Variety (Nov 1942)

22 HOUSE REVIEWS Wednesday, November 25, 1942 LOEWS STATE, N. Y. Ciil/y Rirliards, Jofiiiiii; Doiuns, Yt-elte, AHene Harris, Ben Beri, The H'/iir/u-iii((s (3). IVhilcy's Dnnc- Inp Maniacs (8), Ruby Zwerling's House Orcli; 'Wake /sinnd' (.Par). That the best of intentions, in- cluding p.-tlriolism, can go astray vas loo well illustTnted here opening night iThursday), when a couple of polilicinns wci'« permitted to con- duct a bond rally from the theatre's Btagc. It's not likely tliat Loew's will permit a recurrence in any of its theatres, but for the guidance of other showmen it's too bad a ver- batim record wasn't made of the re- sults of the tieup with the Marine Corps League. Latter is a well-in- tentioned outfit, and there can be no criticism of the World War I ma- rines and mothers of marines who formed a color guard on the stage, but the conduct of the War Bond sale by a district leader, plus a speech by a newly elected state sen- ator, was stupid and damaging to show biz. War Bond pitches should have the same stimulating purpose of a pre- game college football rally. This was not achieved here; in fact, the direct opposite. From the very start, the district leader tossed a pall of gloom over the audience which even a topflight comedian would have found difficult to dispel. He started off by talking about the Marines in the Solomon Islands and then em- Jihasized that they were being 'kille^ n action, mind you, while you nt here enjoying a show.' Half the audience wanted to run home, while the other half probably wanted to cry. Then an Episcopal minister read a long prayer for the armed forces —especiolly for the Marines. As if that sombre note wasn't enough, the district leader followed by asking the patrons to bow their heads for a half-minute of prayer. Still no bond sales, but instead the introduc- tion of Senator Brennan, whose speech, bombastic and ungrammati- cal, left the impression that Brennan didn't know the election was over. Brennan heaped praise on the four mothers on the stage who boasted sons in the service with the marines, then turned the podium back to the district leader, who asked the audi- ence to make bids in bonds for cer- tain dead admirals, or soldiers, sail- ors or marines in the service. All in all the War Bond pitch took about a half-hour. That around $20,000 in bonds was sold attests to the fact that nothing can severly dampen American patriotism. The tieup. incidentally, was prompted by 'Wake Island' (Par), which is cur- rent on the State's screen and is a terrific selling point for bonds! Hence, why the politicians? The seven-act vaude bill followed the bond sale opening night and it's no wonder that the layout never really got going. All the talent is good and virtually standard, nicely paced by m.c. Cully Richards, who himself does a funny turn with his capable chowder-faced stooge. Rich- ards at times is more the nitery than theatre m.c, and this has its nega- tive effect on the layout as a whole but when Richards is in his best variety house stride, which is often, he's excellent. Yvette, the charming little blonde from Louisiana, is a nifty little smger, especially on the ballads: Johnny Downs, from pictures, has a bright personality and a passable song 'n' dance routine—also a quick 3-A alibi in that large handkerchief bearing a picture of his baby; Ar- lene Harris, the radio chatterbox spends a few minutes warming up and then scores in her closing mom- ents for several laughs; Ben Beri's Juggling and The Whirlwinds' skat- ing are two click novelties, while Whitey s pancing Maniacs, a mixed ^ BfzTirre^g.r STAR, BROOKLYN Manny King Milton Frome. Bemie ci • I ' Stewart, LuciUe Wrov, T^IT^ Voider, Slim Thombs, Showgirls (6), Line (8), ^°^s^^*^rted a new comic this' week. The name, Manny King, is familiar but the appearance and de- livery are different due to a recent lob of plastic surgery which forced him to develop a new style of come- dy. New routine, still in the fum- bling stage will probably please Meat and Potetoes' audiences such as those that attend these shows, since it gives them a chance to in- dulge in some mild iieckling. Balance of the show is still a tribute to the skill of Red McGum, who does the staging. His show- girls are a reasonably accurate fac- simile of the big time version and his ponies manage to get around with a minimum of mistakes. Costuming also okay. It's routine stuff in the deluxe houses but worth mentioning In this house where, in past seasons, the production numbers were strictly a romp-through between strippers. Show has six specialties'this week. King is on with his fiddle for good laughs by mugging while bowing a couple of classicals. Milton Frome, the six-foot straightman, continues to score with his baritone. Does one song, had to encore and finally beg off with the audience yelling for more. Slim Thombs continues to provide a deft brand of tapping. Smartly garbed, he works easily. For a flash finish he taps while seated. The gal specialists are not too good. Lenora Valdez, out of the chorus for the second week, con- tinues to offer a mild brand of psuedo-classical tcrping. On a par is Lucille Wray. Louise Stewart, the gal name, mildly chirps 'Give Us a Little Kiss.' Show runs 60 minutes. Biz fair. Fran. CIRCLE, INDPLS. Indianapolis, Nov. 21. Imi Ray Hutton Band (15). With Stuart Foster; Bonnie Baker, Rodger Eleck, Doris Dupont, Borrah Mine- uilcli's Harmonica Rascals (10); Girl Trouble' (20tli). Ina Ray Hutton brings the town its first show in a month, a snappy line of musical nifties backed by stronger- than-average supporting acts. The band draw is definitely helped by the presence of Bonnie Baker and Borrah Minevitch's Harmonica Ras- cals on the bill. Blonde maestro does a swell job as glamour front for a first-rate outfit, cavorting grace- fully with the baton and selling 'Knock Me a Kiss,' 'Angry' and other hit tunes in torrid style when she vocals. The all-male band has a top-notch singing gent in Stuart Foster, who puts a lot of romantic pressure be- hind 'My Devotion' and "White Christmas,' and blends his voice neatly with the leader's higher reg- ister in a duet on 'Angry.' Miss Hut- ton also features a hot trumpeter, Rodger Eleck, who gives. 'And the Angels Sing' a fast ride. The band's big number is a special arrangement of the old standard, 'Dark Eyes.' which comes to a rhythmic climax with Miss Hutton and the lads beat- ing out time on jungle drums which spell her name in radium letters on a black stage. It's a good stunt. The show opens with the band going to town on "Found a New Baby' and closes with a solid version of "Bugle Blues.' Bonnie Baker, still singing with the shy, insinuating voice, combines new tunes with the old favorites that made her reputation with the Orrin Tucker band. Does a generous pro- gram, six numbers in all. She starts with 'I Get the Neck of the Chicken,' 'He's My Guy' and 'I Met Him on Monday,' keeping the audience in suspence for what it wants, 'Oh, Johnny.' which she gives last, after 'Billy' and "My Resistance Is Low.' She got a warm reception. The Harmonica Rascals give the bill its comedy punch in a line of fun built on the rough-house antics of the little guy who wants to fight everybody. The hoke is augmented with some burluesque magic staged by three of the ragamuffins while a fourth is trying to sing 'Pagliacci.' They dump the shrimp into a barrel, cover him up. then plunge a knife into what looks like the shape of his head. It's an entertaining madhouse. On the musical side, the boys do "White Christmas,' Always in My Heart' and 'American Patrol' for a rousing sendofT. Doris Dupont, the first performer to play the town twice this season, pleases with some clean, crisp taps in two clever routines, one slow and one fast. The girl has style. Biz fair when caught. Corb. ORIENTAL, CHI Chicago, Now. 21. ^<a!flgl» t^g".T-•;('?. O'rh (16). with i«a?*T^.L'v, '■fec.nuts notwta; Jimmy Jackson, Mitzi Green, Car- roll & Dietrich, Frank & Jean ■^iubettr-'lLaueb, .Y.nair^. BliKS~ Aiwv\ (Col). Charlie Bamet and his brass-domi nated aggregation are blasting their tunes here, and while the arrange ments aren't kind to the ears of the older patrons the younger element is applauding vociferously. Featured in the band are Nita Bradley, girl vocalist, who makes a good impression; Jimmy Jackson rotund bass player; Peanuts Holland, hot trumpet and scat singer, and several sax solos by Barnet him self. Presentation of the outfit is aC' centuated by special lighting effects that deserve commendation. Vaudeville part of the show Is represented by Carroll and Dietrich with their radium-lighted puppets, which include a pair of conga dancers, a blackface dancer, a skele- ton and an ice skater. Team manip- ulates its puppets with skill and artistry, a pleasing novelty. Frank and Jean Hubert, as two drunks in full-dress attire, still okay with their routine. Mitzi Green opens with 'What Do They Think I Am—A Baby?' which calls attention to her child star days, follows it with 'Let Me Talk to Private Jones' and closes with 'Beat Me Daddy' as Katharine Hep- burn and Greta Garbo might do it, giving her a chance for her noted impressions. Loop. APOLLO, N. Y. Ella Fitzgerald & 4 Keys, Savoy Sultans Orch (9). Willie (Pee-Wee) Clayton. Sarah Vaughn, 4 Sandors, John Mason, Bobby & Foster John- son; 'Yank in Libya' (Indie). There isn't much talent in this over-long show, with the exception of Ella Fitzgerald and her Four Keys. However, the lineup of acts, which would rate poorly in any other set- ting, seems okay enough for the pur- poses of this house. Audience seemed to be satisfied. However, the house did not do right by Miss Fitz- gerald in surrounding her with a show that leaves everything to her talent to get it over. Much of the bad impression of the show as a whole stems from the work of the Savoy Sultans band, a three-trumpet. three-sax, three- rhythm combination that doesn't rate an Apollo showing. Its work is ragged, its arrangements out- moded and it looks and plays like a pickup band. However, securing name colored bands is getting to be as difficult as buying recognized white bands. The lacklustre working of the en- tire show seems to be reflected in the efforts of Miss Fitzgerald and her recently organized accompaniment. This is a strong act, but at this show- ing its work was unexciting. It was not helped by the ineptness of the Sultans and a new mem- ber of the act (guitarist) was ill. At any rate, 'Hip Hip Hooray' was a weak opening quickly covered, however, by a fine arrange- ment of 'White Christmas,' with vocal accomp by the Keys. Then came 'Kalamazoo.' which showed some of the turn's usual spark, and an encore of 'AH I Need Is You,' which was a click recording for the group. Miss Fitzgerald's fine voice is backed by piano, bass and guitar. She has lost weight and has con- siderably improved her wardrobe. Audience response was solid. WUlie* (Pee-Wee) Clayton is a Negro midget in a zoot suit. He sings and dances, and gets by favor- ably. Sarah Vaughn, Apollo ama- teur night winner, exhibits a neat, but inexperienced voice on 'Serenade in Blue' and 'Body and Soul.' Her voice is true and, with training, it may get somewhere. Four Sandors, acrobats, are only white act on bill. It's a short turn that runs easily through a group of standard tricks in outmoded cost umes. Bobby and Foster Johnson are tapsters with a lot of ability and unexciting routines. Their work, of course, is harmed by the Sultan ac- companiment. John Mason, house comedian, and a brace of unbilled straights, male and female, click solidly with a sketch built around conscription. Biz good. Wood. EARLE, PHILLY Philadelphia, Not;. 21. Duke Ellington Orch (15) , with Lillian Fitzgerold, Jimmy Britton, Jigsaw Jackson, Beitv Roche, Pat- terson & Jackson. Johnny Hodges; •Omaha Trail' (M-G). Duke Ellington and his troupe of jivesters carry the entire entertain- ment burden on their shoulders this sesh, getting scant assistance from the film tntry. And the Duke's minions and the surrounding acts more than fill the bill in giving the customers their money's worth. Ellington directs his boys while tickling the keys of an upright from a standing position. They tee off with their theme song, 'A-Train,' then slide into n couple of solid on his sax. Because the band was doing six shows Saturday, Ellington had to forego his usual piano solo. House was jampacked when show was reviewed (Saturday supper). Shal. AMBASSADOR, ST. L. St. Louis, Nov. 20. Will Osborne Orch (14) with An- drews Sisters, Marianne, Wesson Bros,, Jerry & Turk,- 'Moonlight in Havana' (If). Fanchon & Marco's on-again, off- again show policy for its deluxcrs here is on again currently at the downtown Ambassador, with the An- drews Sisters being the big draw in this burg. The early birds were lined up for half a block before the house was lighted on opening day and they kept this 3,000-seater jammed. Will Osborn lads, last seen at the Fox three years ago, begin the fes- tivities with their interpretation of 'Mumble Jumble.' a clarinetist and one of the sax players coming down front for a solo. The footers imme- diately follow with "White Christ- mas.' Then 'You Made Me Love You.' Osborne m.c.s. and the first of the supporting acts Is Jerry and Turk, a boy and gal doing eccentric dances. The gal has shapely gams and injects plenty of zaney stuff in the routine. For good measure Osborne enters into the spirit of things and serves as the marksman for a phoney trick- shooting contest. Marianne, a tall willowy blonde, in the next slot, is a songbird, but her first number, 'He's My Guy,' is done so languidly that the customers, who had given the previous efforts swell hands, were scarcely moved. The gal did a bit better with 'Cow Cow Boogie.* Then the band, all on the apron, burlesk other bands and climax this with the drummer. Dick Shanahan, doing a wow solo on the hides. The Wesson Bros., mimics, in the next slot, pull a lot of crackpot stuff that scored with the chairwarmers. Their President and Mrs. Roosevelt warbling the 'Pepsi-Cola' ditty copped plenty of palm-pounding. The Andrews Sisters are reserved for the windup, and just the men- tion of their name by Osborne was enough to set the mob off. Their first offering, 'Here Comes the Navy,' was followed by 'Mr. 5 by 5' nnd 'Pennsylvania Polka.' The mob de- manded encores and got 'em, the first being 'Strip Polka.' then 'Praise the Lord.'^ Sahti. TOWER, K. C. Kansas City, Nov. 20. Maxine, Ted Claire, The Smileys (2), Stevens Brothers (4), Victor Diok, Tower Orch with Don Tiff, Mike Carle It Marilyn Bollinger; 'Old Homestead' (Rep) and 'Hi, Neighbor* (Rep). Now doing a single in vaude after six years with Phil Spitalny, Maxine, contralto, is headlining the stage show this week at the "rower. Run- ning 45 minutes and including the most varied entertainment seen and heard at the house hi many months, the vaude and the double screen bill add up to a neat buy for the 35c top. Ted Claire, on later in his own act. takes over as m.c. as the house orch plays its opening theme, nnd the snow starts with a special ar- rangement by Don Tiff of 'White Christmas.' Marilyn Bellinger, pretty young vocalist sings two choruses to win a nice hand. The Smileys, a duo in typical hobo getup, come on as the first of the standard acts and are seen in a vocalist, Lillian Fitzgerald. She's is a sepia cross between Cass Daly 'Neck of the Chicken* and 'Arthur Murray.' The Ellingtons then give out with 'Going Up,* from their picture 'Cabin in the Sky,' a spiritual done in jive time. It made quite a hit with this audience, whch was more than half Negro. Jimmy Britton, band vocalist, does a neat job with 'Dearly Beloved' and 'Just as Though You Were Here.' Jigsaw Jackson appears to have no bones at all as he presents a novelty jitterbug number in which he twists himself into almost unbelievable positions. Betty Roche, Ellington's talented song stylist, takes over at this point and really sends the customers with her warbling of 'Mister 5 by 5,' 'Hay Foot, Straw Foot,' 'I Got It Bad." After several minutes of solid ap- plause Miss Roche encored with a rock-me rhythm tune titled 'He's My Baby.' Spotted In the next-to-closlng slot Is one of the most amusing colored acts seen here for some time—Pat- terson and Jackson, a couple of human pachyderms who have plenty of talent. They sing, dance and ap- pear to be past masters at timing in their comedy. Best bit is Jackson's imitation of the Four Inkspots. The band finales with rendition of its recording hit, 'Don't Get Around Anymore,' featuring Johnny Hodges ADAMS, NEWARK Newark, Nov. 19 Ted Lewis Orch (12) and 'Rhythm Rhopsody Revue,' with Charles •Snowball' Whittler. Lindsey u Verne & Betty, Geraldine Du 'BoIs June Edwards, Kayne Sisters (3)' Audrey Zimm, Byron Koy & Louise' Glen; 'Mississippi Gambler* (U). Long time since Ted Lewis last made Newark his stamping grounds. Meantime, a whole new generation of theatre-goers has grown up a generation of hepcats and jive ad- dicts to whom the guy with the bat- tered stovepipe and the clarinet has become virtually a tradition. Al- ways a master showman, Lewis is proving that as an audience-wower he can take on the new as well as the old, and that as an entertainer he's still very much in a class by himself. Lewis has tempered his act some- what. He no longer gives out at regu- lar intervals with his signature phrase, 'Is ev'rybody happy,' and he's cut down considerably on the corn. The old hoke is still there, but he's paraphrasing it now and is careful to let the audience in on what he's dishing out. It makes for grand kidding, especially so when the crowd is hep. Lewis has surrounded himself with a unit that's loaded with good en- tertainment fare, backed by a 12- piece orch that's surprisingly trim nnd melodic. Band serves as a per- fect background for maestro's clarl- neting. Charlie 'Snowball' Whittier. Lewis' longtime 'shadow,' is very much in evidence throughout the show, and teams with latter for some bright bits, but their familiar 'Me and My Shadow' number is conspicuous by its absence. Whittier's dancing was never seen to better advantage, and his comedic sense and timing are smart and showmanly. Geraldine Du Bois also clicko. A vivacious, attractive gal with lusty pipes, she socks across "Let's Be Buddies' and 'My Mother Would Love You' to big returns. Later scored again In a samba number. Kayne Sisters, who sit in with the band and warble at regular intervals, are also solid bets. Byron Kay and I,ouise Glen, ball- room dancers, impress with their rhythmic turn, and Audrey Zimm, a kid drum majorette, twirls the baton in a manner that virtually brought down the house. Also clicko are Lindsey, La Verne and Betty, who dance the can-can and wind up their turn with a series of dizzy acros. Later team up with the Kayne Sisters and Geraldine Du Bois in a samba number with comic overtones. Classiest number in the unit is June Edwards (not the singer, of course) a beaut who enters in a long gown and then strips to a scanty costume to reveal a Varga chassis. Gal then goes through a series of contortions that appear vir- tually incredible. Turn is definitely a show-stopper and won tremendous response. Jono. PALACE, CLEVE. Cleveland, Nov. 21. Tommy Tucker Orch (14) with Amy Arnell, Don Brown, Al Gordon & His Racketeers, Kerwin Somer- ville, Ames & Amo, Tip, Top & Toe; 'Seven Days Leave' (RKO). finish, the stooge of the act is rt.' vealed to be a girl. Deuce., ^ot ..*JufL anfifiifc jgsvJIq J^i^. Discovery Night' winner, Victor Diak, an eight-year-old accordionist who arouses a lot of patriotic spirit with a snappy rendition of the fa- miliar 'Marine's Hymn' on an over- sized squeezebox. On for his own act, Claire opens with a dope fiend impersonation which depends more on business than on lines for its effect, and he scores heavily with it. Next comes his characterization of AI Jolson, with the boys in the band assisting in both comedy and music. He bows off after a bit of fast hoofing. Next-to-closing spot goes to the Stevens Brothers, who feature 'Big Boy,' a nine-year-old 600-pouna brown bear. Boys and girls are called up from the audience to take rides on Bruno, and the act closes with a free-for-all as he wrestles the four brothers. On after a flowery build-up by the m.c, Maxine opens her turn with 'Shrine of Saint Cecilia.' Then, in succession, she sings 'I Said No,' 'Three Little Sisters' three oldies and 'Dearly Beloved' a new pop. She could be more up to date. Despite the transition- from studio to stage, and the differences in modulation of network line and p. a. system, Maxine sells, her songs effectively. She registered solidly with the open- ing-day houses. Biz strong at show caught.. Earl. Tommy Tucker spent part of a sea- son here at Hotel Statler's Terrace Room a few years ago, and that run is paying his orchestra dividends on its initial date at RKO's deluxer. The locals remember him, and the b.o. is thus benefiting. - rrr T^rra 'iir'k^aMi^to •»'bilhiiii^ I ard stuff, but acts are ailkeyecfTK"' high comedy vein that imbues It with plenty of contrast and zip. "-'Afttur-mif'^AHw:' fo nmh i e ' room dances Into the realm of rol- licking horseplay, collect a double handful of laughs with their smartly routined falls and rassling holds. Canine tricks of Al Gordon's well trained, four-legged 'Racketeers,' who haven't been around here for two semesters, are also chuckle- coaxers. Both of these turns are sure-fire for a Thanksgiving holiday bill that's doing particularly well in matinee trade. Tip, Tap and Toe are fast and clever enough in jive taps to tighten up the show at the half-way mark. Tucker exhibits more poise than he did on his local hotel bow. besides doing an expert Job in ladling out a commercially styled repertory. There's color in his 'I Love You* opening, behind a scrim, and okay humor in revitalizing 'Jingle, Jan- gle,' Vocal combos featuring Eddie Metcalfe in "White Christmas' are tunefully imaginative, much belter than handling of over-done 'Idaho by Bud Kimker on drums. Southern occent and charm of Ar- nell help to personalize 'Praise the Lord' and a neat novelty ditty. She the vocal hit of Tucker's .solidly built program, although Don Brown's low-toned pipes are likeable in 'Got Neck of Chicken* and 'My Dcvotinn. Good holiday crowds over week- end, due to an assist from the weather. Pull