Variety (Dec 1939)

48 VARIETY LEGITIMATE Wednesday, Deeeiiilier 13, 19.t9 Plays on Broadway DuBarry Was a Lady Mifii-il coincily I" <«'<> l>:>i'ls iiii'siiil.'l • r iltD 411111 sireol. N. V.. Nov- U. B (;. lU'Svlvn; score by Colo rorior: Ixi'ik bv Hrti iipii I'Mflds Ana Ue Sylva; shmoil liy I'Mcm- Maf IJitKor; inncps by Ui'bc-it Alinn: splllnR!) nnd oostumos di'slsiicil tiy It.i.iiil I'Piio DiiTlols; Mm I.nlir iin<l Klli.-l M.'iiimii sliinort; nelly Civomi" Uoiiiiy BHkvr tMiurcd; H.tO loi). J.ine^ Hub'li CimUTini H:«riy N'rtrlon ChiirlOS Willlcii Alltt Ballon ..Belly l.rftiile f'liii-lMii Hai'olil c'i-tMiiPi- l.-iuls ninre ^ "f t l.alir VI Heiiui'ssoy Jemi Momlirna M.iy |):ilv Elliel Meiiii:in All-It Hiiiliiii Honnld (.irrilmiii Ami B;irlnii i.... Ktty Sullnii iliiiiiel Gomez Tito r.pii:ilcln | Charley Benny l;aker i FtHir Iniei'nnllonfilM— 1 liouRlas Hawkins, Peter Hollld-iy. Ruben HeirliiK. Carl Nicholas. Ci>«>4ile .Audrey I'nliiii-i' , Jack Slniiliin Pl^iiK Itoy i:.i.-<i< finli-iiiHn..; Carl Xieluihis D.ii-leuf Mkliel Waller Arnilii Henri Johnny Barnes Siaileia ot llie Club I'ellie Ann 1*odd. »|.>lly Wlnror.., SW:ina SkQii... RiiKi. I'^tijderic.. ^••m(y Bi'fiwn... ftl li'y Gray .Geroldlne Sprerkles ..lieliy .vili-n ; Ann Oraliain ............. .Junlr.e_ Ciu-jet: ,. Jac'nuollne V*r;inf- Marquerlle Betiluii | B. G. (Buddy) De Sylva debuts as • producer with the second major musical of the fall period. He earned bows from an array of be-furred. dinner-jacketed flrst-nighters, who | know all the words, and there was: only a small .percentage, of dissent-1 ers. . Desfiite over-touting from out j ol town, 'Du Barry' looks to be definitely in the inoney. Ethel Merman and Bert Lahr are the main fun-makers, she with her manner of handling ditties, he with a type ot low comedy antics which, though familiar through'many sea- sons, has new variations and is as surefire as ever. They are rightly starred. Both have had their fling in Hollywood and the same goes for Betty Grable and Benny Baker, who are featured. De Sylva was a Coast fixture for a period that seems to have been too long. Tlie libretto idea of a 'ladies maid In a gents' room' speaks for itself. Lahr is the towel boy, first shown in a newereel clip as a $75,000 sweep- stakes winner. He gets a yen for Miss Merman, top warbler at a night spot, but she has her mind on a better looking guy. To get the fel- low out of the way Lahr slips a pow- der into a shot of booze, forgets -which glass he fixed up and is mickeyed himself. That's the cue for the mugg to pass out and dream that he is King Louis of France, with Miss Merman his DuBarry. Most of the show is located in and around Versailles, afTording the opportunity for elabo- rate dressing and powdered wigs, which makes for a curious mixture ot regal surroundings and Broad-, way. Louis is no more successful in making the grade as an emperor than he was as the night club punk. He snaps out of it to learn that when the tax collector ..gets his share oT ■the winnings, he's a bum again. , Perhaps the funniest scene comes | when Lahr is supposed to have an arrow planted in his rear. He lays upon a table while the doctor examines him for everything except the puncture. The arrow is alluded to as an aerial, among other things, and Baker, who is the Dauphin- marksman, tries to ring it with little hoops. Another comic scene between them is in the washroom, when Lahr breaks in Baker, the new boy. That Interlude isn't exactly delicate, nor •re Lahr's requests tor nickels. Betty Grable is something of a revelation as a new soubrette. It is . her first time on Broadway, but she performs like a thorou.chbred.. Not 60 blonde as pictured, Miss,Grable Is a lovely little trick who' knows her stuff in both songs and dances. Most ot the hoofing is with Charles Walters and they make a scoring team. Miss Grable has appeared in vaude units, but it is probably the careful training as a kid that stands her in good stead now. There may be some question whether Cole Porter's score is as at- tractive as some of his other con- tributions, but to the average on- looker he seems to have delivered a whole bag of good things. The melody standout is 'Do I Love A'ou,' handled by Miss Merman and Ronald Graham, who stepped in to replace Phil Regan. As DuBarry's lover, he looks the dashing hero and totes a first class baritone. He came to at- tention last season in 'Boys trom Syracuse.' Something very different is the head is another of the comedy lyrics. 'Friendship.' with the two stars n> action, is ft comedy corny 'Oiit'ne that proved a show-stopped, and Miss Merman's 'When Love Beckoned on 52d Street* are more of the like- able songs from the crack com- po.ser Miss Grable and Wallers are high with 'Well, Did You Ever. During the tryouts Johnny Barnes started with much more than he now has, but he does very well with a dance solo. Second act seems best and cutting of the first portion would i>inke •DuBarry' more compart. However, it is a flashy, ebullient proceeding with aboiit everything a musical comedy should, have. Costuming looks like it cost a fortune, with silks and .satins abounding, as fashioned by Raoul Pene DuBois and made by Brooks. Not to be over- looked in the repatriates from Holly- wood in the setup is Ed.gar Mac- sGregor. who staged the book, his ' first sla.ije assignment on Broadway in several years. He has not lost his touch. • Miss Merman and Lahr make an 4iinusual stage duo. Comic's repeat on the stage is especially interesting, for his parting performance on the Coast as the lion in The Wizard of Oz' IM-G) was outstanding enough to win him plenty of pic work when- ever he wants it again. Ibee. score for the first version, is .i click, but all are passable. Holvcver, one patriotic song by Don George and Teddy Hill, 'We Won't Let It Happen Here,' as sung by the Charioteers, sounds as though 11 may have o (jrelly fair .sale. ic/io. THE WOMAN BROWN Mi>ln.li-:M)iii In l«o oris (I.'t atono.H) Ity oniiliv CiimtnlnK: foHturea IVanrlskii nil (.'itllii Ki'lili-JolniHtrtn. rpfll Huni- In-oyj*: mCikc* '»>' ft>Hlti*i*; setUnjC. 'If>'- inoii.l Si.vi'v; profiMilptl by M;xr«:ucl rh-wt's, i:illiiii>n< (91. Id oiu'itliix). >v. 'S^i.'II ;i» 'I'linthuU.... l/'/.lo l'ii;>ri)li Iinnirt Snili h... . I'Hi CiOitintfi ry... on Snllor iiry lii'nwii, iiUroin-.iM i>inlth.. •. Mtipn* IQ Hi-ow'it Urn Chilli Mrs. Mlirtuni'ic.. oiirt I'^ilUM"...... l^epuly CMffk tlnt ney Ooin*r;il.. iuIk" Sir I';iii-i\- • Soi'ffoaiil nry lMHi»inHii.... hiiphiiu rnrU'r Kipnnaii Slipiirr loi'k \Vin'<l(*ij ouii C*loi k.'. The New Hellzapoppin " R<»vue In iwo ftotn <2!( ncenes) preaenUd l>v Old Olsen Hnfl Clilu Johnson In flsaotirt- ilon with the ShubPitH. Book by Olaon nnA .Tohnsnii: nui.-iic nnrt lyrics mostly by Sammy Kain and fliarleu TohlaH; slaKed by Kdward Durvpa l>owMni;: (lances by Gne Fosier At iliA Winter Gui-den, N. T., Dec. 11. '3* ?;t.30 loi». Ch.^I: OlH^n And Johnflon, Barto & Mann, nhnrlM Withers, RoJIu, jloRUes (3). Hal SherinHn. Wnlier Nlllson. Tho Charioteer:^ Betiyintte and Beverly CrHne. Theo Harrteen. The StiirUngB (2), Reed, EKien Jt Heed, Shirley Wayne, Berjcti A; Moore, ■Stephen Olsen, Roberta, Billy Adama. ';u>; *3.HU lop Plays Out of Town Hi .mm. JOHN HENRY Philadelphia, Dec. 11. » Willi miisU', liy Uiiaik Hrudroril niij' j;iL-i|iii-s AVoiru; alms l'i|Ul JtobMou; .si.iuort liy Anllioiiy Hrowii: setllngH, Alliort .liiliiiHon; Ct^'^luinps. John Hnmblcloii: choml .litviiii'ii. I.i'iiiiiinl ili'l'iuir: iiiospnlprt liy .Slim ltyi',1. ai lli<> I'llliuiKi'i', I'lilliiiloliililii, niioiihiK l>i'r. II. 'M- body else aroiind, but who Anally ■;he south's 'Black River' country. met his Waterloo in the ; n.t\viii(l MiM'sii.'iil lli>liMi TivnlioliiiB iliilHy Hi'liiloi\> Hiulily liiifliliM- ,.li>>>iiiiiil\e Nowconilio .l"i(llil Keilll-.lolinstiMl l>*rRiiclskn iliiiil Unlpll Suinplcr John McKoo Dli-klo V.TU I'iilU-n .Niitiillo Ohllvns C'Inlio Nolle lililnioml itiovoiis ..IMwnrd 1,0310' ........ HnioM Yiiun!; \,cn Moiu-t' iVcil lliinii>hi'i'>s Ut>y.H L'liclw.^"iiJ Tilrtnol lore lohn rhirKi' ll;irol<1 L>i-li*ekoi' l-'riink ll.iwxiti itKivIe;* \Vpllr.-*lfy Jomofl I'oi-l'Clt \VPI-V i;i-:»Vi'H. .. .■...liilc-Wnlz niltiil l.onion., Miiil Nuni(*il Silni. I loll ItiiKlor .Mai.' ■ Wiilkinic ItoHH (ilil Aunt l>in:«li... i:ni>y Jnlio .\nni> Jiihti HiMiry Uurkfl .. UlK'koi'M wir« I'onr SoluiH I'Birll I.eu»l HtfiiviT l>iiilpi'. I'*l|-.'»l l';lll(»r .**i'ot»nil (*;il|pr Mink l-;>e ,,.. JOHhtln WhIU Iiie Allk'S Ki>boil Univoy Ah'jiiuKler liniy I.oonnrd dcl'iiur Mlnlo l"al» .\ln!<ri Wllllnnia ; nnliy V.Uy I'anl -llolipson i.;ooi-KP Dickson Siiillo McOIll Myi« Johnson . HoiivonolH WnshlnKlon itay YpRlM Menllt .Sinim I.nnlx fillluMt William WnoKolk J. l>c Will SlK-ncoi- t. ditty 'But m the Morning, No.' as- signed to Miss Merman and Lahr. the number being typically Porter in a raccy mood. 'DuBarry Was a Lady' is okay In Miss Merman's hands, but hardly a successor to 'Eadie Was a Lady.' She has a better number in 'Give Him the Oo-La-La,' It being more to her unique style. Again late iii the show she scores with 'Katie Went to Haiti.' It is spotted back in the night club with ensemble evolutions which seem to be the best ot Robert .Alton's dance direction, his other work also being of hiijh order. Lahr's number, 'It Ain't Etiquette,' early in the show with Jean Moore- Nearly 14 months since they first completely upset 90% of the New York critics, Olsen and Johnson come up with a. new edition of 'Hellzapoppin.' The personnel is vir tually the same; the shooting sounds just as loud; it still appears like a nuthouse loose at $3.30 top, though most of the bits have been changed and the chorus and stage have been dressed up in a degree at least par*, tially commensurate with the show's earnings. First halt ot the revue is almost entirely new in comparison with the original version, which premiered Sept. 22, 1938, at the 46th Street thea tre, though Charles Withers' Opry is the only new act. This great vaude ville turn fits this production like a glove, furbishing the peg upon which Olsen and Johnson are able to hang a lot of corny bits and make them look and sound very funny. Withers' own routine is subordinated, O. & J. utilizing the opry house stage most of the time, while Withers handles the olio and props from the loft. The few bits ot his that have been re latned are still strong laughs, 1 Second half is much quieter than the first, but the new 'Surprise Party' bit of giveaways to the audi- ence is one ot the show's top com- edy stanzas. Ticket stubs are picked, out of a keg by the Crane Sisters and 'gifts' are handed those holding the corresponding seat numbers. Opening night, Mrs. Alfred E. Smith received a corsage as the first gift and an unidentified customer got a bottle of booze as the second, but from there on the fun began. Billy Rose and Eleanor Holm, newlyweds, won a baby's potty chair; Bob Bench- ley received a live hen; Jimmy Mc- Hugh. the songwriter, got a ladder; Mark Barron (Associated Press) and his wifie, Erin O'Brien Moore, were delivered a large bag of flour, and a stoope had a cake of ice planted in his lap. This scene winds up with a reprise of the first show's amateur hour—still very funny. Barto and Mann, male comedy team; Hal Sherman, comedy dancer; Waller NiUson, unicyclist; Billy Adams, sock colored hoofer: Crane Sisters, cute dancers; The Starlings (Cyrel Roodney and June Winters), classy harmonizers; Mel and Bonnie Reed, hotcha singers; Hardeen, the magician; Shirley Wayne, comedy flddler, and the Radio Rogues (3), mimics, plus all the funny audience and box stooges, repeat their former routines, but in nicer settings. It's the better dressing that makes this show look more like a click than did the first one on its opening night. At that time the scenery and cos- tuming were shoddy, but it's just the opposite now. -Chorus of 20, plus six boys, is also better trained than in its initial appearance, with Gae Fos- ter (from the Roxy) being credited now with staging the dances. Another of this new version's good party bits is the audience-participa- tion in the 'Boomps-a-Daisy' dance in the flrst half. Chorus girls and boys dance with the customers in the aisles in a posterior-bumping routine. Ex-Governor Al Smith and McHugh participated opening night, the former guv shaking a pretty good tamale with a cute wren. None ot the tunes by Sammy Fain and Charles Tobias, who also did the This one is really calamitous. It's trite, repetitiou-s attenuated, maud- lin and terribly dull—one of the worst plays of the season. It's ob- viously a speedy flop and, after such a dire Broadway snowing, is even doubtful picture material unless drastically revised and then dis- guised behind a new, title. Yarn might almost be a satire on old-fashioned tear-jerkers, except that it's written and played straight. Even so, some ot its more hokey mo- ments drew' snickers from the flrst- nighters. Meller deals with the for- eign-born wife of a drunken bully in an English village, ot how she falls in love with the foreman ot the ship- yard where she works and, after she unwittingly poisons her sick hus- band, is convicted of murder and hanged. Such stories are inclined to be morbid at best, but 'The Woman Brown' deals with a humdrum set of characters and is painfully common- ?lace in its viewpoint and writing t s boring all through the long first act, but really hits bottom in the second. Most of the latter is a court- room scene, in which the majority of the lines are merely a sodden rehash of the events of the first act, and the remainder is a flock of irrelevant babble of formal court procedure Franciska Gaal, brought from Hollywood to pliy the title part, is miscast. Colin Keith-Johnston seems somewhat wooden, buf is hampered by bad writing and direction as well as by Miss Gaal's lack ot vitality: Cecil Humphreys imbues a few mo- ments of the courtroom scene with conviction and Helen Trenholme is expressively acid as the jealous nurse. Daisy Belmore and Jessa- mine Newcombe also register as vil- lage scandal-mongers, while Dickie Van Patten avoids juvenile pre- cociousness as the Browns' son (he alternates in the role with Ronald Reiss). Woman Brown' was tried out last summer at Provincetown, Mass., and was well regarded. At the urging of Bette. Davis, who attended a tryout performance, Warners bought the picture rights and also agreed to give it a Broadway production. However, it appears that the authoress held out for complete authority on editing and staging, for the play hasn't been revised since the tryout. Film company has given it a lavish production and generally a capable cast, but it's all tossed away on a hopeless script and antiquated direc- tion. After such a dire flop on the stage, there may be some doubt that the studio will now do it as a pic- ture. Having already taken a beat- ing on the piece, Warners may sim- ply jettison the whole works and cross it off to eperience, particularly in view' of the year's similarities to the studio's recent 'We Are Not Alone.' Hobe. To tlie stage's more or less mod- ern contribution to the lilvrnture of the colored race must now be added this drama with music which Roark Bradford and Jacques Wolfe have concocted fronv-the former's story, John Henry.' Sam Byrd has given the play a handsome, imaginative and easy- flowing (save for a couple of natural first-night .stage waits) production and Paul Robeson is a truly magnifi- cent figure, both dramatically and vocally, as the tocal point ot the Bradford yarn. The supporting cast tip to the mark in every sense and visually the proceedings are ex- cellent. Al the opening performance here there was a divided opinion. Port ot that division came from the ex- pectation among those who are not acquainted with the music ot Jacques Wolfe and who expected 'John Henry' to be filled wifi individual arias of the 'Old Man River' type. But from the word 'go' 'John Henry' is not a musical comedy; it is nearer grand opera or the more modern manifestations ot grand opera. There are no individual songs programmed and only one, or perhaps two, that can be singled out from the almost continuous Wolfe musical score which, for-the most part, proceeds in a kind of recitative or rhythmic blank verse. Just-as there are vir tually no set vocal pieces, there is also comparatively little straight prose dialog. The other complaint, not so widely heard, is that 'John Henry,' on the stage, is not the Negro legend of the mythical strong man who could do almost any physical feat belter than any other man, but who was illusive, unobtainable and finally met defeat al the hands ot the steam age. As far as the first criticism, it Is more than likely that by the time 'John Henry' gets to Broadway, its history, reputation and general char- acteristics will have preceded it so that first-night audiences will know what to expect. Here is a new and striking excursion into a modern field ot musical combosition that has an impelling, deeply - ingrained power. As tar as the second criticism, one might say that it will depend on the number of Bradford readers to be found among 'Henry' audiences. And right here attention should be called to the fact that, unlike his 'The Green Pactures,' Bradford has here made his own dramatization. The depiction of 'John Henry' as a straight legend would have lost for it a maximum of dramatic effect There is still a deflnite amount of the mythical in the presentation of six-foot John Henry, who could lay rails and roll cotton better than' any In making this change from legend radford has had to change the char- acter oC Julie Anne. She, in the original, was always a little beyond John Henry's reach, not because she didn't love him but because she failed to understand the giant while she could comprehend 'a man named Sam.' Latter character is the 'men- ace' of the tale and is not perhaps as effective in the breaking down of the legendary aspcct.>;. 'John Henry.' with its expensive production and Anthony Brown's iscriminate staging, is hardly likely to be a half-wayer. Here's a vote that, despite the highbrow qualities of the score nnd the change from the author's original, it is going to be a it. In addition to Robeson's grand ap- pearance, sonorous voice and effec- tive acting, there are top-rate con- ibutions by Ruby Elzv. soprano, as Julie Anne; Joe Attics, as the 'man named Sam': Musa Williams, as Ruby, the vainp. and Minto-Cuto,. as Aunt Dinah. The one while part in the show is played by Alexander Gray, whose well-known baritona doesn't have enough opportunity, Wiitcr*. FOREIGNERS f'onu'ily In llirce acts liy I'l-oicrick Tiniis- duli'; ftinrur,*M Ulcliiird Alilley. Marllia Srnlt; i*(nK4>d hy ltH(;lnald HArh; AeMlnR.H, Walson UarrHtl: pienenled by tlio Sbubprl^, In nxi^nrlallnn wllh Art-h Selwyo. Ml. llclii:i- nu. N. v.. UxL'. S, '30: ('J.3V lap ($1.10 oi>rn- IliKI. William Hui'obJ de Rorker (?coi'K(* iifon Janiio.v ('Hptain .J, Malcolm Dunn Simnlni-il (iecn-gc llelmn. Ji', Hp.rnslpy Ulcliavd .\liilpy (Icnnnli tjOor;fe Macrpady Ainpi lcan .Ijerlram Tbdrn nus!«lMn Ivan 1'rlpsaull l<'r(Hu-l.iman Uuy De Vp.sIcI Uallan -■.'•lido:* C'arlo.f dP l.eon rishniiin Kn^llslunHM.,.. .Th I) r.lil Dulcll C'a[>lHlll. .Untninn OT'lynn .Klibei'l Ci'MCpn "S'n<.hKv;ii-;i ...Marlba Siolt ... .John I'lipi'ry In 'No Time tor Comedy' last sea- son S. N. Behrman was concerned with a successful playwright whose talent for suave drawing-room com- edy seemed to him callously trivial in a grim world. Observers inter- preted the play as an expression of the author's own personal dilemma and of his solution. Some of them gave it something ot a brushoft as merely one of those subjects that eternally fascinate a playwright but are remote from the rest of us. But the theme of 'No Time for Comedy' .seems to have been fairly universal after all—or at least un' versal for successful writers ot suave comedy. For now Frederick Lons dale; who clicked with such deft drawing-room trifles as 'The Last ot Mrs. Cheyney,' 'The Distaff Side' and 'Once Is Enough,' is struggling to turn his comic giCLs to the realistic pre.sent. He's turned out a satiric sort of comedy about nationalistic and racial prejudice, which he calls, succinctly, 'Foreigners.' And like Behrman's playwright in 'Comedy, he's become tangled in his own ser" ous intentions. For a writer of Lonsdale's reputation, it's a pretty embarrassing sight. The theme ot 'Foreigner.s' is perti nent enough, certainly. Taking group of various nationalities—a Spaniard, German, American, RuS' sian. Frenchman, Italian, Irishman, Englishman and a Japanese, and also a Jew—the author places them first on a ship out of Australia and theri on an uninhabited island, where the Jew outwits the others and seizes the only firearms to maintain a kind of benevolent dictatorship and pro tect a girl stowaway. Amid a welter ot accents, Lonsdale has som« witty observations to make about intoler ance and race hatred. But the writ- ing is full of holes and the plot con- trivances keep poking into view. The first act situation is passably done, but then the piece falls slowly apart. And somehow, although the play (Continued on page SO) BETTER FO' TO SING Cleveland, Dec. 8.. ri>m>>dy In Ihrpa. ncl.s (elRhl ac.eiii*,^) by Di>volhy l*Hxloii; j*l.i);oil liy Ttiiw.pnii .Wood- am JolllfTt^; pt-p'snnlpd by ftHiiin L*lAyer«; llrooka ihcalre. CIt'Veland. Gilpin Players, claiming to be tha oldest Negro repertory company In ' the country,., with 19 sea.sons behind it, pulled in some of town's carriage- trade by trying out this new one la the smart Brooks the^tl-e, which th* Play House lent them after they were burned out of their own Kara- mu. That, plus fact that it's x'ritten by Dorothy Paxton, op of the Play House's fave actresses, added a dash of importance to a rather unimpor- tant comedy about Negro lite along the Mississippi. Caucasian dramatist knows her deep South, shows it in richly de- tailed background ot a '-mall levee town and in amusingly earthy dia- log. But there's no plot to. speak of. Not enough, in fact, for, more than one act. Gilpiners are expert in giv- ing it warmth: yet. the Negro char- acters are more childishly naive In emotions than Uncle Tom. It's simple over-the-back-fenca stuff about a fat. philosophic mammy, who .scoffs at religion, and her hymn- singing friend next door whose gad- ding daughter is not troubled by morsK Wench has a tooth knocked out by her lover, so she returns home to take it out on her no-good husband. He gels in a hold-up jam trying to steal money for her, iron- ically has it filched by he neighbor after she helps him e.scape and everybody winds up getting religion at one ot those typical, hosannah- shouting prayei- meeting.s. Satire is generally .as unsophisti- cated as the yarn, but it's hoked up with .sentimental competence by Irene Ree.se. Minnie Gentry, Lloyd Gentry. William Day .and Lillian Hinnant. Not much of a future for it except in Negro little theatres. Might have a brighter chance it Miss Paxton added more southern songs, turning it into a dark-skinned musi- cal comedy. Pullcii. Play Ai>road BLACK VELVET London. Dec. I wo purl a |)i'K^iMUe>I by I. Hevufl In Rni|ili-o:4, J.Id., In riHsoclalion with Ceoiva lll.lck; aluKcd .by Ki>beil .Si^ablll; 4anceH, Weinly Tnyp; nnisic, Han-c IMrf-Davlpa; ak<!l('hea. CSoorRe Black, .Mary Dinin, Doll*- |aa Kuibpr; • fi^nuliAH Vli: Oliver. Uonm Uenunionl, Iris I.nckwond. Cai'Olo T./ynna. J*Ht KIrkWAud. Teddy nrown. AIlco I.loyd, l.nuisA Loyd. Cyril .Snillli, .Mux and Harry .'^esblll, I'ba DrPdwhiM, l.el^h . SlalTord, Conca Dnncpra. AI if Innodrnnie, I,oiidon. Look« like George Black has put over another hit at the Hippodrome. There is much to commend 'It In artistic production. Color schemes and lighting are effectively utilized, but actually the whole show is little more than vaudeville augmented by blue sketches. Cast is fairly competent, with a few outstanding personalities. Fore- most is Vic Oliver, who seems to have found a neat niche for himself here. As compere and principal comic he's the pivot for the entire company. To replace Frances Day, who was in the previous Black revue as co-star with Oliver, the manage- ment has several tcmmcs. They hardly replace Miss Day adequately. There are two outstanding variety turns, Teddy Brown, heavyvireight xylophonist, who handles his lines well, .and The Bredwin.s, comedy acrobats, who earn considerable ap- plause with, their nitty act. Alice Lloyd is also wnrmly received wilh an imitation of her late sisler. Mane. Stafford and Louise have a good dancing routine. Show looks set for a pro.sperou.s lengthy run. Jolo.