Variety (Mar 1942)

48 HOUSE REVIEWS Wednesdaj, Much 25, 1942 MUSIC HALL, N. Y. Leonidoff production of 'Music Album'; tettings, Bruno Alaine atid Sergei Soudeikine; costumes, WtUa Van and H. Rogge; lighting, Eugene Braun; Emo Hapee conducMnff; £o- tuina Eustis, Rockettes, Alma Lee, Muriel Gray, Nicholas Daks, Hilda Elfonte, Dim Daye, Leon Fokine, Himini Olmsted, Serge Ismailoff, Ceorgina Yeager, Adele Harper, Belle Kelman, Viola Lenn, Judy Sammons, Alma Wertley; 'Bedtime Story' reviewed in 'Voriety' Dec. 10, 1941, 'Morch of Time's 'Argentine Question'; Richard Leibert and Cass Parmenter at organ. After Freddy Martin, et al„ plugged Tsch?.tkowsky Into the Hit Parade, and a waggish Tin Pan Alleylte was inspired to indite 'Everybody's Malcing Money but Tschailtowsky,' Leon Leonidoff, im- prcsirio of Radio City Music Hall, decided it was time to honor the great Russian tunesmith dlong the fines previously devoted to Irving Berlin, Cole Porter, Rodgers and Hart and other contemporary tune- smiths. Thus, 'Music Album* this week dramatizes some of the im- mortal composer's best melodies, starting with a superb interpretation of the '1812 Overture,' following which Edwin Eustis sopranos 'None But the Lonely Heart' ps the entr'acte specialty. •The Nutcracker Suite' is subdi- vided into' four portions, each a breath-taking spec on decor and lighting, wherein the Rockettes par- ticipate in the ""Dance of the Mirli- tcns; Alma Lee, Muriel Gray and Nicholas Daks interpret the Chinese Dance; Hilda Elfonte, Ditta Daye and the Glee Cliib highlight the Arabian Chant; and the Russian por- tion has Leon Fokine, Riihini Jplm- sted. Serge Ismailoff, assisted by a femme terp sextet, doing the 'Tre- fak.' The lilting Waltz of the lowers- (which Walt Disney and Leopold Stokcwski plugged into the Hit Parade in their own way Via •Fantasia') is the finale. Biz good opening (Thurs.) night for 'Bedtime Story*; (Col), after •Woman of the Year' tenanted here for six weeks, parring the previous- run record. AbeU KEITH'S BOSTON Boston, March 20. Aluino Rev Orch (13) with King Sisters (4), SIceets Herfurt, Eddie Julian, John Fallchick, Jack PalTncr; Spencer & Forman, Lane Brothers ,(2); ■VaUey of the Sun' (RKO). First stage appearance .here of Alvino Rey's orch marks another in a long line of band shows this sea- son. Rey's offering is above average, and he, personally, impresses satis- factorily as a modest maestro and a nlmUe twanger of the electric guitar. King Sisters, sharing top billing with the band, dose the show with a liQi^up of tunes that got better re- sponse as they progressed. 'Jersey Bounce,' their closer, is a particular stunner. Open with 'I-A, follow jvith "Tls Autumn' and 'Arthur Murray.' Yvonne King encores with a show- stopper version of 'I Said No.' . Lane Brothers are standouts, dls' playing unique risley stuff and polishing off with, some' jump-rope tricks that seemed impossible until they figured 'em out. Spencer and Forman, youthful dance duo, get off to a good start in the deuce spot with precision taps, closing with a brief stop-time session and a flash jitter- bug- finale. Orchestra offers two novelties that lift it out of the nm-of-mill groove, One is a. comedy opera bit, with sev- eral boys burlesguiiig it/in song and costume. Best part of this one Is the introductory commentary by Danny Vanelli. The other nifty Is Eddie Julian's nifty solo on the skins. 'Whole presentation Is enhanced by sure showmanship all, the way. Skeets Herfurfs hot clarinet on •Idaho,' Jack Palmer's vocal of 'Heart, of Texas' and Rey's guitar solo of 'Star Dusf are specialties that help make band stand out. Good biz at opening show. Fox. ORIENTAL, CHI who is good with straight-forward personality and a neat singing style. Ruth Pet^ is the featured singer, a clean-cut sock from start to finish. She has a flashy delivery made to o{.der for any audience.- Two other standard acts make up the bill. There are the ubiquitous C^ahan Sisters, with good-looking wardrobe and cute appearance. They're pleasant enough in tap and other routines. It's 99% appearance of this act, fdr there is not too much on execution, but the appearance makes up for plenty. And here also is Walter 'Dare' Wahl with his burlesque hand-to-hand acrobatics' winding up with a couple of legiti- mate lifts. Biz fine at the last show Friday (20). Gold. APOLLO, N. Y. Les Hite Orch (IS)- «)ith Claudia McNeil, Jimmy Anderson; Eddie Rector, Red Se Curlew, Ralph Cooper, Dewey Brown, Vivian Harris, George Wiltshire, DaTicing Boys & Girb (6); 'Bombay Clipper' (U). Overlong show (95 minutes), but the type that 'sends' Harlem audi- ences. Les Hite's band, which re- cently completed a long stay at the. now-shuttered - Chatterbox road- house. Mountainside, N. J., effective- ly accompanies • the .doings and strikes out neatly ort its own. Com- ]}Osed of four sax,' three trumpets, ':hree trombones and four rhythm, Hite's outfit plays cleanly with good beat and nicely paces Itself between blarey and muted offerings. Hite's is one of the few colored bands that offer a bit of showmanly thought for stage shows. In addi- tion to its good work musically, it boasts soloists effective with this audience and several men with a flair for comedy. One of the best tunes it played here, employing all the above mentioned attributes, was a new original titled 'Swlngin' in a Blackout' • Claudia McNeil, has an ex- traordinarily deep vocal style which serves her in good stead with 'Beguine,' but hurts several origi- nals, lyrics of which aren't' clear. Jimmy Anderson's a tenor who went over fairly welT with a trio of pops, including a comedy version of 'Heart of Texas.' Both acts of Eddie Rector and Red and Curley went over solidly. Rec tor is a clever, agile tapster whose forte is buck and wing. Red-Curley also tap, but the ineat of their act 1 routine' built around a set of drums; both boys hammer away for comedy and rhythmic results. Ralph Cooper, assisted- by Dewey Brown, George Wiltshire and Vivian Harris, works effectively in corned/ skits. He pleased this audience mUhtily. Biz fair. Wood. Chicago, March 21. HenVy Busse Orch (15), with Lee Edwards; Rut(i Petty, Callalian Sis- ter* (Z),.'Walter 'Dare' Wahl & Co, (2); 'Frisco Lll' (U). , Renry Busse remains one of the standards of the music business, and today he Is selling as well as he has over a period of 20 years. The mere Introduction of his' 'Hot Lips' theme IS enough to bring the house up with a thnnder of welcoming applause. He's still one of the bright snowmen in the music business, one who has showmanship plus a knowledge of music. And "the Busse label is so weU established that it is a pretty good guarantee of business for any theatre, dance spot or nltery. Busse employs the right touch of cbmedy to make an audience relax. Ordiestra plays pop and standard 'iHittbers and turns out a good job at all times. Busse's . vocalist is Lee Edwards TOWER, K. C Kansas City, March 21. Lau>reTM:e Welfc Orch with Jonc Walton; Professor Cheer, The Stat- lers (2): 'Right to the Hearf (20th) Less than five years ago Lawrence Welk's orch was building a regional rep in the hinterlands of Nebraska, Iowa and the Dakotas, Since then successive steps have taken him to some of the better spots in the east to the radio and to a considerable following at Chi's Trianon ballroom. Now he's back near the area of his first rep, and presenting a more than creditable stage show in his first ap pearance in this town. The hour on the" Tower stage is filled f avora bly with only a pair of standard aqts'^ aiding the specialties of the band-and its members. Stand- ard acts, the Statler dancing duo and the pantomimic Professor C3ieer make their assignments add to the show. Statlers take two turns, first a rhumba and slow motion combo leading into a terpsichorean Cook's tour of the World, and near closing a limber ragdoll routine that is standout Cheer Is on midway -with his novelty musical and fad^ imi- tations, topping bis work by tapping his skidl with a pair of daves to resonate a tune. Welk concentrates- on m.c.lng (a task which bis European accent kept him from for years). He has a small session of demonstrating his by now trademarked 'Champagne Music,' reeling off a nifty 'Canadian Capers' and rhythmic 'Elmer's Tune' on his accordian. Best work of the orch is in the vocal department where Jane Walton and Bill Kaylor (trum pet man) oblige with first rate singing. Leader calls freely from his instru- mentation personnel of three rhythm induding piano, three trumpets (no trombones), three reeds, three fld- -dles and the special and second Diano work- of Tommy Sheridan. At Welk's call Leo Fortin shows a mel- low trumpet on ' 'Tls Autumn.' band- members clown up his recorded ver. sion of 'Back Home in Illinois, Everett Olson and Roy Cohen pro vide some fancy fiddling and Red Howe thumps torrid traps. AlthouRh not yet in the top rank of stage bands, this crew is &rstrate entertainment and more and better things will likely be heard from them right along. FUm was of little help at the b.o. ■ "' Quin, STANLEY, PITT Pittttwrgh, March 20.. Duke Ellington Orch (16),^ Ethel Waters, Peg-Leg Bates, Me Ander- son, Marie Bryant, Herb Jeffries. Reginald Bean;"'Night of Jan. Iff (Par), WB deluxer hasn't come up with stage show .entertainment like this in months. It's sock from curtain to curtain, and should generate plenty of word-of-mouth down the stretch to pick- up slack of unaccountably slow opening. Ellington's always been a fave here on his own and so has Ethel Waters, both here at four-bits and at Nixon at $3.30, and bringing them together on same bill was expected to prove a b.o. bomb- shell. That's what made the half house at getaway such a'puzzle, and with weather conditions perfect at that. However, once talk gets start- ed, together with fact that the film, 'Night of Jan. 16' (Par), is being hailed in the papers as«a sleeper, things should be much better. Show gets off with bang on Elling- ton's crack medley of some of his own tunes, 'Mood Indigo.' 'Solitude,' Go i Thing , ^ - , Caravan,' etc. Features maestra at the piano (he's standing up now at the keyboard, elevated on a stand) and Herb Jeffries and Ivie Anderson, both A-1 pipesters, on the vocals. Opening Is followed by orchs radio themer, Take the A Train.' Miss Anderson clicks with her solo spot on '1-A in the Army.' 'Give Me a Man Like That.' and 'Rock in My Bed.' and Junior Raglin's bassins on Ellington's 'Jack the Bear' and Ben Webster's tenor-saxlnR on Cotton Tail,' also by the Duke, aft succes- sive clicks. Rest of orch's part is from last season's Coast revue. Jump for Joy,' in which Ellington was fea- tured, and indudes wow 'Concerto for Clinker.c.' featurin.e Instrumental spcciaVKts; Jeffi-'Ses slpf?lrg 'Flarnirijo and 'Brown Skin Gal in Calico Gown'; Marie Bryant, a brownskin with oomph, and Ray Nance in 'Bh-; felio' and. for a flnsle, 1 Got It Bad. with Mi«s Anderson vocalizine; ap« Johnrv Hodges making magic witb the.5ax. ... L J La Waters really gives out and could have stuck- around all after- noon. With Reeinald Bean at,the niano. she s»»rt<! out with 'Dinah, then reaUv kills 'em with one o* her famed fimibie <>ntenrtTe numbers. Tor Doin' What Ynu Tlid Last Night' VpM wrv through 'Bread and Gravy she brin(?<! on a femme trio to back her uo. Thev stick for a swell splr- itnal. 'When My N?me Is Called, and sincer polishes off with three old faves". 'St LoMis Bhies.' 'Stormy Weather.' and 'Am I Blue.' She tells mob 'Blues' was first number, she ever did on a stase. at Lincoln the- atre. BaTtimore, 27 year.<! pgo. when she was hilled as Sweet Mama String- bean. The Waters voice tnay not be quite what It used to ba—but what a saleslady and show-woman! Next-to-closing is reserved for Peg- Leg Bates; the natural spot for him since nobodv could possibly follow him. He's always been a smash at Stanley, more so now than ever, al- though there seems to be " '"ndency on Bates' part to talk a ^ne too much these dfeys. However, when he bows off with that acrobatic stuff on the wooden peg, house comes Hown and stays that way. All the Di>ke rould do to get 'em to stick for his 'I Got It Bad' closer. They figured It was all over with Bates' exit. Cohen, instruments clicked. Also doeg cork- Ing Imitation of Fop«y«, Baruacla BUI and OUve O7I exchangliiir dialog. The gal iu also on for Mme bria comedy imtter and a cotiple of tunes when Rosj accompanies with trom- bone imitation. _ '. „ Nan Rae and Mrs. Waterfall (Maude Davis), also in the oomedy vein, do standard routine, former playing straight. Mrs. 'waterfaU dicks from beginoing as a simple- ton, with the attire enhancing the characterization. Material is f^r the most part familiar but sells on de- livery. .. , Wells and Fotar Fays, conventional acrobatic and hoofing combo includ- ing two boys and three girls, regis- tered moderately. Two of the girls are outstanding with tumbling and difficult twists while another im- presses mildly with double-jointed routine. Boys are on for usual aero stuff, Wells also essaying some com- edy. Biz good. Mori. OLYMPIA, MIAMI Miami, March 20. Mischa Aucr, Joyce Hunter, Lime Trio, Joan Brandon, Rod Rogers, Jack; Cole Dortcers, Horry Reser House Orch;, 'SulHDan's TraveW (.Par). Exceptionally well-balanced bill, with Mischa Auer and the Jack Cole dancers proving surefire attractions and a supporting lineup that pro- vides full quota of entertainment, While Auer's gags are not exactly firecrackers, .he refrains from dish- ing out any of the customary hoke, and-that's a relief. Surprise for locals is Auer's keyboard dexterity. Aside from accompanying his wife, Joyce Hunter, he tosses off a couple of nifty pianologs to eartingling re- turns. Miss Hunter is definitely an asset. She's a tall, statuesque bru- net with plenty of orb appeal and a voice to match. Do"' a fine job on 'Blues in the Night,' then counters with 'Cockles and Mussels.' Cole and his d -icers have estab- lished themselves as ace nltery at- tractions here, and Olympia is cash-; ing in on word-of-mouth buildup. Group defies conveption In that East Indian terpology as practiced by them/aoparently has no b.o. limita- tions. They scor. as solidly with an uninitiated audience as with one hep to the steps. Lime trio likewise rates bows. Gollywog characterization by senior m-^mber of troupe is almost unbe- lievable. - Makes his appearance doubled up in a box, and It Isnt until the bowoff that most of payees realize Umberlegged dummy is In the flesh. Joan Brandon and her'magic are standard, but still seem a hit. Rod Rogers bows 'em on satisfactorily, but as a eomic he's confusing and unamuslne. Harry Reser's house band comes through with socky overture and b::cks up show in solid fashion. Leslie. FLATBUSH, B'KLYN Bob Allen Orch (15), Billy Wells & 4 Foys (5), fVanfc Ross & Anita, Non Rae & Mrs. Waterfall, Barry Wood; Shorts and Newsreels. GOLDEN GATE, S. F. With exception of two turns which are a little overlone (Nan Rae & Mrs. Waterfall nlus Billy WeUs and Four Fays), it's' a well-balanced, family-time type of standard vaude entertainment at the Brandt strong- hold this week. Barry Wood is; of course, the mam draw and as socky on stage as via radio. He smacks over' 'Great Day' for an opener and ties in a nlug tor his Lucky Strike 'Hit Parade' oro- gram before colng.lnto 'Don't Want to Walk Withniit You' and 'Rose O'Day.' Uses 'Hiart of Texas' for strongest returns, with boys from band -walking up to front of stage wearing huge sombreros as back- erobp'd, and encores with 'Any Bonds Today.' Wood's clarinet bit, when unable to beg off, should be elim- inated in favor of another vocal. Bob AUen orch is a youthful, snappy, tuneful aggregation. Allen Is personable and warbles pleasantly though suffering by comparison on this lineup .owing to presence of Wood. Band composed of piano, bull fiddle, drums, guitar, five sax, three trumpet' and two trombone, is a lit- tle too brassy at times but functions smoothly for the most part. 'Lone- some and Sorry,' wltb vocal by Allen, is about best in the repertoire, though 'Remember Me' and novelty orchestration where band imitates orchs of Sammy Kaye. Glenn Miller, Horace Heidt Tommy Dorsey, Benny Goodman, eto., are also good. Comedy department is ably sus- tained Jccr.Fr^nk Ross 9od Anita. Ross' oral ■ imitation? 'o'f various musical San Francisco, March 18. Rufe Davis, Watson Sisters (2), Ford, Harris & Jones, Raymond Wil- bert. Lard Se Lyons, Hector, Amelia & Ramon, Peggy O'Neill Line (12), Charles Kaley House Band (13); 'Playmates' (RKOJ. - ■ Okay standard bill. House band's weekly solo taking .the opening spot this sesh. Boys swing out on the jive side, warming the atmosphere for the initial team. Lord and Lyons, balancing act. Boy? have injected okay novelty via the audience-plant route, one coming up to climb onto a bottle-balanced chair. Lads have okay personality, and mob, heavily sprinkled with soldiers and sailors at show caught went for 'em. Ford, Harris and Jones, sepia step- pers, deuce. Like most acts of this kind, tiiere's terrific commotion without much actually happening, although the. boys'.footwork is excel- lent and they really sell. Left cus tomers asking for more. Following are the .Watson Sisters, hefty team celebrating a quarter century in vaude. Some of their material has been in vaude as long as they have, but the gals have the polish which only vets can show. Their infectious wanta- man banter had the service hmeri. shouting 'more'! as they begged off. Also nostalgic is the hoop-and- patter stuff of Raymond Wilbert Act's finish, in which he makes a hoop climb a ladder of string, Is okay novelty.. Pace abruptly changes with arrival of Rufe Davis in the next-to-closing. Mimic goes through his standard vocal sound-effect routine, seen here before. Pretty corny but the mob went for it Some of his individual efforts are excellent, but edge is taken off by too much -mugghig and a jarring oft-repeated biz of fooling with his hair. House line makes its only appear- ance to bring on Hector, Amelia and Ramon., who first appear on a raised stage behind the band. Overall dressing and llehting make a swell finish, with'the Cuban team—dancers .and a skin-thumper—coming down front for their okay Latin hotcha. . Biz satisfactory at first evening show caught. Wem, STATE, N. Y. Henny Youngman, The Brick- layers, Ruth Clayton, Cabot & Dresden, Louis Prima Orch with Lily Ann CarroU, Ruby Zwerling House Orch; 'Johnny Eager* (M-G), Hybrid stage bill at the State cur- rentl7» -with Henny Youngihan and the Louis Prima band topping. Lat- ter fills the- second portion, and, with Youngman's. meandering comedy chatter talcing plenty of time, the show runs a bit overiong. It's a lit- Ue tiring. As always, Youngman has a rapid fife line of comedy, never bothering with an' elaborate buildup for snap- per line, but simply rattling off an endless succession of one-two feeders and gags. His style is rather special and his'following is somewhat lim- ited, so he rarely gets a big, solid laugh, but draws a string of isolated guffaws and chuckles. He always gives the impression of kilTing time and staying on too long. Opener is a' dog act The Brick- layers, a standard and invariably sock turn. Against a construction- job scaffolding set and with np one on stage, "the uncanny pooches climb up ladders, run in and out doors, carry prop bricks and toss them up- wards on a oatapult to their canine mates on .the scaffold. Meanwhile, other dogs do souse acts, puU wa- gons on and off stage, ride scooters, play dead and, in a spectacular finale, hop back and forth on swinging plat- forms. Man comes out and takes a bow at the close. Ruth Clayton, who drew comment at Florida nighterles earlier this win- ter, makes her Broadway bow in the second spot In apsearafice she re- sembles Jane Pickens, but when caught she was' unbecomingly cos- tumed. Frillv lavender .go-wn didn't' go - well - with her chestnut blonde locks. .'She has a pleasant fairly po- tent . voice of pood rsnfre, but her mpnner is a bit too cut<> for she lacks style and subtlety. However, she doesn't lack assurance. Did four not too well chc^n . numbers when caught. - M'.ss Clayton has possibil- ities, and with strenuous training mi experience has the stuff to become a genuine click.. Cabot and Dresden, terp pair, have 'appeared In New York niteries. but are billed as maWng their Broadway vaude bow here. They're passable; Make a nice appearance and display some neat lifts and turns, but don't offer much grace afoot. Do three routines, all similar in style. Prima and his orchestra are pre- senting pretty much the same stuff they've shown at other vaude spots' in Greater New York. Prima him- self continues to improve as m.c. and front with an ingratiating hot-zany brand of clowning and some sizzling trumnet work. Bar^d opens with its 'Be Happy' trademark number and highlights such tunes as 'Georgia Brown,' Tlckati-'Kckate,* 'Blues m the Night.' and a .vivid arrangement of the Tchaikowsky Prelude in C- Sharo Minor. Lily Ann Carroll,-yo-' calist with the crew, has agreeable low toaes, but is ear-splitting shrlU on the higher ones. HObe. STRAND, B'KLYN Red Norro Orch with Mildred floiley, Kay Allen & Fran Snyder; Jfmmy Durante with Eddie Jocfcson, 4 Fronfcs; 'Among the Living' (Por). Jimmy Durante came to Brooklyn, Friday (20), for a four-day hitch, and Brooklyn plled-lnto the Strand in great s^le for a gander jat the Schnozzola. And the folk ol Flat- bush, 'Greenpoint -et al,, loved him, pounded their palms off for more and proved again that a schnozzle and an accompanjring sense of humor can provide a career. It's almost Impossible to describe Durante's act. It's got nothing—yet it's got everything. A few mediocre gags, a turn at the piano, a bit of rou^house. It's as Intangible as an Axis promise. But he gets away with it all easily. The schnoz uses every other act on the bill, particularly Red Norvo and the men in hii! orch, as stooges for his gags. Each one is good for just a minor giggle, biit the /<;umulatlve effect is of a continuous tornado of laughter. Durante is also assisted in a bit by Eddie Jackson (Clayton, Jackson and Durante) in his- old strutting routine, Otherwise, the show bdongs to the Four Franks, a setup for the easily^ pleased Brooklyn audiences. Two boys and two gals, who refer to themselves as brothers and sisters and .have been doing virtually the same turn for 10 years, are almost a whole show in themselves. They tee off vrith a number on saxophone and trumpets, then quickly don fezze^ grab tambourines and beat it out seated on the floor while one of the femmes does a wild terp. They also offer a load of pretty snappy pre- cision tapping by the group. There * also a roughhouse.comedy acrobatic lovemaking session between one- of the couples on a sofa' which is plenty good for guffaws. Norvo's. comparatively new crew makes a good impression with a brand of music that seems on the jive side of sweet swing, yet isnt . (Continued on page 49)