Variety (Aug 1939)

^Tcdnesday, August 30, 1939 VARIETY HOUSE REVIEWS VARIETY 39 STATE-LAKE, CHI (Continued from page 16) and stuff too elemental for anyone else. Kids go for 'em, though, as evidenced by this second show Sat- urday afternoon. The Daros, dance team, are so-so. First routine, a semi-posing number, with gal in and out of large hoop, good, but rest, including singles, is humdrum as presented in peirform- ance caught. Three St. Johns fur- nish a neat enough hand-balancing act, and Harry Siemon & Co.- n6cds a lot of work and styling before he'll be another Edgar Bergen. Business good, and will be, for if show itself doesn't draw, a couple nearby theatres have stand-outs, and that'll steer customers here. Xoop. TOWER, K. C. Kansas City, Aug. 26, Sid & Peggy Page, Charles Davis, The Grant Family (4), Novaline Payne, Milton Frank, Ted Waldman & Suri. Tower Glamo«r Girls (0), Jack We7idouer's Orch (.9) ; "It Could Happen to You' (20(h). After a dark summer, the Tower reopened Friday (25) offering a 50- minute stage show combined with a feature film at a steady admission of 25c. Policy is to produce stage shows -locally under the direction of Frank Tracy with tfie Band line, aKa' bny- and-girl singer as regulars. Initial offering is sent out under title of 'One Hour of Joy,' and fol- lowing shows will be similarly titled. At present, effort-is on production rather than on names, although names will be used later when con- veniently available. Tracy is aligned with Leo Salkin of the William Mor- ris office in securing his standard acts. Opener leaves several things to be desired in the way of a smooth stage unit, but considering the opening on short notice and a complete new per- sonnel, show- gives customers a bct- ter-than-avcrage degree of entertain- ment. Line, led and directed by Mary. Graham Minor, steps to the 'Barrel Polka' with Milton Frank offering vocal support. Sid Page then takes over as m.c. to' introduce Charles Davis as the first of the standard acts. Davis offers a paradoxical, combination of a hokcy costume and opening gag with some nifty tapping and acrobatic dancing. Grant Family is a foursome of hill- billies, now working without Barney Grant, who has gone vaude sin.(;le. Act shows faulty pacing, but good bits of material in strlnc-plucking, dancing, and bone-rattling of two lads. Gals are again inserted with a number backed by Frank's vocalUng of 'Wishing' and 'Is It Possible;' Sid and Peggy Page offer their standard act featuring a comedy routine of chatter and phoney magic, and wind- ing up with Peggy's terping. Novaline Payne, house singer, takes her Inning with a torching of 'Devil and the Deeo Blue Sea' to an earned encore. She's to be a steady member of the bill and will evident- ly build a following. Shows a con- siderable range and personality to aid. Closing Is delegated to Ted Wald- man and Siizi, home (owners. Wald- man blackfaces with comedy and mouth organ to his wife's straight foil. Film is of little aid on the marquee draw, but suitable to the. type of family trade aimed at here with the 25c anytime admish. Big problem faced by Manager Barney Joffee in putting over new policy is film fare, but house lived several years on pol- icy previously, and opening business indicated favorable reception. Quin. APOLLO, N. Y. Dick Wilson, the tenor sax, who In- termittently bobs up with a short solo. Pha Terrell is the band's tenor, playing no instrument, and is in the romantic vein. Pipes are fair, but tunes are too much along the same lines. His selections opening night—four of 'em, including the en- cores—had lullaby effects upon much of the audience by the time he reached his Anal. June Richmond, formerly with Cab Calloway and a fave at this house,- where she's shown frequent- ly, is smash all the way with her singing, comedy, mugging and feigned terping. She makes ample use of her heft, playing upon it for comedy effects. A faltering note lies in an occa- sional failing at this ho ,.*, th; book- ing of a white act. Bonnell and Bey, mixed team, would go big in any house, which they do here, due largely to the gal, but it'j a rather anomolous date since the house is primarily known for Its colored shows. The -gal, a blonde, particu- larly. Is a splendid performer with her contortions, the lad being more or less of a stage wait while she changes costumes. He taps and saxes simultaneously. Timmie and Freddie are comedy tapsters, attired In the familiar Har- lem vogue. They gain applause more by practically knocking them- selves out than by their dancing ef- forts, which are standard. McCain and Ross, here some months ago, are an adagio team that has extreme -grace and- -flnesse. . ..They, do well enough to warrant a i>econd number, which is denied them In the manage- ment's attempt to taper the show. Ben Wailes tenors In a short pro- duction number that includes the house line. Swan and Lee, with Vivian Har^iSi a house standby, supply some ques- tionable comedy in the Apollo's ■ usual weekly burley skit, which is too long, wordy and could be cut entirely to get down, to the: desired time. Biz Friday night only fair. MINNESOTA, MPLS. Timmie & Freddie, McCain & Ross, Suian & Lec; Viuian Harris, Botinelt & Bey, Andy Kirk's orch (15) with June Richmond, Floyd Smith, Mary Lou Willianu, Pha TcttcII, JDicfc Wilson, Ben Wailes, house Itjie (16); 'Panama Patrol' (GJV). ROXY, N. Y. Considering the low nut and lack of marquee names, this week's show suggests the makings -f a smooth combo when the opening-day rough edges wear off. When caught open- ing night (25), the Leonard Harpers- stager was running 85 minutes, about 15 minutes ovcrlong, which was the main difficulty. Andy Kirk's band , is the topllner and acquits itself reasonably well, although it lacks the showmanship to go beyond such spots as this house. Musically, the orch goes In for numbers that are essentially in keeping with the band lode here— sw'ngeroo and plenty of it. The maestro is a retiring sort, leaving the spoOight fall upon his various band members and special- ists traveling with him. It's a 15- Piece crew; Including Kirk and Mary Lou Williams, the only gal with the band. She's the pianl.st Introed as a composer and handles the band's arranging. -Other band specialists Include *ioyd Smith, guitarist, who has a session at the Hawaii.in guitar that makes it difficult for h m to get off. Then there's Miss Williams, at the wones in an original number, and Minneapolis, Au<;. 26. Jach Molerich's Orch (18); Joe Griffin; Lew Brocfc; Patricio Wj/nn Dancers (12); Pedro & J-iuis; Evelyn WiJson; Jans, Lynton S Dean; Ted & Art Miller; 'Should Husbonds Work?' (Rep). Minus any names,, this, neverthe- less, is a smooth-running, pleasing show with considerable entertain- ment value for the 15-30c bargain scale. Malerich and his 18' musi- cians, on the elevated platform, get it off to a good start with a flashy arrangement of various dance num- bers. Different sections have theif' usual opportunities for solo bits and there's enough swing and lively, tempo to make for showiness. Grif- fin's robust tenor furnishes the vocal for a spirited rendition of 'That's Why Darkies Were Born.' At the organ console. Malerich plays num- bers requested from ihe^ifudience. • Lew Brock, m.c, introduces the acts and serves as a stooge during one of the turns. The 12 Patricia Wynn dancers begin the stage pro- ceedings with a precision tap and kicking 'Farmerette' number", a con- cession to State Fair visitors. Straw- hatted girls tickle the optics In their abbreviated rolled-up overall outfits as they swing their brooms and cavort snapplly. Gals pave the way for Pedro and Luis, whose difficult balancing feats, handsprings and somersaults win a running fire of audience applause. Evelyn Wilson, singing .comedi- enne, portraying an inebriated dame and relating In song how Art water affects . her, gets her turn across without being offensive. Brock aids her with some laugh-studded comedy business. For an encore she burlesques a comic opera prima donna and tosses out additional mer- riment. Making their second appearance, the Wynne girls disport in gingham dresses for a tap session that brings on Jans, Lynton and Deanj terpers, who carry on at a fast tempo. Jans and Lynton, man and woman, score with a speedy knockabout acrobatic dance which winds up with the male member swinging his partner swiftly around by one foot. Dean is an ex- pert tap dancer, whose fast rhythmic endeavors landed appreciation. Speedy movement puts over this act nicely. Occupying the headline spot, Ted and Art Miller, one of them a gawky-looking rube, spread plenty of mirth. Many of their gags are of ancient vinjage, but they have a dry, sober comedy style that makes for laughs. Fact that some of the pat- ter, songs and 'recitations' are off- color, however, lowers their ratine. In between clowning they occasion- ally strum the banio and ukelcle. For a special 'Fair Week' finale there's a 'Midway' production num- ber enlisting the services of Randy Merriman, house manager, who doubles from the front to do a barker and pitch man bit The Wynn dancers in Hawaiian, Egyp- tian and Fiji Island regalia do snatches of appropriate dances a la sideshow exterior fashion. A thrill- ing finish has Pedro of Pedro and Luis walking backward up a tight rope from the sta.ge to the high bal- cony and then sliding down at a breakneck clip. Lower floor pretty well patronized al last Friday night show. ReeSi .4maut Bros (3), the Debonatrs (6), De Val, Merle & Dee, Doi-n Brothers & Mary, Olive Siblev, Gae Foster Girls, Paul Ash house band; 'Hotel for Women' (20th), revietued in 'Variety Aug. 2, There are those who believe that vaude died because it standardized itself to death. For these disciples the cuirrent ' Roxy flesh offering should be a treat The bill opens with a flash act which more profit- ably could have closed the proceed- ings. Two coniedy. turns follow on each other's heels without so much as a kick from the house line to break them up. Topping it all off, the only solo warbler on the bill is iised to introduce one of the comedy routines and is thus lost in the shuffle. . AH of which Is distinctly not standardized or ordinary, and yet the net results are better than the layout would suggest on paper. In fact it adds up to family fare of a quite pleasant sort . The Debonairs, six fellows in full dress rigging, open with a little songology of innocuous calibre, from which they proceed into the strong section of their act—the dancing: Injecting a local'angle, they have concocted a 'World of Tomorrow' routine which Is clever and sure- fire. It's not the. usual angular in- terpretation of the machine age, but a-potpourri of tapping,- magic and- satire. Well conceived and ex- ecuted, and good enough to have held down the end of ^the bill in- stead of the beginning. Gae Foster girls' first routine is short and snappy, but, as usual, badly, lighted. Throughout this show, as well as all the other Roxy shows, they work under overhead lights with barely any illumination from the sides and none at all from the foot of the stage. L.ack of strength in the footlight sector is, of course, a drawback in showing off their shapely gams and in avoiding cross-shadows. Dorn Brothers and Mary (New Acts) are adequately spotted at thi; point Trio of yoimgsters, singlns ballads to ukulele accompaniment is family diversion, but no lure to jit- terbugs. ' A difficult Gae Foster . routine, with the gals enveloped in cumber- some hoop skirts, is a big help to this portion of the proceedings. It winds up with Olive Sibley singin?. This warbling ordinarily would merit a New Act notice, but under the circumstances the turn is so clipped and so intertwined with both the Foster routine and the act that follows, that a review is impossible. De "Val, Merle and Dee (New Acts), who blossom out of the midst of the Foster routine, are presented in the best possible setting of the entire show. For a moment it looks as if the two lads and the girl are simply concluding the house line routine with a short adagio. This buildup hcs a complete element of surprise when the act turns out to be satire and knockabout comedy. Well received and rightly, so. By simply ringing down the cur- tain, the Arnaut Brothers are ush- ered in. That makes two comedy turns on each other's heels, but ac- tually there's enough diversification to keep the bill from sagging. Arnauts are on 12 minutes (their usual stint is about eight), and they really have two acts.rolled into one —a bit with violins and their stand- ard 'bird' number. Latter is great for this house and the Arnauts really give it the works for okay results. Foster line closes with a number that calls for boxing gloves, a sham fight and scanties. Maybe that is a bow to the Ambers-Armstrong fracas, but its real advantage Is that it brings on a flesh display lii a bill sadly lacking the femme angle all the way through. Running time of 53 minutes actu- ally seems much shorter, which Is evidence that the mixed ingredients add up to somethin.g after all. Biz fair to middling on the last Friday show (25), despite raiii, Edga. for a solid sock. Ballroom work of the team, and the waltz aero stuff of Olive and Shaver, ring the bell solidly and provide a cute and en- tirely entertaining interlude. Beg off. Sybil Bowan, in her impressions of a Swedish pirima donna, the cockney entry In the English bathing beauty contest (a new one here), the smart musical comedy dance routine, and the take off on Mrs. F.D.R., scores the usiial show stopper. Nazarro, takes hold wilfi some okay gagging and double talk, and a legit vocal of 'I Never Knew.' Brings on the Four Ink Spots next a quick, repeat here. Lads proceed to mop up with four-way. harmony renditions of 'What Are You Going to Do,* 'It's Funny to Everybody but Me,' 'Your Feet's Too Big' and the inevitable 'If I Didn't Care.' Vociferous demand folr encore brings 'Who' with interpolated Harlem hoofery and jive-stuff. A knockout. Accompanying support on celeste by Len Hobbs of house band, consider- able help and in the proper groove. Appearance of line 'in hoofing finale only way to stop applause and com- plete show. Biz okay. Burm. PALACE, CHI Chicd0o, Aug. Cookie Bowers, Lorraine tt nan; 4 Golle0tans, Chester Girlif—(20); (RKO). 26. Rog- Hale 'Batchelor Mother' Though limited In number, acts currently are solid entertainment. Chester Hale girls (20) are back with three well routined numbers. Open show With a fast tap, with middle and closing being an Inter- esting bower ballet and military niimber. Four Collegians, three men and a girl, execute some excellent aerial work. Lorraine and Rognan, in their comedy and dance burlesque, are plenty okay. Work with enough finesse to cover up a few blue pieces of business. Draw share of laughs and show they , can also dance when called upon. Cookie Bowers Is still among the peer's of Impersonators. His work has been greatly abused by radio ams, but Bowers sticks to characteri- zations that few can imitate. His Impression of a tight dame undress- ing still is a howl. Biz very good isupper show Friday (18). Loop. New Acts DORN BROS, and MARY (3) Sones, Impersonations 6 Mins. Roxy, N. Y. As sampled here, this act is for the family trade. Two lads and a girl give out ballads to ukelele ac- companiment, and throw in a- few impersonations for good measure. Warbling repertoire is based on such standard tunes as 'Blue Heaven' and 'Old Man River' sung In straight, ballad style. Act eschews up-to-the- minute tunes and jitterbug rhythm. Also no especial atternpts at gown- ing. Singing is okay for its type. "The impersonations, making for fair di- version but nothing startling, mimic Al Pearce, Lucky Strike's tobacco auctioneer and Wayne King. Here again the choice of material is such that oldsters would appreciate it more than adolescents. The state of vaude being 'what it is, it is hard to judge why these youngsters picked angles that are aimed at the family trade rather th^n.at the yoijnge'r set'and niteries. However, what Dorn Bros, and Mary do is done well enough. It simply happens to be aimed at a waning market £dga. Union War . Continued from page 37_ DE VAL^ MEBLE. and DEE (SJ Adagio, Comedy 6 MIns. Roxy, N. T. This trio sells Its wares capably by exhibiting a swell sense of tim- ing. They further help it along by arranging things so- that it is well- nigh impossible to tell in advance whether the act is a real adagio act or a satire. Introduced at the end of a house line routine, De Val,' Merle and Dee subtlely go .into their turn in straight manner. Review flies show several notices for De Val as an adagio exponent. That experience helps- this turn along Plenty. The clowning and knockabout stuff is teed off with polish, and Is not unravelled, so fast that the speed obscures the actual comedy. One bit, in which the part- ners get themselves thoroughly twisted, is, despite its age, fresh and laugh-provoking because it is not rushed to death. Girl gets slapped around plenty, and there's no lack of action, however, tiooks good for spotting on any vaude «r nitery 'bilL £dga. HIPP, BALTO et the AFA pickets. Placards car- ried by both groups stated their unions are members of the AFL. Customers seemed confused by the contradictory signs, but business was reported holding up satisfactorily. Understood there are both AFA and AGVA acts playing the spot AFA succeeded in signing a con- tract last -week with Ripley's Oddi- torium, Times Square, N. Y., after its new affiliate, the International Alliance of Theatrical Stage Em- ployees (stagehands) had put pres- sure on the management Establish- ment had previously refused to sign with AFA until its dispute with AGVA had been ironed out. But \ lATSB officials were reported' to ,.have threatened to pull ou: its mem- bers worJcing the spot so a contract was signed. Pact was described by Ralph Whitehead, AFA executive- secretary, as the first 'joint con- tract' signed by AFA-IATSE. Since its expulsion by its per- former union parent, the Associated Actors & Artistes of America, the AFA was in a precarious position un- til it was taken over by the lATSE. That gave the Whitehead union a powerful weapon in dealing with vaudeville houses and the larger niteries, since the stagehands could be yanked if the managements re- fused to sign contracts. But AFA will by no means have easy sailing to dominate the vaude- nitcry Aeld. Even if .it succeeds in DIANNE Son^ II MIns. State-Lake, Chicago Making her Arst professional stage appearance, this girl has strong po- tentialities. In early 20s, she wears good wardrobe well and, most im- portant has a topnotch soprano voice.. Sweet not heavy, and capable of doing both classic as well as. pop stuff. Things against her at the moment are unimportant Heavy French di- alect mars her diction a bit and she's not quite at home on the stage. Both should be corrected after brief seasoning. With appearance and ability, Dl- 'anne should go big in niteries. Tone quality of her voice nUallfies her for radio also. Hit solidly here. Loop. Big % Coin .Continued from pace 1. Baltimore, Aug.-27. Cliff Nazarro; Four . Ink Spots;, . . . ^. ^ , ^ ^, Sybil Boroan; Buster Shaver u)ifh' driving most of the rank and Ale acts Oliue and George; Johnnv Barnes; Baltimore Rockeltes f20); Felice lulo House Orch (12); 'Saint in London' (RKO). Ballyhooed elaborately as 'Eighth Anniversary Jamboree,' this layout has been skillfully selected for talent and effective playing. Mounting Felice lula's pit band on stage and utilizing the Baltimore Rockeltes, local line of 20 featured in recent home town 'Stardust Revue,' Izzy Rappaport has spliced a. layout of standards into. the doings for a strong and showmanly -unit that is showing, results at the b.o. - Cliff Nazarro, as m.c, weaves his way between the various acts, gag- ging effectively and pacing matters adroitly. Following opening hoof routine ' by line, Johnny Barnes, youthful tapster, steps out with a brace of intrica'^e heel and toe sessions and starts matters off to a considerable bang. Is followed by Buster Shaver with Olive and George, bis midge duo ot dancers. into its ranks, few name acts can risk joining for fear of suspension or expulsion by the Four A's affiliates to which they may belong, such as Equity, Screen Actors Guild or the Arherican Federatlcj of Actors. As far as is known, the only name acts now in AFA are Sophie Tucker, president, and Harry Richman, vice- president, both of whom, are under suspension by the Four. A's unions for 'disloyalty.' Without name acts in its membership, the AFA will have a tough time organizing any class spots, since names, are the es- sential of any strong bill. On the other hand, even with its name sup- port, the AGVA faces a stiff battle as long as the stagehands are in active opposition. No Bar-Out Moves So far, AGVA has . made no move to bar its members from working on the same bill with AFA members, although it may take that step at any other $10,000. Columbia, which was worried about the picture, looks to net around $1,000,000 proAt. The strialght percentage deals are proving much better than the flat and percentage, ot the net deals which many of the actors and direc- tors have made with several of the companies. The percentages on these deals which are based on an intake of 170%, or 70% above a set cost, have not been so beneficial to the principals, as many of the pictures on which these deals have been made have just hit the break or take flgure, or gone just a bit over. How- ever, the returns to the' percentage gamblers has been nowhere near in proportion as that of the coin gar- nered by Berlin aiid Colnian on these deals. time. AFA tried that move at La Conga, N. Y. nitery, several weeks ago, but the effort failed when the acts refused to walk out. In that case, however, the management flnal'v kept the AGVA act from go- ing on. AFA had a contract with the spot What will or v.'ould happen If the unions take active steps to prevent their meirtbers from working on the same bills with acts from their rival outfits is a puzzle. Whole question is complicated and contains many uncertain angles. Particularly cut of town, th? outcome Is anyone'* guess. Just one thing appears to be certain. That is, that the employers' are i;i the middle of the bitterest fight in years.