Variety (Dec 1942)

18 HOUSE REVIEWS Wednesday, December 16, 1942 STATE, N. Y. Cross & Dunn, Borrah Mineuifch's Hnrmoiiica RascaXs (10), The Di- CfifnDOS, Condos Bros., The Herzogs; 'Flying Tioers' (Rep). Show here originally was booked as a siN-acter but with only Ave turns when it opened Thursday (10), it still suffices. While running but one hour, it still plays smoothly, has variety and packs good enter- tainment. Sybil Bowan, here before, was booked but forced to cancel due to a cold. Al Rosen, manager of State, explained he thought he had enough of a show, thus making no last- minute replacement. He's right. Vet singing team of Cross and Dunn, who retain the technique of the old vaude days, headlining. They did 18 minutes Thursday night, when caught and have enough song-selling stamina to go the route. They do five numbers, with 'Our Tailor Done Told Us,' set to the melody of 'Blues in the Night,' a pip. A special num- ber about going through a physical exam for the Army also clicks. Apparently no one ever tires of Borrah Minevitch's Rascals, the ragamuffin harmonica playing troupe, although Minevitch himself hasn't appeared with them for years. Also, act has a new short-legged comic for laughs and he does as well as his predecessor. The Rascals, who were in the pic- ture. 'Always in My Heart' (WB), released earlier this year, play the film's theme song for exceptional re- sults. Fat boy member of the gang does the vocal. Possessing a sweet voice, he scores solidly. The lad, tinging 'Pagliacci,' while others are doing tricks to distract attention, got a heavy hand. Appearing fourth on the bill, in fuUstage, ttie DlGatanos lend en- chantment to the show with their ballroom routines. The fast pirouet- ting finish by Adam DlGatai)o, with his beaut blonde partner draped around his neck, makes for a sock finish. Their dance to the tune of 'Beguine' stands out For dancing of another cut there ere the Condos Bros. They regis- tered stoutly Thursday night with hardshoe taps, especially the novelty closing. In the opening spot are the Her- cogs, five girl trapezists, one of whom, an audience plant, performs on the swinging bar in street clothes for a batch of laughs. She carries her antics a little too far, however, causing some repetition. Turn, clocked at seven minutes, could be cut a little for speed. Biz good. Char. CAPITOL. WASH. Wathington, Dec. 10. Lev) Parker, Sara Ann MeCabe, Nils and Nadvnne, Chaz Chate, the Rhythm Rockets, Sam Jacfc Kauf- man's House Orch, Art Brown, Lynn Allison; 'White Cargo' (M-G). With "White Cargo' bouncing for a ■ensatlonal $26,000 and Loew's de- ciding to hold It over. Gene Ford's new stage show,«Iready booked, fol- lows schedule. Art Brown and Mae- stro Kaufman repeat their gag over- ture by swapping places, with the baton wielder showing he could play the organ. Lew Parker is fresh from a camp tour with 'HeUzapoppin.' With Wash- ington banning stooges in audience as restraint on imruly zoot suit and sweater girl rowdies, Parker works with one stooge on the stage. When caught at opening show he bowed off to a good hand. Sara Ann McCabe gets away from the conventional songbird routine, doing numbers from the musical comedy library including a Gershwin medley. Encores with 'White Christ- tasty and. original, and there's no clowning. The choice of tunes is the clue to the band's show style. It does jazz classics, mostly, leading oiT with King Porter' and following up with 'Jazz Me Blues,' 'One o'Clock Jump' and 'Big Noise From Winnetlta,' lat- ter featuring Bob Haggart and Cody Sandifer. The Bobcats take their turn with 'Strip Polka,' and the whole registers plenty with the Audi- ence. Judy Manners, the band's vocalist, sings 'This Is Worth Fighting For,' 'A Great Day for the Irish' and other tunes, taking oft Helen O'Ccn- nell, Bonnie Baker, Beatrice Kay and Judy Garland. She's a sock entertainer as well as a solid vocal- ist, and gets a terrific reaction, hav- ing to beg ofT. Evelyn Farney leads off the specialty routines, doing a limber taperoo; Billy Raye follows with his deft juggling and patter and Ray and Trent, whose comedy risley is big with the audience, fin- ish off. Crosby himself sings but one tune, wandering on and oil the stage in his unconcerned manner. Elie. EARLE, PHILLY Philadelphia, Dec. 15. Jerry Wald Orch (15) with Anita Boyer, Johnny Bond, Betty Jane Smith, Lime Trio, Jack Gil/ord; Seven Sweetheartil' (M-G). Jerry Wald introduces his hot clarinet for the first time on the Earle stage and the young maestro, whose jive-time is gaining the kudoes from the younger set, is selling him- self to theatre patrons. Save for the fact that Wald's pres- entations are almost entirely in the jive metier, the show the boys put on is plenty clicko. They should, however, also include a few schmaltzy tunes. With Wald's clarinet leading, the band tees off with 'Lady Be Good,' followed by Trains in the NighC "Nameless' and a swingy version of 'White Christmas,' which shouldn't be; this tune is too pretty to be swung. Johnny Bond lays aside his horn to handle the vocals—and nicely—on 'Brother BiU' and 'Five by Five.' Wald's attractive singer, Anita Boyer, gets herself some heavy palm- pounding when she giyes out with 'Hip, Hip Hooray,* 'Wonder When My Baby's Coming Home* and 'Slad About Him Blues.* Jack Gilford is making a return appearance and he's plenty enter- taining. The comic's routine includes his now-familiar impressions of gangster pix, the 'Dr. Kildare series,' murder mysteries, etc. Also amus- ing Is his takeoff on Budy Vallee, Stan Laurel and an operatic bari- tone singing "Empty Saddles.' The Lime Ttio with their trick aero routine in which one of their num- ber twists himself into almost unbe- lievable shapes is also entertaining. Betty Jane Smith, also familiar here, gives a good- account of herself in her ballet tap stint. Usual Saturday night capacity house when caught Shal. ROXY, N. Y. Hal Le Roy, Mary Healy, Rufe Davis, Ross Sisters (3), JVfarv Raye & Naldi, Bob Hannon, Gae Foster Girls, Paul Ash and House Orch; •Life Begins at Eight-Thirty' (20th), revtetued in 'Variety,' Dec. 9, '42. Roxy theatre has increased the budget for its current stageshow, with satisfactory result, extra coin apparently going into salaries, with the physical production about as be- fore. Lineup of Hal Le Roy, Mary Healy, Rufe Davis and Mary Raye and Naldi, with the Ross Sisters, Bob Hannon and Paul Ash's house orch l>rovide an entertaining stage boost for the 'Life Begins at 8:30' picture. House is about to launch its name band policy early in January, with Guy Lombardo as lead-off. Although none of the individual acts is a smash name, all are effec- tive for vaude. Several, including Le Roy, Miss Healy and the Ross Sisters, were in the recent legit musical, 'Count Me In,' and that fact is plugged in their introductions Also, one of Le Roy's tap numbers is announced as from the show, as It one of Miss Healy's songs. Le Roy's three tap routines are unmistakably clickish, his speedy lanky hoofing combining skill and in- herent showmanship. Notable thai the Gae Foster Girls could be seen crowding the wings opening night tp watch him work. Miss Healy, a de- cidedly pretty girl, has a clear, lyric voice, knowledge of how to iffesent a song, and necessary assurance. Her arrangements are original and not too elaborate. Only drawback at this catching was the fact that her style and personality are minimized in this huge house. Rufe Davis, a hillbiUy-type comic, does virtually the same song and goofy sound-effects stuff he's been offering for the last few years. It's still good. Mary Raye and Naldi present three terp routines, display- mg markedly effective lifts and trick turns. Snapped shoulder strap dur- ing second number had Miss Raye sUghUy rattled, but the pair didn't let it mar their concluding turn. Ross Sisters, trim-looking contor tionist trio, do their familiar and in- variably effective flexible-limb stuff. Bob Hannon Is an acceptable singtf and personable m.c., while the Gae Foster ensemble displays its custom- ary versatility and decorativeness. House was nearly full at Wednes- day night (9) show caught Ho be. CHICAGO. CHI HIPP, BALTO. Baltimore, Dec. 12. Don Rice, Three Flames, Al Gor- don and Racketeers, Mitzi Green, Marion Hutton and Modemaires (5), Felice lula and House Orch (13); 'Falcon's Brother' (Col). Very solid flesh layout smartly as sembled and routined for sock. Don Rice emcees and contributes a strong spot of his own to give comedy to the versatile setup. Opening by the Three Flames, two men and a femme, attired a la Flash Gordon, who work on futuristic prop with speedy roller skating. Fast spins and throws are highlighted with black light treat- ment of radium-colored costumes for the dullness of ahow. The Briants, however, manage to get chuckles with their familiar tramp routine. Gene Emerald, who also emcees, is overlong in his silent imi- tation of Bert Williams' poker-play- ing routine, and his panto pest try- ing to find seat in a theatre. Neva Ames, local performer booked to fill in, makes a fair initial Impression as a xylophonist She plays 'White Christmas' and 'Stars and Strips Forever' acceptably. Ensemble of six Wonderettes are spotted three times with a tropical dance, a 'bal- let of the spheres', in which they make figures with hoops, and a 'quick change' routine in which they skip from tuxes to wooden soldier outfits. Biz not so good when caught. Corb. Chicago, Dec. 12. Dick Jurgen's Orch (15) toith Harry Cool, Buddy Moreno, Mayty t Brach, The CoUtona (2), 'Spring time in The Rockies' (20th). They're packin' 'em in this week and whatever business is done can be traced directly to the popularity of Dick Jurgens and his Orch. Long a local favorite, the theatre man- agement is finding it necessary to add^ extra shows in order to ac- commodate Jurgens* following. Band opens with novelty, "Rag- time Cowboy Joe,' done with corned antics by Harry Cool, Buddy Mo- .reno and Carl Brandt. This is fol- lowed by the band's playing of "At Last* with piano interlude by Lou Quadling. Maysy and Brach's teamwork on various-sized unicycles is a high- light. Brach's spinning of 11 hoops, all in different directions while perched atop a high unicycle, is outstanding. Moreno sings three numbers and had to beg off. Band's fine version of 'Bolero' is followed by Cool sing ing "White Christmas,' Temptation* and "Why Don't You Fall In Love With Me?' to exceUent results. Fol- lowed by a socko presentation of 'Der Fuehrer's Face' with Jurgens, Brandt, Moreno, Cool and Harolcl Winder. 'I's thick schmaltz that on introductories to songs. Chaz (Thase is still chewing up his props and does his burlesque strip tease and squat dance. Earned four bows. Dance team of Nils and Na- dynne features twirls and spinners and mingles terp with strength feats. A little novelty in their routine would pep it up. The Rhythm Rock- ets repeat their drum number, and the trailers fold after a repeat on •American Prayer," patriotic tableau. Kely. RKO, BOSTON Boston, Dec. 11. Bob Crosby Orch (14), E«elyn Farney, Billy Baye, Judy Manners, Ray & Trent; 'Sin Toton' (U). A solid band and a tidy set of specialties lift this band show into the sock deportment Earlier in the season it would have made com- mensurate dough kudos, and al- though biz was good at the first show and over the week-end, the sky isn't the limit here any more with standees and lobby holdouts prohibited. Crosby's music is recognized here abouts as the top in commercial < product - The ' inst^ttmentalists are rittitiUliildattMllllilBiltM Gave matters here a decided lift at the very blowoff. Al Gordon and his trained pooches are in the deuce and a panic. Dogs are smartly cued and closing revolv- ing turntable is a payoff. Set mat- ters just right for Mitzi Green who wallops out a resounding and sure- fire stint. Utilizing special material to point vocals which ring in im- pressions of film stars and stage fig- ures, starlet has an assurance and easy way of working which takes hold of the stubholders and keeps them yelling for more. Encore bit which closes with reprise of 'The Lady Is a Tramp," from 'Babes in Arms,' earns a beg-off. Rice takes hold next and is an im- proved performer. Material is fresh and his timing is perfect. Comedy bits of a stew, a dame getting up in the a.m., and an impression of Will- kic, tie matters up solidly. Closing pose in which he appears as a strik- ing replica of Gen. MacArthur is a flagwaver but smart showmanship and in good taste. Marion Hutton and the Modern- aires close. Quartet backing Glenn Miller s former femme vocalist helps build numbers to resounding results. Do 'Kalamazoo,' 'Serenade in Blue,' 'White Christmas.' "Juke Box Satur- day Night' and as an encore. "Strip Tease Polka.' Act is right in the groove. follow with their funny ballroom routines. Audience found act hilarious. Finale is medley of Christmas songs, some of them sung by mem- bers of the band and backed by appropriate winter and church win- dow drops. Loop. KEITH'S, INDPLS. JndiaTiapolis. Dec. 12. Diefc It Dot Remy, Chris Cross, Briants (2), Gene Emerald, Newo Ames, Margaret Farber's Wonder- ettes (6); 'Danger in the Pacific' (U) Several okay acts are spotted in the current vaude, but the pace is too leisurely and the tone too quiet Its liveliest moments are sparked by Dick and Dot Remy, aero comedy dancing team. Dot is fat and Jolly and surprisingly fast on her feet. Her crocodile crawl is a wham. Dick does some spectacular roller skat- ing on his hands, with flipovers for a climax. Act got best reception of show. Chris Cross puts some neat twists on his ventriloquist routine with the help of three clever dummies. One is used for an impression of the Four Ink Spots singing 'If I Didn't Care' on a black stage with radium effects. Cross's voice work is good, n. ^ -t-.. STANLEY, PITT Pittsburgh, Dec. 11. George White's 'Scandals* with 3 State Bros., Linda Ware, Nan Rae & JVfrs. Watenall, Nelson Sis. (2), Faye Carroll, Carol Adams, Walter Rus- sell, Line (14); 'Navy Comes Through' (RKO). ADAMS, NEWARK Newark, Dee. 11. Jna Ray Hutton Orch (15) tuith Sttiart Foster, Shayne & Armstrong, Sue Ryan, Guy Kibbee; 'Scattergood Rides High' (RKO). Since spotted here last year, Ina Ray Hutton has organized a new band. Present outfit adheres to the Hutton traditio.i of color, vervd and melody. Leader, as always, is band's best bet and is pretty much a show on her own. With her long blonde hair, trim figure ooured into a decollete evening itown and sultry voice, she,s an e7e-catcher show- woman throughout Leader has eased off on her sing- g (she warbles only one number) ana changes costume but once—to a civilian air corps uniform that's apropos and smart. Band is staffed with four rhythm, six brass and five saxes, combo making for plenty of ear-titillating melodies. < Orch gets under way with 'Foimd a New Baby' and then Miss Hutton on to click strongly with her chant- ing of 'Knock Me a Kiss,' with the boys coming in on the punch line. Band takes over again with "Bugle Blues,* featuring Phil SiUman*s skin pounding, then spotlight shifts to Roger Ellick's crack trumpeting of 'And the Angels Sing.* Orch fades on a medley of patriotic numbers representing every branch of the armed forces. Makes for a knock- out finish. First of regular acts brings on Shayne and Armstrong with legology and stories set to dance tempo. It's • smart turn, well executed, and rated a big smdofl. Sue Ryan on next with her slick parodies that all but wowed the audience. Gal packs a lot of in- dividuality. Her routines are up to the minute, crisp, and delivered with a punch. Audience wouldn't let her get off until she encored with her only pop, "Praise the Lord." Guy Kibbee, in the closing spot, reels off a weak monologue with lit- tle to recommend it except its brevity. Little excuse for a turn as inept as this one. Stuart Foster baritones 'My Devo- tion' and 'White Christmas.* Vocalist is easy to listen to and has plenty of poise. Biz dull. Jona. CIRCLE, INDPLS. Indianapolis, Dec. 12. Tommy Tucker Orch (14), tuith Amy ArrmU, Donald Broum, Kerwin Somerville, Voices Three, Ames & Amo, Lou Hoffman, Wtnek It May; •Street of Chanel (Par). Tommy Tucker is back with his band and three choice acts in a show that features a number of saucy lyrics in a bid for the older crowd 'The music is lively and pleasing, but the most memorable momente in- volve such nifties as 'The Man Who Com es to Our House.* 'Strip Polkal an? 'a ipiaVin'Sed WiIU 'IiKb Britches On' as sold by the vocalists.' Band has a couple of attractive production numbers, the opener behind a scrim on which a cuckoo clock strikes Tommy Tucker Time' and the other a 'White Christmas' holiday back- drop with special lighting effects. First straight band number is a sock version of 'Kalamazoo.' After a neat solo on the slip horn by Herb Collins, the boys give 'Jingle, Jangle,' with a comedy twist, trumpeter reaching for high C and finally mak ing it. Don Brown, baritone, sells 'Neck of the Chicken' and "My De- votion.' Kerwin Somerville's "Strip Polka' and "The Man Who Comes to Our House* also click. The band then swings out with "Idaho,* featur- ing trombone, tenor sax and drums. Then it's Amy Arnell's turn, with a solid version of 'Praise the Lord' for a starter and 'Papa's in Bed' for an encore. The 'White Christmas' special winds up the band features. Lou Hoffman's trick juggling scores. He gets laughs with h^ slow motion routine. The comedy business also gets a lively boost from Ames and Arno with their knockabout antics and glib line of chatter. They keep their stuff mov- ing fast Winek and May are spot lighted in three snappy aero tap dances. It all adds up to good entertain- ment but biz was 'slow at opening. Condensed 'Scandals' is not ac- tually a condensation of any of George White's Broadway revues, but a unit put together expressly for the de luxe film-theatre circuit at last minute when producer aban- doned the idea of sending out a tab version of "Panama Hattie.' It's sat- isfactory entertainment, following the usual White formula. Not much production, just a couple of backdrops, and costuming is noth- ing to write home about, but White comes up with plenty of eye-appeaj in his good-looking chorus and flock of standard acts, giving the whole thing a slick vaude polish. Comedy backl>ones are the Slate Brothers, three guys who have consistently been big faves here and continue to keep their lo^ following with this chore. They're in and' out to keep the laughs coming steadily. Other Kiggle props are Nan Rae and Mrs. Waterfall, and their corn-fed gags were over big at the getaway show. Scandals* has a fine aero act in the Nelson Sisters, two attractive trapezists. Gals have a repertory right out of the big top's big time and tie things up in a knot. Cos- tumed just right, too, to bring out the s.a., of which Nelsons have plenty. - Linda Ware is another click. A screen moppet only a few years ago, she's developed into an okay looker with a neat voice, her three numbers are on the beam. Good audience bit is "I Said No," in which she brings up a service man from the pews ana ogles him. Could be in questionable taste but not the easy way she handles it. Fay Carroll (Mrs. Henry Slate) is on for a few minutes in her cus- tomary stint with the Slates and scores solidly on her own, warbling '■White Christmas' while other prin- cipals are Carol Adams, cute tapster whose footwork, however, isn't too much out of the ordinary, and Walter Russell, baritone who lends swell pipes to couple of production numbers. He's also a handyman in the skits. Outside of the Slates' well-known bits, only actual bonafide revue sketch in the unit Is 'Stand-in'. It's still a howL At show caught. White himself, in disguise, played a bit in skit Biz exceUent Cohen. APOLLO, N. Y. FaU Waller Orch (14), toith Myra Johnson: Baltimore Hotoards (2),-Kit Kats (4), Deep Rioer Boys (5), Vi- vian Harris, George Williams, George Wiltshire; 'Undying Monster" (Indie). Fats Waller is the mainspring in this show, remainder of the acts stack up as fair with the single ex- ception of the Kit Kats. Waller's consummate showmanship, which gets more of a chance to work in houses such as this (white houses wouldn't allow some of his shenani- gans), has these audiences rocking with glee throughout Leading a fair band of five sax, three trumpets, two trombones and three rhythm beside his own piano and organ. Waller mugs, gags and plays hU way to a solid audience re- action. He never gets better than ordinary accompaniment from, the band backing him. but since he's the show the operations of the outfit go by unnoticed. Waller opens at his keyboard, then goes into a parody of 'Shortnin* ftcfiAii' that evokes howls. Later h e tackles a set of tunes on the electrrc organ. Myra Johnson, vocalist does her stuff up front 'Got No Time,* the dated 'Someone's Rocking Dreamboat' and "St. tiouis Blues? She sells them rather than singing them. Baltimore Howards make a weak opening impression but get better as they go through a series of acro- batic lifts and tricks. They're ob- viously not working as professionals too long. Four Kit Kats are a smartly dressed quartet of tapsters, two girls and two boys. They trip through unison heel and toe stuff to open, then splitting up into various pairs. Work is good for this type house, but It hasn't enough variety and flash for white situations. Deep River Boys, four singers and pianist, are recording artists who have gained a bit of a reputaton. Their work here lsn*t very outstand- ing. Opening with "Shadrach,* they then do an unappealing arrangement of "When Lighte Go On,' with a spoken bridge similar to the Ink- spots. Next Is the dated 'String of Pearls.' then 'Kalamazoo,* which is best. < They finish to a mild reaction with 'Silvery Moon' in Which Waller joins for laughs. Vivian Harris, George Williams and George Wiltshire ^re. house comedian and straights. They put over a skit to the crowd's satisfac- Mon. .