Variety (Oct 1941)

'44 HOUSE ttEVIEWft Wednesday, October 15; 1941 STATE, N. Y. Joe Frisco, Paul Haakon & Patricio Bowman, Maiinc Sullivan, The Her- zoffs (5), Walter Thornton's Models (14), Ruby Zuierlino's House Bond; •When Ladies Meet' (M-G). Every now and then the State seems to revert to those 'good old days' of vaudeviUc. Here is another instance—and one ol the best—that good strai.-'ht variety layouts can still be booked. It one virill discount the closing Walter Thornton's Models (New Acts) as an exploitation rather than an entertainijient Item, the bill could measure up as a good Palace flrst-half, though less costly at under $4,500. Another educational illustration on this show is that vaudeville show- manship is not entirely dead. This Is the combination o£ Paul Haakon and ballerina Patricia Bowman (New Acts), an idea advanced by Milton Berger, of Jack Davies" agency, who manages Haakon, but not Miss Bow- man, a William Morris office ac- count. Berger broached the plan to merge the two top-ranking dancers in a two-act. The Morris office co- operated and the State comes up with one oftthe best dancing acts of its type seeiAin many years. • They have Palace written all over them, but of even truer two-a-day vintage is Joe Frisco, l>ack east after a long hiatus, mostly layoff, on the Coast. It's been some years since Frisco chose to skip meals rather than take a cut at the Palace or else- where, and, because dying vaude couldn't afford high salaries,. he's possibly had more hotel managers tendering him bills than bookers offering contracts. Now he's back, working probably at an even greater cut, but lie's the Joe Frisco of old, with a new piece of business that's ■ comedy gem. At the State a good part of the house is not entire]^ hep to his 'bet- ting room' routine, but that doesn't detract from its worth as bellylaugh material any place where an audi- ence knows more about a Racing Form than 'advice to the lovelorn.' As an irritable musician, loaded down with racing charts, daily newS' paper selections and dockers'' re- volts, in which he gets all tangled up, Frisco is a delight to watch and laugh at. His monolog preceding this is. likewise too smart for the State's mob, but they understood his standard Frisco dance finale, and he went oft to big applause Thursday .night (9). In the deuce, up ahead of Haakon and Miss Bowman, Maxine SuUivdn, first-rank colored songstress, whams with such. tunes as 'Sweet Molly Malone,' 'St. Louis Blues' and "Loch Lomond.' She's standard and an as- set In any theatre. The Herzogs, five girls working the trapeze and rope perch, with one of them coming up out of the audience for a comedy finale, have virtually been playing stock here.- They are frequent re- peaters and always score, but 14 minutes is a long time for a novelty. As it Is, however, the show runs only 62 minutes. Business was good. 5cho. ADAMS, NEWARK and throws In impersonations of Carmen Miranda, Mae West, and Bonnie Baker. Number is whammo and had 'em rolling in the aisles. Singer could have stayed on all eve- ning. Jon. SHUBERT, N. H. JVeu7 Hauen, Oct. 12. Giro Rimac Orch (11) with Absira Camarqa, Chiquito' JVforia.- Charleu Boy, Mechttn Virella, Martenz & Delita; Bob Eaton, LaFlucr and Man- ners. Virginia Austin, Monroe & CronI; 'Deadly Game' (Mono). A couple of weeks ago the Shubert split a legit week with four days of band-vaude as a-feeler for a fill-in policy between straight shows. Re- sults were so satisfactory they're do- ing another four-day stretch cur- rently, with Ciro Rimac's orch and four acts as the attraction. Show is a colorful combo of stand- ard arts and a flashy rhumba band that tears through a fast revue. Vaude ha'f is unbilanccd with two aero turns on a four-act bill, but both LaFlucr and Manners (aerial and contortion) and Monroe and Grant (trsmpoline) score individ- ually. Other acts arc Virginia Austin, a click with an original marionet routine, and Bob Eaton working with midget duo, Rector and Odette, on songs, chatter, dances and xylophone. Rimac works his band fast, and that goes double for the specialties in his revue. Latter are Charley Boy and Mechita, dancers; Martenz and Delita, acrobatics; Maria, dancer; Alzira Camargo, Latin songs. Rimac doubles into some hot hoofing with Charley Boy- (a clever challenge routine) and Macia. On the band end, maestro opens all the stops from Cuban swing, through the Brazilian samba to n conga finale. It's .the rhumbaland band's first stopover here and patrons have taken to it kindly. ~ ■ > Biz good on Sunday opening. Bone. FLATBUSH, B'KLYN DoUv Doum Orch (13) with Frank Cross, Van Smith; Peorl Roberts, 3 Heath Bros., 4 Macfcs, Wally Broitm b Annette Ames, 3 Stooges; Shorts fc ITewsreels. Newark, N. J., Oct. 11 Larry Clinton Orch (16) toith Pepov Mann & Butch Stone; Radio Ramblers (3), Whitson Brothers (4), Linda Moody, Gertrude Niesen; •HurricaTie Smith' (Rep). This setup Is all on the swing ■Ide, with Larry C^ton's combo, a .- ways a big fnve here, setting a torrid tempo for a bill that's fast, zippy and very easy to take. Cninton's aggregation of six brass, five saxes, and four rhythm at times leans too much to the blatant side. Band almost tore the roof - off the house and could be heard a block away when caught. Bill gets away to fast start with band going 'Kansas City Moods.' and then spotlight switches to Peggy Kann. Clinton's chirpcr, who cana- ries 'Got You Under My Skin," 'You and I' and 'I Understand.' Gal is a wow for looks and pipes and the local jive coterie couldn't get enough fit her. She teams up with Butch Stone, band's scat singer, and sings "Look At Me Now* for solid plaudits. Clinton resumes with such stand- bys as 'Jazz Me Blues,' 'Old Man River.' and "Semper Fidelis.' 'Old Man River' gives too much play to the drummer and is an overlong number that falls fiat. Stone, the band's funny man, sings •Hot Dofi Joe,' 'Feet's Too Big' and "Nagasaki,' having a tough time getting off. The Whitson brothers' aero turn was plenty clicko with this audience and the boys were forced to beg off. Linda Moody has a terp 'act that's easy to watch and caught on nicely. Took several bows. The Radio Ram- blers' routine isn't any .too strong but was plentr punchy here, the im- personations of Laughton, Hitler, et al., clicking neatly. Boys were good for three encores. Gertrude Niesen's song slylisms •re as soUd as ever, and her singing of Temptation,' 'Jim' and 'Mama y Caro," with a second chorus done in Portuguese, is clicko all .the way. For<an encor6 'shi 'does 'On,- Jbhnny' Flatbush played legit through the summer at pop prices and clicked; current layout is the first in a return to name bands and vaude for the new season. It's a fair combination of turns, much longer in numbers of acts 'than the usual Flatbush lay- out Two bits. Four Macks and Waliy Brown-Annette Ames stand out sharply.' Dolly Dawn's band, staffed with three trumpets, two trombones, four sax and three rhythm, -opens and backs other acts throughout' It's a fair group, weak In rhythm and ar rangements and rough in the other sections, but on the whole it per- forms creditably. Miss Dawn, chubby batoneer, does a pleasant, modified In a Ray Hutton routine up front and sings. 'Yes Indeed,' near opening, is her only song try until almost the finale, when she knocks off 'Em- braceable You' and 'HaUelujah," which gives an idea of the bad pac ing of Uie layout. Her voice is okay as a band vocalist. Frank Cross, male songster, follows Miss Dawn with 'Blue Champagne' and 'You and L" His is a deep voice which the usually poor Flatbush p.a. system didn't treat kindly. Rest of the show Is a hodge-podge except for the two outside acts men- tioned above. Pearl Roberts, toc- tapstress, is first' on, but gets short shrift. She could do more than' the single neat routine to which she's been limited. Three Heaths, on the same'bill with Three Stooges, some- what similar act, nick the customers' funny-bones, but nothing much bap- pens. One member does imitations of various trumpet-playing band- leaders, another does good solo danc- ing, and the third a creditable job of aping, without billing, Harry Ritz of Ritz Bros. He's comical in spots. Encore brings-trio on in femme getup to panto "Jim Jam Jump,' song being done from backstage by an Andrews Sisters recording. Four Macks, rollerskating group, is one of the classiest turns' of its kind around. In existence for years, the stunts they offer have been de- veloped to a point where they draw gasps of apprehension. Tricks 'are too many to detail, but every one grabs heavy response. Brown and Miss Ames have gone far since re- viewed here last year. Brown's opening double-talk routine clicks solidly; it's based most of the way on one theme, which is what makes it funnier. Too many double-talkers hop all over the lot. Miss Ames sings, dances and generally helps things. The Stooges need only put In an appearance to settle an audience in a receptive frame of mind. They click solidly with their :expected rough- house and tasteless nose:picking, but essentially the act Is not as goodf as It could be. Material Is pretty weak. STANLEY, PITT Pittsburtrh, Oct. 10. Jimmie Lunce/ord Orch (15), Bill Robinson, Miller Brothers & Lois, Velma Middleton, James Youno, Dan Grissom, Willie Smith, Joe Thomas. Elmer Crumbley, Max Adkins Hoitse Orch (16); 'Morried Bachelor* (M-G). ' Bang-up'; the word for it at the WB deluxer this week. With a line of gals, a few blackouts and a couple of additional acts, the Jimmie Lunce- ford-BIll Robinson setup could haul out a title, like 'Brown Buddies of 1942,' or something, and go ped.dle Its papers at $2 or more. Certainly big- gest bargain Stanley has slipped its customers in a lot of weeks. Cream of colored band society can move over and make way for Lunce- ford. Lunceford has a band to meet every musical taste; it's sweet, it's hot, it's melodic and jungular. Melo- dies are just as important to the business-like batoneer as tne trim- mings, and in that rhythm section, which is among the tops in the field, Lunceford has four men any maestro would give his right eye, not to men- tion several broken-down sax play- ers, to possess. ■ • Nothing wrong with the brasses and reeds, but it's bass, drums, piano and guitar, particularly the latter two, that stand out here. Practic- ally everything Lunceford plays pos- sesses a distinguished authority as well as musical intelligence, jilthough his highest spots are probably 'Song of Islands^ which guitarist takes off, and 'Daddy;' about the best arrange- ment of that tunc heard yet. Of course, Robinson is still Robin- son, who, in the early sixties, con- tinues to dance rings around most of the tapping fraternity. What he's doing here next-to-closing is an ex act duplicate of the afterpiece he did in 'The Hot Mikado' at the Nixon a couple of seasons ago at $3.30. Spins a few yams before his brilliant soft- shoeing, ^ and for a finish gives his impression of 'Bill 'Robinson 40 years from now.' It's swell show- manship, but the way Bojangles looks and performs today, he could just as well have made It an even 1^ Outside of Lunceford's specialists, all of whom ring the bell, there arc two other outside turns. First Is Velma Middleton, a real hefty and naturally a visual howl at the outset Sings a couple of songs, but it's not the voice so much as the delivery. Gal throws everything Into her turn, including the shakes, the bumps and the splits, and ashieves the propor- tions of a minor panic when she boogs down the line for an exit, Second act Is that of Miller Brothers and Lois, outfitted nattily in white tails and toppers, with the gal wear- ing shorts instead of long pants. Threesome goes in for some tricky and at the same time dangerous hoofing, first using horizontal stair platform, with each step separated from the other by several inches, then a high, narrow platform that doesn't give 'em even a loot to go on. Bang out a set of lightning routines atop a platform on which one mis- step would mean a bad fall. Enorm- ously showy turn and over big. Cohen. to a sly flnlsb,' which Is ■ einch for a begoff. Here Is the answer to « booker's cry for something different in an aero turn. Miss Bowan, given the tough as- signment of winding up, comes through solidly. Impressions of Carmen Miranda, Gloria Swanson, a Cockney bathing beauty and the in- evitable one of Mrs. F.D.R. sell in rising climax. Biz okay. Burm. GOLDEN GATE, S. F. Son Francisco, Oct. 8. Elizabeth Tdlbot-Mortin, CoutiW's Brlcklai/ers. Fred Sanborn, Freddy- sons (7), Peffov O'Neill Line (12), Charles Kalev House Orch (13); 'tit- tle Foxes' (RKO.) It's like old-time vaude al the Gate this sesh, with the orch relegated to the pit due to the fact that Gautier's Bricklayers require a full stage. Opening are the circusy Freddy- sons, seven red-costumed tumblers with a flock of flips climaxing in a four-high buildup and a double back- spin into an elevated chair. Sus- lenseful and flashy, It's a solid opeii- ng turn, collecting hefty returns. Elizabeth Talbot-Martin, first seen here in 'Meet the People,' singles in the second spot with her takeoITs on Hepburn, Mrs. F. D. R., Garbo and Aimee Semple McPherson. Inclined to mug more than she did on her last trip, bufshe's still clicko, audi- ence calling her back even after next number had been introduced. Didn't take the earned encore, however. House line occupies trey,. working elevated stages. • I'red Sanborn follows with the xylophone clowning, which makes 'two woodpile pounders current lo- cally (PR>f. Iiamberti is at the Bal Tabarin).^ Both always find a warm welcome here,-and this Is no excep- tion, Sanborn having' everything his own way from bis first appearance. Had to beg off, offering no encore despite repeated call-backs. Gautier's Bricklayers close to one of the biggest ovations accorded an act here In some time. Curtains part on a miniature building under con structlon with costumed dogs toting bricks, carrying lumber, operating lifts, etc. NO human appears for several minutes while the audience sits popeyed. When Gautier finally walkis on, the joint explodes. In- credible and unbelievable is the manner In which the pooches, seem- ingly uncued, go through their roles. It isn't often that an animal act has Friscans gaping like yokels at a fair, but this one does. Show is exceptionally short run- ning less than 40 minutes, but has plenty of punch. Biz okay at supper HIPP, BALTO Baltimore, Oct. 11. Y«ette, Don Cumminfls, Equillo Btos. (2), 4 Samuels, Sibyl Bowan, Felice luln House Orch (13); 'In- dies in Retirement* (RKO). Current layout here proves tiow former Institutions of vaude may be reshaped to advantage. As presented here, Yvette, bill's headliner, is on in the deuce, while tlie Equillo Bros, an acrobatic turn, is on next-to-clos ing, while Sibyl Bowan, closes. Might make some of the oldtimers squirm but as caught here it works out to considerable advantage and entertainment effect. Utilizing Don Cummings as smart working e^cee, setup gets under way with potent hoofery of the Four Samuels. Mixed foursome wocks in sly comedy with four-Way hoofery and solos by two femmes to ring up a potent spot solidly closed with military tap good for a series bends. Make good tor vocals Yvette, who follows. Nice-looking femme from radio, sh.e delivers and- handles ultra smoothly vocals that include "Let' Get Away From It AH,' 'You and " 'Daddy' and, for a legit encore, 'Jim.' Good pipes and style of sell Ing, because of implications o French accent and background, add novelty and appeal. She's a natural for anywhere. Cummings contributes most of his act next. Flip gagging and -iresh style of clowning registers well be tween his roping, which carries con siderable weight on its own. Com: knows his way around and gives just the right touch to the combination here. Introduces the' Equillo Bros who follow with hand-to-hand stuff that Is decidedly different and ap< pealingly novel in presentation. On to a double vocal of a special lyric u i»<^»j ni^an. Bbout tbc pralrlcs, lads strip down Fastest part of the turn when caught for good tricks performed while was -the hotifing >{tn'ale. ' -' /Vrboa. •' singing or whistling. Time 'matterS show. Wem. TOWER, K. C. Kansas City. Oct. 11 Horace Heidt Orch. with Larry Cotton, Donna and Her Don J turns (4), Fred Lowery, Ronnie Kemper, Mimi CalMinne, Ollie O'Toole, Burton Pierce, Red Ferrineton, Frankie Carle, Jerry Bourne, Frank DcVol; PiftsburB Kid' (Rep). STRAND, BROOKLYN Louis Primo orch, Jock Pouiert Lynn, Royce and Vanya, Ginger Harl man, Roy Davit, Lily Ann Carroll Henry Ametta; 'Doctors Don't Telp (WB). Louis Prima haa notably improved In the last year or so, not only per> sonally as an m.c, but as a stage orchestra attraction. Currently head- ing the stageshow at the Strand, Brooklyn, he displays all his char, acteristic ebullience and vitality, plus an acquired poise and knack of han- dling-an audience. In addition, his baiid, which formerly almost split a spectator's eardrums with every tune, has toned down Its blaring somewhat and even makes a gesture toward sweetness on accompaniments for the individual acts. Prima is spotlighted constantly and maintains a barrage of shouts, gaes, gyrations and trumpet breaks. It's all rather contagious, from humor- ously exaggerated introductions to explosive song lyrics or slapstick antics. It's more than merely noisy; t's a skillful, painstakingly learned projection of personalitv—and it un- failingly sells the band. Opening with - a short version of Happy,' the orchestra follows with a hot arrangement of 'Sweet Georgia Brown,' built to a solid climax. Jack Powers vocals several numbers ac- eptably. He's a tall young fellow with a shock of unruly black hair and an unassuming manner that should click with femme audiences. Singing is f&ir, except for his voice transitions for high notes. Lynn, Royce and Vanya follow with a smash, comedy dance act. Two men and a girl open straight and score that -way, then gradually man- gle the routine with expertly timed and hilarious rough-house. It's a standard act and, as always, Irresist- ible comedy. Ginger Harmon (New Acts) Is on next for a good impres- sion. Prima'* loud accompaniment doesn't help. Following a novelty number, 'Tiki* Ti, Tlkl-Ta, by the band, Roy Davis does his familiar pantomime of songsT"^ while actual records of the numbers are played on a phonograph. His muggins to the singing of Jerry Co- lonna, Cyril Smith and Bonnie Baker is incongruous and funny. Lily Ann Carroll, vocalist with ttie band, is next with two numbers, end then joins Prima and members of the out- fit in a comedy arrangement of Daddy.' She's a voluptuous looker, not less so because of the sweater- and-skirt outfit she wears. Has a throbbing torch maimer of singing, with eood diction and. except for shrill high notes, a strong voice. Henry Armetta, 'partnered with his wife (unbilled), closed the show with tedious domestic-bickering sketch. Material is ancient and flabby, with- out originality or wit Their deliv- ery is commonplace and appearance shoddy. After their doubtful recep- tion by the rowdy Brooklyn audi- . ence. Armetta's thank-you speech is pathetic. Business was slim at the last show Friday night (10). Hobe. It's been many months since the Tower has had a name or an enter tainment aggregation such as Heidt and his 24 people, and over two years since this same crew previous- ly appeared here. Current show out- distances the previous effort of this outfit and the 65 minutes contain considerably more than the usual quota .of varied entertainment. Con sequently the raise in admission to a 50c, top (including tax) makes this show, combined with a feature film, probably more of a bargain to the entertainment seeker than the usual production here based on variety acts at 30c. top. The fat hour is a solid package of talent and fun as Heidt - has sur rounded himself with a retinue of surefire performers. Little time is lost as the band tees off with 'Hot Lips.' Donn%^ and her three Don Juans then contribute 'B-I-Bi' their inning and work frequently in the background throughout the show. As a variant to the many musical numbers. Burton -fierce, a home town products, terps a modern routine to his own composition, 'My Heart Runs After You,' and plays monkey - on-a-string while Heidt schools the audience in tap tech nlque. There's a novelty 'Mama the successor to 'Daddy,' by Red Ferrington before Ollie O'Toole gets in his sock work of vocal impres- sions travestizing figures-of the day. Larry Cotton Is on for his dreamy crooning of 'World on Fire,' and then works out on opera, with Miml Cabanne and several of the outfit contributing for an unexpectedly large audience hand. Frankie Carle at the praiio reeling off his own hit numbers and Ronnie Kemper vocal- ling the cuter pop songs have strong innings before Fred Lowery's stand ard whistling closes the roster Heidi's individual performers. Mood of the show is aboutfaced as Heidt goes in for some personal clowning and then gets into the Treasure Chest' routine with kids from the audience. These last minutes are no particular letdown but a decided change from the steady pace of the preceding fast minutes. It's.all in .adlibbed txm and takpn as such'by the patrons.' - • ''' ' Quin. ' OLYMPIA, MIAMI Miami. Oct. 10. Pinhy Tomlin. Bob Evans, Fayne A Foster, F.merald Sisters, Troy 4 Lynn. Charley Shay House Orch; 'Smiling Ghosf (WB). A strong lineup; but light on com- edy. Probably Just as well though, considering wh^t audiences here have had to put up with lately from the n. g. comics. Upper-ease billing Is split between Pinky Tomlin and Bob Evans, but It's Evans who really wraps up the works. He's a clever young ventrilo- guist with loads of talent. Almost impossible to distinguish any lip movement, even when close up. Works with a singing dummy tabbed Jerry O'Leary, and between the two they snare plenty of audible returns. Evans recently returned from Rio. where he worked with the Eddy Duchin unit at the Capocabana Casino. Althoush Tomlin hasn't been ex- actly creating any furor of late, hes still good b.o. bait down here. An ingratiating chap with a hokcy, homesDun personality, he's just a bit too difficent to really wow 'em. Gels plenty of response to 'Object of My Affections' and 'Love Bug.' but his suonorting material is weak. With more oomph to his delivery and a better choice of tunes he can still .be an act to be reckoned with. The team of Fayne and Foster Is an old-timer, but lately they have added a new pitch to their standard rim-ringing, chime-clanging act Their rigging now includes a lineup of tuned crybabies who carry a tune by shrieking when pressed on Uie noggin. It's good for a howl. The Emerald Sisters are two knockabout across. Gals take plenty of punishment tumbling off tables and chairs In a general frcc-for-ali. It's a spectacular turn and well re- ceived. ' Troy and Lynn are standard ec- centric terpers, lacking any r^J"^ bell-ringing returns. Chai-Ie.s SW> continues to do a fine job with nous< band. ... .a'' •Biz'ofi'upbebt' ' ".' Xest«e.