Variety (Dec 1942)

I« HOUSE REVIEWS Grauman-Duaiie HigUites (2-a-Day) Cficb in Frisco Debut; $12,000 Nut STATE, N. Y. McFarland Twins Orch (13) with Bf«w Engels, Dick Merritt, Jack Palmer, Roas Wyse & June Monti, Mitzi Green, Jackie Miles; "My Su- rer Eileen' (U). Snn Francisco, Dec. 26. Sid Crauman, in ossociation with Flora Duane, presents 'Hiphlites of 1M3 tti>o-a-dav vaudeville show; features Gertrude Niesen, Borrah Minevitch's Harmonica Rascals (8), Johnnv Johnson, Mario & Floria, Diamond Bros. (3), Red Donahue and Uno, Poul Regan, Paul and Paulette Blanchard, Coleman Clark, The Herzogs (5), Lvdio Sue, Rossi Sisters (2), Mel Wesleder's Orch, at Alcazar theatre, San Francisco, Dec. 26. '42, $1.85 top, ($2.20 .Satur- days) . Sid Grauman's version of two-a- day vaudeville opened here Satur- day (26), leaving little question but that show is set to stay around for considerable time after polishing process has been completed. Melange of acts and revue lingered on stage for three and half hours at opening performance, and, having been re- hearsed only a week, it had Its bumpy spots. Grauman's nostalgia sentiment for Frisco, where he got his show biz start appears to have been con- sciously tailored into show. It has Indefinable atmosphere that coin- cides with sporting nonchalance as- Eociated with city. The old Alcazar theatre, which Grauman unshut- tered for 'Highlites,' especially lends itself to first part of show, which Is a review of The Theatre of Yester- year.* This harking into past, with scenes and songs of Gay Nineties, is stero- typed but nevertheless gets over on Its nostalgic appeal. The more enthusiastic reception was given to second part of show, which takes on character of straight vaudeville. An act that is not even orthodox vaudeville, a table tennis game be- tween two champs, with audience as cheering sections, is as well received as anything in show because of amazing dexterity of players In strenuous game. Gertrude Niesen carries off star- ring role in great style, putting over three versions of 'Oh, Johnny,' and other songs. Paul Regan should get better bill- ing. His apt mimicry of celebrites whammed the house. Mario and Floria, ballroom team, almost rate label under which it is billed, the utmost in dancing.' Roughhousing of Borrah Mine' vitch's Harmonica Rascals scored with customers although their music was almost a total loss opening uer- formance because of faulty micro- phone. Herzogs, in their aerial act, are breath-taMiig. Johnny Johnston Is okay as M. C. for latter part of show and he and his partner, Gayle Roberts, put over a couple of songs In eood style. Diamond Brothers* routine song and dance and roughhouse act is a reminder of the more corny aspects of vaudeville. Grauman's nut of more than $12,- 000 on 'Highlites' will require constant stream of customers. Mtller. dancers who begin with a rather awkward looking bit together, fol- lowed by solo and duo tap routines. Next are the Little Tough Guys, two fellows who do nothing and take a long time doing it; their act is [patterned similar to the Thre^ Stooges. One of the two sings.^ and to cover their lack of an act he does three songs, 'When Lights Go On,' Frenesi' and 'Day- break.' One would be sufficient. Don Rice, comedian, doesn't help things either. He dishes out ma- terial that all too frequently is green with age. He does another bit wherein he imitates his wife clothing herself in the a.m.; of course the main point is getting into Birdlp. Biz fair. Wood. HIPP, BALTO Baltimore, Dec. 24. Benny Davis and his 'New Stars on Parade' with the trumpet twins. Sheila Roberts, June Lloyd, Marilyn Doy, Three Ross Sisters, Pepe fc Pepifa, Jerri McMohon. Ann Borett, Tim Herbert (Herman Timbere, Jr.), Felice luUi and House Orch (13); A Niflht to Remember" (Col). WINDSOR, N. Y. Hal Mclntyre Orch (16) with Lyttle Sisters (4), Tony Dexter, Smiles & Smiles, Don Rice; Shorts. This is not a good show. About the only thing in it that makes an Impression is the Hal Mclntyre orchestra, and even that cembina tion has shown to better ajlvantage. Bea Wain was scheduled^ for this bill and though she's advertised she does not appear, due to illness. Mclntyre's band, a comparative newcomer that got its start alxjut vear ago in N. Y., is not as good as it once was, a conviction that's based mainly on weak. arrangements rather than musical ability. When caught it was playing in an un- usually stiff manner, particularly from a viewpoint of rhythm. This could conceivably be a result of the arrangements. Mclntyre himself plays tenor sax, and does a right smart job when he's called upon. However, in his introes and an nouncements he's still the fright- ened musician, though to be fair he's improved a shade since last year. Band is composed of Ave sax (including leader), four trumpets, three trombones, three rhythm. Working with band are the Lyttle Sisters, a quartet that has been with other outfits under various names. They're cute despite fact they don't deliver melodies in any exceptional way. Tony Dexter, youngster recently added, will work out as, a male singer once he gets accustomed to the spotlight. He shows traces of fine phrasing and good voice on 'Getting Tired.' and TThere Are Such Things." with the girl quartet. Remainder of the layout is pretty ordinary. Initial act is Smiles It Smiles, a Negro mixed duo of Benny Davis has been coming through here for many years with his assortments of budding players and always manages to click in showmanly fashion. Current lineup leans more on youth than previous frolics, but the talent is there in spots and Benny keeps them ~)nov ing at good pace. With house band on stage and troupe seated at tables in traditional style, Davis starts matters with a vocal plug for It's a Long Way Over" after which he intros the Trumpet Twins, boy and girl tooters, who give impressions of various name band styles for a nice tee-off. Sheila Roberts next hangs im pressions of movie and radio per- sonalities on to a vocal, earning a strenuous encore bit given over to version of Joan Davis giving out with vocal of 'You Tell 'Em, Stutter.' Good for laughs and solid response. Brief aero bit by Jtine Lloyd follows with Marilyn Day next with straight vocals of Tor Me and My Gal." 'White Christ- mas" and 'Five by Five," all in the groove and smoothly sold. Pepe and Pepita are a youthful rhumba combo who register well and make room for a real sockeroo in the persons of The Three Ross Sisters. Nice appearing youngsters punch out one of the best aero inter- ludes caught here in moons and tie matters into a solid knot. Back bend and return from a high pedestal and another version of the same trick from a position on the floor are bell ringers for eight min utes, all dynamite. Jerre McMahon is a tapster a La Paul Draper. Sets matters for Ann Barett, in eccentric vocals of 'Happy in Love' and 'Where Has fcy Lll Dog Gone*. . Comic delivery gar- ners laughs and a beg off. Introed here as Tim Herbert, Her- man Timerg, Jr.) who wallops out some fast and swift stepping which hold and clicks to a solid windup of the doings. Lad has plenty on the ball and only Davis' concluding reprise of the old 'And Then I Wrote' stuff could follow this lad when caught here. Biz very plentiful. Burm. mannerisms that smack of the borsht belt. Yet he's been around enough to handle the hecklers without blow- ing his top. And it wasn't until he stopped turning the other check and snapped bacl? that they were squelched. Even then they'd boil over from time to time. Fraiu CAPITOL, WASH. Washinpton, Dec. 24. Patricia Bowman, Frank Gaby, De Vasconcellos, Rhythm Rockets, Sam Jack Kaufman's House Band, Art Brown, Lynn Allison; 'Class Key' (Par). Sam Jack Kaufman has gathered favorite overtures of 1942 and dishes them up in a pop medley, with Lynn Allison helping out on the vocals. Stage show is strictly in the Kriss Kringle manner, with Gene Ford holding over his 'White Christmas' number employing the Rhythm Rockets around their gigan tic snowman. Patricia Bowman twirls through two numbers 'Beat Me Daddy* and Toy Maker's Dream.' Costumes for the latter number were lost in transit, and a motley collection of gay colors were used for chorus background for ballerina. Spectac ular effect was lost, but they liked it at .show caught. Frank Gaby works with a box stooge and gives program plenty of laugh lifts. Vasconcellos puts his high school horse through a rhumba. a waltz and some boogie woogie Socko novelty act. This Christmas eve audience was too tired to applaud a well assem- bled show in ti)e holiday mood. Arke, Holiday show moves at a moderate pace until it's half completed, then suddenly picks up speed with two standout acts of Mitzi Green and Jackie Miles. From there it's strong. McFarland Twins band a fair musical combination of Ave sax, three trumpets, two trombones, three rhythm (no guitar) sells it- self mainly on the strength of vocals, which are delivered unendingly. It seems everyone in the band, includ- ing the twins who each play sax in that section, have some sort of vocal assignment. This commercial attack neatly covers the weaknesses of the group musically and it all makes a nice impression. • Opening with 'Hip Hip Hooray' the brothers, who apparently aren't schooled in the art of mc'ing, intro Betty Engels. She gets off 'Mr. Five by Five.' Next is baritone Dick Merritt, from saxes, with 'White Christmas" and There Are Such Things' with the girl, the twins and another musician forming a quintet. They're okay. Later Jack Palmer, trumpeter, is in with a fair version of 'I Can't Give You Anything But Love.' 'Malaguena* and 'One O'clock Jump" comprise the non vocal efforts of the band. Ross Wyse and June Mann tee off the acts. Wyse finds polite recep- tion to his solo.gag work and it isn't until Miss Mann comes on and the pair get tangled up in an adagio lesson routine that the customers begin to warm up. Finish in a duo dance that gets 'em off with appre- ciation. Mitzh Green's contribution is sure- fire. Opening with her standard "What Do They Think I Am," she runs through dialect material, im pressions of Hollywood stars doing a War Bond pitch, leading into one of her own capped by 'Praise Lord." Gal has a wealth of giggle material incorporated into her polished de- livery and she. knows how to drive i,t home. A fine act. Jackie Miles, heretofore confined mostly to ni^t club work, has a peculiar, unassuming delivery for a comedian of his type, but the style makes his stuff more effective. His punch lines have a habit of sneaUng up on the customers, rather than being forced upon them and the re- sult is a constant stream of explosive howls. It"s impossible to detail his stuff; perhaps the strongest bits are an imitaUon of a burlesque barker, and his standard rapid-fire resume of the show to a patron just finding a seat , Biz good. wood. FLATBUSH, B'KLYN Smith & Dale, Dioia Costello, Jan Murray, Bob k Maxine Clayton, Sunny Dunham Orch (16), Mickey Roy, Dorothy Claire; shorts. The hecklers are stiU a problem in these parts, even more so than usual. For now the bluejackets, from the {Coast Guard training depot at Man- hattan Beach, have joined the anvil chorus. Jan Murray, the m.c, called it, "From zoot suit to boot suit." Show itself is good. It had to be to override the hecklers, most of whom turned out for Sunny Dun- ham's orch. They were not disap- pointed. Paced by Dunham, who alternates between the trombone and trumpet, the hep cats are getting solid session of hot music. The orch has two vocalists, Mickey Roy. pert, black-haired looker, and Dorothy Claire, a big blonde with a personality and delivery to match. Roy handles the ballads, Claire the jive stuff, and both click solid. Bob and Maxine Clayton come on after the opening and provided three smart dance routines. They work with taps but travel a lot and do a number of modified aero and ballet tricks which they mix with a smooth rhythmic delivery to pro- vide a high calibre of team terping. Diosa Costello does her usual rou- tine of head waving and fringe shak- ing to Latin tempos. Strictly a lus- cious looker. Mi.'s (^"'tell') wnwed the audience by inviting a service- man up for a tango lesson. When the recipient wanted to lindy Instead of tango she went along with the gag and topped every trick the sailor offered. For a clincher «'.;e gave the boot a hug and a kiss. Smith and Dale close the show with their old reliable 'Dr. Kronk- hife' skit. Team, however, seemed, beyond the ken of this audience. When caught it wasn't until they used some earthy galician phrases that the laughs started. Lew Law- rence and Alan Chester do two straight bits while Dorothy Claire, of the Dunham crew, is the 'girl who lived in the empty house." The straight men come back for a duet on 'Rose Marie' and 'Donkey Ser- enade' after which Smith and Dale ioin them for a corny rendition of 'Strawberry Blonde." Toughest assienment of show falls to Murray. He's a comparative newcomer with a gab of gags and Wednesday, December 30, 1942 STRAND, N. Y. EARLE, PHILLY Philadelphia, Dec. 26. Tommy Tucker Orch toifh Amy Arnell, Howard Wellman, Kerwin Somerville, Don Brown, Stuart Erwin, June Collyer, the Juvelys, Oxford Boys; 'Whistline in Dixie' (M-C). Another in the unbroken series of band presentations at the Earle this week, with the pattern almost iden- tical with those preceding. Tommy Tucker has a little more personality than some of the other maestros and his band a little bet- ter on the showmanship angle. Featured are Amy Arnell, beateous canary, who sells her wareis nicely, giving out with "Praise the Lord' and 'Poor Little Me.' Male vocal- ists are Don Brown, baritone, who is pleasing with 'I Get the Neck of the Chicken" and the Negro spirit- ual, "It Ain't Necessarily So." Ker- win Somerville steps off the band- stand to do his now-familiar The Man Who Comes Around' as well as 'Strip Polka." Howard Wellman nets kudoes with his novel trumpet solo of 'Jingle Jangle." Stuart Erwin and wife, June Collyer, try hard to garner laughs with some corny dialogue, but at this catching their act fell flat With a little better material, the act might click. The Oxford Boys are one of the high spots of the bill with their takeoffs of radio stars and programs. Also registering neatly are the Juvelys with their balancing act House was well-filled for Satur- day supper show. Shal. KEITH'S, INDPLS. fiidiatiapolis, Dec. 26. Bobby Pinktis, Bob Alda, Sid Gould, Mack Pearson, Bums & White, Dolly Bell, Ray Janis, Ruth Foster, Mildred Stanley, the Elgiru (4); 'Meet the Stewart' (Col). Small cast of fun makers puts on an hour show that's fast moving. It's augmented by standard jugglers, the Four Elgins, plus Burns and White, dancers. Comedians, led by Bobby Pinkus, Bob Alda, Sid Gould and Mack Pearson, dominate the show, holding the stage most of the hour in rapid-fire change of gag and slapstick routines. However, ivs the patriotic finale, with a Bill of Rights vocal, that gives the show its most effective punch. Highlights of rough-house frolic include a Gay Nineties number, in which the boys spring some of the jokes as well as the songs of the period; a broad satire on male sing- ing choruses, with a sissy version of 'Song of the Mounties'; a trick imper- sonation turn in which Pinkus works with a double: a rookie routine built around army humor, and a Hollywood number in which they take some low but funny digs at Uie studios. Ellgins get a warm reception with their juggling, starting with the hats and winding up with Indian clubs. Bums and White register favorably with a couple of nifty and varied tap routines and Ruth Foster gets a big hand for her aero efforts. Dolly Bell sets herself solid with a sock version of 'Hip. Hip Hooray. We're Living in the U. S. A," another of the show's standout patriotic num- bers. It's a lively show and biz was good when caught. Corb. EARLE, WASH. Jimmy Dorsey Orch, (18) Helen O'Connelt, Bob Eberle, Billy Raues Phil Woshbum, Billy Prttchord' Buddy Schutz; 'Yankee Doodle Dandy' (WB), reviewed in 'Vortety,' June 3. Brought In here for the holidays, following completion of a picture on the Coast, Jimmy Dorsey is playing the Strand for the fourth time. Judging from the way he clicked Christmas night when caught, he and 'Yankee Doodle Dandy' (WB) make a boxoffice team that's exactly what the doctor ordered, especially for the year-end holidays, when kids are free from school chores. 'The latter go for the Dorsey band in a u big way. Playing to capacity audiences all day Friday (25), the SUand still had standees at midnight when the final stageshow was on. In spite of length of 'Dandy.' which runs t\Yo hours and six minutes, Zeb Epstin, managing director of house, is get- ting in five shows a day. In order to obtain turnover, Dorsey is doing only 35 minutes each show, which forces him to crowd considerably. Only outside act booked is Billy Rayes, comedy jug- gler, who scores decisively with his jugglery and chatter, his Gypsy Rose Lee bit being especially funny, Rayes works furiously, avoiding any stalling in view of the fact time is an important factor. If it's hot and noisy jive the Dorsey followers want they are getting it notably on the blowoS when the band literally makes the rafters ring. The 18 men in the out- fit with Dorsey on the clarinet, open the show with a very brassy num- ber, but otherwise largely devote their tiifie to backgrounding for Helen O'Connell and Bob Eberle, vocalistic standbys of the orchestra. Miss O'Connell, backed by loads of personality, opens with 'He Says Murder, He Says,' followed up by a novelty number about a modern Romeo and 'Mr. Five by Five." Phil Washburn and Billy Pritchard, trombonists, double in a minor but effective manner vocally on "Five by Five." Eberle Is on subsequently, singing two numbers. The baritone has a large following and scores excep- tionally well. He has a brief vocal bit later on, as does Miss O'Connell, this being topped by a novelty double anent a man and wife, fussing at each other. The session makes cute entertainment. Buddy Schutz is Dorsey's featured drum- mer, with the band a long time. Stageshow is neatly backgrounded. Chnr. ROXY, N. Y. Gautier's Steeplechase, Bob Han- non, Lee Sherman & Beatrice Seck- ler, Nicholas Bros. i2), Archie Robbrns & Stan Ross, Carmen Miranda, Roxyettes, Roxy Orchestra Conducted by Paul Ash; 'Block Swan' (20th), reviewed Oct. 21. December 24. Enric Madrioucra's Orch, with Eddie Gomez, Patricia Gilmore, De- mar and Denise, Carr Brothers, Tito and His Accordion. 'Now Voyooer" (WB). This Latin-American orchestra is long on rhythms and rich in melody. Specialties are good and well diver- sifted. Leader steps out for some fancy violin soloing. Harry Anger has dressed the stage in good taste and whole program reeks with class Demar and Denise have some slick and smooth dance numbers, offered with ease. Patricia Gilmore con tributes White Christmas' and 'I'll be Okay in a Blackout" to good re- sponse. Regular band vocals han- dled smoothly by Eddie Gomez. Carr-Bros have good aero feats and know how to sell them. They were one of the acts which got this lethargic Xmas eve crowd off their hands. Tito and his accordion in topical tunes, and aiding the band numbers, scored impressively. Band will be held over extra day for special New Year's eve show, when it will double with Dave Apollon revue. Arke. Roxy has done a magnificent job on this holiday stage show. It's not only a lavishly produced presenta- tion, but topnotch entertainment into the bargain. In order to properly prepare the stage for this and subsequent shows (name bands start here with Guy Lombardo next month) the house was closed until 8 p.m. Wednesday 123), after which one performance was given. This was to allo'w time to remodel the stage. That con- siderable cash was spent is evident A new proscenium, with wide doors for entrance and exit draws in the vastness of the stage to more inti- mate proportions. Other improve- ments have been made in the thea- tre itself. Along with the physical improve- ments have come a decided bright- ening of settings and costumes. Arthur Knorr, who handled this chore, has substantially contributed to the effect of the show as a whole. His set designs and appreciation of color harmonie.s in costuming are outstanding and a treat to the eye. That holds, too, for the way in which the talent is used. The construc- tion of the show Itself is faultless. Gautier's Steeplechase, consisting of a quartet of well-trained ponies and a quintet of fox terriers, opens. Act is a bit long but it's entertain- ing, with numerous comic touches, and it received unstinting reaction. Bob Hannon, singer-mc, takes the break between the next setting, working In one and doing a handy job on 'Craziest Dream." with inter- polations. His tune segues the action (dream) into a tasteful Revolution- ary period setting, using the Roxy- ettes and male partners in a minuet. Into this comes Lee Sherman and Beatrice Seckler, to comically bur- lesque, with jitterbug breaks, the minuet just completed. They're good. Nicholas Bros, then jump into the same layout, to lift things back into high with their clever tap routines. They do several bits that bang the bulls-eye, including the 'Down Argentine Way" routine they did in the picture. Archie Robbins, former Roxy house m.c. is next The initial few (Continued on page 47)