Variety (May 1945)

48 HOUSE REVIEWS Wednesday, Way 30, 1915 Capitol, N. V. Guy Lombardo Orch (14) featur- ing Carmen, Leberi, Victor and Rose - Marie Lombardo. Jim my Brown, Don Rodney; Joey Adams with Tony Canzoneri, Paul Remos and Toy Boys (2), Mark Plant. June Havoc; "Tlirill of a Romance" (M-G). reviewed in "Variety," May 23, '45. ■■ ' : solo of "Meditation" for a solid hand. Four Step Brother*.- also in the Horne-Lunceford date year ago. grab plenty of palm-pounding with their classy footwork. Strawberry Russell is the comedy turn on the bill, sell- ins; bis with tunes on a homemade one-string fiddle and eccentric hooting. Brog. Smooth, well-balanced show at the Broadway Cap, With Guy Lom- bardo at the helm and June Havoc bottomlining. But the real hit is Joey Adams,.alumnus of the saloon circuit, who has developed into a Jack Ostermanesque type of fun- ster. Of '"cute" personality, well foiled by ex-pug Tony Canzoheri and Mark Plant—the trio worked as a unit at Leon & Eddie's at one time —he gives the show a strong comedy lift when badly needed in contrast to the smooth Lombardo music and Miss Havoc's rather strenuous s.a. routine. < ' * Jimmv Brown and Don Rodney, featured with the Lombardos, open with "Bell Bottom Trousers" and "Dream," backed by four reeds, four brasses, and six rhythm, latter com- prising twin pianos, both string, bass •tuba, drums and guitar. The always pleasant Lombardo style is especial- ly adept for straight listening, such as when that echoing trumpet, the' twin Steinways and the generally solid but unobtrusive dansapation tempos assert themselves. Say what you will about Lombardo corn, Benny Goodman once summed it up best when he finally was influenced to catch the band at the Hotel Roose- velt. From frank contempt for icky music. Goodman conceded that "never do the Lombardos lose their sense of rhythm." The nature of the show doesn't give them extensive opportunities, but they make much of it, with inter- ruptions first by Paul Remos and his standard midget act. The two pyg- mies are cute "Toy Boys"—their bill- ing—but it's a question whether their Germanic brogue is a good idea right now. Just as good dumb all the way. After the band's arrangement of "Htimoresque," sister Rose-Marie Lombardo chirps "Sentimental Jour- . ney" in her now seasoned, manner. Another intra-family salute later on Is Carmen Lombardo's pop song medley. And he has written quite a lew good ones. Incidentally, Car- men's tremolo tenor is now part of the vocal trio and not soloed. June Havoc next with a diaphragm- bare, adhering gown which inspires wolf-calls from the balcony, if noth- ing else. Her Bacall version of "Cal- doota" and some &a.- strutting round out a light but passable specialty. No mention of Gypsy Rose Lee being her sister, but there is reference to her Hollywood work and the late lamented "Sadie Thompson,"- stage musical, all of which would indicate Miss Havoc also needs an author. . Following the Carmen Lombardo medley comes Joey Adams, including the Canzoneri hokum (Edward G. Robinson imitation, etc.). Mark Plant solos "Beguine." and a very funny "Sonny Boy" satire with Adams makes for the finale. It may be a canard, but it's Tin Pan Alley legend that Buddy de Sylva, Lew Brown and Ray Henderson wnrte the song as a gag, but were - -shocked to find it caught on as a worldwide smash for all its banali- ty. The broad manner in. which the pantomimic Bernards (another cafe act which first did it), and now as ' Adams and Plant render it leaves no doubt as to its unadulterated hoke. Abel. IIKO, Boston Boston, May 25.. Gene Kmpa— Orelh —(21).--Bob DuPorit. 3 Welles, the G-Nolers and Buddy Stewart; "Eve Knew Her Ap- ples" iCol), The rhythmical wham-bang boy of swing. Gene Krupa, wowed flaming youth with his drums and tootling orchestra. He can dish out old and new favorites. •''•■"'... Band is tough on sensitive ears in Spots, but is superb in "Bolero in Jungle." with tom-tom beating and Krupa at kettles, with special light effects. "Leave Us Leap" opened the ap- pearance in milder manner. G- Noters. mixed quartet, offer "Senti- mental," "Bobby Sox Waltz." and the excellent "Paper Moon" for good returns. , With "Body and Soul" and "Dark Eyes," Krupa. Charles Venturo with his sax and George Walters at piano zip to big hands. Buddy Stewart, vocalist, clicks with poised renditions of . "Laura," "Summertime" and "There Is No You." Tom Pederson excels in a trombone solo, "Caprice Viennese." • Vaude acts include Bob DuPont's funny, beautifully timed juggling, and acrobatics by the lively Three Welles. The finale is "Drum Boogie," with orch at illuminated drums and Krupa sitting high against green curtain in double spot. The theatre roof miraculously stayed on. Dame. Karl**. Phillv Philadelphia, May 25. Helmut Dantine, Andrea King, Gil Lamb, Bob Coffey. Peggy Mar- lowe, Boyd, Raebum Orch (15) with Margie Wood. David Allyn, Hy Man- del, June Miller; "Molly and Me" (20tli): Orphnuiu. L. A. Los Angeles, May 25. Jimmie Lwnceford's Orch (16). Lena- Home. Step Brothers (4), Strawberry Russell, Nicfc Broolcs. Kiit Bradford; "Thoroughbreds" (Rep). Combination of Lena Home and Jimmie Lunceford's orchestra seems certain of repeating its big success of last dates played at this house. Both headliners have ■ made noticeable changes in style—and not for the best—but this apparently isn't, dis- turbing Orpheum audiences. They like them, anyway. Mjss Home gives her new treat- ment to four tunes. "Sometimes I'm Happy." "Nothin' But the. Blues." "Seein' My Baby" and "Deed I Do." If was only on the last that she ap- proached her boff work of a year ago on this stage. Window dressing for her stint is furnished by straoless pastel evening gowns that's plenty whistleable, but she spoils the effect -bv twisting her mouth"to the side of her face-while singing and generally acting like a skittish jitterbug in- stead of the fine, adult artist she actually is. .'" Lunceford. too. has gone fancy in his arrangements, departing so far from basic melodies of standard pieces that they are unrecognizable. Emphasis is on torrid, brassy style, and there's no objection to that as long as the rhythm section holds it together. Band is featured on "Bust Out. "Need a Lift." "Bodv and Soul," "Song of the Islands," "T'ainl What You Do" and "For Dancers Onlv." Nick Brooks, vocalist, sings ;Tl Should Care" and "Didn't Know About You" for fair results. Kirt Hradford, ssnc, catches spotlight on Thanks to Gil Lamb this imposing layout (on paper) turns out to be fairly diverting entertainment. With- out the lanky comedian-dancer it would have been one of those things. Lamb coming in on the No. 7 spot puts a lot of zing in a show which seems falling apart at the seams and holds things up neatly for Helmut 'Dantine and Andrea King, who hold down the finale spot. Opening show was overlong—al- most 90 minutes—and ragged. Boyd Raeburn's orchestra make the mis- take of trying to introduce a new tune. "Tru-Mom-Tru" without either the band or vocalisls knowing what to do with it. It bogs down the whole show. Margie Wood and her "Boy Friends" do an okay job on -a dream" medley, while David Allyn does a croon job on "Laura" that's fair. . . Hy Mandel and June Miller fluff and fumble through the aforemen- tioned "Tru-Mom-Tru," a new Ca- lypso tune. ' Lamb and his harmonica-playing stooge. Bob Coffey, perform niftily with Lamb adding a new bit of busi ness to his familiar act—an impres- sion of famous composers working out a nursery rhyme. It's hilarious? Miss King and Dantine are fairly pleasing with the latter really doing a credita'ble job oh a dramatic bit of a school teacher telling his class of a heroic death ol a former classmate. Miss King, looking plenty oompish in a low-cut strapless gown, doesn't have much prepared beyond the usual glad-to-be-here routine, but with Lamb's assistance she does okay. She essays a song with Lamb called "Must You Talk-Talk-Talk" that could better be left out. Both Miss King and Dantine are well- received, however.'". Peggy Marlowe fills the dancing spot on the bill. * Shal. Victoria I»alar«'. I.oiiil. London, May 14. Bobby Howes. Florence Desmond, Maurice Colteano & Family. Gas/on Palmer, Charles Warren & Jean, Jean Adrienne & Eddie Leslie, Nor Kiddie. Jose Moreno St Partner, Bert Nicol & Merrill. The inebriates, Norman Girls <B>. This independent house proves why it is so successful by current show, fourth 6Tseries. Openers-•. are' «ix Norman Girls, well-dressed lookers, in a series of dances that are not new, but well liked. Two Inebriates follow with regulation trampoline turn, pointed lip with comedy drunk antics. Get away nicely. Nor Kiddie is a newcomer. Pro- vincial comic was recommended by George Dormonde. who spotted him in Blackpool. He's refreshing, with a nice sense of comedy. * Jean Adrienne and Eddie Leslie, comedy team, are a seasoned combo, with every trade trick. Chatter, sing and dance, all to pleasing re- turns. Playing quick return here. Gaston Palmer, the juggler, repeats click of his last visit. Florence Desmond, still the best of all mimics, gets a big reception. Does take-offs of Hollywood stars, her best being Bette Davis. Only English stars that she apes are Vera Lynn and Gracie Fields. Charles Warren and Jean are ex- tremely amusing. Male is offshoot of the American act. Kafka, Stanley and Mae. trapeze offering. Warren has developed talking abilities, too much at times. His partner Jean is a find, being a looker and an okay foil. Act has bright prospects. After intermission. Joe Moreno and partner click in juggling tricks on the wire. Bobby Howes, star of musical com- edy, has the same disadvantage as most of his type singles—lack of co- herent vaudeville material. Disjoint- ed effort, comprising excerpts of songs from his former musical com- edy successes, is hot enough for mod- ern vaude requirements. Maurice Colleano and family hold 'em tight with their miscellany of comedy acrobatics and teterboard stunts. Act's high spot is still Mau- rice and Bonar Colleano's bubble dance to comedy guffaws. Solid click, although they've been around here for years. Bert Nicol and Merrill, comedy cyclists, offsprings of clever families, hold them in closing spot. Rege. Pancho's Orch (12) with Carole Page & Herman del Toto, Kitty Carlisle, Roily Rolls. Carlton Emmy. Miller & Jcne; "Here Come the Waves" (Par). Capitol. Wash. - 'Washington. May 25. Jean Parker Zarco & Beryl Wes- son Bros., Don Dorset/; Sam Jack Kaufman's House Orch, Lynn Alli- son, Milton Slosser; "Tomorrow The World" WA>: Current bill has strong act values but net effect is spoiled by weak orch backing of the Pancho rhumba band, whose outfit is designed pri- marily for the nitery idiom and has neither the body nor the routining for vaude houses. At this house its rhumba offerings have little effect and its showbacking doesn't give maximum sid to acts. Carole Page, with the band, is a good-looking songstress whose single number. "Home for a Little While." has little audience effect, while Her- manTJel Toro. vocally okay, knocks off t..wja. t tunes from "Three Cabal- leros," with concentration upon the first few rows. His walkoff milt, however, was substantial: Headliner Kitty Carlisle, who. has always taken the measure of this house, repeats her fine showing. She's a fine technician whose diction and phrasing are tops. Tunes are melodic, familiar and universally liked with the result that she has to return for an encore and later a begoff. Another hit here is Roily Rolls, whose comedy impressions of a piano virtuoso, along with his work on a tiny concertina, produce a ncar- shbwstop. He's pretty adept' at the ivories, has a strong sense of funny values and a good sense of show- manship.- Rest 'of the bill. Miller and Jene (New Acts) and Carlton Emmy's dOTs. also go over nicely. Single set is tastefully arranged, along with good lighting. Fair business . when caught. Jose. Sam Jack Kaufman's crew' open show with a medley of top tunes, with Lynn Allison vocalizing. Then Milton Slosser at the organ dips back to_songs of the gay 90's for audience.singing, Jean Parker, 'from"':' fiTBTs," elicits sensationally. Opens with "1 Love Hollywood," which has some snappy lines and is delivered with aplomb. Then a dramatic recitative about a soldier romance called "Jane Doe." Finishes with modified French can- can. Comes on for an encore with the Wesson brothers. v. Show opens with Don Dorsey on the flying trapeze. Whose routine is fast and tricks are good. The Wes- son brothers give imitations, of Hol- lywood stars and personalities for good results. Zarco and Beryl's dance creations run to the Spanish mood in execution and costumes. Show is nicely lighted and costumed by production director Gene Ford. —■ ..... A rice. "Old Feeling" without feeling, and patrons didn't insist on another num- ber. Joe Dcntoni WHAS vocalist, clicks with his smooth singing of "l Should Care" and "You Made Me Love You." Off to nice round ol ap- plause. .. ■Cliff Gross, who heads a hillbilly combo over WINN, appears sans band but aided by George Havens. Gross, with ten-gallon hat and fiddle, chats with the folks, fiddles a couple tunes backed by guitar and bass Jiddle from McMichen's band L and then brings oh Havens. Latter, "also" in cowboy rig. gives out with "Too Late" and "Blue Eyes'" for top rc-. turns. Jean Audette. blonde, tall and slim vocalist from WHAS. qontrjbs "Mad About Him Blues" and "Mean to Me," to fair response, Lonnie Gibs- son and Little Eller. from "Renfro Valley Folks," fairing over WHAS. are an okay combo from the hills. Glosson. plenty clever with the har- monica, plays "Fox Chase" and "Mamma Blues." Little Eller. 6-foot femme. who was with "HeJlzapop- pin" for a while, sings and dances. Her grotesque postures and leggy hoofing keeps 'em laughing. General pace of show is saggy, and even though the turns do their best numbers, judging from audience re- action it would be better for most of them to stick to their original medium, radio. Whole thing was n. s. h. Biz poor at show caught Fri- day (25). Hold. Tttwrr. K. €. Kansas. City, May 25. To?»my Haiilon & Jean, Welts St Gilmore. Miller Bros. (2), Be.WoiU Bros. (2)„ Val Williams. Carroll Vogel, Tower Orch (9> with Norma Werner; "Song of the Sarong" (ID and I'll Remember April" (17). With Tommy Hanlon and Jean topping bill, current layout at the Tower is a 40-minute cOmbo of di- versified acts which add up to smooth entertainment. House band swings out on "Can- dy," with Norma Werner taking the vocal. Val Williams handles the m.c. chores neatly. Miller brothers, guitar and banjo duo, contrib some nifty picking on "Indian Love Call" to open, and then shift to torrid boogie, which clicks. Dance team of Wells and Gilmore take over for a fast terp routine. Carroll Vogel. juve "Discovery Night" winner, does a neat control number: Hanlon and Jean, a ■ curvaeious blonde, are standouts in the next- to-closing spot with a mixture of magic and comedy. Hanlon opens with gab before he intros shapely partner. The familiar guillotine trick is worked with youth called up from the audience. Other effects and ac- companying patter send pair off to heavy palmwhacking. Belmont brothers, in snappy nau- tical uniforms, close with a fast- moving juggling routine. They han- dle hoops and other customary props with plenty of skill. Earl. Theie isn't much you can put your boxoffice finger on this session at the Strand. Added to this, is the fact that this is an average 'thill, in its _play.ing_ with. ...an _occ,asigoaf. except, lion. Shep' Fields' orch with its highly novel instrumentation of nine reeds and five rhythm—including a girl harpist—plus the leader's occa- sional sax. is distinguished by an at- tempt at novelty and some good ar- rangements. The leader, as always is quietly "personable and handles introduction of the other acts with dignity and no fanfare. The other acts on the bill lean to comedy, with the standard Borrah Minevitch Harmonica Rascals and a comparative newcomer, Lenny Gale, handling the laugh score. The turn with the smallest billing, the Fon- taines (New Acts), is really the show's top bofferoo. The Minevitch troupe, with Johnny Pulco still a very funny little fellow with- his shenanigans in being buffeted around by the others, has broadened its. comedy touches a lit- tle too much, but still produces plenty of laughs in its hillbilly getups and cu'ups. Gale has his amusing moments with impersonations of notables, and he does them well, though, like in many cases of mimics, the material is not up to the standard of the affected mannerisms. The response to his turn was strong. Meredith Blake and Bob. Stewart are Fields' featured vocalists. Miss Blake particularly getting over with a neat style and voice. Stewart needs schooling. As usual—and this is particularly true for this show—Leo Morgan's staging and lighting of the layout deserve billing. Kahn. IVational. l/vlllv Louisville; May 25. "Radio. Revels"-whU Bub Abbott: Clayton McMichen's Georgia Wild- cats. Little Eller, Lonny Glosson. Cliff Gross St George Havens. Jinn Andetle, Lea Burns. Joe Denton. Earle Keller's Orch: "Singing Sher- iff-:. <m„~-~~ . '■■ ■ [ It's radio week at the National cur- rently, with a lineiin of talent from stations WHAS. WAVE. WINN and WGRC. Layout is tooped by Bub Abbott, disc jockey. He introeS the various turns from, a desk at the side of the Stage. "Pappy" Clayton McMichen's Wild- cats combo from WAVE. With "Pappy" himself giving out with the announcements, please with "Copen- hagen," "Dreams" (vocal by Bcrnie Smith., steel guitar slayer) and "Johnson's Mule." Band sounds okay musically but lacks the zip expected from a McMichen outfit. Lea Burns, from WGRC. introed as a torch singer, wasn't. She essayed Hipp. Hallo Baltimore. May 27. Cy Reeves. The Graysbns (2). Phil & Mildred Crane, Gautier's Bricklayers, Felice lula House Orch 112); "The Enchanted Cottage" (RK03. Rather pleasing layout plays well enough and scores despite lack of sock names to lure 'em in. Cy Reeves is a smooth-working emcee with better-than-average material, and he keeps show moving along at good pace. b ; The Graysons. mixed hand-to- hand duo. start matters flashily and to good response. Phil and Mildred Crane, songsters, ring the bell- with ' Donkey Serenade." "Mandalay" and "Sweethearts." Reeves in own spot contribs a pot- poliri of gags and parodies that keep them laughing throughout and sends him off a solid hit. Gautier's Bricklayers close and are standout as always. Educated pooches are well cued and timed. Biz very good. Bitrm. Knrl«», Wash. Washington. May 26. Sue Ryan. Chester Dolphin; Son- dra Barrett, Mary Lou Brewer, Rox-yelles, Jo Lombardi's House Orch; "Counter Attack" (Col); Sue Ryan is the sparkplug of this show. A fine character singer, she plugs the "Ziegfeld Follies," and gives several numbers which she did in that show. Her repertoire con- sists .of. a. .medley. "Plenty of Mus- tard" and a song about Her'activities on the Lockheed line. For an en- core "You Marie Me What I Am To- day," as introduced in 1913 and as a scat singer would warble it. A wow on the first show Saturday. Chester Dolphin sells his juggling tricks with a slick line of patter. His comely assistant helps out in the fan. Mary Lou Brewer, who Won the "Song to Remember" contest warbles "Candy" and "Saturday Night" for good returns. Sandra- Barrett." in a yellow biege gown, gives out With some lively tap dan- cing. Roxyettes open and close the show with two striking numbers in color- ful costumes. Arke. Strand. \. \, Shep Fields Orch (15) with Mere dilh. Blake. Bob Stewart. Toruwu Lucas; Borrah Minevitch Harmonica Rascals with Johnny Puleo, Lennu Gale. Fontaines (3);. "Pillotc to Post" (WBK revieued in "Variety." Man 1C. '45. HB Chicago, f hi Chicago. May 25. Dace Apollon St Co. (5). Coiidos Bros. (2). Nip Nelson. Lou Breese- Orch (15) with Marshall Gill; "Bring On the Girls" {Part. Current bill, in for two and pos- sibly three weeks, is practically an all-male layout, only one on the dis- taff side beina the girl,in Dave Apol- lon's act. However, all acts are show-stoppers. Lou Breese crew tees off with a medley of pop tunes during which Marshall Gill, trombonist of the out- fit, baritones "AH of My Life," "You Belong to My Heart." "Laura." and has to beg oft. Condos Brothers fol- low and win applause dividends on their nifty line of hoofing. Nip Nelson, last of the old Oxford Boys trio, whams over a number of vocal and musical impressions in the next frame, including carbon copies (some of them not so clear) of Henry Busse. Kay Kyser, Jack Benny, Rochester. Crosby. Sinatra, Kate Smith. Clyde McCoy and others; Stops show for solid hit. Dave Apollon has revamped his act somewhat since his last local date. He has added an Hawaiian girl. Tapu Kaua, guitarist, to his trio of Filipinos with Carman Velez now doing :the vocals., formerly sung by Paul Limico. Comedy talk between Apollon and the gang is practically the same and goes over big as usual, with Apollon's showmanship evident throughout. Musical numbers ara "Let Me Love You Tonight" by the ensemble to open; Velez' piping of "Candy" and "Stardust" for gener- ous response; the gang's interpreta- tion of the Ink Spots doing "If I Didn't Care" with Miss Kaua doing the lead and the closing numbers, "Hawaiian War Chant" sung by Miss Kaua and "Madelon Song" played by the group with Apollon's balalaika playing outstanding. A hit. Morg. l'alaee. Columbus Columbus. O., May 22. Tommy Reynolds Orch (16). Guy Kibbee, Marva Louis; Jackie Glea- son. Eve Condos; "Betrayal From the East" (RKO). Tommy Reynolds orch overshad- ows the name acts in thus weeks Palace showcase. The aggregation consumes a large portion of the hour allotted to stage antics, ; , Selections are not unusual, and are mostly peppy arrangements on numbers like "Flying Home." "When Your Lover Has Gone."-"Who Dat Up There." But the renditions are boff. In the vocal department. Helen Lynn clicks delightfully-with "My. Heart Sings" and "Sentimental Jour- ney." " Guy Kibbee does what sounds like a left-over from .an Army camp tour routine. Many of the gags are geared at servicemih. Although some ol the patter is dated, he makes the stmt thoroughly enjoyable by virtue ot his jolly personality. Marva (ex-wife of Joe) Louis has developed a strange albeit appealing torch voice. She sings "I Should Care." ".Together" and "Manhattan Blues." Eve Condos dances well. Yet somehow, somewhere, she misses. Her endings are clipped and sudden. (Continued on page 54) .