Variety (Jun 1941)

Wednesday. June 25, 1941, HOUSE BSyiEWS 41 MUSIC HALL, N. Y. 'Merry-Go-Round,' produced bv teon Leonldoff, with Music Hall Symphony conducted bv £rno Rapee, Jacques Gasselin, Jan Peerce, M. H, Glee Club directed by Irving Landau, Mary Raye and Naldi,-£arl yfrightson, Grace Thomas, William Pillich, Corps de Ballet directed bv Florence Rogge, Con Colleano, Roclcettes (36); 'She Knew All the Answers' (Col), reviewed in VawE' TY, May 21. Current Music Hall presentation, staged by Leon Leonidofl, moves like ol' man Mose in the midday sun. Ballet and Rockettes, fortunately, at- tain ' their . usually high standard, however, and pull the show out somewhat for-the finale. Fact that the film has been inked In for only one week also seems to have had its usual skimpinf effect on the live en- tertainment budget. Apparently to pad out this warm- weather show, LeonidofI has placed the M. H. Symph on the stage in- stead of in ibe pit for the opener, labeled 'Concert.' Which means that the show opens with around 12 minutes of Mendelssohn's E Minor Violin Concerto. Jacques Gasselin does an accomplished fiddle solo with the orch. It would b« nice at 67th street's Carnegie Hall. But It crei ates drowsiness seven blocks south of there. . Mr. L. follows that with another fantasy in slow motion, although one of equal technical skill. The terp duo - of Mary Raye and Naldi does its standard with niftlly suave lifts, turns and spins, but some- thing snappier Is needed at this Juncture. Production is clever, for while the orch is on the stage, the dancers work on the rising qpron, surrounded by what are purported to be mirrors to make a 'Mirror Room.' An M. H. regular, tenor Jan Peerce, is introduced in the scene at this point to provide the stage wait while the apron is lowered, cleared and lifted, and the orch, in full blast, is wtumed to the pit, in one of those gigantic Radio City versions of the Knute Rockne shift. Peerce is aided by the Glee Club (8). Going into an 'Amusement faiV theme. Earl Wrightson, who recently sang In . the M. H. production of IMadame Butterfly,' appeared with a hot dog vending cart and launched into 'Ah Me, I Must Be Going to the Dogs.' Al StiUman provided the words (which wer« almost Impos- sible to understand in the loges) and' Maurice Baron the music. They're both on the Radio City staff. Con Colleano pibks up from there with his long-famed tight wire work. In respfendent toreador costume, it clicked well de^ite CoUeano's failure to. complete .his amazing front somer- sault'in two tries.Then it is the turn of th6 ballet and-the show gets a real lift with one ^of the most amusing and imaginative bits it has ever done —although the gals themselves are Invisible throughout. Femmes hdd giant fluorescent hot dogs on the darkened stages. Weenies are put through a number of tricky xoutln'es before they are joined by the rolls, and .finally by a }ar of mustard and a spoon. Smash comes with each frankfurter moving Into place on the lower half of the roll, the spoon dipping into the mustard and covering the weenie, and the- top of roll smacking down to complete the standard delicacy. Rockettes provide the finale, as per usual, with a "Parade of the Wooden Soldier* routine. Herb. LYRIC, INDPLS. signed for laughs. Works with baby chicks and corks for eye-fooling, then brings a couple of boys from the audience to get more giggles with his ledgerdemaln. Joe and Jane McKenna funiish more comedy with gags and dancing. Joe's imitation of a drunk and their finish with a roughhouse Impression of a classical dance team. are the highlights of their turn. Biz fair at third show Friday (20), opening day. Kiley. EMBASSY, N. Y. (NEWSBEELS) Major Interest in this week's ne.ws- reel parade shuttles between the after effects of the sinking of the Robin Moor, the resolve of Great Britain and its Allies to go on fight- ing until Hltferism is wiped out and the closing of Nazi consulates in the United States. Curiously, the Em- bassy's editor, gives first place in the runoff to Paramount's review of the Government's military intercession in the .North American Aviation Corp. strike. The action on the con- sulates was still first page stuff in the newspapers on the day (Thurs- day) this run-off was caught, while the North American incident had gone into newsprint limbo. Inci- dentally, Paramount is also tlie source of the Embassy'5 snapshots'of the German consulate in New York, the German Railways office and the Nazi Government's local information bureau. Paramount also is responsible for an interesting compendium of re- cent British successes, such as the return of Selassie to his throne, the oppression of the Iraqi revolt and the sinking of the Bismarck. This summary includes a view of Captain James Roosevelt inspecting a group of bomber planes in Egypt that had recently arrived from ■ the U. S. From Fox comes an «3tcerpt of the speech which Winston Churchill de- livered to a council of Britain's do- minions and allies at which all pIMged themselves to the extermina- tion of Hitler and his mob. Tex McCrary, who doubles from chief editorial writer on the N. Y. Mirror to commentator for the Ncwsreel Theatres, Inc., operator of the Embassy, this week takes Hitler and Stalin as tiie objects of his treatise, 'Brother Rats,' or 'Russia's Everybody's Bad (Good) Neighbor.' As far as McCrary was concerned Stalin stooged for Hitler. But Mc- Crary's reflections,, of coiu-se, may- have changed to some extent since he made the above statement. Pictorial reference to the Robin Moor sinking by a Nazi sub is di- vided- between Paramount and Fox. Paramount's clip shows the head of the steamship line owning the Moor reading off the manifest of the. ill- fated boat to prove there had been no .war contraband aboard it, while Fox gives a glimpse of some of the survivors brought to BrazU. Fox also contributes a view of the.Zam- zam's survivors as they arrived in Spain on their way back to the U. S. Odec TOWER, K, C. - ' Indianapolis, Junie 20. Ted Fio Rito Orch (13), Condy Candido, ^llan Cole, Jone- and Jone McKenna, Gall Gali, Nick and Vifci Collins, Gloria Gibson; 'Thieves Fall Out," Pop bends seem to be popular on me summer menu at the Lyric, and Ted. Fio Rito this week provides a cool 90 minutes of diversified fare. The band does most of the work with no standouts strbng enough to cause a steady rush at the boxofflce but with sufficient entertainment to pull enough shekels to be classified as a satisfactory week. Band opens with "Rose of San Antoine,' and later In the bill shows its wares when each section Is fea- tured in a medley. Trombones do 'I Cried for You,* sax solo on 'Josephine,' ujimpets on 'Intermezzo' and 'Ciri Blri Bin.' Candy Candido comes down from the bass fiddle to win a salvo with his tricky voice sln^g of 'Jumpln* Jive,' 'Ma,,' and an operatic burlesque. Guitar finishes jylOi an original labeled 'Quirk of a Dirk.' Later on, band goes for three- quarter time playing Tales of Vienna Woods,' and Alan Cole is solid with his nifty tenorlng of ^torle Elena,' 'Sister and T and Things I Love.' Finishes with a rhythm medley for curtain. Flo Rito has some good solo performers, and does a pleasing Job himself in intro- ducing the acts. (Jlorla Gibson, amateur, sings IWalkin' by the River.' Nick and Vikl Collins are youthful looking and handle the dogs nicely in two tap routines. G'>11 Gall is an unusual magician and fits perfectly into band show because aU his tricks are de- Kansas Citv, June 21. Don Hooton, NeUona' Marionets, Paul Regan, Marvin and White, Les- ter Harding, Herb Sice House Orch, Beverly Bernstein; 'Power Dive' (Par). STRAND, N. Y. A standard variety bill Is back in vogue ai the Tower after several weeks of units and revues. In 45 minutes this runs a bit longer than iisual, but it shapes up as better than averaige entertednment and doesn't drag despite its length. Band gets a full Inning to open on its own ar- rangement of 'Intermezzo,' and from there on It's turned over to Lester Harding who returns after a four- week absence to the task as singing m.c. First spot is to Don Hooton, mix- ing baton twirling and rope spinning with tapping for a snappy act, and show is well underway. Bit of a lull is furnished by Beverly Bernstein as the einateur discovery whose soprano is not yet fully trained. Pace is quickly recovered by mario- nets manipulated by the Nelson two- some. Pair gets a comic touch into its simian acrobat and puppet pagliacci, rotuding out its turn nicely with an inebriate, quartet of wooden soldiers and dusky jitterbug. Turn by Marvin and Wliite, In which they revolve impressions around patter, is In the novelty class with their sleigh bell ringing, but de- cidedly average when they go to jitterbugging. Harding takes the mike for his barito^ie version of 'Maria Elena' in usual acceptable manner, end then turns show over to Paul Regan. In the closing spot Regan em- bellishes his list of imitations and caricatures with some good material, besides playing them slightly on the satire side. Gets a good hand for his work on President Roosevelt, Willkie, Lionel Barrymore and Clem McCarthy. Harding and the band zip it up with a musical 'Goodbye Now' as finale. Biz isn't what it has been with re- cent strihg of units on stage, but turnout is still reassurring for'these sultry weeks. Quin. Guv Lombardo Orch (13} with Kenny Gardiner; Bernards (3) and Adorables (6), Bobbv May, Sybil Bowan; 'Out of the Fog' (Wfl), re- viewed, in Varieiy, Jun« 11. For years the Guy Lombardo band has been going along at a steady pace with a brand of commercial music that never changes in-style, tempoes or patronage. It is never bothered by the swift rise and ebb of the Benny Goodmans, Glenn Millers, Larry Clintons, et al, going on its serene way, drawing important money for its. dates. It has a wide following who demand consideration before any changes can be made in the band, such adding a new singer, etc. If they disapprove of a move Its patrons express themselves in.no uncertain terms. Lombardo's name and style have thus become in- stitutional. At the Strand the outfit awakens lusty reaction to Its arrangements of pops and standards. From opening to closing them the audience, when caught, derived immense satisfaction from work of the band as a whole and its song trio and soloist Kenny Gardiner. Added to the outfit while it was at the Hotel Roosevelt^ New York, recently,. Gardiner's smooth vocal style fits the groove of the band neatly. He works alone, in company, or alternating, with the trio. Carmen Lombardo still sings solo, however, getting one crack at 'You Stepped out of a Dream.' Band's lineup of tunes is deftly varied, running the gamut of bygone favorites through the modern 'Hut- Sut Song.' Bernards (3) and Adorables, sextet of lookers (New Acts), provide neat opening and are followed, after an orchestra interlude, by Bobby May, standard juggler. May offers some good tricks, teeing off with average Indian club tossing, then progressing to balancing a silk topper on a cigar. His jerky-motion juggling of rubber balls is similar to Stan Kavanagh's method and May hasn't perfected the style enough to corral the returns it could get. C^ood trick is doing a headstand while bouncing balls off a drum in time to music. Finale i<s a good flash, using electrically lighted ring spinning on one knee, a large sphere rotating on his head and five small balls being juggled simul. taneously. Sybil Bowan cleans up with her imitations. She rips off the. roof with costumed. takeoffs of Carmen Miranda, a cockney bathing beauty, Gloria Swanson .being Imitated by another gal, Bea Lillie and Mrs. F. D. R. Some of the above she has done «t this house before, but long enough «go not to lose impact. Be- sides, they're so cleverly done that repetition doesn't matter. She was the big click of the bill. Wood. GOLDEN GATE, S. F. San Francisco, June 18. Andrews Sisters (3), Joe Jacfcson, Jr., Gordon and Rogers,.Frank Paris, the Titans (2), Peggy O'Neill Line (.12), Charles Kaley House Orch (13); 'The Bi0 Boss' (Col). A markedly , collegiate aggregation of adoring jive hounds packed the Gate to give the Andrews Sisters a capacity opening on their Frisco debut Gals were headed for Sophie Tucker's opening-day mark of last week, but the Louis-Conn fight came along and sloughed the supper show. Introduced by Charles Kaley, the songbirds are assigned the long clos- ing spot Capering to the mike, they go straight Into 'Beer Barrel Polka,' with 'Mean to Me' as a chaser. Open- ing bars of latter drew a smattering of applause, which crescendoed at the finish and nearly lifted the roof for the third item, 'Boogie Woogie Buele Boy' from 'Buck Privates,' in which Universal pic they are fea- tured. La Verne Andrews then intros each subsequent number, acting as front- gal for the trio. 'Apple Blossom Time' got a hearbr ovation, but it's 'Rhumboogle' which set the kid- crowd on Its ear again. The darlings of the discs go into 'Sonny Boy' for their sixth ditty, a new version in which Sonny Boy (LaVerne) asks questions answered by the lyrics. Only mild, although may catch on when it becomes more familiar. The gals mention It has just been waxed. Trio has worked up a sock finale, using only, the drummer and the audience, which is Induced to clap hands to the beat pounded out on the traps. To this primitive rhythm, the Andrewses go Into 'My Bonnie, ex- tremely effective. Two sisters then fade, leaving only LaVerne, who trucks slowly to the wings while the hand-clap beat continues—which is a novel way of getting off. A little on the lean and angular side, the gals nevertheless are attractively gowned in frilly white and make a snappy appearance. Vaude section opens directly on The Titans, smooth-working control acros working in athletic trunks and shoes only. Muscle-men picked up bursts of thunder all along the way. Deucing Is Frank Paris with large- size marionets that he operates singly on full stage, dark save for a spot. Routine includes rhumba dancer, an ostrich out of 'Fantasia,' a plenty- smooth skating turn, jitterbug ^d a skeleton closer. Latter is done in fluorescent lights for a neat flash, laugh finish commg when the bones fly apart Band number and house line's only routine are combined in the trey for 'Hut Sut Song,' novelty which is okay, paving the way for the torrid tempoes of Gordon and Rogers, Negro comedy-dance act that burns up enough energy to operate the heating system. Boys go in for bright green and yellow suits which grab guffaws au- tomatically. Introduced here as fresh from a run with Jimmie Lunceford's orch, these sepia step- pers should have no iMOking wor- ries, mixing joint-jerking steps, fly- ing leaps, gags, songs and general Harlem hot stuff for landslide re- turns. ' Next to closing Is Joe Jackson, Jr., and anyone who remembers his dad will get a twinge of memory as the lad bows on in his ragged, baggy bum get-up. Joe has his dad's sly, shy, toothless' grin down to perfec- tion. Sticking close to his vaude- veteran fathers all-panto biz with a breakaway bike, Jaclcson nets an al- most continuous string of giggles, sustaining interest throughout—and his act runs long. He can^t equal his famous predecessor, but he comes close. Biz fine at opening. Wern. STATE-LAKE, CHI Chicayo, June 21. Claire and Hudson, Joan Abbott, Albins (2), Victor McLaglen & Co. (2), Chick and Lee, State-Lake Orch; 'Power Dive' (Par). STATE, N. Y. Straight and solid vaudeville show, well booked and well routined, plus a flicker that has a pop money moniker. In catching ihany Hollywood names making in person appearances audience reactions have been varied, but at no time did any Coast star walk into such a resounding hail of audience response. as did Victor McLaglen at the last show Friday (20). For several minutes McLaglen was forced to iust stand there while the audience clapped itself out McLaglen holds the stage nicely with some simple chatter about him- self and his pictures, then into' a long-winded and hokey recitation, followed by some comedy -with- a stooge asking for. an autograph. Winds up with bis weakest trick, a short acting sequence. showing the .death scene from 'The Informer,' which won him an Oscar. Gen- erally, the act seemingly has shown some improvement over Its' weak break in dates. Rest of the show li standard and clean-cut, with Joan Abbott scoring niftily with her vocals. With .a fine appearance. Miss Abbott stands out with noval songs plus great arrange ments. This audience liked it all. Claire and-Hudson are powerful as ever -with their hand-to-hand and balancing work. Man is a fine un< derstander and the girl has appear ance and works well.- Their comedy, though, is questionable. For comedy knockabout there are the Albins, man-and-woman burlesque dance pair. This audience ate this stuff up and wanted more of the prattfalls, etc. Much'of it Is repetitious but it went over solidly. Chick and Lee, were also clicks with their comedy mimicry. ' It was pie for the follcs. Business good. Gold. EARLE, WASH. Washington, June 24. Paul Remos and *his Wonder Midgets, Romo Vincent, Stuart Mor- gan Dancers (4), Gae Foster House Line (16), Joe Lombardi house Orchestra; 'Night in Lisbori' (Par). Topnotch acts and slick production values make this week's revue sure- fire. It's gey, spirited and solidly put together, with no deadwood. Paul Remos turn. In next-to-shut spot is a winner^ audience being sold with first glimpse of duo of acrobatic boyish mldget8< who almost look young enough to be 'moppets their size. They're socko, especially in work atop a pole and- in stunt where Remos, the understander, and one of the pint-size athletes pull what purports to be a dgiaret-to-cigaret stand, -with hands free.' Act is well sold at outset by Harry Anger's stag- ing, too, airport waiting room bit bringing on Remos with valises,,out of which midgets pop to start routine. Roxyettes get customers in pleas- ant mood by perfuming the theatre In their opening 'Heaven Scent' number, a graceful dance with nose appeal as well as eye appeal. They're followed by Stuart Morgan Dancers, whose slick and breathtaking adagio work Is a solid click. Romo Vincent, Introduced as "new Broadway personality late of Hurri- cane Restaurant,' is aces, too, with comic songs that are comic and not corney and a manner that gets his material across to good advantage. Roxyettes wind things up with their lively fencing routine. Joe Lombardi-conducted house orches- tra's brief overture Is in swing tempo, with Eileen Ritter, of house line, chanting 'Hut-Sut Song' to de- light jitterbugs do-wn front Biz fair matinee (Monday) caught Mae.,. Fredysons (7), Masters and Rol- lins, Simone Simon, Al Trahan, Patricia Bowman and Paul Haakon, Ruby Zwerling House Orch; 'A WoTnan's Foce' (M-G). A strong lineup. Stage show runs a bit overlong, particularly with Louis-Conn fight pictures added to the regular feature and newsreels. but it's a diverting presentation nevertheless. Opens in standard vaude style with the seven Fredysons, vet acro- batic turn, speeding through their, alwaysreffective teeterboard routine'. Masteiv and Rollins, also standard, are next with comedy crossfire and eccentric dances. Generally good, although her Mrs. Roosevelt im- personation at the close is hack- neyed by now. Simone Simon, playing her second date at the house in about a year, is the victim of indiscriminate hand- ling. Instead lof working up the smart chic, cute angle, she's un- becomingly togged and staged, while her material is hopele.s.sly un- suited. Her frizzy hair-do looks as if she'd just lieen swimming. Her fluffy, light-blue dress is unbecom- ing and the color of the spot being used gives her a wan, garish appear- ance. And to top the whole mis- staging setup, instead of a solid- opaque-colored backdrop which would set her • off, she's presented against*a brightly-flowered curtain. Young French acl ess-singer is vocally light but should offer likely prospects if given cute songs and ar- rangements. However, the numbers she's now - using require unu.sual vocal range and skill, so she's licked at the start Even so,- she sang three numbers when caucht—a . Latin- American'tune, a brutally-arranged and tempoed version of 'My Sister and I' and a passable edition of 'I Gotta Get Hot' from her forthcoming picture and a Broadway 'Scandals' of some seasons ago. Al Trahan, who's played the State so many times he should have a mortgage on the theatre, has the next-to-closing spot with his blonde partner-foil, his fartiiliar rough- house comedy piano pounding and general uproar. Wheh caught at the last.show, opening night (Thursday) he stayed on much too long. Yet Trahan. is a long-established buffoon end, even when he isn't good, he's by no means bad. Prolrably his bow-off thank-you speech is utterly sincere; even so, it's ki^nd of embarrassing. Closing' turn' to the show is the real class of the layout—Patricia Bowman and Paul Haakon doing solo terps and finaling with a polka routine together that has undeniable grace, style and skill. In a word, it's sure sock stuff. Haakon openvk with a -Russian .numlier -and, after Miss Bowman's sparkling toe routine to 'Beat. Me, Daddy,' offers a solo waltz while she changes. Then they score with the duet Except for a certain lack of variation in his work, Haakon remains one of the best in his line. Miss Bowman is still a marvel of grace. Hobe. STEEL PIER, A. C, (MUSIC HALL) Eddie Cantor, Olive Mojor, Edgar FalrcMld, Gloria 'Gilbert, Sidney Fields, Walter Dare Wahl. Eddie McKnighfs House Orch (9); 'Road Show' (UA). Eddie Cantor returned to this re- so^ for the first time in several years and received an ovation in Frank.*:Gravatt's Steel t>ler Music Hall thai showed the radio comedian is still a master entertainer. From his first song, 'The lady's in Love,' he had the crowded hall applauding him constantly. This was one of the biggest weekends so far this season and when caught Sunday afternoon (22), lines waited for next perform- ance. Six performances skedded that day. Acting as emcee through 4S-mInute show. Cantor Introduces his young protege, Olive Major, 13-year-old singcfr. Girl has a sock voice, whole- some and youthful charm and poise of one much older. She sings a French number with plenty of range and volume and after much applause followed with 'Hut Sut,' which brought .thunderous handclapping. Her flnal number from 'C^men was equally well received. Cantor^works at top speed—his songs, yarns and patter never failing to please his responsive listeners. His song from former years, 'Making the Best of Each Day,' with interspersed references to his personal life and family went over big. This is fol- lowed by selections of favorites from his Ziegfeld 'Follies' days and In- cludes- 'Ida,' 'Marjorle' and 'Susie.' Each was received big. Showman took the huge mob from whistling and stomping to a quiet seriousness that was church-like, as he told them how fortunate they were, in living and being happy in this country. His sincerity, unmis- takable and touching, reached a high spot when, in defending the younger generation of jitterbugs, he said: 'You can be thankful they are hailing bandleaders—not helling bundlead- ers.' Prolonced cheers followed. Gloria Gilbert, whose gyrations (Contlixued Qn page 47)., ^ ^