Variety (Aug 1939)

16 VARIETY VARIETY HOUSE REVIEWS Wednesday, August 30, 1939 European War Crisis Films Shown At Embassy, N. 56-72 Hours Later Tense and dramatic pictures of events and preparations in Europe for the fatal day that, it is hoped, will never arrive, were spliced into newsreel bills in New York on Mon- day, less than 72 hours after some of them were shot. It was a vivid pre- view demonstration of the speedy coverage to be expected in the event the conflict comes. Crisis reels came across the At- lantic on an Imperial Flying Boat to jMontreal and were brought down by American Airlines. First of them, 1,200 feet of Paramount clips, was in the show at the Embassy on Broad- way by 10:30 a. m. Other scenes, taken at Warsaw late last Week and put aboard planes at the Polish capi- tal Saturday midnight are expected in New York for late shows today (Wednesday). Considerable quantity of other ma- terial was dropped out of the Em- bassy bill which started last Thurs- day to accommodate the preparation for combat. There's about 20 min- utes of it in all, of which eight are the new Paramount' clips inserted Monday. Others who give footage to the threatening situation a.re Fox. Metro, Pathe and Universal. Par's shots, the first from abroad since the crisis came to a boil, are in many cases repetition of what has been shown before in the way of war preparation. They're much more dramatic and intense, however. That's visible in the drawn expres- sions of the people in the fllm as well as in ti>e bated reception by the newsreel audience. The clips go through one crisis zone after another, some regions, like Danzig, being covered in a few feet France and England naturally get the greatest play, particularly the latter. • French scenes show soldiers pour- ing through Paris streets in mobili- zation and Americans tossing their own baggage in their hurry to make their exodus. There are also grave views of Premier Daladier and other offlcials. ■ The swing then goes through Dan- zig, showing Nazi propaganda signs and swastikas everywhere; to Ger- many, picturing the return of For- eign Minister Joachim von Ribben- trop from Moscow, where he drew up the pact with the Soviet; Gibral- tar, depicting defenses inside the rock, and finally England. English scenes are by far the most terrifying. Aside from the usual Chamberlain pix, in which the Pre- jnier looks even jnpre gaun t th an ' ever~tHere "are views of soTHIers and" sailors clogging the thoroughfares, college boys erecting sandbag barri' cades around buildings, concrete- filled windows, streets lights being covered with black bags, curbs being painted white as guides to drivers of vehicles unlighted for fear of death from the air, camouflaged chimneys, sirens and the ever-present kids in gas masks. There are also lengthy views of huge food storage plants on which Britain can subsist for 16 "weeks, em- phasizing that in this war she is taking no chances on being starved into submission on her isolated isle. No attempt is made to dramatize . the shots, and they don't need it It's just straight newsreel reporting, Unfortunately, the Embassy, in its endeavor to give complete coverage, hasn't edited soire of the other war clips enough, and there is direct re- petition in reels of several of the companies, which makes for a slight lag. About once an hour the film is stopped and late news bulletins from abroad are read. It's a show' manlike move to add to the up-tO' the-mlnute quality of the fllm and the general tenseness. Among the original clips In last Thursday's bill is Metro's year-old shot of Chamberlain's return from his visit to Hitler, waving the Mu- nich agreement which 'guaranteed peace.' It draws hollow laughter in. light of current events. Remainder of the show Is high- lighted by the March of Time, which devotes itself entirely to New York City, and is interesting in its detailed coverage of all phases of metropoli- tan life, delving into living condi- tions, transportation, amusements, population, government, and (as part of the latter category) an extensive insight into the N .Y. Police Dept. In fact, the latter half of the reel develr op.? into quite a trailer for the cops, and in commentary and selection of material lends a favorable reflection to the current LaGuardia-Valentlne regime. Fire Dept. draws a quick brushofr, getting routine coverage in battlinc a blaze. M. of T. closes the 59-minute show, Between that and the opening war scenes there are few outstanding shots. Pathe comes up with views of the English airplane carrier that 'ran away' before its scheduled launching. Fox ha^ some interesting an^Ie shots of the perisphere of the New York World's Fair getting a coat of paint. Also by Fox is an ap- pealing record of an Australian .sheep dog herding a small flock in a con- test. Paramount looks in on the ccle bration of the 25th anniversary of the opening of the Panama Canal, exhuming shots of Teddy Roosevelt dedicating the waterway. Rest is fashions and various spot news stuff, none pertinent. STATE, N. Y. Bunny Berigan's Orch (14) loith Danny Richards; Eunice Healy.Max- ine Sullivan, Al Trahan & Rose Per- fect; 'Man in the Iron Mask' (UA). If not exactly good, the State's show is at least noisy. It opens with a blare and winds up with a crash. Bunny Berigan isn't going to let anybody sleep while he's on the .'tage; anyhow, not while there's a puff left in his nine wind instru- ments, plus his own trumpet. What may go on 52d street, how- ever, is not always suitable for a theatre, Berigan, for one, is too noisy, playing strictly to the jitter- bugs. There's no modulation, just a steady roar. Band is on the stage throughout, playing the acts as well as his own arrangements. It's not doing a bad job for the outside talent, but then it hasn't very much playing to do for them. Crew nicely backgrounds the excellent ballet-rhythm tap of Eunice Healy, but she's held down to just that one dance. Tooters are Iso behind the singing of Maxine Sullivan, and this is where they really shine, inasmuch as the dusky miss is herself a product of Swing Street. Opening night (Thursday) Miss Sullivan sang "The Lamp Is Low,' Jackie Boy' and 'The Lady's in Love with You.' She was called back for a reluctant encore of 'Loch Lomond,' but refused to go any further than that, bluntly telling the audience she had not rehearsed any more songs. Her reception was as good as her vocals, and the^ latter are plenty forte in the swing idiom, but the audience didn't show much appre- ciation for Berigan's own vocalist, Danny Richards, near the opening. Richards is a microphone baritone; he steps up and plants his legs wide apart and then lets go with one paw over his heart Song is 'I Poured My Heart into a Song,' which makes the gesture appropriate, but his voice doesn't exactly fit. Nor did Berigan help him any when caught by carrying on a conversation with the clarinetist while Richards was .givine-out - - Only other act is Al Trahan, now working with Rose Perfect as the operatic foil. This is her first thea- tre date with him and she was re- markably smooth in the familiar nut comedy routine. That blow-off cur- tain song, however, doesn't belong nowadays; it's small-timey. Berigan's orch does its best blast- ing with 'Jim' Jam Jumpin' Jive,' with the pianist vocalizin:' In an- other tune, 'I Can't Get Started with You,' Berigan himself furnishes the singing. Both musicians are better than the band's vocal specialist, Richards. On the trumpet, Berigan is very clear, but also very loud. Show is running S3 minutes and biz opening night (Thursday) was okay. Scho, shoe iflni.sh that registers throughout. Miller brings vocnIi.st Hay Ebfcrle out of wings for "You Crazy Moon' and 'To You,' allows him to take three bows and chokes it off with 'One O'clock Jump,' brass and saxes coming downstage to battle it out in smash finish. Morgan and Randall, introduced as 'England's revenge for the Boston Tea Party,' take it next in summer tuxes for perfectly timed nut pantomime and strong-arm acro- batics while wearing monocles. Fin- ish strong with prone one-over-one arm-stand while lighting one cigaret from another. Miller next holds center of band- stand for sweet arrangement of 'Lon- donderry Air' with red, green and white overhead spots working alter- nately. Marion' Hutton bounces out of wings to contrast sweet girl grad- uate, appearance with smash jitter- bug vocalizing of 'Jim Jam Jumping Jive,' 'Franklin D. Roosevelt Jones' and 'Hold Tight' and bring the house down. Band covers her strut exit with third chorus, pauses for three bows, and Miller talks through ap- plause to introduce Pinky Lee and Co. Veteran act, playing first Washing- ton engagement, finds two Cockrtey gobs chattering themselves into strong position at outset, stepping it up with arrival of blonde who's be- ing chased by invisible menace. Gives each a chance at hoofing spe- cialty ,and hits high point when Pinky flees weeping into audience to sit on woman's lap and begs her to say he's the best of the three. Rates speech, Band takes finale via 'Bugle Call Rag,' featuring drummer Maurice Purtill in solo with subtle rhythm rolls and a minimum of slam-bang. Puts the bugs In a frenzy. Curtain down and up for a single bow to a riot out front. Biz good. . Craifl. ORPHEUM, MPLS. Minneapolis, Aug. 25. Poul Whilenian Orch t24) toith Joan Edwards, Clark Dennis, Afod- emaircs (4); 'HoteJ for Women' (20th). CAPITOL, WASH. V/ashington, Aug. 26. Glenn Miller Orch toith Ray Eberle and Marion Hutton: Ruthie Barnes; Morgan & Randall; Pinlcj/ Lee & Co.; 'Winter Carnival' (UA). Glen Miller Orch, starting its first big-time vaude tour, stops its own show four times, boots three other acts Into sock position and sends its audience home convinced. It's aC' complished through mixing perfect production with something midway between manner and rehearsed busi ness, but using it all strictly as a background for infectious rhythms multiplied by Milleresque arrange ments. It's sock showmanship. Latter effect is heightened by fact that Miller, himself, plays trombone almost constantly, stands on band' stand among other musicians, only announces half the numbers and, al though he does extremely pleasing job when the need arises, confines his emceeing to very few and very well-chosen words. Plus, also, that seldom-dared technique of pruning this fall's applause to make it come up again next spring. Pit band is on leave, with organ doing the trailers, and show opens with backstage introduction of Mil ler. Green satin backdrop goes up on lighted moon effect as band goes right into 'Running Wild.' Applause gets a curt bow from Miller, satin drop comes down, house lights dim and crew goes into 'Sunrise Sere nade' with phosphorescent mute business. Ruthie Barnes, pretty blonde velvet pajamas and rhinestone derby, exhibits graceful, effortless panto mime taps and .struts, an eccentric tap without music, and a sock soft Paul Whiteman's show is provided essentially by his radio gang which has been playing fair and dance en- gagements mostly. Comprising mu- sic and singing entirely, it lacks the variety which seems essential for a well-rounded vaudfllm offering. Nev theless, judging by the exceedingly igh degree of audience enthusiasm and the tremendous boxoffice re sponse here, the entertainment ap parently fills the theatre bill to the hiU. Probably the main reason for not feeling the absence of dancing, com- edy and other turns that add up to diversity is the orchestra and singers' excellence.. Everybody, apE?rently^ enjoys this sort of music" and song, and can't get too much of it. There are 65 minutes of ear in- triguing melody and the customers are continually begging for more. Numbers are astutely chosen— they're all surefire pop favorites— and the show moves along swiftly and without a single letdown under the expert guidance of Whiteman, who acts as master of ceremonies and wields the baton. Orchestra lands solidly at the out- set with a corking arrangement of the lively 'Carioca.' Follows this up with another sock—a medley of Whiteman favs identified with the band. Of course, there's 'Rhapsody Blue' for the piece-de-resistance that whips up audience response. On the stage, Joan Edwards proves as fetching a warbler as sh« is over the ether waves. Her charm and personality as well as her voice help to make standouts of such numbers as 'Ladjr's in Love,' 'Sunrise Sere nade' and 'Lost My Dogie,' perfectly suited to her style. She has a hard time begging off. Al Gallodoro from the band goals 'em with a saic solo, three other sax tooters joining for a hot finish. Like Miss Edwards, Al is a show-stopper. So, too, are Clark Dennis, tenor, and the Modernaires, smash male quar- tet. Dennis uses his pipes to the ut- most possible advantage in 'Begin the Beguin,' 'Stairway to the Stars' and 'Back to the Lone Prairie.' The Sax Soc-tette, nine horn toot- ers. has its inning and goes to town' with 'Hallelujah.' Then the Modern- aires arrive and they're tops among quartets heard here. Four boys not only have voices, but know comedy values. They sell 'Beer Barrel Polka,' 'Hooray for Spinach,' 'Three Little Fishies' and 'Well, All Right' with plenty of comedy business and zip, and the audience can't get enough. There's more comedy when 'Goldie' Goldstein appears before the mike for some hot trumpet blowing and clowning. He also leads the band in a funmaking interlude. On one occasion 'Whiteman him- self joins the violin group for a brief bit of fiddling. During the various numbers, too, Charley Teagarden, the trumpeter, gets several whirls at soloing; Roy Bargy performs on the piano; Mike. Pingatore whams 'em plenty with his lightning fast work oh the banjo, and a blind accordion ist scintillates briefly. The 'swinging .strings' and the brass section also take whirls at the spotlight Hou-se nearly full at the late mat Ince performance caught Rees. PAR^OUNT, N. Y Jimmie Lunce/ord Orch uiith Don Grissom and Jaines Crawford; Peters Sisters (3); Stump & Stumpy; 'Our Leading Citizen' (Par), reviewed in Variety Aug. 2, Jimmie Lunceford's date at the Paramount sounds like a summary in the flesh of arrangements that have gained special favor among jive disc fans. Lunceford does slip in a number or two that he hasn't cut for Vocalion, whose list he consis- tently graces as a best-seller, but the reaction from out front isn't the same. Familiarity not only perks up the attention but makes it all sound the sweeter, ' It isn't a high- powered concert that Lunceford de- livers, yet there's a varied and many-sided demonstratio'n ■ of the Harlem swing idiom about his work. His stand in this spot is limited to a week. Super-heat is put on by the band at the opening and closing of its repertoire. For the bow-on it's 'Ain't What You Do' and at the fadeout the aggregation cuts loose with a choicer lowdown morsel, "For Dancers Only.' In between the ex- hibition runs mostly to jitter ver- sions of such oldtimers as 'Down ,By the Old Millstream.' 'Annie Laurie' and 'Margie.' That torridly brass treatment of'Millstream' might stir the older folks to bitter thoughts but to the jive addicts on hand it's great stuff. Dan Grissom, orch vo- calist, takes the edge off the blast- ing somewhat with his crooner cuddling of the chorus. ' James Crawford also lends a tonsil to Ihc vocal interludes. The Intended, but dubious, appeal in his case is a froggy gutteral. A qunrlet. doubling from the instruments, likewise func- tions during the vocal intermissions and gets away with it nicely. Only two acts, Stump and Stumpy, and the Peters Sister.s, augment the orchestral presentation, but they dish out enough of their specialized en- tertainment to make it satisfactory all around. The three slsterp. who have played in pictures and are re- cently returned from over a year's work abroad, offer much more than expansive girths. They can import a pleasant tingle to the ear, regard- less of whether they give out in straight harmonic fashion or in swing time. The trio has carved out an ingratiatingly rich routine even without the terpsy outburst which anticlimaxed their routine. • For lots of laughs, the Peters turn rates sure- fire for any type of bill. They went over big with this mob when caught. With Stump and Stumpy it's n crazy assortment of tap dancing, caterwauling, clowning and person- ality takeofTs, and the whole ca- boodle moves at a fast clip. They're as much the life of the show as the Peters Sisters. —Most ..of-their - cuL- ting-up has neither rhyme nor rea- son but through it all runs talent that hits the higher levels, and that applies especially to their hoofing. Business at the early Thurjsday (24) evening performance was light. Odcc. MUSIC HALL, N. Y. Rtusell Markert presents 'Bimit Box Revue'; settings, Nal Knrsoii- costumes, Marco Montedero uud Willa Van, executed by H. Rogue- lighting, £upen« Braun. Ca.tt; flor- ence Rogge'a bollet, Nina Wliioui, Leon Fofcine, Wichota* Daks, Dniii« Krupsfca, Louise Fomaca, Murie Crinuitdl, Nino Sabatini, Agnes Hickey, Frances Laurie, Hildn Eek- ler, Viola Philo, Mole Choir (Willium Reid, director), Triiie, Los Ranrh,-. Tos (3), Paul Haakon, Rosita Orierm Mignon Dallet, Esther Dale, A7i(.vic' Hall Symph (conducted by En,o Rapee), Richard Leibcrt. Rockciies (36); staged by Gene Snyder; 'fi/oi Ave. Girl' (RKO), Tevicu;ed i.t Variety Aug. 23. HAMID'S PIER, A. (HIPPODROME) i4tlan(ic City. Aug. 27. Art Jarrett; Leon Lafell and his Rhythm Aeolinas; Stuart and Mar tin; Ruthonia and Malcolm; Gae Fos- ter Roxyettes; 'Flight at Mtdnioht' (Rep). Record crowd of the summer for this hou.se turned out to see what will most likely be next to the last show of the season, and the best yet presented. Nicely rounded out with three standards, a name, and a dancing line, show has a bit of everything and enough to satisfy all tastes. Bill is opened by Roxyettes in rou- tine number to introduce Lafell and his three partners, who go through a novel bit with the Aeolinas, as he calls them, a variety of mouth organ, and score solidly with rendition of 'Poet and Peasant' overture. All young boys with looks and voices. Do a couple of vocals, and wind up with some hot stuff on the instru- ments. Ruthania and Malcolm do the con- ventional ballroom dance bit, and return later to try some comic stuff. While act showed grace and a suffi- cient amount of class, it has been done too often to be startling. Art Jarrett after a terrific build- up via the Roxyettes and the off- stage mike, renders several rhumbas and a couple of pop tunes to hit his big moment with 'Over the Rain- bow.' Jarrett is .tl.. name of the .show and what really draws them in. Audience at .show caught went for him solidly, eating up hi.s songs and calling for more. However, for a real stopoer.'Stuart and Martin take all honors with their comedy bits and playing on the strings. A violin bit by Stuart put them over to a good ^adc^ut and a marching turn was socko. This is the first real showstopocr seen here in weeks and boys really go to town with their chance. Roxyettes close the show with their rolling hall number, one of the most novel of their many routines and one which is good for laughs when the rolling balls get out of hand. Show will hold until Sunday, when a name bill Is expected to go into this spot for the holiday.". Hill, Quite a stage show this week, piii-. tlcularly strong on dancing, but iin excellent blend of almost all the variety tricks. 'Band Box Revue' ranges from Paul Haakon. Ro.^iia Ortega, Leon Fokine, Nina Whitnev Nicholas Daks and Hilda Ecklcr's array of terps to Viola Philo's biil- ladeering and Trixie's jutsgllnv tricks. Trixie is a particularly elTccllve performer for a massive 6,000- capacity auditorium like the Mufic Hall, where the sight values are thus further enhanced. Petite blonde works like a male and achieves some near-sensational results from her globular balancing, ball and p\»\e juggling, ground acrobatics and the like. She d be a strong floor show act as well The relationship of intime cafe tal- ent to rostrum work is furiht-r pointed up, but in inverse ratio. In the Instance of Rosita Ortega, The Spanish stepper has always bcin noted for her flamenco and intricate native Castilian steps, but the lonj;- range pecspective shows up h<T clever footwork even to better ad- vantage. HaaKon, another standout stepper in revue and the varieties, whams em with his Spanish terp routine on the heels of Los Rancheros, Mexican guitar threesome doubling froin the Hotel Weylin bar. Latter do .stand- ard Rio Grande vocalizing in native getup. The finale, 'Fiesta de Verano' (Mt-x summer festival), is the hi'ghllght of the presentation.. Here Senoilta Or- tega, presumably a country lass, seeks to imitate the svelte city gals' dancing, and she achieves good re- sults for all her exaggerated bum >- kin bumps. "Finale has the Rocketirs In a corking tap routine, striklntil.v costumed in native Iber<an folk cos- tume, and further set off by their white spats. Opening routine. The Flirt, fea- tures Nina Whitney as the titular coquette opposite Leon Fokine a.« a dancin' fool of a sailor. Nicholas Daks is the cop, Dania Krup.ska the -Kchoolroom-.prof,—Louise—Forjiaca,- Marie Grimaldi, Nina Saballnl, Ag- nes Hickey and Frances Laurie are featured dancers in this sequeni-e. It's a very effective terp routine^in toto. ' Viola Philo backed by the M. H. male choir, in a Neapolitan background, clicks per usual with her sopranoing. Thence, Trixie's tricks, and finally the Mexican re- vuette. Biz very solid both shows opening night (Thursday) and reported above par all through the day, credited to Ginger Rogers' draught because of her recent 'Bachelor Mother.' The overture, "Tschaikowskiana.' .spe- cially arranged by Erno Rapee. is batoned by the Hall's symph maestro, Abel. STATE-LAKE, GHI Chiraeo, Aufi. 26. Dianne, Lone & Harper, Three St. Johns, Harry Siemon & Co.. Hunk Browne 4 Marcella, Lowe HUe Si Stanley, The Daros; 'They All Come Out' (Af-G). This bill is as limp as a layer of liver. Two acts walk away with the honors. One of them is a .-ilnjile gal, making her first professional stage appearance under the billinf! of Dianne. That's how limp this layout is. Not that the gal i.'-n't good. She has all it take.s—appear- ance, a set of soprano pipes with real quality, and charm. All she needs is a few months' experience to learn a little more how to make herself at home on the .stage, and some attention to diction. With that, she'll be ready for radio and nlter- ies, as well as vaude.. Heavy French dialect needs some work In order to make words understandable. Other act to grab the honors 1.= Lowe Hite & Stanley—giant, norniiil sized man, and midget. They're wel known around Chicago. Due credit to 'cm for fast pacing, and hard work, directed along showmani.v linos. Joe Lane of Lane & Harper does the m.c, chores,'and is acceplabU at this'type of house. Style is a little abrupt but carries friendliness and ease. Working in his own act, he and Miss Harper do a character song duo to fair results. But the comedy routine needs freshening up. CloslnP bit using baseball field plaoue. striking out and running ba.scs, okay as a laugh-getter. Hank Browne & Marcella, olhtr man and woman comed.v team, art strictly for kids. Paced ton slow- (Continued on page 39)