Variety (Jun 1945)

50 HOUSE REVIEWS Wednesday, June 27, 1945 Casino de Paris Packs 'Em in But It Only Adds Up to Mediocre Talent Produced by Henri Varna: asst.. Guy Cadenat; sketches, Marc-Cab and Cities Margaritis; dances, Muss Doris, Wat Kryser and Muurandi; Orchestra. Marcel Pagnoul; cos- fumes,"R. Frost; cast,-Joan Darnell, Greta de Horn, Maurandi. Ann & Wai Kryser, Robt. Berri, Nicolas Arasse, Ludmilla & Cadi.v, Lyana, Eve Lyne & Desmet, Lucienne Mon- nel, Marceau, Colette Anthony. Coccia, Ruby, Sagan & Co., Janme & Cisele, Ninette & Gladys. Paula & Nargot, Li Ion, Jean Gosser.. Paris. June 10. The Casino de Paris—the No. 1 music hall of France—is packin' 'cm in with a new revue called "Charm- ing Paris." The showcase o£ the French vaudeville theatres has only a fair show, with", plenty of epidermis, good orchestra, but mediocre talent. It plays to packed houses and crowds come nightly to the rue de Clichy to see what gives.. The Casino has been, dishing out classy revues since 1912 and can almost be called the "Palace" of France. Since then it has presented Cecile SOrel, famed longhair actress, who abandoned the legit for vaudeville; Maurice Cheva- lier, the diseuse Raquel Meller, Tino Rossi, and others. But where you would expect a hotsy totsy revue this one just.barely clicks. In the first olace the showgirls seem to be dead from the neck-up and down. They show plenty in between but they come out, go through their routines with dead- pans, just as if they'd had a tough night the night before. They have no sense of ensemble dancing, and it seems to be every gal for herself. There are two sets of 'em, the 16 glamor gals, and another more ex- clusive group of eight showgirls who are a little bigger, a little better, and • a little more animated. They're the clothes-horse type, only they don't overdo the clothes angle. There are plenty of French civilians present and they seem to go for it more than the "Folies Bergere.'" It's not any better, but it's more risque and dar- ing. The staging goes in for lots of stairway numbers and it opens with girls spread all over the steps, dressed' in long, black, spangled dresses. The girls sing a crummy .greeting song called "Bonjour Paris" and then wriggle their torsos to a hot chorus. They also make with the arms, but it's no go. You better look quick, because it's practically the last time you see the girls with any clothes on. From then on the skin just drools all over the joint. Early in the revue they peel off a number called "New York by Night" and the girls come down the stair- way. It gets a Sig hand from the soldier boys because the backdrop shows lots of New York skyscrapers with lights showing through the win- downs, and for many of the homesick campaigners it's the closest they've been to N.Y.C. in maybe two, three and four years. It introduces Ann and Walt Kryser, a nifty and talented ballroom team. He's tall, dark and graceful and she's a cute blonde little trick. They dish out a little corn— at the end of their dance her black gown falls away, revealing an Amer- ican flag gown underneath. As usual with most French revues, the backdrops are really the berries, which introduces a singer, Robert Berri, a fair comic with a small but good-enough voice. (After all, the puns don't have to be any better than the show.) He opens with "There Are Beautiful Girls" against a drop showing the Arc de Triomphe and warbles about how hot the Pari- sienne numbers are, while the eight showgirls make with the eyes, dressed in little bolero jackets which really don't even begin to cover their • charms. Then comes .a high class bedroom number—and it never fails. "Fan- tastic Armor" is the terpsichorean story -of the lonely princess who is undressed—no kidding—before your eyes and is carefully put to bed. She tosses restlessly, gets up as her boy friend appears from behind a stained glass window. They (Ludmilla & Cadix) go into a classy dance which is good. Then he puts her to bed, tenderly embraces her. takes a pow- der, but leaves a little something behind. In comes an old chaperone. sees what's been going on. To punish the princess, she sends the naughty gal into the cold arms of a suit of armor. Justice is triumphant as the steel arms lock on the naked flesh, and down comes the curtain. Pretty arty. "Frenzied Jazz" is a novelty num- ber which- features the Krysers in a hot tap dance which clicks. The girls come out in clever costumes designed as band instruments and they wiggle around before a big, black, impres- sive drop which has four large Negro faces blowing clarinets. The drop is really a lulu and suffuses the whole scene with a sense of awe- some, mysterious, frenzied music.. As a contrast from black "Orna- ment From Sevres" shows the stair- way again, and a string , ensemble, on top with a minuet dancing couples on the bottom.' Everything is tw- it. And they pay plenty of dough to see it. so everybody is happy. But the Casino will have to do belter'to maintain its old motto, "The Revue of Revues." Teiger. cred in whilefaces—hands, cos- tumes and instruments; The Krysers bounce in. dressed in modern clothes and contrast their hot steps with the old ones. The close dancing to the "Rhapsody in Blue.". "The Babv Machine" gets plenty of laughs. A little gal, not bad at all, explains how France has been suf- fering from a baby shortage, and can't wait for the standard delivery time. She savs the machine delivers the little bundles pronto—all you gotta do is flash a little instrument she gives you on the. machine. She comes down the runway plaintively asking "Won't someone help me make a baby?'' Henry Berri takes the part of a G. I. stooge, looks at the babe and gets laughs with his crack in English. "Boy, she really is stacked up." He doesn't go for the machine stuff, and says "That ain't thewav we do it back in the States." Again the babe pleads for help, and explains how they've already made 150 with the machine. He corns with a crack about "That ain't no ma- chine: that's a rabbit." Finally he grabs her. starts planting juicy kisses while the machine throws Out baby dolls all over the stage. Can you guess what he cracks as the curtain drops? Right you are;-it's "The old system is best." Berri has a fail- sense of timing, and reminds you a little of Frank Fay. Nicolas Arasse is a sweet warbler, who has several spots. His first is "Beautiful Serenade," and after the chorus the curtain falls forward, re- vealing "The Chamber of Love." a pretty tableau showing the queens of the boudoir in a silky bed. surround- ed by cute.little numbers dressed in smiles. ' . Caccia. the sad-faced, baldheaded, pantomimic comedian, is introduced with "In the Park." He's the bored husband sitting in the park with his plain, knitting wife, who just keeps knitting. A large white drefp shows the lower rear half of a female statue. It's most prominent feature is a great big cheeky bottom, which starts to interest the husband. He goes over, looks at it artistically, ad. miringly, lecherously, tries to peek at the front of it, and all the time he has to dodge the. dirty looks Ms knit ting wife keeps throwing at him. Then in come a young couple, park on the bench and they go into a clincheroo routine. What necking! The old guy sees it. and almost dies with envy. The wife sees it, too^gets a little gooey looking herself, but goes right on with her knitting. Hubby chucks his umbrella over close, picks it up and takes a worm's eye close-up of the bench maneuvers. In. come a black, slinky little skirt the husbad falls hard, and takes off with it—but fast. As she goes off the stage she throws up her skirts, re vealing a pink bottom before the blackout. Alter the intermission — which really means drink time—the ' gals open with a sailor number which is the quintessence of corn. They end up with waving Allied flags. Well you gotta clap, if not for the.number, then for the flags. The big comic number is called "Nuptial Nights," another bedroom scene. In comes Caccia". ready to spend a lonely night in his hotel rooili. As he starts to undress, he he^rs goos and gurgles and gay screams from the room next door. He peeks over, under and through the door. In comes the maid, and he starts propositioning her. She finally weakens, promising to return later The old boy goes out to make his.toi lette while an anxious bridal couple is mistakenly shown into the same room. They get ready. The husband goes out. the bride steps out for a moment. The old boy comes in, pow ders himself carefully, and tickles himself into a frenzy with the pow derpuff.. The nude bride comes back and snuggles into bed. The old boy gels into bed. The husband breezes in and jumps 'into bed. Finally, the maid comes in 'and she gets into bed. The blackout and curtain descend on a full but somewhat surprised quar tet. Ruby Sagan & Co; is a team of ■ballroom dancers who end up with screwy routine. They're like the Hartmans, only* not as good. A clever little dog comes out, and keeps get ting tangled up in the dance. By the time they finish, clothes are disshev- eled and torn, and pieces are strew all over the stage. A very classy number is called "Undress Throuhgout the Ages." It could be called elevating—a scien tific investigation into what went into the female costume of the dif- ferent periods. As the number peel., off the doue. and also the clothes it all gets down to the facts of .dress, or, better, undress, and figures. And the. figures aren't bad. The final number is a dressed-up, big, silky, fleshy spectacles, but they don't show it long enough. The stairs jack-knife open, revealing a sumptu cHtsly decorated tableau number "The Marvelous Chaco." and befor you can say "Casino de Paris," the curtain comes down. It's not top-drawer stuff, but the soldiers and the French seem to like Hipp, Hallo Baltimore, June 23. Amazing Mr. Ballanfine. Hylton Sisters (3), Danny Drayxon, The Gtenns (3), Felice /Ufa House Orel) (12); "China Sky". (RKO). Standard setup plays well enough and packs a transient punch in a rou- tine way. Danny Drayson is a pleas- ing emcee; contributing also a spot of smart hoofcry to good response when caught. Opening spot has the Glenns, two men and gal, in smooth acrobatics 'and hand-to-hand 'stuff. Nicely timed and supported by ef- fective orchestra backing by Felice Iula and house combo, act goes over and sets nice pace for rest of bill. Three Hvltoh Sisters, s m a r 11 y garbed and having original material, whack out three song routines wrapped around hillbilly and cow- girl routines. Have nice presence and good vocal fortitude, but stick too close to rote. Interpolation of pop tunes would help joint up spe- cial numbers. Get good returns, nevertheless. Following Drayson's sesh of tap- pery. the Amazing Mr. Ballantine takes hold with some hoke magic, and found stubholders. at least when caught, not hep enough to savvy in- tended satire. Here, too. introduc- tion of a really legit trick would help overall effect. Biz fairly good. -Barm. Victoria Palaee, London London, June 11. Anne Shelton, Rawicz & Landatter, Billy Caryll & Hilda Miindy, Leslie Strange. Talbot O'Farrell, Lionel King, The Demos, Nor Kiddie, Dun- can's Collies, Wieol & Merrill, Nor- man Girls. RKO, Boston Boston, Jane 22. • Benny Goodman Orch (16). Bob Hayden, Dorothy Keller, Red Norvo, Dotty Reidv Tim Herbert;. "Pent- house Rhythm" (U). The inimitable Benny Goodman, good as ever with his 'snatCeWiarm- ing clarinet and leadership of a new orch, is wowing them at RKO-Bos- ton. Some snappy supporting num- bers also shakes the house out of doldrums as swing music echoes in the eaves. . ■ - * . oi , Goodman is particularly fit, has his easy manner well-oiled and offers some gay-tempoed precision not often seen here. "Clarinet a la King." his own specialty, brings down house. He sings well in "It's Gotta Be This or That" and has art enough to submerge himself when others take the spotlight. It's defi- nitely. B.G. Week in Boston, from the opening theme, "Let's Dance," to Wie finale, "Goodby." Bob Hayden puts over vocal of "Don't Blame Me." A lively wisp topped with red hair is Dorofhy Keller, who chirps "I'm Getting a Little Too Fat" and bounces merrily- round the stage. .Red Norvo per forms notably on'vibraphone, with and without orch. A tall gal with a husky voice, Dottie Reid, wins popu- lar fancy with "Everytime I Fall in Love" and"It's Only a Paper Moon.'" Tim Herbert, comic, sounds an un- usual, comic *note with imitations of figures at the San Francisco Confer- ence. The Russians wouldn't ap- prove. Although musicians seemed to have reached top torridity before, they really hit high with Benny's All-Star Sextette, including Red Norvo, Slam Stuart, bass viol; Charlie Queener, piano; Morey Feld, madman at drums; Mike Bryan, guitar, and the non-obscure clarinet- ist. "After You've Gone" is best number here. Dame. Current bill falls below standard established by Jack Hyltom prob- ably due to talent shortage which is becoming acute here. •Openers are Nicol and Merrill, two Scottish cycling comics. Offering looks okay for any bill. Nor Kiddie, back here again, is now aided by stooge. Act is quiet but well Uked. Duncan's Collies do everything but talk. Well trained, the dogs supply plenty of comedy which gets over nicely. Leslie Strange, who has played in U. S. in the old Keith-Albee days, has a novel offering, giving impres- sions of political celebrities. Also does takeoffs of film celebrities. Anne Shelton. who has made big strides in recent years as a singer, tecs off with "Accentuate the Posi- tive," and includes "More and More" and "Together." Sells'solidly. Eddie Lisbona. her pianist-songwriter, plays his own composition, "Long Ago and Far Away," with singer re- turning for "Yiddisha Mama," which goes over big. Ends with, a medley of pop tunes. Norman Girls, six hefty gals, ac- quit themselves nicely in aero rou- tine. They are followed by Lionel King, suave card manipulator, who contribs bag of tricks, all cleverly done, Talbot O'Farrell is entertain- ing with his stories and Irish songs, consisting mostly of oldies, which audience gfles for in big way. Billy Caryll and Hilda Mundy. in burlesque of Dubarry and Louis XV, in period dress, draw plenty of laughs. Rawicz and Landauer; couple of Czech concert pianists now fully established over here, get a boister- ous reception. "Viennese Waltz Medley," "Rhapsody No. 2." "War- saw Concerto" and "Stars and Stripes." are in their repertoire. Had to beg off. Three Dernos, two femmes and male, keep crowd, v interested with iron-jaw work on the trapeze. Act is a natural for this'spot. Rege. Apollo, tV. IV Earl Hines Orch (201 tolth Arthur Walker, Essex Scott, William Thomp- son, Stephan Stevenson, Leroy Car- rington; the Martitis (3), Ford, Har- ris & Jones; Moore, Crackshot & Harris; "The Great Flammarion" (Rep). "-:' Earle, Philiy Philadelphia, June 23. Rochester (Eddie Anderson) Kitty Murray, Nan Wynn, Tommy Trent, Johnny Richards Orch (15) "Ont oj the Night" (PRC). Rochester's p.a. stint at the Earle this week is -a carbon copy of last year's—and it's repeating success it had then. * The gravel-voiced comic keeps 'em laughing and that's some trick in this seat and the Earle's snafued cooling system. He brings back his partner of other appearances — dead-panned, hefty Kitty Murray, whom he introduces as an entrant in his contest to find himself a "leading lady for his next picture." The gal almost takes the play away from the little gu5' with her dancing and mugging. Rochester nets plenty of applause with "Accentuate the'Positive." run ning string of gags about Mister Benny, a tricky little dance routine and his m.c.'ing. Nan Wynn. cute warbler, scores with "Every Time We Say Good bye," "Ain't Misbehaving" and ; flock of pops. Gal has plenty of stage presence and mike appeal. Tommy Trent's puppet act is Punch and Judy brought up to date arid it clicks well with the audience. Johnny Richards, a Philiy product, comes back to his home town with a fair aggregation of musicians. Johnny is his own best tooter, doing a noble job on tenor sax. Arrange- ments, however, are just lair. Vocalists are husky-voiced Karen Rich; who does an okay job on Wanna Get Married," and Pat Russo, who renders a couple of romantic ballads to fair returns. House fairly well filled, despite scorching heat (Sat.). < Shal. - State, X. Y. Virffinia Weidler, Jim Wono Troupe (5) Al Gordon's Dogs, floss & La Pierre, Dick Bucldey, Fred & Sally Hartnell; "The Clock" (ft-GJ, Except for a sag in the mid-sec-' tion, State has a highly playable parlay with marquee lure in person of Virginia Weidler, former screen moppet, plus a well-routined bill which would show up more effec- tively with some pruning. A pair of standard acts provide a fast opening. With the Jim Wong troupe of tumblers and contortion- ists, the audience gets used to ap- plauding, and this spirit continues into the time allotted Fred and Sally Hartnell, whose vigorous taps and turns invite further accolade; Letdown in pacing comes with Dick Buckley, the English-accented comic, who has a clever pantomime turn wherein he gets four customers to get up oh stage to move' their lips while he sits behind them and makes with an Amos 'n Andy spiel. It's cleverly done and once he gets started he brings out the guffaws. However, he takes too much time picking out his stooges. This period is a stage- wait, especially for the balconyites, who can't see him while he's in back of the house taking his pick. Although Miss Weidler does more than the usual personal appearance and makes a serious attempt to sell herself through songs, vocals 1 are a bit sub-standard, although she does very well with her finale, a Virginia O'Brien impression of "Rock-a-Bye Baby." v Snow picks up at that point for a warm wmdup.' Al Gordon and his recalcitrant dogs provide strong laugh-material, and Frank Ross and Anita LaPierre with a variety ot im- n-essions of musical instruments and 3 opeye. Olive Oyl, etc., constitute a strong finish. Good biz when caught. Jose. Tower, K. C. Kansas City, June 22. Shano Sherman, Lew Welton, Bur- tell Sisters (2), Phil & Dotty Phelps, Bewerly Lassiter, Tomer Orch (9) with Norma Werner; "See My Law- yer" W) and "Swing Out, Sister" (U>. Biz is in the groove at this Harlem home of swing bands. It reflects Earl Hines' heightened popularity, this date displaying his crew as an all- round musical outfit. • Piano-playing leader has a large complement of musicians and singers, and he's picked them well. Hines smartly has spotted himself up front with a sliok piano solo to get his crew rolling. Leroy Carring- ton, newcomer, starts with a clown- ing ballad, and then clicks with his deft tapstering. William Thompson is a sock addition with his vibra- phone specialties. Rhythm Foursome cleans up with "Caldonia." Stephani Stevenson, new iemme balladist, does okay with "In- vitation to the Blues" and "Dream- ing of Man I Love," but nervousness appeared to slow up her vocaling. Essex Scott still is principal male singer with combo, doing "Memories of You" and "My Heart Sings" in hangup fashion. But Arthur Walker is a strong competitor. Young»ap- pearing single wowed 'em up here with "In Your Heart" and "Time On Hands." He doubles from trumpet section, teeing off his opening bal- lad «vith horn solo. Glee club is framed around Scott's initial war- bling effort. Hines' band now is solid both on sweet swing and torrid jive The Marlins (New Acts), white acrobatic threesome, obviously are aldtimers, and score a solid hit Ford, Harris & Jones (New Acts), also known as "Three Maniacs of Rhythm." are in closing slot. Three colored boys mop up. UsuaL comedy skit is handled by Moore, Crackshot and Harris. Biz strong. Wear. Capitol, Wash. ■ Washington, June 21. Borrah Minevitch's Harmonica Ras cals, the Luckee Girls, Ladd Lyons, Sam Jack Kaufman's House Orches tra. Milton Slosser; "Son of Las sie" (MG). . • House was loaded with juveniles first show, biggest opening day biz house, has had in weeks. Milton Slosser tees off with organalogue. Luckee girls follow in fan dance to dreamy music. Then Ladd Lyons brings up brother from audience for nifty acrobatics and comedy that registers solid. Luckee girls return for classy South Sea islands number for a wham. • Johnny Puleo, diminutive panto comic with Minevitch's Harmonica Rascals, makes the act. Kids loved his. comedy antics. Group displays plenty ability on "Tico-Tico" and other difficult selections. Sam Jack Kaufman's overture closes the show. It highlights bril- liant keyboarding of Burrus Wil- liams, concert pianist, on "Warsaw Concerto," Arke. Tower comes up with fast-moving bill topped by Shavo Sherman, whose smooth take-offs on ace radio and screen personalities round out 40 minutes of pleasing hol-weather entertainment. " ■ ■ House band opens with medley of old and new tunes with Norma Wer- ner taking vocals. Sherman doubles as m.c. Phil and Dotty Phelps take over for a nifty balancing routine which clicks. Then Beverly Lassiter, juve Discovery Night" winner, contribs a combo tap and baton twirling num- ber. Lew Welton, harmonica player, gives out with "When Day Is Done," then several pops topped by torrid session of "St. Louis Blues" for hefty returns. ' Following the Burtell Sisters, who tap out a brace of terp specialties, Sherman ties things up with his im- preshes of such stars as Ted Lewis, Jimmy Durante. Stan Laurel. Hugh Herbert and Groucho Marx. Earl. Palace, Columbus Columbus, June 20. Stan Kenton Orch, Irene Manning, Low, Hite & Stanley; "Escape in the Desert" (WB). ■ Well balanced show at Palace ap- peals to -all comers. Stan Kenton dishes out equal amounts of music, fun, and showmanship. Band does straight job on "I Know That You Know" and "Eager Beaver" to set a snappy . pace. Other numbers in- clude very smartly done "Artistry in Rhythm" and rollicking treatment of "St. James Infirmary" with Kenton and bandsmen doing some rib-tickling verbal sparring. Gene Howard sets the groove for the sweet stuff with "There's No You" and "Summertime." June Cristy is a cute eyeful; sings "Are You Livin' Old Man" and "Senti- mental Journey" in Betty Hutton style. Low, Hite and Stanley score lots ot laughs with their pantomime and mimicry of Andrew Sisters' record- ing of "Sonny Boy" and Ella Fitz- gerald's "Cow Cow Boogie." Topper in performance and recep- tion is Irene Manning. Her voice, poise and general charm win warm bouquets of audience approval. When caught she was forced to do three encores, causing the show to run 10; minutes over. She handles own ac- comp on piano for "Mary Is a Grand Old Name" and several pops which she sells for tops. Sinai Oriental, Chi Chicago, June 22. Jean ParJcer. Lenny Kent. Frances Faye, Blair & Dean, LeRoy Bros. (2); "Hitchhike to Happiness (Rep). Nicely balanced lineup this week,, with headline combo of Jean Parker, Frances Faye and Lenny Kent, lat- ter two just out of the Rio Cabana, adding up to a zestful blend of music, comedy and novelty. Truanting from assignments. Miss Parker has a much better vehicle than on her last visit, with audience going big for her can-can finale. Spotted in center segment, she opens (Continued on page 55)