Variety (Jan 1945)

Si HOUSE REVIEWS Wednesday, January 31, 194$ M usle Hall, ft*. V. Bit & Cora Bnird & Co. (4); Los Aitdrinis i2>: Zarco & Beryl; Jane Dt'cniif/,- Carolina Segrera; . Rock- e.tes;' Eruo Rapee and Si/mphouy Orchestra; "A Song to Remember" (Col.) rerietred 'in '"Variety,"-- Jan. 24. Current Music Hall show,- stacks up as a smai'l production, off one of the select shelves of the Leonidolt-Mar- kert-Rogge producing staff. Show- lias atmosphere, color and flair, built on. a central motif instead of around a certain act or two. with all skill- fully blended and the. unrivalled Rockettes. as so often, the real stars. Motif this lime is a salute to South America, "Saludos." with a riot of color to back it up,, from, eye-filling costumes to arresting sets. Such sets of the huge guitar background, with the male chorus standing in the '•belly." or the bullring-in-miniature for the puppet corrida, arc knock- outs. The red rose backdrop of the- opening number, with Rockettes cos- tumes to match, even to the green underskirts to match the plants framing the rose's, also rates special mention. The girls, of course, are their in- imitable selves, whether in the bal- let sequence of. the opening "Bellas Flores," or the rumbu-ebnga sway- Ings and final precision work of the closing "Fiesta." Jane Deering solos with the corps de ballet in the open- er, to Florence Rogge's choreogra- phy, for fine effect. Chief outside contributors to show •re the Bairds. expert puppeteers who put - their wooden minions through a fascinating bullfight, with picadors, matadors, toreadors. horses. ( bulls and excited spectators partak- ing in Lilliputian enthusiasm. Set- ting of miniature-bullring is a honey and whole act a tour de force/ Zarco and Beryl, add a smart ver- sion of ballroom adagio-, with a tango motif,- and Los Andrinis contribute Latin vocals to smooth guitar accom- paniment. Carolina Segrer'a offers several satisfying songs wiMi male ensemble for support. Bron. no*» t\. v. Bill Robinson. Louis Armstrong Orch, Velmo Mtddlelon. Maurice Rocco, Peter* Sisters trj). Delta Rhythm Boys (5), Pee . Wee Mar ?iuetle. Otto Eason,- "Sunday Dinner or a Soldier" (20th- Fox), rei'teu-ed in "Variety." Dec. 6. '44. bracket outfits. avokaa pl«nty of en- thusiasm from th« kldi.. fikst lt«m is Pastor's own vocalizing ot ipeoiel- ties like "Whoopee," "Funiculi,". "Confessin'," and "Robin Hobd;" Jimmy Vincent, drummer, blows his top for the Pastor novelty. VPara- diddle Joe." Also highlighted is Tony's brother. Stubby, and his horn. '. Vocalist Dick Dyer does an obvi- ous lake oh The Voice, laying on the swoon notes with the ballads "Song Is You." "Once in a . While" and a medley of hearthrob pops. Ruth McCullough sets oft the palm- pounding with her swingy-stnging of "Accentuate the . Positive." "There: Goes That Song Again" and the '.'Trolley -'Son".'! . . A novel act— -Die Valletta—polish off. the bill. This team combines baton-twirling ana acrobatics to a Hssh.v finish. Mouse about 'three-fourths filled when reviewed (Fri. afternoon). Shall < aphol. WaHh. . Washington, Jan. 25. Cliff Nazarro, Cardini, De Castro Sis.. Peggy Taylor Trio, Sam jack Kaufinan's House Band. Lynn Allt- ion: "Between Two Women" (M-G). Milt Slosser at the organ presides while the March of Dimes collector's pass through audience, regaling with a number of patriotic airs. Trailers part to reveal a scrim of President Roosevelt while Lynn Allison sings "Hail to the Chief." The De Castro sisters follow with vocal of "I'll Walk Alone" in Spanish. For their encore "Rum and Coca-Cola" gets em off on to a nice hand. The fast talking Cliff Nazarrao is glib entertainer. He tells some stories, then pushes out the piano for some boogie-woogie, winds up with his double talk. The suave and slick Cardini then comes on for some magic, using - the background music of Burrus Williams at the piano. It's a sophisticated routine of deft tricks with cards and billiard balls: He winds Up with his famil- iar lighted cigarets trick. The Peggy. Taylor trio comprises two muscular young men and ■ Peggy. They toss her around like a piece of fluff, with all three of the adagio dancers skilled and adept. A. fast show, snappily presented. Arke. According to the best'vaude stand- ards this bill, doubling from the N.Y Zanzibar nitery into the Roxy. is a success. Layout -has potent name and entertainment value, and has the added lure of providing all that en tertainment at a tariff lower than that prevailing at the night club. There is sufficient material in the ■how to warrant layoff of the line this session. The few Zanzibeauts that are around are there to provide "atmosphere only. The bill in this in- stance is complete -without them, al though they are an integral part, of the proceedings at the nitery. The all-sepia divertissemert has an ace topper in-Bill Robinson, whose taps and throwaway stories brin-: maximum returns. Similarly. Mau rice Rocco's uninhibited stanrtun pianolbgy with his rendition of "Tico Tico." "Robin Hood" and "St. Loii Blues" bring forth a boff salv-v Harmonics of the Delta Rhythm Boys (5) ?re similar'y *vr-n f--- r serve stock. Doing "One'O'Clock Jump." "Bones" and "Ye.-. Indeed." there are no inactive mitts at their exit. Peters Sisters (31 are the other sin5ing act. These ponderous femino are as expert at both - caoers and vocals, and consequently collect nea~ >returns. Completing the layout arc Oil Eason's roller skate taps and Pee Wee Marquette, the lower case em cee. Both do their chores profi ciently. Louis Armstrong's orc-h cuts- the ihow expertly, but h:>s little lime for a full display.of the ArnNstron* iive. What he does is okay. Velmn Mid- dlelon. this band ehir'per.. rices, only one number. Every performer does will ennu7h to warrant encores, but because of the time element have to ppn^n! themselves with an abbrcvint"' 1 ,: - play. Jose. Apolla, ft'. V. Frank Humphries . . Orch (16) Marie'.Wells, Joe Medltii, Red Caps (5.) Spo Dee O Dee, Nat a Mimi. Sed.es & Taylor, Line (8); "Delin- quent Daughters" (PRC). This week's show at the Apollo has the.saving grace of the Red Caps and the hard-working band of Frank Humphries. Rest of the bill can be written off as one of the lesser ef- forts of this sepia house. The Red Caps (5). vocal and in- strumental group, are strong in both departments, and cash' in heartily with "Don't Fence Me In," "I Learned a Lesson" and "Cow Cow Boogie." Humphries plays a showy trumpet and works hard in front of the ba'nd. but unfortunately good effect of the orch is spoiled by the inferiority of .•eyeral of the sidemen. Thin-voiced Marie Wells does well by "Evil Gal Blues." but the mare chirper, Joe Medlin's uncertain voice, has a dif- ficult time sledding over two num- bers. It appears that he has nat- ural tenor pi.ics. but attempts bari- tone placement. His falsetto at the end of his songs, however, helps net him a good hand. . Discussion of Spo Dee O Dee and Nat and Mimi takes place under New Acts. Rest of the bill is by the house, regulars. Scales and Taylor, whose single skit winds up in the familiar "Who's on First" routine, and the nroduelion number by the house line. Two unbilled males dressed as African tribesmen toss the house Mis around with some mild adagio tricks. Jose. Straad. ft. Y. Artie Shaw Orch (18) with Imogene Lynn, Roy £ldridoe; Sunny Rice, Ross Wyse & June Mann; "Ob- jective Burma" (WB), re't'ieired in current issue of "Variety." There's no question but that Artie Shaw's first appearance in front of a band in N. Y. in about two years is contributing strongly to the over- flow crowds at the Strand, but there's also no question that once inside stubholders are not getting the performance they might have expected from Shaw's new bund. Film is. "Objective Burma." which drew rave notices. This is Shaw's first shot at Broadway since his Naval service. He was honorably discharged about a year ago and after months oh the Coast, organized this band. It has been working close to two months. : With two months or so under its belt. Shaw's combo should shape up in view of Ms fine musicianship. However, its performance during two shows caught proves otherwise. It's an ordinary outfit that plays with- out even a semblance of the spark of prewar Shaw organizations. It goes through number after number, even the leader's click arrangement of •'Begin' the Beguine." and nothing happens to make an car perk up and take notice. Nothing, happens with the audience, either, aside from polite applause. And when caught the first time (Friday night) the pews were packed with teen-agers. It's difficult to figure this- Shaw band. It's a bit rough occasionally, a fault that probably won't continue long, but that has nothing to do with the band's lack of -spark. It has been said that bands reflect a leader's personality. Could be that that's what's wrong here; Shaw. too. gives the impression he's.just!uoing through the motions. His playing lacks the drive and punch it once displayed. At any rate, he's leading musicians who can put on a bettcr performance. .He', has four trom- bones, lour trumpets, five sax.' and four rhythm with him. Imogene Lynn is the band's vocal- ist. She's badly spoiled between the two accompanying acts, doing, in fair voice. ^Accentuate the Posi- tive" and "Can't Help' Lovin' That Man." Nice hand. Sunny Rice, tapstrcss. is on up front following the band's two opening numbers. A cute and capable performer, she goes over nicely with two interpretative rou- tines which the band -handles, well for her. Ross Wyse and June Mann with their comedy material arc. the show's boff act. Their standard work goes over with a bang and when caught they could have done more, but Shaw cut 'em off with the blowoff tune. Wood, Shea's Buffalo Bu[Talo, Jan. 26. Charlie Spivak Orch (17)' u-t(li Irene Day, Jimmy Saunders, Hrir- nionica Rascals, Max & Gang: "Hearts Were Young ;and Gny" (Pan. Enrlc, Phillv Philadelphia, 'jan: 26. Tony Pastor Orch (15) u-i'tli Rulh McCullough, 'Dick Dyer. Stubby Pastor, Jimmy Vincent.- James Bar- ton. Ted & Flo Valletl,- . "Johnny Doesn't . Live Here Anymore" (Mono). James Barton's appearance wasn't marked by the heckling he suffered from the adolescents the last lin-.j he was at the Earle because he 'starts his current stint with a zingy a'r?' rangement of "Is You Is or. Is You Ain't." But after the auspicious start he goes into his drunk "mad: dbg" act. and' although it's a clever imper- aonation of a pub-crawling .dmnlc. it Is much too long and drawn-our for the youngsters who jam presentation houses to hear the bands. Barton clicks nicely, with his other bits, however, especially his booflie woogie session on the Stein way for his finale. Pastor's band. 'althoi><jh - it having Ihe -marquee strength n th*. top- Tower, K. C. Kansas City, Jan. 26. . Tex Terry, Tadpole (Joe Strauch) . Dick Terry; Doris Dean, Roy New- viai'. Rhythm Rangers (4). Tomer Otch (!)); "fiii jrom Arkansas" (PRC) and "Gambler's ■ Choice" (Par). ' . The corn grows tall at the Tower this week, with 9 40-minute all-hill- billy stage revue rounding out a dual screen bill which is strictly' rural. _ Teeins off. the house orch digs up the oldie. "Cheyenne," and the Rhythm Rangers carry, on with sev- eral square dance tunes and early tear-jerkers. On next. Roy Newman puts his well-trained dog, Lucky, through a routine of tricks and stunts which tlick., For a finish, the pooch bal- ances a glass of water on his' head while he walks across the stage. Tex Terry and Tadpole contrib several fancy roping bits, pointed up with gab and hoofing by the latter. Then the Rhythm Rangers go to (own with the No. 1 pop, "Don't Fence Me In." arid Dick Terry vocals "It's a Man Every Time." Next-to-closing. Tex. Terry is back -with Tadpole for some nifty whip- cracking; stunts which are okay. Entire cast is on for- the finale, "Take Me Back to-Tulsa." Biz grind at opening show. Enrt. Charlie Spivak's streamlined trum- pet paces the show, relighting the stage after several months and mark- 'ng his first showing here in over I wo years. Maeslro's sweet horn! backed by bevy of incisive brasses, clicks lol- lop returns, although a raucous re- ception from the plaid jackets and short socks almost ruined the open- ing performance. Guitar: and bass are the only strings being used cur rently by the crew, which is paced by 5 sax, 4 trombs and 4 trumpets. General effect is excellent both in sight and sound, but the ensemble's comedy, especially in the over-long "Solid Stuff" number, reeks of the dance halW'and is way off. color to: this front window. Irene Daly's s.a overshadows her vocalizing, and Jimmy Saunders' baritone likewise had 'em swooning. In the added attraction section. Max and his four terriers were high in favor, but the perfectly-timed comedy antics of the Harmonica Ras- cass. which is quilo as effective as their playing, walk off with the palm. This gang's parley of sound and slapstick is always sure payoff on applause. Wickets whirling at opening show- (26) despite sub-zero temps. Burton, brass, two strings and a rhythm sec- tion of Ave, including two sets of drums,, piano, banjo and harp. Sev- eral of the boys are flrst-rat* comics and vocalists. Numbers, for the most part,' are old favorites and each has its quota of laughs as.well as melody. Jones himself is a smooth and witty enough emcees and at one of the sets of drums and of unusual noise-making contraptions tosses in the screwy sounds.at the appropriate musical moments. Fun and music in combination, as In this instance, prove sure-fire. Band opens'wilh "Black Magic" Gigi Royce; one of the boys. con-, tributes an amusing inebriate bit for "Clink. Clink, Another Drink." Whirling lap routine's are spiced with body gyrations by,; Mavis Mims in her specialty. Red Ingles is in and out of most numbers and always a, scream. Carl Grayson from the band handles the vocal for "Sheik of. Araby" . well. The locally re- cruited femme harpist has her inn- ing during "Holiday for. Strings." Black Brothers are tops as comedy acrobats, and tumblers, and their feats and clowning are performed to an accompaniment . of audience laughs and applause. The band scores with "Chloe" and then Judy Manners; its vocalist, hits a high as a singing comedienne, scoring with "The Trolley Song," ('I'm a Patriotic Jitterbug" and, with Jones, "Glow Worm." Some high jinks make the band's " Hotel) a Chor«a" outstanding. George Rock takes the spotlight for a socko trumpet solo, "Mainka." and follows it with a* comedy song, "I Said No" in a high-pitched voice. The band comes through strongly with "Liebestraum" and then winds up with its first smash hit, ■"Dei- Fuehrer's Face." Capacity at the noon opening show Saturday. Rees. ft'allbnal, L-vllle ' ■ . Louisville, Jan.-26. ina Ray Hufton Orch, iwith Bob Aleaaiider, Danny Riccnrd, 3 Slbie- aioays. Belly; Bradley; ^Adventures Kitty O'Day"'fMpiio). La Hulton and her all-male band (14 I undertake, the bulk of the enter- tain mg chore this week, and the per- sonality gal fronts for the band in her usual weaving style. Instrumen- tal ion of five sax. three trombone, three trumpets, bass, drums, and piano is solid, and her current crew gives out with Ihe hot music in standard fashion. Danny Ricardo handles the vocal chores for the band, and gives out with "Mean to Me," "Embraceable You" and "I Dream of You." Lad's vocal quality is slightly mushy, and he was noticeably off pilch at 'the close of one of his numbers. Caught a light response. Band's two oppor- tunities arc playing of "Hedgehop- ping. a jump number which the Hutlon crew did in the films, and "Dark Eyes.", in which Miss Hulton beats t>ut. rhythm on a drum about three feet long called the "Conga." Number was effectively lighted, and Danny Riccardo gave assistance on the vocal. Three Stowaways, comedy knock- abouts, in sailor costumes, get a lot of laughs out of their efforts. They're dressed in sailor uniforms, and are introed by Miss Hutton as just dis- charged from the. service. Act needs a little tightening up, as it appears to be new and a little rough in spots. Boys go off to a nice hand,; every- thing considered. Betty Bradley, introed as a sln'g- ing comedienne of radio! has a small voice, which was too weak for this nouse even wilh the help of the p.a. She has very expressive features, and a winsome personality. Opens with "Spit "Hearted Cowboy," fol- lowed by a special number, "Do It Again." and "Rum and Coca Cola." Closed with an overly long version of "My Man" to fair hand. Hold. HKO, Hostwn. Boston, Jan. 26. Louis Prima Orch (1ft); Anila JWarlcll; Perry Franks & Janyce; Paul West & Megys Lexiny; Lily'.ft tin Carol; "House of Frankenstein" (U)l Orph^iini. MjiIn. : Minneapolis. Juii. 27. Spike Jones "City S ickers" (in with Judy Manners,. Maris Mims. Black Brothers. (2): "Sunday Din- ner for a Soldier" (20th). - What "Der Fuehrer's Face." plat- ters generally, the radio and films have done for Spike Jones and his "City Slickers" as a box-offlce at- traction is being demonstrated cur- rently. Here where "Schnickelfritz" and a number of other similar screwball musical outfits originated. Jones, playing his first. local en- gagement, packed 'em in from the very-outset and received an ovation at his opening. They go for this sort of zany musical clowning in the Twin Cities—aduits as wefi as the kids. With all their Olsen-Johnson any- thing-can-happen lunacies. Jones and his boys really turn out a highly lislenable brand of music—much more melodic, despite the unconven- tional arrangements and strange in- terjected sounds, than the usual hot swing dished up by st;i?e' bands. The outfit comprises two. »-kes, two Louis Prima's stock in trade— which is a personal amiability and an indefatigable enthusiasm for en- joying himself and his customers- is responsible for a tasty band show with variety, turns which pleases the audierice^of which there is plenty this week. Prima does trumpet licks, jitterbug routines and losses jokes (mostly catch-phrases in Italian), taking the audience- into his confidence and Tooling around with the specialty performers to give the whole thing an informality which catches the customer's, fancy. Band, which is okay in any case, does "White Cliffs of Dover." "Angelina^" ;'R 0 bin Hood," "Chinatown" and others, most of them with vocals by Prima : him self. Lily Ann Carol, one of the sharpest looking and-, singing gals with bands on the circuit, wows with "Rum. and Coca-Cola" and various current pops. Turns are supplied bv Anita Mar- tell, who juggles, balls, hats and pat- ter: by . Perry Franks and Janyce. who have plenty of contemporary drive as tap and aero dancers, and by Paul West and Meggs Lexing. whose comedy roughhouse- stuff goes very big wilh the audience. Elie; Capital, ft. v. Franfcie Carle orch (16) with Foul Allen, Phyllis Lynne; Marilyn Hu- U'ell; Johnny Morgan, Ladd Lion. "The Thin Man Goes Home" (Metro) rct'ietred in "Variety," Nov. 22, '44! The now firmly established Frankia Carle orch is back at the Capitol this week topping off a stage show that presents a nice surprise packase in the winning personality of starlet Marilyn Maxwell, making her first Broadway p.a. (with accent on s.a.>. The blonde peacherino sings, but she had the audience roped and tied when caught (26) before she even sounded one note. After that it was smooth sailing for the ex-Bing Crosby radio co-worker. Only flaw in her routine is choice of Johnny Mercer's "Accentuate" to open. Song is definitely boffevoo but isn't exactly suited for Miss Max- well's pipes as proven when, she moved into the wow department do- ing "Good Man Is Hard to Find"' 1 with a.special GI lyric), and "Tree That Grows in Brooklyn." evoking the never-failing neighborhood dele- gation applause. Encore, "Rum and Coca-Cola," a swell ninth-inning rally, isn't necessary but it clinches things, nevertheless. Miss Maxwell has the looks, voice, showmanship and personality to .capture any au- dience and seems a sure bet for a musical. Another vocal score on the bill is Paul Allen, impressive young bari- tone with the Carle group. Her reg- isters nicely with "Beguine" and "Talk With, the Lord." trotting out a voice and delivery rarely found iri dance or stage . bandsr—-AllenV-a ■ pleasant relief from the mike-grab- bing, swooner crop that flourished in Sinatra's wake. Other Carle singer, Phyllis Lynne. displays cuteness and pep batting out "Them There Eyes" and "Corns for My Country." Johnny .Morgan's comedy contribi go over well. it not riotously. After brief gag session he -goes into his pseudo-symph orch leader routine and winds up in a clowning jitter- bug bit with Carle to close the show. Morgan's.'gags could stand freshen- in 1 ?, but his maestro biz remains a winner with the orch earning bows for strong assistance. The Carle orch. for the most part, is on stage as window dressing for the leader's . commercially strong keyboard work. He's spotted down front, well lighted, and delivers as usual with a medley including "Bar- carolle." "One I Love," "Louise" and winding- up in the boogie-woogie vein. Latter creates excitement but is not Carle's strongest department. Seems a bad idea. too. to have brass section swinging around in unison on last chorus, thus detracting from Carle. " Ladd Lyon's familiar aero turn, us- ine his brother as an audience stooge, rounds things out to give the Capitol a bill that should bring 'em in. Don it. Ada«N, Newark Neicark.. Jan. 26. Benny Carter Orch' (1GJ.; Savan- nah Churchill. Timtuie Ropers, Jean Starr, Business Men 0/ Rhythm 12). Kiiifl Cole Trio; "Rogues' Gallery* (PRC). Further indication of the trend away from boogie and back to sweet is shown here in the fact that Benny Carter's orch. a sepia butflt of the type that formerly never did any- thing but hot, is now including an equal, number of both styles in its repertory. While heavy on brass, as of.yore, there is nevertheless a tend- ency to play down the wah-wah, and the juve customers don't object, Jean Starr, attractive femme trum- peter, does a fair vocal and instru- mental solo of "Is You Is." Business Men of Rhythm, a fast-stepping Negro pair, provide a lively terp interlude. King Cole Trio, piano, guitar and bass fiddle, score mightily, with pi- anist Nat King Cole rendering sev- eral stories-in-song that get over for top applause. Savannah Churchill, blues singer, and Timmie Rogers, comedian, both out ill when show caught Friday evening, but Miss Churchill got swell notices in the local press for her opening-day torching. Colt. Chleago, rhl Chicago. Jan. 26. Carmen, Cai<allaro Orch. (I61 with Gloria Stark; Rochelle & Beeue, Paul Repau; "Our Hearts Were Young 1 and Gay" (Par). There's hangup entertainment on tap this week headed by Carmen Cavallaro's orchestra supported by two excellent acts. Fresh from a long run at the Palmer House. Caval- laro is packing plenty of, boxoffictt wallop,' and Waiting lines are tha rule„ . Instrumentation is evenly bal- anced, composed of eight brass und reeds and eight rhythm and strings', and band proves equally proficient in dishing out pop or Latin tunes. . Accentuated by • smart arrange- ments and highlighted by Cavallaro's brilliant keyboarding. band's presen- tation is sock hit at every show. Teeing off with "Cherokee."' bV*d swings into a medley comprinltig "There Goes That Song Again." "111 Walk Alone." featuring the viutn trio, and "Don't Fence Me In." GV>- ria Stark, band's warbler, outs 01 ir "I Don't Want to Love v ou" i| d (Continued on page 35)