Variety (Sep 1942)

Wednesday, September 23, 1942 HOUSE REVIEWS 43 PARAMOUNT, N. Y. Tony Poster Orch with Eugenie Baird, Andrews Sisters (3), Lathrop & Lee, Alan . Carney; 'Major and Minor' {Par), reviewed in 'Variety,* sept. 2. Wilh the click 'Major and Minor" feature on the screen, the Par is offering an entertaining stageshow headed by the Andrews Sisters and Tony Pastor's orchestra. The com- bination, plus the Government's films of the Battle of Midway, un- mistakably spell hefty grosses. There were waiting lines for seats early opening day. Pastor, besides playing an occa- sional sax and talking vocals, fronts B band comprising four trumpets, three trombones, four saxes, guitar, piano, drums and bass. Outfit stresses hot stuff, but offers several sweeter numbers. Arrangements aren't particulaly complex or im- pressive. One number, plainly sup- posed to be something special, has a long break for drummer Johnny Moore, but doesn't generate the ex- citement intended. Eugenie Baird is a passable band vocalist Andrews Sisters, back from a pic- ture-making Jaunt to Hollywood, re- veal plenty of professional skill and eolse. They were becomingly togged 1 identical long white gowns at show caught and handled themselves attractively on stage. Open with a boogie woogie rhythm number, fol- low with a slower novelty tune, then 'Pennsylvania Polka,' an ingenious 'Apple Blossom Time' arrangement and concluded with their sock 'Strip Polka.' Without overdoing it, their bits of comedy business during their (ongs add to the effect. Lathrop and Lee, formerly the Lathrop Brothers and Lee trio, are a • neat tap team. Open with a ball- room routine to .a Schubert com- position, after which the girl sheds her full-length skirt to do a click number in a full, knee-length skirt. •The man does a brief solo turn and they close with a nice tap strut. Alan Carney, a sad-puss comic with a droll delivery, does Impersonations, some of them of unusual subjects Buch as Mayor LaGuardia, a collec- tion of Union Square 'characters, etc. If he expands his original ma- terial sufficientlv to graduate from Impersonations, Carney has the stuff to become a name comic. Hobe. ORIENTAL, CHI Chicago, Sept. 18. Ann Corio. Georgie Tapps, 3 Win- ter Sisters, Stuart & Taylor, Dennis Sisters, Francis Willis, Ray Lang's Orch (13); 'Highways by Night' (HKO). This week's show at the Oriental bears a strong flavor of Minsky's, with Ann Corio doing virtually a complete burlesque routine—except for an actual strip. The fact is forc- ibly brought home that she's leaving out the best part of the act, the thing the customers really pay to see. It's apparently a question of censorship by the management. Bill is a varied one, featuring dancing, comedy and acrobatics. Frances Willis gets the show 'into gear with a nimble exhibition of twists, turns and somersaults. A competent performer. Pert and pretty, the three Dennis Sisters, blonde, redhead and brunet, harmonize on a series of popular tunes much in the manner of all harmony trios. The gals have some neat arrangements, are enthusiastic, gay, and get over. Georgie Tapps, who Just finished en engagement at the Mayfalr Room it the Blackstone, remains-a fine ballete-tap dancer, winning deserved applause for his routines. Miss Corio's act seems to have been Uirown together rather hastily. First half is rather out of sorts, consisting of amorous advances of comics Stu- art and Taylor. Second part, 'How to Disrobe Gracefully,' reveals the voluptuous Miss Corio In something resembling a strip act; that's more her speed and won applause. But It belongs in burlycue, not in a fam- ily theatre. The Winters Sisters are the usual click acrobatic dancers, getting con- siderable applause. Loop. OLYMPIA, MIAMI Miami, Sept. 19. Little Jackie Heller, Noll & Nolon, •»»« White, Cy Landry, Arthur & jiorton Havel, Harry Reser House Orch; 'Holidaj/ Inn' (Por). Olympia taps the chime again this week with a crackerjack stage lay- out, which, parlayed with breezy fcreen fare, Is productive of gratify- ing grosses. Little Jackie Heller is on from Jne Coast, having just completed Tlie Yanks Are Coming,' in which ne had both warbling and acting role. Capsule chorister is in his {jsual clicky form, and evidences keen judgment in choice of tunes, including one from his pic that registers okay for sound. A pair of personable steppers, Noll and Nolan, score strongly with ex- ceptionally colorful choregraphy. noutmes, which are executed with a great deal of finesse, are highly original, and very gay. These two are remindful of Gower and Jeanne, and ^hould definitely go places. A fine bet for class cafes. Olive White is a looker, with nice pipes and fine stage presence. Last time here she did corking job as emcee, but this outing confines her- self to warbling and instrumental workout. Gal has wealth of appeal, and it seems pity to detract from it by tooting a soprano sax. She can get away with the fiddling interlude okay, but might be better it she discarded the reed, and stepped up warbling output. Cy Landry is a fleet-footed comic, good for giggles. Little point, how- ever, in burdening himself with mono. He prattles better with his tootsies. Pseudo songwriting team of Ar- thur and Morton Havel are regular repeaters here, and in view of fre- quency with which they put in ap- pearance, it's surpj'ising how few get wise to their routine. Burley on ... and then I wrote' doesn't get a tumble till the tip off. Even at that several buzzed manager later to find out if they really wrote 'Swanee River.' Wickets still smoking. Leslie. HIPP, BALTO. Baltimore, Sept. 20. James Barton, Knight Sisters (2), Blue Barron Orch (12) luith Tint; Wolfe, Blue Notes (3), Clyde Burke, Billy Cover, Jimmy Brotim; 'The Bip Street' (HKO). Nicely combined layout enlists James Barton and the Knight Sisters to round out contribution of Blue Barron's orch. Barron's orch has more on the entertainment ball than the usual name combos making this spot. He builds his numbers in ris- ing climax and enlists same highly striking scenic and production effects besides pacing matters very nicely as a straightforward emcee. Opening band number is a patri- otic medley followed by 'Idaho,' with Dick Brown handling the vocal. 'Be Careful, It's My Heart' is next, with Billy Cover, leading the glee club to good effect, after which an encore of 'Donkey Serenade' registers well and makes a good spot for the Knight Sisters. Brace of nic^looking fem- mes punch out some socko hand-to- hand and adagio, nicely cued to music and a decided novelty. Rang bell here lustily. Jimmy Brown of Barron's crew takes hold of 'Silver Wings' and 'Kalamazoo,' after which Tiny Wolfe wows with a parody on 'Beautiful Baby,' followed by his scatting and some rather lively stepping for an oversized lad. Makes pace chang- ing interlude and leads into Clyde Burke vocaling 'My Devotion,' 'Sleepy Lagoon' and 'Always in My Heart' Barton next and solid to the hilt. A veteran all-around performer of unusual versatility, he opens with a vocal of 'You Made Me Love You,' followed by some swifi hoofery and his now-famous drunk act earning an encore of some contrasted danc- ing from waltz to jitterbug. Drew a series of insistent bends and a beg- off- ^ u Finale by Barron is a very flashy workout of 'Any Bonds Today,' smartly pointed with stage and light- ing effects and employing special lyrics for a real click and some highly audible curtains. Biz okay. flurm. TOWER, K. C. Kansas City, Sept. 18. Blackstone, House Orch uiith Don Tiff & Mike Carle; 'Man of Texas' (U). Back in Kaycee after a long ab- sence, Blackstone, 30 years a magician, presents an hour of slick entertainment and the customers are gaping at his smooth routines. A 50c top prevails again this week, and the tricks are worth it. A production effect, "The En- chanted Garden,' is the first offering by Blackstone, and he virtually nils the stage with flowers which he plucks from drapes as six pretties assist. Alter transforming one bouquet into a Red Cross flag, and another into a bowl of goldflsn, the magician creates a fountain center- stage. In addition to various other pro- duction effects employing the entire cast, with such titl«s as 'Chinese Fantasy,' 'Girl from Mars,' 'Soldier's Dream,' 'Sylvia,' 'The Lady With the Lamp,' 'Girls from Nowhere' and 'Jack-in-the-Box,' Blackstone uses several of the sure-fire tricks of other years, such as the vanishing bird-cage and the Hindu rope illusion. , , , , The Immaculate wardrobe of the conjurer and the entire cast is re-i fleeted in the flne condition of all drapes and props, something which cannot always be said about magic acts in vaude. All of the girls in the Blackstone company are look- ers, and not a few whistles were heard as they made their entrances. Biz strong openini; day and night, with three-day national American Legion convention expected to hypo the gross over the weekend. Earl. ADAMS, NEWARK Newark, Sept. 17. Vaughn Monroe Orch (14) with Marilyn Duke, Ziggy Talent, Lee Sisters (4), Johnny Barnes, Paul WiTichell; 'Parachute Nurse' (Col). Predicated on Vaughn Monroe's personal at the Adams last season, when he set a new b.o. high for the theatre, it was certain that the maestro would be rebooked this year. Monroe's current crew, embellished with some additional talent, is prov- ing as dulcet as musically hep and zingy as its predecessor. Add to this the fact that the band drew rave no- tices from the local gazettes and that long queues lined up in front of the boxoffice since the first show Thurs- day morning (17). Monroe's outfit, made up of six brass, four reeds and four rhythm, gets under way with 'Idaho,' then 'Hip Hip Hooray,' vvhich it's re- corded, and 'Darkdown Strutters Ball.' Last number gives plenty of play to the sax, trumpet and rhythm sections, Monroe coming in also for plenty of hot licks on the trumpet. Marilyn Duke, band's chanteuse, is one of the better warblers in the business and, in addition, is plenty easy on the eyes. Her canarying of 'Blue Skies' and 'Silver Wings' had the hepcat audience yelling for more. Outstanding addition to Monroe's crew since he last played here are the Lee Sisters, four lookers who know how to blend song and per- sonality. Girls sing 'Stardust' and 'Kalamazoo' to terrific response. Zlggy Talent, outfit's standard zany, gives out with his usual versions of 'Arthur Murray Taught Me Danc- ing,' 'Sam, You Made the Pants too Long,' and 'Like to be a G-Man.' As usual, he's a prime audience rouser. First of the separate acts is Johnny Barnes, whose hoofology is adequate enough but not any too strong on style. Does a Bill Robinson imper- sonation that doesn't impress as be- ing any too close. Dancer's best' asset appears to be a warm stage personality. Following the legmania, orchestra takes over again with 'Harvard Square' and then Monroe baritones Tangerine,' 'My Devotion,' tTtiis Is Worth Fighting For' and 'Stout Hearted Men.' All four numbers were strictly clicko with the jive gang, moppets giving out with plenty of palm- pounding for more of the same. Paul Winchell, on last, has an ace ventro turn and an alter ego that runs a close second' to Charlie McCarthy from a standpoint of ap- pearance and approach. Dummy wowed the audience at this catching and his ogling of the femmes in the audience had them roaring. Winchell also throws in a couple of sock impersonations of Charles Boyer and Lionel Barrymore. Jona. ORPHEUM, L. A. Los Angeles, Sept. 18. George Olsen's Band with Sher- man Hayes, Dick Buckley, Rochelle & Beebe, Chick & Lee; 'Not a Ladies Man' and 'Tombstone.' Sandwiched between its hot band attractions of late, with more a-com- ing, Orpheum slipped in George Olsen band aVid trio of comedy acts that pancake. House has been get- ting so much jive and other forms of heftier performers and musicians of late that decision is an unhappy one. Musically, show is almost entirely on the serious side (and that isn't healthy here), and on the performer angle it's all comedy, and much of that it is only alleged. Lightweight films, 'Not A Ladies' Man' and 'Tombstone' (2d run), are no help, and so the b.o. Is taking it on the chin. Olsen's music is very much of the semi-classic side, featuring such things as 'Bolero.' It's heavy on fiddles and musical fandangoes that cut no ice with the established trade. Medleys of the oldies are okay for some folks but here It's just melody meddling of another day, the sugar- coated favorites bouncing off au- diences except when Sherman Hayes, l>and singer, tries a pop. Dick Buckley, opening single, works with audience, getting mixed male group (emphasis on the mili- tary) to come on stage and do pan- tomine fronting for his Negro voice takeoffs. He's a little too fresh and n.5.g. but rapld-flre enough to get a few laughs. Oldie of fast hat-ex- changing between himself and one of stooges is also funny only because there is nothing funnier before or after. Rochelle and Beebe, eccentric ballroomists, follow with series of burlesked terp routines that garner meagre chuckles from the girl's an- tics. Get off a few difficult twists but not sufficiently strong to be more than time-passing amusement. Band works in production number surrounding poem, 'Casey at the Bat' and gets about as far with that as Casey. 'My Buddy' gets same treat- ment musically, with gobs of Inter- rlated military airs and World War tunes to Indicate inspiration of tunes' origin. 'Jingle Jangle' gets a going-over, with four boys of band doing hand • dancing wrapped in miniature cowboy regalia. None of it is done too well and all of it is old hat Chick and Lee close show with only suggestion ot sock. Youthful boys get over with their fast patter and equally fast travestied imper- sonations and musicking. Audience was more in mood for their kind of clowning but they came too late. CHICAGO, CHI Chicago, Sept. 18. Tommy Tucker Orch (16) with Amy Arnell, Don Brown, Kerwtn Sommervtlle; and Ghezzts (2), Cath- erine Harris, Billy De Wolfe; 'Or- chestra Wives (20th). Another in the series of major or- chestras booked here. Tommy Tuck- er, just ending his run at the Ei lire Room of the Palmer House, has a fine commercial musical aggregation and does a colorful job of enter- taining. Band is youthful and spirited. Don Brown sings pops in a pleasing bari- tone, putting the audience in a proper frame for the show to follow. Possessed of steel toes, or seemingly so, Catherine Harris does a rapid- fire tap all over the stage, up and down steps, never getting off her toes. She also roes a swingaroo jit- terbug routine in this same style, her toe-taps being clear, clean-cut and forceful. An excellent per- former. Tucker's boys jam 'Idaho' to de- light the hepcata. Follow with com- edy number, 'Strip Polka,' amusingly sung by Kerwin Sommerville. Ghezzis. veterans of vaudeville, do remarkably fine balancing and hand- to-hand stuff. The Ghezzis have an amusing Jitterbug routine also, per- forming it on their hands. Amy Arnell is a standby of the Tucker ensemble. Best of her num- bers is the novelty, 'Papa's in Bed With His Britches On'; it drew much laughter. Best in this show, however. Is Billy De Wolfe, impressionist. A natural among performers, his every gesture Is genuinely funny. De Wolfe imitates many characters, a cheap nite-club m.c, a haughty show girl, a European dance team, Franken- stein, Lon Chaney, all of them hilari- ous characterizations. Tucker closes with an Indian war chant with Miss Arnell, Brown and Sommerville on the vocals. Loop. Ambassador, St. Louis St. Louis, Sept. 18. King Sisters (4), King & Arlina, Lane Brothers, 'SkeeW Herfurt, Bill Schatlen, Buddy Cole, Alvino Rey's Orch (16); 'Through Different Eyes' (20th). Once again Fanchon & Marco is taking a whirl at stage shows, this time at its downtown deluxer, the 3,000-seater Ambassador. Stage shows have been presented with varying b.o. success at the St. Louis and Fox, both in midtown, during the past few years, but no sustained program has been followed. Pre- vious surveys showed that natives would be satisfied with one screen opus and a stag4 show, but when the live talent has been presented the customers have not turned out in sufficient numbers to justify con- tinuing the menu. Currently, Alvino Rey, the King Sisters and othess are dishing out a nifty 60-minute show with an upped admish scale prevailing. At session caught an SRO mob was on hand. Even before the curtains parted to reveal the tooters on the apron the customers began heavy palm-pounding, and this continued throughout the show. The tooters, decked out In yellow coaU and blue trousers, with Rey In white flannels, feature the latter in some fancy didoes on the electric guitar. Maestro also emcees. King It Arlina are tapsters, and the gal. In addition to displaying swell gams, also shows a number of steps. After their exit Rey takes up the vibraharp to render 'My Buddy,' and the chair warmers ate it up. Bill Schallen, also of the band, war- bles 'A Pretty Girl Is Like a Melody,' with Rey handling the vibe again for some novel effects. The custom- ers wouldn't let Schallen go until he had accommodated with 'Stage Door Canteen,' and 'This Is Worth Fight- ing For.' A personable youngster, he has good pipes and knows how to use 'em. Next are the Lane Brothers, acros, who score solidly. One of their best routines Is when one, lying on his back atop the other, skips rope. Schallen returns for a double talk monolog that's a click. Then three of the tooters and Rey present a burlesk on grand opera warbling. It's zaney stuff but the mob howled for more. The King Sisters are reserved for the last slot and in quick succession they warble 'Kalamazoo,' 'My Devo- tion,' and 'Jersey Bounce,' with Rey again manipulating the electric guitar and vibe. Their encore is a novelty, 'Let's Keep Smiling,' but still the customers howled for more. The blonde in the green gown obliges with another novelty number 'Yvonne Said No,' and the session is wound up with the gals, the tooters and Rey, again on the vibe,'dishing out "The Army Alrcorps." Sahu. STANLEY, PITT Pittsburgh, Sept. 18. Max Adkins Orch (16), ZaStt Pitts with Jay Brennan, Bonnie Baker, Cardini, DuVal, Merle & Lee, Fredysons (7); 'Across the Pacifier (WB). Acts themselves on WB deluxer's second straight vaude bill aren't bad, but show in general rates only fair. Although there were two or three standout clicks individually, whole thing seems to be overcome by list- lessness. Max Adkins' house band is again on the stage, getting a couple of licks ot its own, but for the most part concentrating on playing for the turns, which it does very satisfac- torily. It's likely that by this time ZaSu Pitta has oeen switched from the closing spot, which she had at get- away performance, for her sketeh dies and brings the curtains in on a flat note. Last week it was Jackie Cooper, this week Miss Pitta with a skit that isn't worth a thimbleful of her talents. With Jay Brennan, of old vaude team-of Savoy and Bren- nan, feeding her, screen comedienne is dressed Tn a woman's army uni- form, and their crossfire is a pattern of weak, stale gags that ring the bell spasmodically, if at all. Act she did last time around here a couple ot years ago wasn't too good, but it was still head and shoulders above her present one. Outatanding, and both socks, are Bonnie Baker and Cardini, the magic man. Little Baker gal has developed her 'Oh, Johnny,' style neatly and with a shrewd sense of showmanship, picking numbers Uiat fit her manner and personality, with the result that she's solid all the way. Geta started with 'Whaddya Think I Am,' follows with 'He's My Guy,' then 'I Met Him on Monday,' 'My Resistance Is Low* and, finally, of course, 'Johnny.' Orrin Tucker's former vocalist filled the second slot and rest of them, with possible exception ot Cardini, had a tough time fbllowing her. He's one of the best ot the sleight-of-hand artists In the business and works his tricks to get comic effects. His card stuff with gloved hands is aces, and his chaln-cigaret finale remains tops. Has a cute temme assistant who's dressed in a bellboy's uniform. Show opens with Fredysons, seven men, in a neat teeterboard exhibi- tion, climaxed by the catapulting of one of them to the shoulders of a three-man high perch. It's a showy stunt and sends them off to plenty of palm-pounding. DuVal, Merle and Lee have a satisfactory comedy aga- dio act, but the only truoble is that there have been too many acta ot the same kind on this stage ot late. Lynn, Royce and Vanya were here just a few weeks ago, - and other similar turns have been coming around here at the rate of one every couple of months. Iliat's bad for all of them and reduces the fun and the effec- tiveness each time. Midway in the show, Adkins shoota his men through a nifty arrangement ot 'Idaho,' taking over a solo spot for himself on the clarinet and in the groove, too, but otherwise house band is merely background and little more. Biz n.s.h. This is still a house where they go almost exclusively for name bands; vaude as such doesn't mean much to the Stanley crowd. Cohen. FOX, B'KLYN Lucky Millinder's Orch (IS) with Sister Rosetta Tharpe; Inktpott (4), Peg Leg Bates, Morgan & Rogers, •Sweater GirV (Par). This is the second In a sporadic series of stage shows the Fox is us- ing in conjunction with films. While this bill hasn't the name draw ot the initial attempt (Glenn Miller), it's easily as entertaining. Lucl^ Mil- linder's solid band, the Inkspota, Pegleg Bates, Sister Tharpe, and Morgan and Rogers, comedians, rack up a smooth-running, fast session that covers a lot ot ground in slightly more than an hour. One of the reasons why downtown Brooklyn In the past couple years hadn't had much stage fare, with the exception of the split-week and full week attempta at the nearby Strand, is because bookers figure the section is too close to Broadway (30 minutes and a nickel by subway). Yet the reaction by Fox audiences to Miller, and now the Inkspota, plus accompanying acta, indicate the ma- jority ot the audience was seeing these names tor the first time. They raised the root tor Miller and, when caught current all-Negro show brought down the housti with every turn. Millinder . geta them from th« opening gun. His distinctive style of leadership, which finds him all over the stage, bouncing from plat- form to piano to elevated drums. Is unusual even to audiences used to name bands—so his effect on this mob was terrific. He puti a barrel- full ot energy into nls direction. The orch, composed of three trumpeta, two trombones, five sax and four rhythm. Is solid, boasting some extraordinary musicians. Tab Smith, widely known alto saxist. Is one; he solos 'Sunnyside of the Street' fine from a technical view- (Continued on page 48)