Variety (Jun 1941)

Wednesdaj, June 11, 1941 ▼AUDEYIIXE 41 House Reviews - Continned from paga 40^ EARLE, PHILLY EMBASSY, S. F. manner and a voice that's not hall had. In addition she's plenty good to look at, adding to her usual oomph with a close-fltting gown and a pro- vbcaUve wriggle. „■. _ . Her songs are 'Chl-Chi-Castenango' from "We the People,' 'My Sister and 1' end 'I Got to Get Hot' Her re- ception was excfellent. She's a re- lief from the run-of-the-mine screen name making a p.a., refraining from the usual inane chatter about the picture colony. The Stuart Morgan Dancers are a clicky adagio team, three brawny euys in shorts and a tiny blonde blonde gal who gets tossed about like a medicine ball. The dame goes through difficult turns through the air with the greatest of ease and at one point is .Jhrown almost clear across the stage. The rest of the 55-minute show is held down by Tommy Tucker's band, filling its first big-time-engagement in these parts. The band has a couple of bright spots, but could use a few more to become a real Class A stage attraction. Netting the bulk of the duke- pounding was the deadpan warbling of Kerwin Somerville, who does (The Man Who Comes Around' and 'Seven Beers with the Wrong Woman.' Amy Arnell's chanting of 'Papa's In Bed With Ei&,Britches On' also goes over big. Miss Arnell also teams with crooner Don Brown in a couple of numbers, their best being 'You Walked By.' Alan Holmes checks in nicely with a one-man band exhibition in which he seemingly plays every instrument In the book, plus a couple of weird looldng noise-makers which no self- respecting swing aggregation ever cried. Holmes' talent is very ap- parent, placing lo^down jive and operative airs with equal ability. "Tucker's crew tees off with a novel intro, playing behind a scrim upon which a clock and a cuckoo are shown, tying in nicely with the band's tic-toe rhythm.' Housfe was almost filled at Satur- day (7) dinner show. Shal, Nitery Review BAL TABARIN, S. F. Son Francisco, June 5. Poul Hosini, Cynda Glenn, Winter Sisters (3), Helene Hughes Line (10), Bob Saunders Orch (11). With biz off all over town, this top Frisco nitery Is still getting the cream. Current show caivt equal the draw power of the last (headed by Sophie Tucker), but the spot was better than half full by 9:30 night caught (5). Raised floor assures all-around visibility for the entertainment, run- ning around 40 minutes and timed for 8:30 and midnight. Helene Hughes^ line opens the proceedings, .then the Three Winter Sisters, tumblers. One is on the hefty side, but all rate neatly. Cynda Glenn, on next, is lanlcy redhead in low-hangine black. In- troduces her own numbers, first of which is lampoon on imported French yodelers. Actually there's more business than singing. Miss Glynn climbing all over the piano and making ample u^e of her limber frame to strike grotesque positions. Comedienne also does a drunken deb that's full of chuckles. Dances with an imaginary partner and,then gets into a knockout routine with her flexible arms which she literally ties in knots behind her head, creating Illusion of hands belonging to some- body else. Every drink makes this one look better. Sum total, a re- sounding comedy hit. Miss Glenn bows off to make way for Paul Rosini, magico, tall, dark and flirty. His entire routine is three ' tricks here, but he gives, 'em produc- tion, carrying on banter with the audience. He's plenty smooth and goes over big. Latin-American routine by the line polishes things off. Band now being used is new here. Bob Saun- ders being a University of California boy. He makes an okay appearance but still isn't entirely at home as an m.c. His intros are brief and stiff. Current program stays for another month. Werrt. San Francisco, June 5. ..The Camerons ■ (.2), Billy Lighton, Coro Miller, Chucfc O'Hora, Alice HetoHtt, DicJe Crosbv, Rayhum Dangers (6), Jay Brower with House Orch (7); ^Nobody's Children' (Col) dnd 'Friendly Neighbor^ (Rep). .With attendance building week by week, this spot is now mulling an extension of the vaude revival started five weeks ago to cover more days. This week's edition of 'Night Club FoLUes' maintains the pace previously set. Opener is Chuck O'Hara, tmn- bler who not only flip-flops smoothly but explains Uie twisters and round- offs to the customers. Makes a nice, clean-cut appearance. Caro Miller, magico, deuces, making for a good- looking act although his stuff is more or less routine. Finishes by switch- ing to vibraharp for a solo. Things went wrong at the opener; A pigeon parked in the organ grille to coo for the rest of the day, and Miller couldn't get-together.with the orch on his music. Vibraharp was out for succeeding shows, although the un- synchronized solo got over okay. The Camerons, boy-girl comic dance team, had better luck. Boy especially lands, limberlegging and mugging for laughs. Both work hard and had to beg off. Pair use some gag patter but anything on the blue side Is ruled out here as it's resented by the unsophisticated Embassy pa- trons. Customers also liked Billy Lighton, ventriloquist, interrupting with applause when he had the dummy Imitating Lionel Barrymore and Winchell. Lighton himself did not seem at ease, but tossed multiple voices all over the place with no visible lip movements; topping high- salaried counterparts in that respect the a.k.a present thought he was great. Rayburn Dancers, from the trans- bay Kona Club, are making their third stand here and do nicely, with Alice Hewlett breaking away from the line to do a can-can solo In black midway. House gags this week include in- troduction of Dick Crosby, assistant manager and ten-win wheel spinner, as a tenor soloist. Chap formerly sang in radio and gets over. For payoff, he tells audience that m.c. Jay Brower is also a singer, latter pantomiming to what proves to be Crosby's voice via offstage mike. The band's novelty puts the boys in femme costume for a dancing- around-the-world stunt which the mob lapped up. Roof-shaker is tooter Floyd Robertson's fan dance in pink winter woolies and corn-tassel wig. Guy is a natural clown and is just wasting his time as a musician. He and Brower finish with a deadpan song and dance number in red dresses which would be a riot at con- ventions. It's informal stuff like this which is building an audience of regulars here. Wem. New Mo. Bhe Laws N. Y. Nitery FoQow-Up Tommy Dorsey's hard-driving style at the Hotel Astor Roof, N. Y., is -ap- parently what they want, regardless of its cacophony. However, he would do well to moderate the Jive, es- pecially at the dinner sessions. None the less, the Roofs business is well nieh sensational from a gross stand- point, and that's what Bob Christen- berry best likes to go by. The Ashburns, as proficient as they are with their ballroomology at the Rockefeller Center's Rainbow Grill, have yet to master the 'champagne hour' technique. Their idea of an ABC (Argentine-Brazil-Cuba) em- phasis for the Latinesque terps is all right but there isn't as much color and change of pace as when the polka and Viennese waltzes are essayed. Only when the conventional waltzing was introduced at the ses- sion caught' did the tempo improve. Otherwise, the hard-working and en- gaging couple had tough going al- Uiough, in justice to the situation, it seemed an unusually lethargic turn- out. None the less, It's patent that the tango and samba are too qui- escent It does really call for a lively conga or rhumba, with variations of fast-whirling polka and Viennese waltz, which their pedecessors have done, to get best results. Their hemispheric solidarity keynote was better showmanship, on paper, than it panned out. Their regular pres- entation ballroomology, on the other hand, is deft and showmanly. Russ Smith's new band is smooth and compelling. HUdeearde continues the No. 1 cafe name of New York at the Savoy- Plaza. She has now assumed more and more 'sophistication* with bal- lads such as 'Time Was,' a nifty ditty by her manageress Anna Sosenko (who also gave Hildegarde the now w.k. 'Darling, Je Vous Aime Beau- coup'). Emile Petti Is the new septet, as sprightly a band as the preceding Bob Grant unit. St. Louis, June 10. Nitery and jukebox biz in Mis- souri was seriously threatened last week when the Missouri State Sen- ate passed two measures which, if adopted by the House, will cripple, both enterprises. One of the meas- ures prohibits mechanical music de- vices in place's where intoxicating or even 3.2 beer is sold, although radios are not barred. The otlier bill bans music, dancing and floor shows In places where in- toxicating liquor is sold, except un- der permit obtained from -the State Supervisor of Liquor Control. ♦♦♦♦♦♦♦♦♦♦«♦♦♦♦♦♦♦♦♦»♦♦♦♦♦♦♦♦♦♦»»♦♦♦♦♦♦♦♦♦♦♦♦»»♦ The Good Old Days ♦♦♦♦♦ ♦ ♦♦♦♦4»»«« Herewith appears a Vaweiy review of a N. Y, Palace bill of 20 year* ago. The intention is td r^rint these weekly using the relative week of 1921 u>ifh the current date of. issue. No special reason in reviving these reviews other than the interest they may have in recalling the acts whic^t were playing at that time, the manner of putting together a big time shoto (booking), tuhtch radio stations may find pertinent, ond as a resume of fh« style of vaudeville reviewing of that day. (Reprinted from Variety of June 10, 1921) PALACE, N. Y. Sammy Kaye and his corps of Kayedettes are really giving out sweet swing-end-sway music at the Essex House, N.Y., with report this hostelry is once more to the fore, as result of this pat booking. The for- tunes of the Essex's Casino-on-the- Park are particularly marked, rang- ing from unusual depths to extraor- dinary peaks, depending on the ex- tent tiiat Oscar Wintrab wants to un- loosen the pursestrings. When he does, and he books the' right band attractions, such as Kaye, he never misses. Abel. New Acts in Niteries Bills Next Week ; Continued from page 39; Jack Johnson Angling For Nitery in Detroit Detroit, June 10. Jack Johnson, former heavyweight champion of the world, now 62, is in Detroit angling for the purchase of a night club, Deal had been going on quietly for an outlying spot but became Icnown when he picked up a traffic ticket and in court told the judge reason for his being in town. Presejjt heavyweight champ,. Joe Louis, also has an interest in a nitery here, The Brown Bomber'i. Billy Kolly Jack Mannlnff Al Lowla victor Donate Adelu Corey Rita Henderson Brett & Toung Diane & Deborls Hotel Vardner Durt Shaw Kvalyn ilarvey Hotel Tjifnyettc Noblemen Jerry S.illsbury Hotel BlieratoD (Sky tiorden) Don Dudley Ore Hotel Statler (Termce noom) Eddie O'Hearn Ore Johnny Turnbull (Cafe Rouge) Saivy Cavlcclilo Ore Hotel Westmlnater «(Roof Garden) Jimmy McHalo Ore Harry Drake Rev Hoot Garden Ole Eddy & Eddy Jerry & Lillian Walter Kane Hotel Bltx Carletod (BItx Root) Carloa Mollnaa Oro Phil Sultman Oro I.arry Adler Cole'o Debutantes Valero Sis Ken Billy Mack Oro loxtlD Qnartcr Tony Bruno Oro Cookie I-'aye Lew Walter Rev Tom Foran Tinany Sla Don Julian & M Harry Spear Latin Ballet Radio Herb Lewty Steuben's (Vlennlt Room) I.ew Conrad Ore Doris Abbott Alice O'Lcary Leallcs Charles & Barharn Raymond Pike Don Francisco Tlie Cave Ralph Porras On- Jack Fisher Tamara Uorlva Doris Abbott AdrlanA Raymond Pike Charles & Barbara JEAN BABLON Songs 20 Hins. Versailles, New York Jean Sablon more or less gum- shoed into the Club Versailles, prob- ably because he was modestly- budgeted and came in at the thresh- hold of the summer, no-couvert, no- minimum policy, but he proved the- class surprise of the season to boni- faces Nick, Arnold, Alfred, Robert, et al. He drew the South Ameri- can diplomatique in Impressive num- bers, and gave the class Versailles nitery an ultra tone that was a blend of those last-time-I-saw-Paris days. It was more like a Cannes gala in turnout than an East 50th street (Manhattan) night club opening. No stranger in America, the 'French Bing Crosby,' as NBC first heralded him a couple of seasons ago, finally came into his own in the niteries. He was given a radio build- up on NBC v.p. John Royal's recom- mendation, and the best Sablon got was a spot in the Shubert revue, 'Streets of Paris,' whete Carmen Miranda's American debut made Sablon's ditto a No. 2 act He went to South America, whammed 'em In Rio and B. A., where the former Francophile Latin-Americans knew of Sablon via his'disks and in-person catchings in a yesteryear tourism to France, which accounted for the extraordi- nary South American representation at the Thursday (5) premiere. Thus, this date marks his first North American cafe booking, on the heels of his click in S. A. And he brings to the class American cafes a refreshing front, a surefire assort- ment of song.s, and a telling nitery personality that should carry him far in the nocturnal entertainment field. Onstage he has already proved himself, despite the Miranda eclips- ing, and for pictures he is person- able enough to make par for male pulchritude course. He reminds a bit' of Douglas Fairbanks, Jr., with tliat clipped mustache front Anybody with a billing like the 'French Bing Crosby' has a bit of a hurdle to overcome, but Sablon clears all the jumps with plenty to spare. Speaking of Bing, like Crosby he's just of average height, but he wisely offsets that by utilizing a pedestal on which to work. This immediately creates an illusion of .'stature, besides making him fully visible to all in the room. From then he does the book and If ever there was an all-American, all-around perfect vaudeville bill put together, this show makes it. There isn't a right element in the game that isn't generously woven into the many-hued texture of the entertainment It has names, beautiful girls, voices, singing, dancing, spectacle, novelties, surprises, old favorites, new faces, and that greatest and first factor—comedy. Every act Is out-and-out comedy, even the opening and closing turns. And it is all comedy with talent not just parrot-like recitations of other people's humor by uninspired manikins who chance to pick the stage instead of the garage. There are five headline acts out of eight. Never in his long experience as a vaudevillegoer has this reviewer heard such continuous applause-approval at a regular program performance. A key to the spirit of it is given in the one fact that Chic Sale and Tom Patri- cola came back in the closing act and clowned and worked for fully six minutes, each having changed entire wardrobe for this alone. That closing act George Brown's Pedestrianism, engaged in all 11 people; Gus Edwardt used 25. Throughout, 40 performers appeared. Edwards scored the prolonged wallop of the night If any decision can be given on what appeared an eight-act dead heat, {"rom rise to his sixth encorj this well-loved songster, composer, showman and kid-presenter was cheered and handclapped. His revue is pretentious, breezy, a-buza with pretty girls (big ones, too) and alive with Edwards' keen yet whole- some personality. Closing intermission it was thtmderously recalled for specialties and ensembles until the players were weary. He has two great boys—a stepper and a little Scotch imitator. It is far and away the biggest and worthiest thing Edwards has ever given the theatre. Three Bobs, with their convulsing ball-catching crow—that solemn bird with the fine contempt for humanity and efficient attention to Its business— and the impressive bulldog, opened. There was a clatter from the half- assembled house which wasjapidly filling up and was about set for Harry and Grace Ellsworth. Miss Ellsworth was 'in' before she had passed the. entrance two feet on appearance and smile—a healthy, hearty western girl, dressed to break up a home. The modest boy beside her was snowed under—yes he was— until he danced. Stopping the show hi the. first three minutes of the No. S act is a bit of a stunt and Ellsworth did it with ease on his ridiculously effortless Russian dancing, showing up so many of the others who sweat for the applause which this style of stuff usually gets and which It drew here more heavily than usual in so unseemly a period and with so littl* strain. Miss Ellsworth sang a ditty, changed and joined him, this tim* with less raiment and more charms, and a double dance with splits and more difficult terps got these youngsters off to a smash and a crash that lived through five bows. Tom Patricola got a royal hello and whaled into his lumbersome fooling. H^ was up and over, when on tripped one Irene Delroy, about as nifty a bimbo as ever let a comic whang her on the bare back for a laugh. Thtit wasn't all. She turned, she smiled and she threw open at that gasping audience a dimple which is destined to. be as famous 'as Frankie Bailey's thing-things and Kitty Gordon's spinal are'a. Woof and wow went tha^ laughs, and bang after bang went Pat's crazy dancing, and at the end, when Miss Delroy had come on in black abbreviateds, it was a riot. Fol- lowing a girl-and-man song-and-dance act in 'one' with another would ba thought poor placing. Nobody even notTced it except technical trades people. If it slowed up Patricola and that girl it was a blessing, for they break up the first half as It was, and only Gus Edwards could have fol- lowed them as he did, completing the ruin and leaving the intermission to act as a period of rest and recovery. The audience was in such high humor that it screamed at the Topics, and when Chic Sale made his masterly entrance as the minister he got howls that almost stopped him with surprise. But they didn't stop him long. He went after it and got bigger ones. Sale was in very bad voice, evidently suffering from a cold, and'did a brief turn as compared with his usual series. As the fast-living young rural hick and the old codger with the 'tuby' he scored decisively, then retired with apologies. William and Joe Mander (William Mandel and Co. arc billed so now) knocked it for a goal and an encore in 'one' on first Palace appearance, the top peak of their eastern invasion after conquering the Orpheum Circuit Miss Patricola (sister Isabelle) followed all this, all alone. To those who did:.'t know her It must have caused a momentary gasp of doubt. To those who did It was a for«gone cinch. Just such an audience is Just duck soup for the singing, syncopating, always-on-her-tpes, fiddling Patricola. Her opening song had her home by a mile, and aftei* that it kept rising until her exit had the crowd in an uproar. Tom returned with her and bowed and fooled, and it rose higher. The show was stopped cold when Brown'a music was hit up, and the applause gave way only on the athlete's en- trance, in sympathy, for it seemed cruel to pass such a job to a closing turn. Cruel? Brown's eloquent speech could have been thrown away. The audience remained in only to see what woifld happen to hlip, anyway. Here is what happened: He got started with his four boy plants, and there were giggles; his two girl plants got boisterous laughs; on came Tom Patricola from the first entrance and challenged anybody in the house, and do.wn the aisle, dressed as a bumpkin, stalked Sale. All main-fioor sitters got up to see, and while they were up they yelled. The pantomime and the actual walking race (they did two full laps despite kohum and aside business) had the mob in a convulsion of glee. Then Brown sprung his pretty partner and the race was watched with Interest. It was the first time that Patricola and her brother ever met on one bllL It is the last time, probably, that they will ever meet on such a bill. Lalt. leaves 'em hungry for extra chapters. The libretto runs the gamut from 'J'Attendrai' (one of his special disk hits) to 'Sister and I,' which by lyrical analogy achieves the purpose of pointing up nostalgia and yesteryear charm. There are touches of 'April in Paris,' there's a pretty waltz-song, 'Banks of the Seine,' a Frenchy number in slow and jive treatment; a couple of Spanish and Portuguese excerpts, holdovers from the South American bookings, and withal a very fetching repertoire that held the room fully 20 minutes to extraordinary returns. His clickety-clackety fiacre number is a particularly noteworthy feature of his repertoire. Sablon is a bit of a mike-clutcher, which should be corrected, as should also the idea of holding it so close to his mouth as to shadow his person- ality. He'd be wise, for personality purposes, to sing over it, than into it so assiduously. He certainly seems to possess the resonance, but these are minor details. In sum and sub- stance he's a resounding click. Abel. BETTY KEAN With Jane Kean 8 Mins. Versailles, New York Betty Kean is recently out of the' Broadway revue, 'Crazy With the Heat' She's a tapstering comedi- enne who has been around and is quite seasoned for almost any audi- ence values. At the Versailles Club she has sister Jane Kean, a younger blonde, for assist, latter emphasizing rhythmic singing with tunes such as 'Blow Gabriel' and 'S'Wonderful,' but Betty Kean, of course, with her ec- centric comedy tap-dancing is the fulcrum. Between the two they manage • deft interlude on any cafe floor, the finale seeing both of them in a rhythmic off-to-Buff, Spotted befor* Jean Sablon, star of the show, they are particularly telling as an entr Bcte. AbfU