Variety (Sep 1940)

WtAneBiUr* September 11, 194a f5[uES BERGERE (JWEXltO ■ Mexico City, 5ept.v4<v;; *r«Wo Moreno CCant(nilas'),:Mapy ^ V v^rnakdo Cortes, Julio Rich- ^^li'Trio^ram, El Chino Herrera, 'it^i'^noviez Nestor Mesta Chaires, inlS^de niiiael Diaf:i.jweem Lobated in the market sectiori^^f tK^Sr off ;the tourist; trsll :is;^he: iSlSs Bergere. -It is a weekly Sge song-girl-ibke show that, is SSrisingly • good. «vea if one has, littte intimat* knowledge of the Spanish language. .• the bivotal personality is a thirtyr ish comic caUied 'Cantinllas'. (hard to teanslate but; r6ugly meaning 'always fl)OuUng^)^ who works 111 :a Jieayy toamp makeup whith is something Yike that of.-the Americran burlesque comics (biefore strip-tease) with overtones of Mexiiian street el6wn.v; 'dantinflais' is ia flrst-rate performer by anybody's standards, His timing, mugging, quickness in exploiting ad- lib opportunities bear the authority of the weii"seaSQn airtist who knows thoroughly-' and every minute what he is doing. To an American eye.TOs. hobo makeup is unnecessairily heavy Ort*" white upper lip .and smudgy cheeks, but the galleries of the Fol- . lies Bergere have a natural love for the plain-as-:dirt denizens of the backstreets and the cantinas. -'Can-' tinflas' is the synthesis of the sly. Mexiciin nobody. At times he has a Chapiinesque quality, though he de- rives most of his comedy by the Bpbken word added to the artful grin, eyebrow tilting and an occasional Mexican,style prattfall. . .rr-./ -:.,.^,-. What; marks 'Cariti'nflas' and^ this encored. An encore her* meang a opmpleto repeat. * , Th^ chorus numbers were dressed and arranged by Rafael Diaz with nice taste considerihg the grueling Working hours aind the limited bud- get There's a bit tod, much beef , on the hoof ibr the: concluding ballet set to -Dancie of the Hours,' but what might be farqe in the U. S. A. is okay here. /The production values are in good taste, and tempo most of the way Is well ahead of. what would bfr found near the; market section of an American town. .. A bit of imported distinction In the'show is provided by Mapy,. Cortes and hiBf husband Fernando.r They appear seyiersl - times through the ^how,. but score best in the section: fdilowin^ Ihtei^ission with a domes- ic exchange in which: 6ach. ridicules ;he other as an entertainer.. This in- ;roduces ia dirett appeal to the audi- ence for a decision .on' whiether hus- Dand or wife is most popular. A dif-. ficult turn, • the Gorteses carry It through with a . smartness^ ihat .is,, frankly^iperhaps a\ trifle , aboxce .the rieighborhood; It's clever stuff in which the pair carry dialog/ sln.^ihg and dancing. It comes to a steaming- lot climax: when Many Cortes gen- erates a world of Latin soubret pep. and :lDersbriality. . Corteses.: are in Mexico city for sbttie .months. ' He's from' Puerto^^ Rieo-; ■ she.' frnrh'' Argeiir tiha.: Thev ' make a. handsome pnd versatile pair, r ;. Land, STATE, CLEVE. ' ■ Cleveland, Sept 8. ; Mickey Hooney,' Judy Starr, Bob Robertson arid Vifainia - Martin, Foiir Lazdridcrs, Jackie Beekman, Angelo Vitnlc's Orch;. 'Great Mc- Ginty^ XPar); HIPP, BALTO Mouse REVIEWS m Baltimore, Sept. S. The NeUom i2) Ames and Arno, Quiritories (5) , Cappy Barra troupe (7), Felice: lula House Orch (12); 'Lucky Partner^ (RKO). house fro m superlluially e q uiya lent- ishows in the Unitied. States, is the topical; satire, the wisecriacks at the expense of tb e government. While there is lots of double entendre, with relation to the sexual theme which, even In rough translatibn, is very familiar to Yankee showgoers. the yse of the Follies Bergere (also the contemporary TeatrdLirico) as apo- litical sounding board for pUblic opinion is one of the. colorful iside- Ughts of a colorful cniiintry. 'Can^ . tlnflas* felt, the heaVy hand of au- thority hot long ago. the theatre be- ing tempbrarJl.Y closed; Tbo-cleviy thrusts -at politicians is ; never .the reason American gir(-and-1oke .'hr ws are padlocked by .*he laAyl * : From one point of view the Follies Bergere: could be more of. an asset to Mexico if it were given sonrie jjoy- erhiirient support "^ind !''iad a better lo- cation and .theatre.. The government subsidizp.S: or encourarfes shows ot far less, authentic artistry .and r.'ative flavor; Perhaps, ;however, moving the Follies from its h ac '.cstreajt Ibca- tlon aild its daiigerousiy overloafied nlmsy w.boden balconies would take away something of the affinity with thie Mexican people it undoubtedly has. Observers have nbt failed to remark that comedians such as 'Can- tinflas' are hot only shrev/dly. c'rig Inal In commenting on politics, as was Will Rogers, but th^y are almost , spokesmen for the man in the street .m a sometimes crude but usually keen way. - The same obsarveM ad mirie the physical bravery of the comedians', remembering that a.poli- tlcian-lfimpoohing librettist connect- ed with the Te.atro Liricoiwas beiaten VP not long ago by ganst^rs as a re- iuU.of which Injuries he later died. . One skit by 'Cantinflas' :will illus- Y*te the pblitical. side of the .comedy. A .reporter enters; announces that he Wishes to interview the main who writes President CardeniaS' speeches. On comes 'Cantinflas* in a ragged . aressmg gowni pJayihg the role of a pplitical .sage. As the Interview- d^- velODg the comic . gives .oiit such platitudes a.s 'h:one!5tv is the hest pol- 'cyt. ' Tolling stone ; galhei"s no : mos.s,.:.and when the reporter - > marks 'yes. but. all you have said .aoesn't. make- sense.* the 'blackout quip .froni 'Cantinflas' us, 'When :I " jriade.sense., they closed my theatre.' ine Mexicans enjoy that jallusiori enormously. • ^t- is. said that Mexican^ humor has °"ly]wbtheme^: sex and politic.*;, and .inat this is the reasbh there is little or no comedy oh the radio; T^bical of the sex^skits was the one in which.'Can ' wnflas, .a.s an electrician in the home : ^. an intensely jealous husband, is jmstakpj, .for the doctor cnme to diag- "rf? . the : sick . wife. ' The; humor ; |ul'"5^.f'"b.m the two men talking r -different subjects. ■ The ana- ™2^^''V .a.llUsions are broad, ; .;f?weenv the ^^Cantinflas' comedy sessions . are :; numerous dance and :S sP^F.ial.ties., many of them excel- w^Mrw^uwhole average foi* 6 waS^-^L bolioy surprisingly varied and .cleyer. The Latin mbtive 0' course. Thei-e Is a ■ ^"ba. a bullhght motif-for tft.fAi; "^^C^'®* Argentine gaucho Bu««i,. %ceptional Is a country wh^^j^'" iwqsome, ..Las Mascbtitas, . . no ao a Mexican version of a cou- ^tii li Ai-kansas hillbilly maidenis J^rench. titl6 of the the. . J^. a lively scene of boys and girls ■ Swf tfflJll,^''"''^* toe-and-heel with J"S*f5?bIe comedy pantomirte. was popular with thl5 crowd It was As the State's initial stage; name in a year,. Mickey Rboney is .putting himself, as well as- a. fast unit dedi- t 'ated t o jiv e an d-the-A^idy-^4Iafdy- -andHwe rkihg but ^-^ o Rom a ntiR^ ^n Short-mbriey layout . obviously aimed at filling out holdover of film is figured: to. ekie out mildly .profit-:, able week. It's fairish ente'rtairiment though sans a .single sock spot. The Nelsons, riian arid woman pup- peteers, working from small platform- in fuU view of. the aiiidience, . opeU' with dolls simiiJatirig a ; monkey trapeze 'artist,':a clown blowing up a ballbort aild a drunk. . Work very, skillfully to nicely synchronized scbre, and encore with a radium-lit; Harlem ■ hoofer for good. response.; Makes for pleasing ..spot. ; . The QuintonesV .four, boys and a girl, in' five-way vocals of .pop tunes, take hold.^ bf the dfeuce. ' Evidently firbm radio, their . stuff, foills short in present company.^ Crowding into the mike' and singinjg'without mueh ben- efit of showmanship or stage: pres- ence, they give out with *Boo.e It,' Til Never Smiled and 'You'd Be Sur- prised,'with only a modest response from the stubholders out front. . :■ . Ames and Arnp follow . With: their corhedy knockabout featuring a- fast spin and flashy fall by the femme. Attempt at gagging registers, fairly well albeit considerable blue' stuff, better left out iij family housed, bf this type. Work hard and garner some fecbgriition for their efforts. Which might be. more effective on another layout. Cappy Barra Troupe closes. Pres- ent ensemble of. seven mouthorgan .blowers, while.not as socko as simiT lar corhbbs caught heref before, reg- ister rather jvell from their standard opening of 'Harmonica Gentlemen,' a special lyric nicely developed.. Ren- dition of 'Second ■ Hungarian Rhap- sody' In solo rings the bell nicely club fans, over with.all of the w.k. Rooney explosive'ness. 'Great Mc- Crinty's' not exactly an appropriate feature' picture for the family trade he's magnetizing, but the socko en- tertainment and good-will the young Hollywood mugger sells is worth considerable to Metro. It's been ^andee biz since he' bpehed, and he's fast heading towards breaking Jack Benhy'is house record. ... Although two okay, acts go on first, the adolescent swingcats hanging breathlessly out of upper balconies paid little attention until Ropney swaggered out characteristically at this •' viewing. They drowned but his. voice with whoops of. delight before-he got out a half-dozen words, after a neat sendoff by Jackie Beek- man,; m.c.: Rooney's opening . gag about mistaking the capacity house for a painted studio set isn't .so hot.. He covers 11 up quickly by climbing down in the aisles for ^ looksee and a few handshakes. : After that he could have gotten away with homi- cide.' . • • i ■■■ Turning on the personality grin, he tears into 'Love's Got Nolhing on Me,' surprising them with low- tbned pipes and brisk delivery. He then eases In a couple of plugs for his coming 'Mayor of Boys Town,' which he will start after touring to Pittsburgh's : Stanley, Washington's Canitbr and New York's State. Getting that off his chest with a palpable sigh of relief, Rboney really warms up to a muggin' pitch m three amusing, breezy impersonations. Takcoffs on Clem McCarthy, Joe Louis and Lionel Barrymore are howlers. His flirtation bit of foolery with Judy Starr segues into duet of 'bur Love Affair' with deliberate vbcail breaks also gettinl; 'em. Fans reached a whistling stage of ecstasy when he began pounding piano keys and trap drums iii Angelo. Vitale's orchestra. At . opener Rooney panr icked them further by yanking up a; girl froni the audience—no stooge— for a round Of rug-cutting. .. Curtain speech is short and: sincere in tone. No bigger than Rboney herself.- Miss Starr giets on better with him .than on. her own. She chants high and hot with the - shrill tones and cutey. mannerisms of a ballrobm- band vocalist, v H.fr jiving Of 'You Can't Brush Me Off', plus others is duck-soup for the swingsters but she will create a better effect when she drops her ' minriog d.irice ' steo's around a mike, which look a bit silly oh a vaude stage. .Bob Robertson, and,;Vi'-.sinia. Marr. tin run up curtain .with, .smartly routined, decisive taps, in rhumba time, Robertson's spins are excep-. tionally neat although, the two run bverly long. Four Lazahde!rs-edit their turn of agile tablestands, pvra^. mid work apd knockiabOut stuff to advantagiB. Beekman as emcee also pleasantly effective by: being spar- ing of word.s.. ; ; Pullen. TAXES OVER VAUDEE >\v.V'vV' Portland, Ore., Sept 10. Capitol theatre, vaudeville; house downtown, is now being handled by Ted. Ganible.. Deal closed by Stan- ley Lang and sissbciates \Vith;%ord that hbuse will eoritinue its pr.iesent policy for at least awhiie. drpheum, incidentally, town's larg- est vaudfilmer, has closed, witli re- opening very indefinite.. PInitet -Den in- Iajb^^^^ A^ tag In. for same bands and. floor talent per stage with fast cakewalk and Emma Francis returns with partner (Francis and Kennedy) for so-so Cakewalk.. Offstage announc.er launehes Joe 'E. Ho-ward .as m.c. of radio show, 'The Gay Nineties,' and composer's appearance in tophat, tails and cane got-first entrance ap- plause of show. He held 'em with adequate ■ ■ baritoning of ■ 'Hello ;My Baby,' 'Waning Honeymoon' and 'I Wonder. "Who's. Kissing Her Now,' which he explains.. is 'my master song.' He leads house in Warbling second .chorus.of latter, reciting lines just ahead of iriusic,^;and finishes sock with strut to 'Goodbye /My Lady Love.' /'/:,'' : \--.' - Watson. Sisters; 'still a sister team APOLLO, N. Y. 'Second' act of Lew Leslie's .'Rhap- sody in Black'; Anise: and Aland, Kate Hall and Cecil Mack choir HQ), Tim Moore, J fie Byrd, Bootsy Sivan, Jbhn- ny Lee, HOni Coles, Ada Brouin, Mae Diggs, Chtick and Chuckles,' Blodgeti arid Illuana, Cook and Brown, Ger- trtide Martin and house orch 'Manhattan Heartbeats (20th).. Despite ballyhoo about this being a tryoiit . for jBrpadway, tW Leslie presentation is merely an- other vaudfilm stageshow. Current ^ , bill is announced as the'second act,* after 25 years,' follow with.top hit of j last week's offering haying been show and only act which clicks on called the 'first act.' Actually, how- its own by current standards. Two I ever, neither bill contains any rieW vocal and instrumental, arrangement earns a highly legit encorei. Descripi- tion of musical backgrbund of a har- monica ensemble, is novel and excel- lent business, with impressions of various name, barid.s that follows be-, ing good for a series of well-earned bends. Lads make for a strong finish to. an otherwise uneventful bill. -... Biz only fair.' . .•• ;.' Burrii, ^ CAPITQL, WASH. • . Washington, Sept. 7. George Vivian, Primrose , Four, Dorothy Sherman, sEddic, Horan, Marshall Montgomery, Francis & Kennedy, Joe E. Howard, Watson Sisters, Fritzi Scheff. House. Line; •Captain Caution' (UA).. Roundups of oldtirne vaude -stars are no novielty .and too often the .iappeal is entirely, nostalgic, leaving the youngsters wbridering whait all the . shouting - is about. Prbducer Gene Ford's present layout, while better than usiial, still packs very little to amaze the customers by present-day standards. What puts 'Variety Hall—1910' across. , and it goes over with a bang, is the smart staging • which . re-creates for the youngsters the mood which their mbms and dads recall from yester- year. Instead of juSt bringing out an old codger and .explaining he worked at Tony Pastor's, Ford has actually set up a stage-within-a- stage. fianked by boxes and tables, a la Pastor's. Most, bf the aicts work down oh regular stage, but the line's hoofing interludes are all done on platform, thus keeping atmosphere alive throughout. Eight non-pros in costume occupy the tables as claques' and placards on either side, changed by gals in bellhoD garb, identify acts. : Organist Art Brown returns from tbree-week vacation to lead com- munity singing, dovetailing with stage bill via 'Sidewalks of New York, and such. George Vivian, local legit director, steps through curtains ih gray wig and stooped shoulders for rh-^TTied brolog as old stagedoor . hian—'I used to- give 'em .all their keys'—and to-, infroduce 'Tony Pastor's Musi'? 'Hall,' single set Used thrbu.ghout. -PJntform curtain .goes up on seven lihegals in can-can, - following*. by Primrose . Four, ' in waiters' apronf. .warbling 'Bird in, Gilded Caj?e.' Dorothy Sherman out next oh regular stage: for .so-so can - can solo. Offstage introduction brih-Ts W-^ year-old Eddi Horan, •wprld'.s oldest iivih;g tao dkncer,' out ■ on upn^r «:tage for. .shakey hoofing with two cariesv gals'reiurniirig-'with: canes to :build striit flniile to .good hand/ Efnma Fr.^ricis.- stocky, grav- haired -matroni takes.it next for mild tap and four :sucresRive cjjrtwheels . that got ovation. Primrose Four Te-i turn' ifi morning '■■ coat.s id, harrnio>ii^^e 'Wait Till the. Sum Shines; Nellie,' I'Dear 'bid GirlV~#pd. 'Darktov,rn Strutters Ball,' bSslo^'injectlhg ju.«:t enough barbershop comedy to ' put 'em acros.s solidly. '' , . : ' . Marshall Montgomery takes it next, walking out with four-foot duhimy in white tie and tails artd sitting at "dbwn.stage table for ven- : triloquist" turn. ,Patter is weak and holding hand in front of mouth is too obvious, but making dumjny sing while boss smokes and sips cocktail, plus deadpan belches,. snoring ahd, finally, working dUmniy into statfe of cbmplete inebriation goes so. far be- yond usual-ventriloq.u}stlc->«tuff that The wound xxp too-long act to solid response. Entire line opens on lip- large daiHes in black-and-white eve ning . gowns recall 'old days at Keith's -when President Wilson was a 'regular customer', and gb into a fast song, and patter routine,'miaking full use of avoidupois of heftiest gal. . Fritzi, Scheff, in shbrt spangled' skirt and feathery hat, got solid hand at this catching from oldtimers on her entrance and they -stuck by . her through 'Fortune Teller,'- 'When You're Away,' . 'Absinthe Frapipe,' 'Algiers,' 'Mascot of the Trobp' ajnti encore of 'Kiss, Me Again,' latter done without : mike which makes otherwise bored- .youngsters' sit up and take notice.. Her loy/er. register still packs a punch, and she's a past niistres£i\bf operetta gestures,-but it's nostalgia alone that: gets*her over the high notes. ■ '■ . , Line takes over, upper stage for modern drum-beating finale as acts appears one by one for bowis, How- ard, Watson Sisters and Miss Scheff sharing about equally;, in the ova- tions.: Oldstage doorman recites brief , epilog and .house joins com- pany in warbling 'Auld Lang Syne.' Biz fair at show enough. Craig. EMBASSY, N. Y. . (lifEWSREELS) material, any sign Of staging oi" pro- duction, npir atiy hew or outstanding talents In other words, the two weeks' shows have been merely Lew Leslie's version of Apbllo vaude billjs, with the'Rhapsody in Black' tag for mrrquee dressing. Since the presentation includes no settings bir other • production eflortis. the 16-pieee house orchestra is used onstage to cover that deficiency. Tiny, slim Gertrude Martin batons two ambitious humbeirs with orches- tra and .choir, the first opening the show arid the second supplying' the finale. Latter uses • excerpts from' 'Rhapsody in Blue,' with George [ Gershwin's brilliant score shining through the ragged handling; Other song numbers, from ; past Leslie shows, .are ineptly presented • else-. .where jn the; bill,. ,reta'ining[ enoUgh . appeal to explain their original sue? cess. They include 'Thursday Is My ■ Day Out,' 'Dixie Isn't Dixie Any Mbre' and 'Old-Fashioned ■: Love In My Heart' •" . Of . the singers, Ada Brown is a portly dame with a. warm, full voice,. a- heairty stage personality and ia fairly rousing way of. shoutihg a' J-song; Mae Diggs is a lively gal with- out noticeable vbice or. skill, while. Kate ^all is vi r-tually-lnaiudif There's hardly enough on thiis week's Embassy bill to wairaint a superlative interest in its varibus shots', though, of course,' the grim undertones bf Britam's defense against the Nazi air fbrce are omni- present. Little actual ifighting is- shown. There's a glimpse of Royal Air Force and Naziplanes.' battling, but the height, is so great that it's difficult -to. even assume that the commen- tary is correct. There have been so many conflicting reports: oh Nazi or R;A,F.. victories that the commen- tator's edge to the British planes in this particular dogfight can be pre- j sUmed to be _ under . Bri-tish propa- ganda surveillance. Of course, that's only one angle. The possi- bility, is equally great that, the de- scription Is . actually correct. ' Fox supplied most of , the :, air-battle shots. ■■■■ War and its allied subjects occupy about two-fifths of the layout., in light bf recent events in Rumania, among other newsworthy subjects that have cropped up in the head- lines during, the past few days, the situation as presented in England is actually dated. It's stuff that was in the "papers several weeks ago. The . penetration of Britain, as shown in the Metro and Fox clips of London and the southern coast following bombings, are particularly rhoving. The bombing of London and the reduction to a state of ruins, of several coast, towns hit home to those in the U.S. who had at first been sufficiently gullible ■ to believe in the Maginbt Line, Paris and what had been called the world's mightiest military machine, the French poilus. A lighter note is the. sports setup,, notably the Green Bay Packers-All- Stars football game in Chicago, in Which . the National ? Pro League champs defeated the collegians in a high-scoring game under the lights. Paramount has caught the more spectacular of the plays, particularly the long heave by Cecil Isbell of the Packers and • the catch and subse- quent touchdown run by Don Hut- son.: ' Golf has its chance .with the, PGA- championship playoff between' Sammy Snead and Byron Nelson, in which the latter nosed out 'the com- ing champ.' ■ v.:.'. i'here was standing room only at. the 9 p.m. show Thursday (opening). Neb. fair in . : Lincoln,''Neb.r Sept. 10. <. Neb, State Fair, .sifter eight lean yearsn; suddenly bounced heavily ' to ; the black in 1940,: probably , to the: tune of about. $25,000: profit. In- crease in^pari-mutuel income alon6' •was $13,000, which made.'total cielpts firbm 13 daiys of the ponies, with breaikage,' about $40,000. Attendance was 117,000 as against 92(000^11-19391^ Seek to Make Up Deflcit ' : Minneapolis, Stipt. 10. • Minnesbta State Fair hoard's ex- ecutive icbmmittee has been author- ized to borrow Up to $50,000 to cover 1940 Fair losses, pending aii .exatt determination of the' deficit. 60G Profit for Indiana Fair Indianapolis, Sept 10; . . Tht Indiana ' State Fair . ended eight, days rridaj' , («i^ A^^^ 000 profit - the Cecil Mack choir lacks rehearsal. ■ t)f the. other acts, allHbf ^yhich ara familiars at thie Apollo and else- where. Anise and . Aland are a cute, agile and skillful pair of hoofers; Tim Moore, Joe Byrd, Bpbtsy Swan and Johnny Lee are loud and obvi- ous comics; Hoiii Coles is a proficient tapster; Blodgett and IllUana do a 'Love Dance' that may or may not be authentically African, but should, stir audience comment; Cobk and Brown, and Chuck and Chuckles are typically infectious dance and cohx- edy - pairs. Two. straight comedy sketches, in the show, are diSmal. . By Broadway revue standards this , 'Rhapsody in Black' is frankly bru- tal, but obviously not even Leslie intends bringing it to Tinies Square. As an Apollo stageshow it's no better than average, but considering the lack of time for preparation and re- hearsal, the dearth of top Negro tal- ent and the manifold difficulties of production, it's a fairly creditable effort . Hobe. DON JULIAN and MARJOBi Dancers ' .' It Mins. Rainbow GrJU, N.Y. .':,.„;.;.; [ ' Nice looking pair were brought In to follow Marlyn and Michael, who made their engagement at the Rain- bow Grill a bit of a career, remain- ing here over two yearsj M&M hav- ing gone on a holiday, John Roy booked in Don. Julian and Mar j on, by way of .Chicago, and' they prove a highly worthy terp team. Possessed of a veiry. effective front, their sight values, are enhanced by excellent dance routines that run the gamut from tango, a Mexican flower, and a shawl (bat-effect) routine to a fast Brazilian maxixe^ Team has personality, class and distinction and will travel fast and far in cafe and stage spheres. They're an unmis- takable click In the informal Rain- bow Grill. Abel. r.TUANITA JUAREZ ' senes El Chicb, Pittsbnreli Carmen Miranda started somie- thing in the Latin-American song market. . Juanlta Juarez suggests • la ■ Miranda in more Ways than one withbut. being a copy. Gal knows how to Use her hands and eyes, but what's more to the point she "has a: /Voice to go along with them.. Does all her numbers ii native tongtie, biit everything else about her speaks a universal language. The senbrita, too, tosses In sbme muscular posterior and hip cbntoufs that thie eye can't possibly miss. Every third chorus or so she steps away from the.-; mike, goes into a - weaving routine that manages-to be both. lOwdown and high-cla:ss, in. itr. self quite an accomplishment. Miss Juarez effects those bizarre Mirahda- like' costum^eSi with the fruit-topped high headgear, ■'and on her, they're becoming, too. Jaurez was .'a* featured performer With the Rimacs act for several sea- sons; stepped ./Ut on her own only recently. She carries her own piano accompanist, Francisco Marti, who's a ringer for Nino Martini. As a single, she's a Mexiclick and should go.p.lapes. Over, big here ahd could have stiick iiirbuhd. double" Ker'allot- ted time. Cohen.