Variety (May 1946)

Wednesday, May 15, 1946 Pfautifr HOUSE REVIEWS 63 lloxy, Pi. ¥. r.corae Jessel, The Merry Macs /ii The Buccaneers (6). Ernestine X'rcer, Riisso do Pandeiro, Rosapo * Antonio. Gae Foster Roxyettes, ■Paid Ash Orch; Hal Beckett (organ- isil-'-Dark Corner" (20th). . vnwcrv's disk jockey Barry Gray iii.il. "discovered" Georgie Jessel as a i cat comedian and the Boxy fans °eem to be doing the same thing This is in the nature of a."farewell', neiiormance for the seasoned niono- Ingisl. after-dinner speaker^ and now 20th-Fox film producer. Ostensibly dbiiii! a trailer for his forthcoming -Do You Love Me?"-whiclv.at $10.- <mn a week to the comedian, makes him the most expensive-.frailer, in history-Jessel shapes iip ; as one of a Mindful of remaining greats'-who Save successfully bridged Die gap of 30 years or more. ■ . Back in 191* Smie reviewed him with Gus Edwards' l£id Kabarel and observed, -Georgie is .grq'.visif-^nd is no longer a child comic. When he grows up-he will perforce mani- fest "icatcr ability to entertain.' Ten vcars later (1924) at the Palace Lalt reviewed him: "The audience showed that vaudeville welcomes rnd wants : Jessel lie- has that faculty for get- tiiiK over and being liked, which, is the Jolson golden-fleeced combina- tion. He' can get tears, yells and pleasant trans-footlighl contacts: that means entertaining power and draw- ing power;, which adds' up into star- dust." Oil his own here, .Jessel did a ton-uc-in-chctk .insistence with- A: J Balaban and Irving Lesser, of the management, wholmildly opposed the "farewell" billing, by cracking, "If Harry Lauder made a dozen.fareweil appearances in America so why not ■]'■"' Kidding on the square, as Jessel puts it to his audiences, if he doesn't click in 'IlQllywood he'll be back, licrc. . The comedian evidences from his fust entrance that assurance, poise and ability to "take conimano" which only the most expert mOnologisls.•can- exude. He-walks on in business suit and his manner of raconteuring, small-talk, off-key vocalizing, out- . ahd-oul songplugging of the "DoYou Love Mo?" title song (with ill. slides yet!), trailer- for Maureen O'Hara; Hayines.<md James; gagging of "Za- nuck.'EiScnhowcr.and Churchill" (in that sequence), is surefire showman- ship. His medley of oldies from "School Days" through "Kol Nidre" out of "Jazz Singer" (Hebraic sec- ular hymn with which only air ex- pert showman could hold the audi- ence the way he did) through "My Mother's Eyes" (his own) is tribute ■ to Vessel's personal prowess on the rostrum. Show, otherwise, is bright and col- orful. The opening Latin stuff is gaily Cuban with "Peanut Vendor" as the'central musical. theme inter- spersed with "No Can Do.". The Merry Macs are a sock vocal quartet whose jive rhythm singing, style is in the best 1946 manner. Their con- certed breaks and vocal riffs arc top- drawer, socking ..over four numbers, Including a "Mr. Beebe" conceit. Ro- saiio & Antonio, the tiptop Spanish .gypsy dancers, click with their fla- menco routines in solo spot. .. Paul Ash's pit musikers accomp expertly, for... this semester being spotlighted on the rostrum, backing up Ihe show. Abel. OrpheuHi, I : Los Anoefes. May 10. ^Johnnie Otis Orch U6), King Cole Trio, Eddie Green, Claude & Cliff Trenier, Tina Dixon, George Washington, Leon Collins. Kent Pope; "The Undercover Woman" (Rep). Orpheum is getting a tough break mis week due to streetcar strike. Filmvaude house assembled an ex- pensive bill, headed by the King Cole Trio. It adds up to potent cntertain- . ment for jive fans who arc turning out in .sufficient quantity to make week s gross outlook rosy, although not near lake show would normally be geared for. Trio gives the fans six numbers for a large money's worth. Tunes benc- m from the specialized treatment featured by trio and each sells big. Numbers arc "It's Better to Be By Yourself," "Sweet Lorraine," "Get Your Kicks on Route 0G,'.' "Frim *ram Sauce" and two instrumentals. New to this house is Johnnie Otis' orch.. Band has plenty of enthusiasm ana makes good music on the swing s 'oe. Number of featured players also dress up the turn to make It showmanly: for filmvaudc bookings. JrX cw L °Pons with powerful drive on vOmaha Flash" and then lots Kent rope lake over solo spot with his SK° sax on "Harlem Nocturne." Dark Town Strutters Ball" features vocals arid clowning by George Washington, trombonist. :'The Ncc- i„f , 1S , another potent piece with a ■l?Jh?L d '"l.V e - otis adds flash by using fSL" d sticks for sold skinbeating on 'he number. Leader keeps his orch on.the beam with the beat of his powerful drumming and outfit is Jlr. p1,1 i U departments for type of delivery Otis features. ■ • .,^? n . Collins is a polished and cievcr tapster who pleases jvith smart jerping. Tina Dixon wraps up "Rock- "V Horse Ran. Away," "E-Bop-o-Rc- WP.' and "I Like to Be Like That" ci)£ i lvl, ' < : otl vocaling. Claude and win Troniev, twin crooners, had a hard lime getting off at show caught with workout on "When Your Lover Has Gone," "Day by Day," "I Begged Her," and "A Young Man's Blues." Twiiis were out of line by bringing in very blue lyrics on the last tune, but it. was what the audience want- ed, judging by response.. Show is welded together, by m.C. work of Eddie Green, from Radio's "Duffy's Tavern." Comic also occu- pies nexl-to-closing spot for funny talks on grandpop and caps his act with the surefire -pantomime of a poker game. Brog, Heidi's, Indpls. ' Indianapolis, May 11. Prof. Kotiyot ti Dancing Horse, 3 Chords. Ray Conlin,-Jr., Al Samuels & Jai-Lela, C/iristiue Forsyihe, Coco, Steve ii Eddie, Ray; Don & jack; "Crime o/ (lie Century" t/Jep). Keith's has best show of season currently. Layo.ut is strong on com- edy. Nitljcst attention getter arc the Chords-, a two-man team with talent for»iniitating musical instruments and" keen sense of the ridiculous. Their take offs on.Henry Busse Guy Lonibardo, Kay Kyscr, Harry James and other bands get plenty salvos. There's an extra warm reception, loo, for Ray Conlin, Jr., who scores as smooth cmccc and keeps 'cm chuck- ling willi'rapid-fire line of gags on lopicnl .stuff. His ventriloquist rou- tine also is okay, '-■ ' Prof! Konyot and his dancing horse registers-.as pleasing novelty. The bangtail waltzes, rhiiinbas and foxtrots with agility with trainer astride. Coco. Steve & Eddie, fea- turing their ahuising line of tum- bling and comedy acrobatics, are good for some of heftiest,lsurjhs. Al Samuels &.Jai Lota ofTcr a line Of gags and eccentric dances '.hat also- strike a merry reaction. Christine Forsyihe;. lap dancer, shows plenty of speed and skill in two smart rou- tines. Ray, Don & Jack, trio of local youths who won house's latest ama- teur contest, do a neat turn on elec- tric guitars in.opening act. Biz started only fair, due to rain. Corb: <iia.y<r»<>v Moiil'l Montreal, May 13. Jerry Lewis, Joy Davis, Sharmi Denies, Marian Burroughs, Gloria. LeRoy, Les Mannino '& Mi(:i, the Raymonds <2). Liidouic Huot, Len Howard Orch (9) Line (12). New parlay at the Gayely is strong, on the whole, major fault to be found can be laid to some booking boners. Sharon Devrics, always a fave in this town, knocks 'cm dead with some fast mugging, slapstick and anything else she can think of. It's unfortu- nate that Gloria : Leroy, aero come- dienne,who follows Miss Devrics on second half of the bill,; works so much like hey that effectiveness is lost. Miss Lerpy is still a strong per- former, but she couldn't sell with Miss Devrics preceding her, which isn't her fault. - Next booking mistake is Jerry Lewis in the comedy slot. He's obvi- ously a seasoned guy with plenty of know-how On selling a punchline, but this just isn't his spot. The rest of the bill shows up nicely with Marian Burroughs, femme fid- dler, having lo beg off after some sock commercial items in the long- hair and pop vein. Her "Hungarian Rhapsody" and Strauss waltz bring hefty mitling. Les Manning works some clever aero routines with his canines, with comedy helping con- siderably. The Raymonds click in stair and rhumba taps and Joy Davis registers in her strip routine. Ludovic Huot, last minute replace- ment for warbler Suzanne Cane, who bowed out after opening show, goes, well with the natives but that's about all. Lad has nice set of pipes but needs seasoning, . Lcn Howard .s orch is solid in the pit with the line doing a-nifty open- ing-routine.. Lara. Tower, K. T. . ..'• Kansas City, May 10. Gil Robinson, ■-.Betty Lou. Holt, Herbert Loe, Speedy Hiionins, Con- nie -Perry, Tower Orch (9) with Don Tilf & Beverly Cdssidv; "Garden of Allah" (UA) and "That Uncertain Feelino" (l/A). Opening day ; brought a bit of snafu around the Tower as transpor- tation snarls traced to the coal strike prevented Big Boy, the Bear,, from making the date. Speedy Huggins, colored hoofer, substituted. With two long features the stage show boils down to'a half hour. Gil Robinson emcees capably. Tower band gives out on "Shoo-Fly Pic," with. Beverly Cassidy taking the vocal. . Huggins follows with two fast tap routines for average response. Betty, Lou Holt intermixes .cartwheels-and- body twists, with a jitter'lap routine; She's adequate. Weekly amateur selecting. Connie Perry.'" contribs a corned version of "Ma." Next to closing has Herbert Loc, fire eater, who stuffs his pan with lighted cigarets and cigars. Winds with brief tcrp routine. Robinson closes with impreshes of Ted Lewis, Barry move, Boycr. Can- tor and Groucho Marx'for-ay "".'c results. Qtiin. Nostalgia Pays Off (METROFOLE, N. Y.) ' Nostalgic entertainment projected by oldtimcr vaude talent; which started out as a noble experiment as a temporary policy for Ben Harri- man's Metropole, Times Square eat- ery a year or so ago, has sustained as permanent . policy for spot—and plenty profitable. It's also provided careers anew-for the yesteryear tal- ent booked jn, Since most of the acts playing the spot are there 40 weeks, or better, and after brief vacations return, for another run of maralhonic proportions. ; Harriman, who also operates the Aquarium, a block down at 47th street, with iiame band policy (Louis Armstrong incumbent) had to find something: other than dancing as a lure.at' the. Metropole, since layout, of latter does not permit dance space. When seeking a policy he met up with Billy Jackson, vet talent agent, who had a couple oldtimer units winding vaude dates. Latter sold Harriman .'on-.'the idea and it's worked, out profitably for everybody ever since. Performers cavort on portmanteau stage elevated back of the bar, which can be seen from the street and makes a. perfect bally as well as one of Broadway's biggest free shows. Although primarily a drinking place, there is a food menu at pop prices. It docs mostly in and out business, perfect for turnover since it has only 150 capacity but plenty of room al the horseshoe bar. Current stage lineup comprises 15 performers, going On as trios and coiitribbing half-hour session. Show runs continuously from 3 p.m. lo closing 4 a.m. daily. Each set of acts has own pianist and entire run- down consumes three hours. Three Nifties, male rathskeller trio with pearl-grey iron hats and. Chuck Con nors garb, to match, give out with such mauve decade tear-jerkers as "Dear Old Girl," "Bird on Nellies Hat" and any other oldies customers call for. It's all as informal.as par- lor entertainment but the boys work hard and get salvos of applause. Jean and Tommy Wardell, flanked by Maggie Murphy for. the Irish songs, give them everything in the book from "Donegal" to "Rose O' Day.". Connie Martin, teamed with Stang & Barrett, also give out with yesteryear ballads but really cook on a George M. Cohan medley. There's also Ethel Riley, Frank Ross and Jimmy Le Roy. as well as Helen Mc- Ardle (Strawberry Blonde). Benny Saunders and Dick Kennedy as ad- ditional units Riving out with, more oldies and sandwiching in a current hit parade tune for contrast. They're all costumed-iii motif of the Gay 90's tunes they purvey and their numbers grab plenty applause. Adjoining the cafe Is' the com- munity sing room, which is now un- dergoing new decor for the summer- season arid will soon reopen as side- walk cafe. Performers Will double in latter room to. conduct the com- munity singing. According to Harriman he had merely booked in a few oldtimers he knew to give them a financial lift. His altruism has since paid off nifty dividends as well as keeping yester- year vaude . performers on what seems a permanent payroll. Edba. Adams, Newark Newark, May 9. Bob Chester Orch (16), Lou Gard- ner. Mnrie Carroll, Johnny Hylav; Rose Marie, ftfonroe & Grant; Robin- son St Martin; "Behind the Mask'' (Mono). Something less than perfection, this mild frameup -should rate about B minus. Bob Chester's barnstorm- ing outfit shakes down, as one of the minor league jive units and. his solo- ists seem to be breaking in as new material. It renains for Rose Marie, a con- tinuously developing personality who has considerable local, fame, to set the joint. a-jumping. •This she does in the final stanza, with torchy singing of "Mama- Said No" and •'Crying My Heart Out for You," with clicko results. Put on earlier, she might have sparked the whole setup into, a brighter, semblance. Chester's main fault is in program- ming too many of the same numbers every other band plays. This is a nationwide complaint, though. There are just so many tunes in. the public fancy and a batoneer is a fool if he doesn't cater to the prevailing taste. Even so., a'few weeks more and "I'm a Big Girl Now," "The Gypsy" and "Hay Bob a Ree Bob" are going to find this mugg hitting for the great outdoors. The band's novelties are little bet- ter. "Easy Breeze" is an instrumen- tal bit that gets nowhere in this ren- dition. "Octave Jump" is a nerve shattering, piece of brass work with little of the new jazz feeling in its froglike leaping of octaves. "Tan- ning Dr. Jckyll's Hide" has only a cute title. Outstanding new work is Shostakovich's Prelude in E Flat Minor; effective in. this rhythmical arrangement despite absence of strings and odd harmonics. Lou Gardner, vet making stage debut, conquered nerves at opening (9) and went on to applause. His numbers, "Oh, What It Seemed to Be!' and '.'The ■ Gypsy" were good enough to rate a recall, which turned out to be "Prisoner of Love." A slight lad,- he has definitely appeal- ing qualities. Miss Carroll, not given much of a chance, does the "Big Girl Now" stuff with charm. ' Monroe and Grant, trampoline art- ists, perform some perilous tricks with tine results. Robinson and Martin, combining tap and ballet steps, give an appearance of bring.. rushed arid out of breath. Bran. Stale, Y. Buck and Bubbles. Patricia Bow- ?na)i, Karen Cooper, Jimmy Edniondr son, 3 Condns, Htitfh Forgie, Frank Jnseii, Randy Kent; ■ "Spellbound" (UA). Paramount, N. Y. Duke Ellington Orch (19) with Kay Davis, Ray Vance, Johnny Hodges, Lawrence Brown, Oscar Pettlfordy Harry Carney; Mills Bros., • Slump & Stumpy, Clock Bros.; "Blue Dahlia" .(Par), reviewed in Variety Jan. 30, '40; ' Compact and varied show, on tap here currently, which runs but 55 minutes. Plays smoothly, has good balance and while not exceptionally punchy still manages to rate as pleasing diversion. Buck and.. Bubbles, who have played here lots of times, headline the bill but are doing only eight minutes, scoring forcefully with songs, dances ahd talk. Ahead of them is Jimmy Edmondson, garbed in. school graduation dress, whose chatter on opening is a bit spotty but who gets over the hurdles nicely with his blackboard work, writing 1 words of audience members back- ward and upside down. Patricia Bowman is - doing two dance numbers. Sandwiched into, her act in order to .permit a change of costume are the Three Cbrwins, youthful, sprightly girls who special- ize in acrobatic dancing to ^mis- type music. Their jumping-rope se- quence Clicks nicely. Miss Bowman opens in a gay can-can brand of toe number and closes with a tricky, well-executed ballet specialty. On second is Karen Cooper, pop song dispenser, who's. doing four numbers, including three old ones. While she has good style and gets across suitably, she sings' "more loudly into the mike thah's expedi- ent and on one number particularly has the orchestra much too forte for best effect. Opening • are ' the badminton champs. Hugh Forgie and Frank Jascn in a nine-minute exhibition game on which Randy Kent hands out the details of play. Provides an interesting.tecoft' for show. Chor.' Chicago, (Jhl Chicago, May 10. Frankie "Sugar Chile" Robinson, Arthur' Blake, .Allen & Kent, Afarw Jane Dodd, Lotl Breese Orch (15); "Miss Susie. Slaf/leY' (Par). Opening, show at the Chicago was at 7:30. p.m., due to the evening- hour-showings-only policy imposed by the dimout, as a result of which they had all day to rehearse and get the whole layout trimmed down to exactly 37 minutes. House was packed solid at the opener, which should make up—a little, anyway— for any slack during the day. Seven-year-old Frankie "Sugar Chile" Robinson wraps the doings up with his boogie piano. It's "impos-' siblc to call the toddler a pianist, for (he simple reason that his tiny digits can't stretch anywhere near an oc- tave, but he has such a fine feeling for. rhythm and is such an amazingly natural showman that nobody cares. It should be noted, incidentally, that his playing actually seems to be im- proving, and it's to be hoped when his hands do acquire spread he won't forsake the yock-getting banging out of strident chords with his fists and elbows that's his stock-in-trade. He has e'm with him all the way, tnrough "Sugar Chile Boogie" ("A song of . my own arrangement,"-says he) and "How'm I doin', folks?'' to •Caldohia" and "Ba-Ba-Le-Ba." Has a short interview with maestro Lou Breese. and scoots , off a solid hit. It's a terrific act. Arthur Blake, next-to-closing, also rates a salvo for his as-per-usual in- cisive impreshes, which have been cut down to Laughton-Davis-La- mour - Morgan - Stewart - Hepburn- Lorre-Miranda this semester, - time being of the essence for the sake of those two shows. Crowd also likes Allen & Kent, who open with taps to "Who Cares?" and bring on an unbilled a.k. for some comparisons of terps of other days with those of today. Old guy shags with the mixed couple, , and they demonstrate some remarkable • csemblances between the Siizie Q and Walkin' the Dog, the Shorty George and Alligator Wiggle, etc. Mary Jane Dodd, from NBC's "Club Matinee," is nowhere near ready for vaude.dates.. She consist- ently sang off key at the. opener, do- ing rio justice .at all to "Zing Went the Strings;' "Laughing On the Out- side,", and 'Coax Me a Little Bit.' Breese helped out as much as he could, but it wasn't enough. Miss Dodd needs a'lot more priming than she's had for a biglime date like this, Brecsc's band rushes through a swingy "Loch Lomond," to open—ho fault of theirs but a strain on the customers. All things considered, they do a .well job of backing the show, Mike, With Duke Ellington's fine band and the. perennially socko Mills Bros., the Paramount stage bill this session couldn't be anything but top entertainment. The Ellington orch continues to dish out its unique ar- rangements,.'providing music that's different from the standard swing combos. Mills Bros., doing several ol the tunes they made famous via recordings, wind up the well-paced show with the audience clamoring for more. Ellington's band, with five trum-' pets, four trombones, five reed and four rhythm,' appeals strongly with the sometimes weird but always ear- caressing qualities of the leader's arrangements. Despite the fact that the brass outnumbers the reed sec« tion almost two to one, the orches- tral effects are always well-balanced. Use of both a string bass and a pluck bass also adds a lot to the. band's modernistic touches. After a hot chorus on "Riff Stac- cato'' by Ray Nance, fiddle-player in several 6f the Duke's more long- hairish, numbers, Johnny Hodges brings his alto into play - for an ap- plause-drawing . solo on "Laughing on the Outside." One of the best alto-men in ' the business. Hodges' fine instrumental work is equalled by almost every member of the band. Orch also plays Ellington's "Transblu'ecehcy," the number he Introduced at his recent Carnegie Hall Concert, in which femme vocal- ist Kay Davis uses her voice as an instrument to blepd in solid har- mony with a clarinet and two trom- bones. Calloway, himself shines on. a medley of some of his most famous works, including "Mood Indigo," Sophisticated Lady,". "Solitude," etc. All go over for heavy, returns. Mills Bros., the four'boys ahd a guitar, demonstrate plenty of show- . manship know-how in selling their stuff. Emphasizing the constant rhythm that highlights their fine harmonics/ the boys add a nice dash of stage presence with some well- timed mugging and gestures. After a couple of newer numbers, they back with "Paper Doll" and "You Always Hurt the One Y0u Love" for a real beg-off. Stump and Stumpy Inject clicko comedy into the bill with their zany antics, impersonations and terping. Duo has brought the same routines downtown that they displayed re- cently at the Harlem Apollo and their work goes over just as well' with the ofay audience. Their tom- pletely relaxed manner. of selling themselves gets , the business over in top fashion. Clark Bros. (New Acts) round out the show, with some satisfactory precision tapping. Stal. Hippodrome^Balto Bdltimpre, May 12. Air Lane Trio, Ronnee & Myra . Sawyer, Georgie Kaye, Acromanlacs (3), Felice into House Orch (12); Gilda" (Cot). Fast moving layout is nicaly routed for maximum entertainment. Fol- lowing a highly potent opener by the . Acromaniacs, three lads who work swiftly and surely in sock hand-to- hand and tumbling, Ronnee and Myra Sawyer hold pace with smooth cross- fire and okay clowning. Duo of con- trasted looking femmes utilize paro- dies and panto to point well-timed gags and garner ample laughs. Com- edy half of act has a decided way with an audience. Georgie Kaye is next and a pleas- ing comic. Material is fairly fresh and psychiatrist bit, a decided nov- elty which could be worked into a trademarking' asset. With added rounding out of this characterization, Kaye would have sufficient stuff to lift him out. of the run of the mine list of emcees in decidedly more ambitious possibilities. Scored when caught. Air Lane Trio, consisting of elec- tric organ, guitar ahd accordion, sup- ply good clincher - with a swingy opener followed by a classic pace changer after which vocal of Jo- sephine. Don't Lean On the Bell," rings the bell resoundingly and makes way for closing arrangement of "Donkey Serenade." Just right for this layout and a groovy curtain . puller. Biz very good. Bum. RKO, Boston Boston, May 11. Louis Prime Orch, The Barretts, The Pitchmen, Jack Powers, Lily Ann Carol; ''Swing Parade 1946" (RKO). A pretty rough show for a stage. offering here with plenty of blue gestures and scattered dialect Wise- cracks, but unquestionably a sock layout: Louis Prima is always terrif here, and works harder to keep up with his fans than anyone else, never- short-changing with a let- down. Opening show had enormous biz, and should maintain for a top gross. . Prima, star of show, takes many a whack at the trumpet, sings, shouts (Continued on page 68)