye-filling appearance and registers solidly with her throaty delivery of torrid pops. On appearance and showman- ship Miss Abbott is a cinch any- where. This audience went for her immensely. ^ Tip, Tap and Toe, colored, wind up the vaude with their outstanding hoofing. They're in military garb, Biz good at supper show on Sat- urday (3). Gold. FOX, PHILLY Philadelphia, June 2. Cass Daley, Chaney & Fox, Wiere Bros., Cappv Barra Ensemble, Gae Foster Girls, Adolph Komspan house band; 'Ifs o WonderStU World' (M-G). The Fox show this stanza has been built strictly with an eye to the bankrolL Ducking completely the name bands and Hollywood per- sonals it customarily books, the sub- stitute this canto is four acts of vaude. and a line of gals. There's been a general reversal of the film policy, too, since a stronger-than- usual picture 'for the Fox is pro- vided, 'It's a Wonderful World,' which is given top billing. Flesh lineup suffers principally from lack of at least one name. As it stands, Cass Daley is given the top bracket Miss Daley's okay but hardly big enough to fill the required hole. Another obvious lack is the absence ol an m.c. The Cappy Barra Ensemble, which comes in the deuce, loUowing the line, was given no Intro at all at this catehlng, while later turns are brought on by an offstage voice. It makes lor chdppi- ness, pauses and poor continuity. Gae Foster Girls (10) are the lor- mer house line at the Palace, Chi. They do three numbers, only one showing some highly creditable imag- ination, and all are marked by less- than-standard precision for a Foster line. Opener has some merit In that the gals swing goU sticks. U. S. Open is being played here and there's more than usual interest in the game here presently. Luminous paint idea on the clubs also good. Second appearance ol the gals Is in a fluffy-skirted' ballet while easily the best is the finale, in which they work on stilts of various heights to get tricky effects. Costuming throughout Is mediocre. Miss Daley has changed her act since her last date in Phllly, smartly de-emphasizing her free-wheeling face, arms, legs and back, and put- ting more time on the warbling. There's still plenty of the slapstick contortions—perhaps too much—but they're used to point up tlie chirp- ing Instead of dominating it De- spite laryngitis. Miss Daley does veiy well with her tunes, both of which are very suitable lor her. Sec- ond, The Family Album,' is par- ticularly strong. Another one like it with more of the physical cut-up stuff eliminated, would be fine. Ballroom duo ol Chaney and Fox, long on looks and personality, excel in their fine routines with but one exception. Novelties presented are 'The Texas Tommy,' Irom The Cas- tles' (RKO), Continental and the new EngUsh terp. The Chestnut Tree.' Wiere Bros. (3) comedians, are weU-drilled. Pretty well Iree ol slapstick, they're good lor only mild laughs. Cappy Barra gang (8) completes the setup. Lads are togged in stand- ard sunimer evening clothes and present their harmonica work in standard lashlon. There's little humor and almost a minimum of showmanship, only standout being a pretty good rendition of 'Poet and Peasant Overture,' which they did in 'Mad About Music' (U). Long build- up is given Freddie Stewart war- bler with them, on how they stole him away from Mickey Rooney's band. He's n.s.h. Herb. Emery Deutsch orch, Mildred Crat0, Johnny Barnes, Merry Macs, Bob Richards; 'Union Pacifi(? (Par). Somewhat shortened to allow lor the extra-length "Union Pacific' lea- ture picture, stage show at the Para- mount Is reasonably entertaining, with a couple ol genuine standouts. Runs approximately 40 minutes, with, the Merry Macs, swing vocal lour- some, and Johnny Barnes, tapster, getting major attention. , It's a holdover lor the Merry Macs and Johnny Barnes who played the house with Richard Himber's band >rlor to Deutsch. Macs do lour num- }ers and build increasing audience attention lor a solid finish. Barnes scores with nine minutes ol virtuoso hoofing. As has been mentioned, his st7ie is distinctly reminiscent ol Bill Robinson, but he has a distinct per- sonal magnetism and a keen sense ol showmanship. Emery Deutsch's music Is a curl Qus blend of jazz and pop classics. Maestro plays the violin and fea- tures himself throughout Builds most ot the arrangements around his own fiddling, but doesn't get as much out ol the music as he might 11 he varied the style of arrange- ment and orchestrauons more. SttU, he does fairly well, considering the size of the crew (13 men, including hImseU,), and the slow, semi-concert stuff he plays. However, It's neither swing nor ambitious orchestrations in the Whiteman-Kostelanetz man. ner, but a combination that lacks the attention-puU of either. His m.cing is well handled, being simpi'. direct and dignified. Mildred Craig, vocalist of the out- fit geta the stage for one turn, in which she offers three numbers, 'If I Didn't Care lor You,' 'I Cried lor You' and Tain't What You Do." She's distinctly a looker, with t graceful carriage and tasteful dress. Also has captivating animation, but tends to become monotonous by- re- peating the same mannerisms, 'voice IS okay and she sells a song satisfac- torily, but she suffers from that per- ennial lault ol band vocalists—lack of versatility. After awhile all her numbers begin to sound alike. Should select her tunes for contrasts and ex- : )resslon of different moods. It's just he difference between a band vocal ist and a name singer. But with shrewd development she has possl- biliUes. Bob Richards, one ol the band members, also is spotted for a vocal in front of the band. Does a topical, but not particularly interesting com- position by Deutsch, 'Beautiful Dan. ube. No Wonder You're Blue.' Then winds up the show with an unabashed flag-waver, Irving Berlin's 'God Bless America,' with the 'U. S. flag flashed on the screen tot the finale. It got solid applause from an otherwise apathetic house. Hobe; song but is more effectual with the crooning in the 'Mamba' scene. Margo, who scores with an opening solo dance, returns later for some fast toe stepping. Plgmeat and Jimmle Baskette get some chuckles with three familiar burl^ comic routines. More effec- tive Is the session ol this pair with Bryant and 'Vivian Harris. Venerable 'three lovers making love to the same girl' bit employed lor a clean up. Harperettes, the house line, show improvement over recent weeks. Wear. Bros. . . Bob Hall. Carroll & Howe; Wi/e's Relatives' (Rep) APOLLO, N. Y. Emmett Mathews orch (14), Willie Bryant, Pigmeat, Jimmie Baskette, Margo, Ted Allen, Three Bluejack- ets, Vivian Harris, Dolores Brown, Lillian Spray, Harperettes (18) (line); 'Convict's Code' (Mono). This can't be rated a name-draw show, particularly after Chick Webb's crew here last week, but it has the wherewithal for Appolo reg- ulars. Willie Bryant who formerly had his own orchestra, and is more recently out of 'Mamba's Daughters,' which closed two weeks ago at the Empire, N. Y., holds this production together while show generally has many bellylaughs. Emmett Mathews, who played saxophone in the house band at the Lafayette, also in Harlem, In that theatre's stage hey-day, .-.lid has been with Fats Waller's crew and other outfits, is leading a slick outfit here of 13 musicians who. back up his warbling and saxophone soloing. Opening with 'Keep on Smiling, theme number, following a flowery intro by Bryant, okay s^ections are trimly handled. First lew tunes, however, were too heavy on the brass when caught The crew later had smooth sailing, aided by Mathews' personable salesmanship. Organization has a smooth ivory manipulator, who gets his break in the 'Blue Skies' number, evenly bal- anced b^ass and reed sections' and ah excellent trombone soloist. Singing accompaniment by band members also is evenly handled and might well be developed further. 'Don'' Worry About Me' gives Mathews chance to warble and solo on the sax. 'When My Dream Boat Comes Home' is closing tune lor the orches tra outside the show's blowoff num ber. Mathews would do well curb his warbling; not that he can sing—just too much. Lillian Spray, amateur winner here, appears durinj: the band's turn, doing nicely with 'I:' I Didn't Care' and 'Heaven Can Waif songs. Bryant tips off how he's going to dominate the show when he makes something ol a bathing beauty con- test opener, which is really ordinary stuff made clicko solely on Bryant,° merits. Same is true ol a 'Mamba'L Daughters' episode, which lollows some torrid bumps by the Har- perettes, Bunch here ate It up. Three Bluejackets do satisfactorily with their tap session. Dolores Brown is okay with her 'Tormented' FLATBUSH, B'KLYN Ina Rqy Hutton orch (16), Ifathane (2), Jean Kirk & Claytons (3), •My This is the last flesh layout lor the Flatbush until the latter part of August when the operators, the Brandts, plan to add several other of their N. 'x. houses to a combo policy, forming a small circuit Patronage of the Flatbush Is ep- larently: easy to satisfy, something liat's noticeable in most N. Y. nelgh- gorhood houses. Current show is an example. The entire bill is only mediocre, but when caught Friday night a well-filled house almost lifted the roof cheering the turns. Miss Hutton's melodears, as she bills her all-girl crew, open the show with a number having em- phasis on the brass; they play comparatively few straight band numbers. Outfit is badly set up, a mike placed In front of the sax sec- tion throwing the outfit off balance on the p.a. system. Beyond that it's a moderately good aggregation, the brass showing up well occasionally, and several soloists deservedly spot- lighted. ^ Nathane Bros, tee off the support- ing ' list Their forte is drawing tunes Irom a guitar and violin dur- ing aero routines and lor the flnale they do acres without the Instru- ments. Execution is comical at times -and good lor laughs. High, light is a balance trick, head to head, while working the Instruments. Jean Kirk and me Claytons tap their way to a neat click. Trio get away with unison taps and close tin same way. . In between there's l solo by one of the men and a high kick routine by Miss Kirk. Taps are neatly executed. Bob Hall has the audience with him all the way in his old turn of 'making up songs as he goes alone.' He's on too long here, though Ivs by request Stuff gets monotonous after 10 minutes or so and he's on more than twice that long. Carroll and Howe also go over. Their style Is gags and a bit ol terps alone the Burns and Allen line. Start slowly but build to a good fln Ish. Most of the finale impression is due to the lemme halfa enthusiasm. In between she pipes 'I Can't Give You Anything But Love* well, fin-^ ishing with an imitation ol Louis Armstrong's trumpetine. Miss Hutton gives the customers something to 'ooh' and 'eh' about with her gown changes and style ol batoning. Gal goes over with the balconyites particularly. Her pip- ing Isn't bad, best being near the close, using the oldie, 'Rain, Rain Away,' in swing style. STRAND, N. Y. Pancho's orch, Mario A Florid, Billy Rayes, Mixtica Trio, Vetera Doreta & Tereseta. Lolita Cordoba; 'Juarez* (WB). It's Hispanic all the way here this week with 'Juarez' on the screen and the Pancho orchestra, plus Latin acts, on the stage. Due to the length ot the feature, 135 minutes, the in- person element Is held down to 35 minutes, with house doing five shows day by squeezing, - Pancho himself is doubling from the La Conga, Broadway night club, where he does two shows nightly. His band (IS) was at the Plaza hotel (N. Y.) about a year ago and is to return there for another en- gagement Outfit is billed as by courtesy ol that hostelry. Latin in background and leaturing rhumbas mostly, the Pancho organization also handles sweet music with lealty and good effect Pancho has consider* able of an accent while his men aro costumed ih character. Harry Gour- taln, stager here, has set the band to advantage, providing scenic back- ground that is both suitable and in good taste. Nut for the show is below that of most which have played the house since it went into Its present policy more than six months ago. This suggests judicious showmanship by the management since conditions lor the bjo. aren't so hot on Broadway anyway. Spanish-type acts with Pancho are Lolita Cordoba, song soloist; the Mixtica Trio of comedy dancers; Mario and Florla,'' ballroom team lormerly at the Sen Room in tha Waldorf hotel (N. Y.), and Volera, Doreta and Tereseta castlnet danc- ers. In addition, for a little relief; the house booked in Billy Rayes (New Acts), a juggler who can get along In niost company. Miss Cordoba gets by. On early, she does two numbers, one of whldi is hit considerably by too many maracas and the like. She tops it with a lltUe shagging. Mario and Florla are smash in two ballroom numbers. Pancho's band stint Includes > clever arrangement of 'Liebestraum' and another arrangement of "Cara* van.' Business fairly good Frldav night (2) at the first show. Char. KEITH'S BOSTON Boston, June 3. Ross Bros (2), Troy & Lynne, Johnny Burke, Roses Parisian Midoet Follies (15); •Ponama Patrol' (GJv) and 'Racketeers of Ranoe' (RKO). About the least exciting show of the season at this house, mainly be- cause the Rose midget troupe takes up most of the time. Three acts give the bill a fair start however. Johnny Burke is standout In this hall ol the show, getting swell re- sponse to his humorous monolog about mishaps ol a doughboy in the AEF. Burke has a lew new gags since his last time around and the laughs come Irequently. Ross Bros, open witiv some good balance work and finish with flashy tricks on apparatus. A headstand slide on a roller device down an in dine is good and walking up and down a set of stairs with nand stands lands applause. Troy and Lynne are accomplished soft shoe dancers. Their best bet Is a satirical jitter flnale. Rose'.s midget revue closes. Troupe is way below standards of this house. On lull stage these tiny peo. pie are completely lost to begii with, and another staging fluke is In putting the house band in the this week and leaving onstage corny five-piece outfit that appar- ently travels with the unit Much emphasis is laid on Vance Swilt, a 30-ihch lad, whose stature is startling, but whose talenU are weak. He s worked into a hillbilly trio number, a hurley fan dance and also has a solo spot with a colored stooge, Hollis Edwards, in a magic trick. Edwards Is the best hoofer in the gang, and deservedly has a solo tap spot later showing up well in s Cakewalk with Esther Howard Samuel Eskenas is an adequate high gitched vocalist and Mary Ellen Bur- ack does a lair Impersonation ol Mae West fox STANLEY, PITT Pittsburgh, June 2. Dave Broudy's orch (16), Johnny Perkins. Bert Wheeler with Hank Ladd & Francetta Malloy. Trado Twins, Iris Wayne, Lester Cole b His 6 Debutantes, Shanghai Wing Troupe (8); 'Callino Dr. Kildare* (M-G). - ■ - Opening show Friday altemoon (2) was. a mess because everybody seemingly tried to see how long he could stay on. Ran almost 80 min- utes. Corrective measures were ap- Dlied Immediately, however; Johnny Perkins, m. c, got them on and off laster, at the same time cutting down his own allotment with second per- lormance, cut a third, looking more fit In lact whole show resembled a first-class unit at the second show- ing. Marquee topper Is Bert 'Wheeler and although diminutive comedian has never been a major b. o. draw here In films,, he's gving the custom- ers their money's worth once they're Inside. Wheeler's one of the lew Hollywood names who has outfitted himsell with a real turn belore head- ing Into vaude. Of course, that's ex- plained by his original vaude back« ground. Assisted by Hank Ladd. Francetta Malloy and an unbilled aero dancer who% on briefly. 'Wheeler clicks all the way with a vigorous, well-tempoed quarter-hour, gener- ously gagged and liberally punc> tured with bellylaughs. Material Is sureflre, the asslstanta are continu- ously helpful end comic himsell has an easy, engaging, offhand manner that has the crowd swinging with him at the gun. Perkins, a long-time lave In these parts, takes over at the outset with a llock ol stories, which he could have slashed . in hall and thus doubled his effectiveness, and then brings on Lester Cole and his Six Debutantes, an attractive vocal turn. Septet kicks in first with medley, in- cluding 'Pretty Girl Is Like A Melody.' lor the Individual Introduc- tion ol lemmes, and 'This Can't Be Love,' moves into a symphonic tone poem on 'Deep Purple^ and winds up after gals have changed Into white, strapless gowns with a collection of 'Show Boat' tunes. For an encore,' they do '3 Little Fishles' to ease the seml-classlcal strain. Act's a bit too slow lor this type ol show. Trado Twins lollow and pep things up with a turn of varied virtues. Dancing and pantomimic comedians should, however, have cooked up at least one new trick before coming back so soon; It's the same turn to the last fleeting word and gesture they did here less than year ago. Perkins himself fills the next spot batoning Broudy's crew through 'Margie*^ and 'Some ot These Days* and then putting across a corny ballad of yesteryear called •Drug (Continued on page 39)