Variety (Jul 1941)

M HOUSE BEVDBWS Wednesdaj, July 23« 1941 MUSIC HALL, N. Y. 'Revuette,' produced by Florence Rogge, vxith Moriiwi liOrd, Hildo Eck- ler, Francis * Corter and Arthur Bowie, Hoi LeRoy, Robert Slionleu, Gil Maison, M. H. Glee Club (21), M. H. Ballet (22), Rockettes (36), M. H. Symphony conducted by Frank JVoroicki; 'Tom, Dick ond Hnrry' (RKO), reviewed in VABienf, July 16. Music HeU achieves a nice com- bination this session of its usual breath-talcing sets and platoons of terping lemmes with some highly entertaining staiidard turns, at least one of them very unusual for Radio City. It adds up to pleasant, mid- summer diversion. Curtain-raiser brings the heaviest succession of ah's and oh's. Giant stage is covered. with a tremendous circular mirror simulating a Iskc, on which are the ballet girls folded in lotus petals. In tlie center is a large swan. While the ballet holds its position, Marina Lord does a solo toe stanza. Gals then break out of their flower-disguises to dance on the lake to the lead of terper Hilda Eckler. Miss Eckler follows by mounting the -cut-out chariot-like back of the swan, apparently fitted with an elec trie motor by which the dancer can make it zip about the glass pond. All this is accompanied, of course, by the Bocko lighting technique of Eugene Braun, causing the giant mirror to transmit all sorts of interesting re- flections to the cyclorama. Finale, as usual, featuring the Rockettes, has them accompanied for the fadeout by the femmes from the ballet, putting 58 gals, gowned in varied pastels, on the stage at one tirtie, quite a sight to behold. Rock- ettes' routine is somewhat more fluffy and flowery than the usual precision stuff, but they get in plenty of their standard kicking and cir- cling to win the as-always smash reception from the house. Unique for the Music Hall is the booking of Francis Carter and Arthur Bowie, Negro two-piano team. Obviously a stage wait while the big mirror is being removed after the first scene, boys exert their handiwork on a pair of 88's taken over from the pit crew. They're nifty on 'Beguine' and other tunes in a ragtime s^Ie bordering on, but not quite, boogie-woogie. 'Stag Partj'.' with the Glee Club in B cafe setting, serves to background Hal LeRoy and Gil Maison in their turns. Warbling males, incidentally, again kid themselves and the M. H. with comedy lyrics by staffer Albert Stillman. Idea of taldng some of the frosting out of the bigness of the Radio City enterprise by self-kidding Is a good one. LeRoy's hoofing meshes nicely, with the screen and legit tapster handing 'em virtually every trick in the book. Maison's standard dog turn has been switched slightly. For merly he worked with his wife, Bemice, but now he has a monkey, Monk sits on a ohair diuing the en< tire .turn. Every time It .starts to get oft, Maison ^outs "Frank Buck' at it. With that it grits its- teeth and grasps ttie back of the chair, rock Ing it with indignation. Maison winds I . up by balancing the junior chimp I ° upside down on one of its paws, sim- i Uarly to what he docs with the-pups. His line of chatter is a big factor in selling the tu^i, although it k dif- ficult to see some of the canine stunts from the mezz and beyond. Woidd be a dandy turn for cafes. Warbler Robert Shanley provides •ilective background '^olos for the femmes, contributing a number of old semi-classical faves. Herb. follow with a ballroom adagio. Leon is surprisingly light on his feet for a husky six-footer. His slight part- ner, in silver-gray, solos next in a combo routine including endurance kicks on one foot, spins and wing- overs, with both on for a tango finale building to a speed finish as Leon whirls the gal and tosses her to the boards. Morey Amsterdam, another radio entry (he got his sUrt at KFRC with Al Pearce) ambles into the vacancy dragging cello and chair. Act con- sists entirely of disconnected gags, puns, vocal takeoffs, etc., some of which indicate a flair for grave-rotj- oing, to judge from the age. Doesn t. use his*You lucky people trade- mark here. Packs a good share of laughs (as well as a lot of pQund- age) but gets guffaws largely on blue stuff. Charles Kaley then bnes up nine members of the band to sing and solo in 'Daddy,' okay novelty, fol- lowing which Amsterdam returns to introduce Brenda and Cobina, from Bob Hope's air show, working with them for first couple of gags. With the team falling into the saine general category as Amster-' dam, edge is Uken off their act be- fore they ever get on stage due to the similarity. On top of which they offer essentially the same material used at the local auto show last year. , Gals are both hard workers and oersonally popular, however, as tes- tified by repeated call-backs accorded the team by the payees.. Took four bows at opener and could have stayed longer but show was already running over. A final goodbye gag of some sort would help, but pos' sibly they didn't expect such an ova tion. Winding things up is Alphonse Berg, lightning-like draper who steps in here after a week at the Bal Tab nitery. Uses house line girls as models for his hasty draping and makes nice curtain-closer. Opening pretty good. Wem. AUDITORIUM, MPLS. ('SDMMEBTIME') Hi, Lo, Jack ond the Dame, Cookie Boujers, Enrico ond Novello, Peg-Leg Botes, Six Victorias, Goe Foster Girls (24), Paul Ash House Orch; 'Dance Hoir (20th), rewietued in this issue / Variety. With Paul Ash's pit orch on the stage, the Roxy is presenting an ex- cellent stage show currently. There s better pace to the proceedings be- cause of the band setting, the usual stage waits attendant scene-shifting, etc., being eliminated. There's also some novelty in seeing Paul Ash again as a stage in.c, but he's much subdued in comparison with the old days- , J Cookie Bowers, whose broaa comedy impersonations are long standard; Peg-Leg Bates, socko monopedic colored hoofer, and the Six Victorias, crack cycling troupe, comprise the layout's entertainment backbone. All three are audience- pleasers and applause-getters. Bates and Bowers being especially strong opening night (Friday). The Victorias, originally four men and two girls, are now four girls and two men and have a great assort- ment of tricks on the one and two- wheelers. Turn, however, can be trimmed some, eight minutes l>eing too long for a novelty of this type. Bates tied up the show, the audi Minneapolis, July 19. Orchestro (17). Ted Leory, Done ing Girls (24), Mole Singing Chorus (8), Drake ond Marchc, Bert Lynn, Hector and Pols, Three Deons, St. Clair Sisters and Of Day (4), Ger- trude Lutzi, Three FloTnes, Joe and Jone McKenrui. ROXY, N. Y. James hitting the hot licks on his trumpet. Lynn Richards, bnmet. Is clicko with her vocalizing of 'Daddy,' 'Amapola' and 'Mora Than You Know.' The male canary depart- ment is supervised by baritone Dick Haymes, wnose standout Is 'Old Man River.' • ... The two added starters, Trixle, adroit juggler, and Shea and Ray- mond, comic terpers, are hangup acts, but the show could use at least one more vum. Trlxie's standard stint registered solidly. The gal's got plenty of showmanship to go with her skill. Shea and Raymond's dancing act is reminiscent of Ray Bolger, with a rib-tickling version of the rhumba and an imitation of a couple of hepcats thrown in. House almost filled for the supper show Friday (18). Shal. TOWER, K. C. Kansas City., July 22. Irene Vermillion with the Stoing Harp Quartet, Bollord ond Hae, Bob Smith, Don Frye, Donny Meditz, Lester Harding, Herb Six Hovise Orch; 'Too Many Blondes (U). Variety bill is the stage offering this week with the semlslance of a headliner in dancer Irene Vermillion. With the four femme harpsters and DBies u«i up -— their piano accompanist, act gives ence refusing to let him go even the closing spot something of a flash ence reiusn e. <•. , ^|,ich is needed in Stage shows here, but in entertainment value it Is medium. Other acts are varying in degree of entertainment and the summing up is average. Band has the lead with Ravers 'Bolero' and Lester Harding then takes over as m.c. to introduce Bal- lard and Rae as pair of inebriate hit after repeated bows, but he also made the mistake of including a speech and some wisecracks that aren't funny. He's a startlingly good hoofer on his one r.'~ nhd neg, but not a comic, especially when hes out of breath and dripping with perspiration. Enrica and Novello deliver STATE, N. Y. Ted Leiols Orch (14) with Gladys Tell, LeAhn Sisters (4), Chorlie 'Snowball' WWtticr, Louisa Glenn, Kay, Kotya and Kay, Jean Blanche, Geroldlne Ross; One Night in Lisbon' (Par). Enrica and Novello deliver a lara ana iwe as P"" vu „»r couple of dance routines nicely near tumbling across. They hit Paf- the^flnale, while Hi, Lo,_ Jack, and 'Cowboy' Danny Medi ^ four-^e^^ the Dame, harmony quartet, are only fair'following Bates. Their voices and blending are okay, but they lack bounce in the arrangements. Gae Foster's line of girls gives an excellent account of themselves in opo rhythm routine. Show runs off in 54 minutes. At- tendance n.g. Friday night the film probably being mostly to blame. Scho. GOLDEN GATE, S. F. Son Froncisco, July 16. Brenda and Cobina (£ltHa AUman «nd Blanche Stewart), Gory Leon and Tut Mace, Ade Duooll, Alphonse Berg, Morey Amsterdam, Evelyn Tobey; Peggy O'Neill line, Chorles Koley Orch (13); 'Scottergood Pulls the String^ (RKO). The Golden Gate has virtually an NBC show this week, starting with a Bennie Walker KGO amateur-hour winner and finishing with Brenda and Cobina. On the strength of which the local outlets talked the management into using a KPO mike In all newspaper ads. Bill will need whatever draft radio can give It. V Curtains part on the Lne, which Idoes a tropical routine In front of ■the band. Stage decorated In purple ''^and bronze thG week and. looks rich; Opener Is Ade Duvall, magico who builds a handful of golf baUs into a production, following with a thumb- smoking gag using 'Invisible' tobacco and matches which is a honey. Mob gave him a real ovation when he drew smoke from, his diget as though pulling a briar, a new twist here. Closes with silks for nice bowoff. Duvall works with seemingly end- less flow of patter and is unique In possessing ear-easy diction. Deuclng Is the KGO amateur, Evelyn Tobey, who walks on cold for two numbers, 'Where You Are' and Two Heart* That Pass In the Night.' Low-pitched voice haa mike possi- bilities although It came out a bit flat 4ue to nervousness at opening. Tut Mace and Gary t,eon, recently at Stairway to the Stars, loctil nitery, The 'AquatenniaV festival's only Indoor stage show, 'Summertime' re vue, is one of the local celebration's 25 attractions to which holders of $1 buttons are admitted, reserved lower-floor seats In the huge Audi torlum costing extra, however. Put together solely for this single en gagement. It quaUfles, under the clr' cumstances, as an ambitious and pre tentlous effort furnishing consider- able entertainment during Its two and a half hours, sans Intermission. Probably working on a limited budget, Al Sheehan conceived and produced the creditable revue. Staging, lighting and costuming rate weU. Without, any considerable monetary expenditure, he has incor porated plenty of flash and spectacle into the proceedings by skilUul han- dling of production and ensemble numbers. Eight standard vaudeville turns uncorked during the - show have been wisely selected. Show follows the conventional re- vue iiattem, with the vaudeville acta interspersed between production numbers, or the latter built around the turns. Ted Leary, a genial and personable emcee, keeps the affair moving swiftly, indulges in some amusing patter. Introduces the acta and helps to coax applause response. Locally recruited, the 24 choristers exhibit considerable precision dancing ability. Their most out- standing contributions are fencing and rollerskating numbers which evidence long training. Colorful and sufficiently revealing garb makes for flash while lively routines and varied formations are solidly in the groove. The male singing octet lends impresslveness to the production numbers. Drake and Marche, man and woman, are adept conga dancers Bert Lynn creates unusual sound Imitations, Including that of an air raid, on his steel guitar. Much mer riment Is excited by Hector and his familiar trained dog act, which, in this Instance because of the flat Aliditorium floor, would have ap- peared to better advafktage on a platform. Thrilling and difficult balancing and tumbling letHs by the Three Deans are climaxed when the trio runs up tlie side of a door to somer- sault themselves. Yvonne Tattle warbles during the bicycling of the two St. Clair Sisters and O'Day. Gertrude Lutzi, former Minneapoli- tan, sings nicely and the Three Flames thrill with their rollerskatinf LYRIC, INDPLS. fndionapolis, July 19. •Woke Up Americo' with Gil Lomb, 12 Commanders and Lorraine West, 12 Dancing Codettes, The Albins. Claire and Hudson, Betty Lee; 'Paper Bullets' (Prod.). old amateur night winner, mikes 'Seng of the Sadd'".' -mletp \v' i all verses and a yodel finish. Young- ster is far on the cute side and draws a big hand. Bob Smith begins to take the audi- ence through a novelty musical act, but when he is goihg good on the saw and toy balloons he suddenly changes to do a pair of handstands r-. - nr — t - Good stunt but For years Ted Lewis and 'corny' have been synonymous In the trade. One never seems to be mentioned without the other. Lewis admita it In his opening bit here, wherein he goes back into the past and pointa out the things' he did—'and you liked It'—then goes on to provide a lesson In handling a show that's modem as today, all of It of click calibre. Lewis steers this hour or more with an ease and smoothness few can match, and throughout his audience is a pushover for his mood and pace- making. Near the finale he comes up with a sort of cavalcade of the past tagged 'I'm Stepping Out With My Memories In Good Old New York Tonight,' which reficRes back into Broadway's files. It's a bit that held this audience quiet, attentive and solidly appreciative at its finish. To "please everybody,' Lewis' combo of four sax, three trumpets, one trombone, piano, drums, bass and two violins is capable of all tem- poes and styles. For its purposes the band is excellent, and as a competi- tor in the band field it is also okay. Combo's one swing at a driving, jit«> terbuggy style is on 'Anvil Chorus,' and its proves a good arrangement, well played. Charile 'Snowball' Whittier, Lewis' perennial shadpw, fills several spoU. with the leader, coming on first to help vocal 'When My Baby Smiles At Me,' and later doing an imitation of Bill Robinson's leg work. Louise Glenn is up front in a short and ap- preciated ballet routine. Jean Blanche serves as a target for Lewis' yocalling of 'You're a Pretty Thing,' then stands on her own in an aero turn, executing flips, kicks, etc., to solid returns. Kay, Katya and Kay have played this territory before. Act is a win- ner from any angle, beginning with faultlessly done ballroom stuff to a Viennese waltz and ending up in a brisk and entertaining hiechanical doll bit. Two men transform the reverses the audience's attention. Harding follows with his baritoning on 'Goodnight My Love' and lifts the girl's costume uniquely for the last The Lyric has taken a handful of acts and tied them together in a revue patriotically titled 'Wake Up America. Even though the theme is, „ forgotten after the first number, and i "Stardust,' 'Maybe' and 'Hold That not remembered again until the Tiger' and Miss Vermillion contrlbut- pace. Bit of ventriloquism by Don Frye holds the tempo nicely as he exhibits a dummy replica of himself and later a second dummy in black- face to close the act with a song duo. Work is novel and rated well with the. Iiouse. Final spot is ^ given to the Ver- million act, with' the harp quartet opening and the dancer on in a toe and kick number. Form of the act is alternation, with quarts giving out with such numbers as 'Alone,' finale, the management . deserves credit for an attempt to something out of straight vaude. Gil Lamb emcees though first three turns are done without Intros. After Lamb gets on, the entire show picks up. He could be used advantage- ously >from the beginning. Lamb's drolleries and impossible postures pleased the onlookers, with his pan- tomime of the jitterbug going to see Benny Goodman at the N. Y. Para- mount a high spot. He's a smooth performer and with his aide. Tommy Sanford, who plays the harmonica excellently, was well received. Lamb's gag swallowing of a small harmonica was also good for plenty of guffaws. "The 12 Commanders and Lorraine West, good looking act, do a neat vocal job. Act is used in opening and tlose effectively. Okay is the acrobatic team of Claire and Hudson. Both work with apparent ease. The Albins do a ballroom travesty, with little gal taking a beating from her mop-haired oartner Act went over well. Betty Lee does some speedy work on a xylophone. Show ends with the chorines doing another routine in front of a military drop and the Commanders vocalizing 'Aprhors Aweigh" Biz scattered at third show Friday (18). Kiley ing two other routines in the aero batic style. Fiiiale tom-tom nufanber is best effort and two or three other routines like this one would lift the act immeasureably. Musical person- nel of the turn lists Mary Jonnston, Donna Jean Miller, Toots- Bowman and Dorothy Spector on harps, with Dick Hoffman accompanying on piano. Quin. STATE-LAKE, CHI bit in full view of the audience. Act got—and rated—strong response. Geraldine Ross is another ap- plause-DuUcr. Rbe nrenedes more aero dancing with laughable twists like scratehing herself and appar- ently pulling on a girdle. Her stunts set her solidly even though she fol- lows too closely on the heels of Miss Blanche, a fault in that the acts are so similar. Le Ahn Sisters (4) get in only one short shot alone, but could be used more<. Tune Is an exceptionally good arrangement of 'Dinah,' done in a neat harmonizing style. Soloist with the group breaks In midway with a warm voice, clear and very listen- able delivery. Group ' should be watched as a comer. Wood. EARLE, PHILLY Philodelphio, July 18. Horrid James Orch (18) with Dick Haymes, Lynn Rtchords, Trixie, Sheo and Roymond; 'The Big Store' (M-G). The show's only smash comedy hit is chalked up by Joe and Jane Mc- Kenna, who return with their knock- about dancing and slapstick. The only fault to be found is that Joe's Impression of a dnmk and iome of the pair's cldPtaing are a little too long drawn out Rees. The talent budget has been shaved to the bone this week (50 minutes), with only two outside acta added to Harry James' crew. The manage- ment apparently is banking on the screen attraction, the Marx orothers' farewell .producti'^i. to take part of the entertainment load. James' band, musically. Is first- rate, but it lacks the triclcs and novelties needed to make it a top flight stage attraction by itaelf. The crew has built up a following here frorti its recordings, faves on jukes and platters at local stations. This was evidenced by the reaction among the kids in the pews whenever the trumpeter announced the name of some of the fave numbers. Evoking the biggest burst of whistling and cheering was the play- ing of 'Music Makers,' 'Carnival in Venice,' 'One O'clock Jump' and "You Made Me I ive You, with OLYMPIA, MIAMI - Chicago, July 18. Buck ond Bubbles, Charles New- man, Four Franks, Mazie and Broch, The RosstUionos (2), Doroth Hila Ballet (12); 'This Way Please' (Par). Packed with fine talent, this show rates well. In addition, there is some moneypulling power in Buck and Bubbles, who enjoy a good local fol- lowing. Dorothy Hild Ballet opens the show with a swing military routine, Gals are attractive and above aver- age in ability. Following this, the Four Franlcs take over with a varie- ty act of excellent calibre. Two femmes and two men mix up an as- sortment of tap dancing with some okay instrumental work, topping it off with some smash comedy. Charles Newman, harmonica vir- tuoso, is on for a couple of numbers which give evidence of good tech- nique, but offer little in the way of showmanship. An an encore, he plays a conga, which serves as an introduction for the ballet, in a colorful Spanish number. Unicycle turn, Mazie and Brach, has some good work, featured main- ly by feasta of balancing while on the machines. Gal is a looker and adds flash-to the act, A closing stunt performed by the man, wherein he keeps 11 hoops in motion while on the unicycle, is a nifty. Buck and Bubbles, making a rare local appearance, have made few changes in their routine, but remain a good solid act, with plenfy of talent and the ability to sell it. Without a suggestion of blue material, they manage to get a multitude of laughs, and the dancing and piano work still pack plenty of waUop. Rossilianos, Polish dance team, combine with the ballet girls topre- sent 'Polish Village Festival.' While it is .good entertainment, the team has been seen too much of late in Chi, having played the Chicago thea- tre less than eight weeks ago with the same numbers. Good biz third show Friday (18). ' Loop. Miami, July 19. Morjorie GotTisworth, A r n a u t Brothers, Alan Carney, Chris Cross and Looie, -Statler Twins, Harry Reser House Orch; 'Kisses for Break- fast (WB). This Is one of the strongest line- ups this house has imported this summer, offering 60 minutes of standard vaude fare sufficiently di- versified as to be classed as potent b.o. even though handicapped by such trivia as 'Kisses for Brealcfast' (WB). It's a nicely routined bill, sparked by Alan Carney, a clever mimic, making his initial bow in these parts. Ceurney's impressions, while for the most part borrowed from the stand- ard album of vaude mimicry, are, by reason of his slick presentation, in a class by themselves. Windup is a Union Square sketch of soapbox ora- tors that is a riot. Also does a cred- itable job handling the intros. A showy coloratura soprano, with a fine range and nice quality,. Mar- jorie Gainsworth fails to click as solidly as she should because of ap- parent uncertainty in her choice of songs. Leads off with a standard ballad, takes a fiyer at 'Lo, the (gen- tle Lark,' tries a current pop and bows off with a musical-comedy hit Latter earned the biggest hand, and appears her best bet. Her pipes are definitely not adapted to torchy pops, and the classicists are few and far between on the summer circuit so it would appear that the musical-com- edjr field offers best choice of ma- terial. The Arnaut Brothers have been around for years, and are apparently well satisfied with tlieir slapstick fiddle and bird-whistle routine. They haven't changed a note since last caught It geta a giggle, but Its about time they whipped up a few variations. After all these years the brothers have to fall back on refer- ences to what a time they..had last p.m. for their encore exchange. Chris Cross, tried to crash radio here two years ago, but struck out. Finally clicked as a ventriloquist with a band unit Now he's, back with an atnusing ,skit employing a (Continued on page 63)