Variety (May 1946)

Wedaeaday, May 29, 1946 Music Hall, N. V. Music Hall Symph Orch {Charles Prewin, director; Jules Silver and Dllo Frohn, associates), Harry Sacher, Lucile Cummings, Edioard Heicliert, Glee Club, Fred Poller, ftocketics, Joe Jackson, Jr.. Beltma Dearborn. Charles Laskey, Corps de Ballet; "To Each His Own" (Par), reviewed in Variety March 13, '46. Along about midway in the cur rent Music Hall stageshow a bandy legged, tramp-like character emerges from the wings. His clothes are in. tatters. Peeping out of oversized brogans are bare toes. The clown grimaces., the audience guffaws. Joe Jackson, Jr., never emits a peep from his kisser, yet he gets bofl laughs. He remains as versatile a clown as his late father, one of the great comics of these or any times. Young Jackson, only recently out of the Army, is still doing his parent s great tramp bicycle act, with nary a difference in the nuances and liitle bits of business-that have made this one of the great panto routines of all time. And no need to be different. either. It's a tribute to a performer on this mammoth stage', and.in such a giant theatre, that a strictly sight comedian can reach the innermost reaches of a house for belly laughs. Which is what Jackson does. And all of this without benefit of production back- grounding or any of the fancy trim- mings the Music Hall is apt to give its visiting performers. Jackson stands on his own. This' is the only sock act on an otherwise more or less dull bill, un- less one's interest leans toward the esoteric "Kingdom of the Sea" pro- duction, a fanciful excursion of the Imagination. The latter, a ballet rou tine with a background suggested by its title, is brilliantly conceived, but much too arty for the general run of audiences. The only other important produc- tion number is "At the Broadcasting Studio," where a broadcast studio is simulated as background for the melodies of Stephen Foster. Lucile Cummings and Edward Reichert are the capable soloists in what is an un- inspiring interlude. Kahn. RKO, Boston Boston, May 25. Louis Armstrong Orch., Coles & .Atkins, Slim & Sweet, 2 Zephyrs; "Suspense" (Mono), Honey Dripper" and "Baby, Are You kidding." Ivie Anderson's stylized vocalmg of "Bungalow," "Butter and Egg Man." "Tall, Dark and Handsome and "Solitude" pleased mightily. The Business Men of Rhythm, is a super dance team, bringing down the house with unusually clever foot work. , , Gaillard Trio, held over from last week, offer up "Ya-Ha-Ha-Oreeny, "Te-See-Male,' an instrumental piece dining which they all swap instru- ments, and •'Cement Mixer to bolt response. Brog. Strand, N. V. Tommy Tucker Orch (17) wilh 3 Two-Timers, Don Brown, Ross Sis- ters, 3 Chords. Steve Evans, 'One More Tomorrow," (WB), .rei'ieived in Variety, May 15, '48. Chicago, Chi Chicago, May 24. Woody Herman Orch (18) wilh Red iVorro, Lynne Stevens, Blue Flnnie;: i4). Bill Harris, Flip Phil- lips. Chubby Jackson: Slet'C Condos, Paul Winchell; "Cinderella Jones kWB). A little too much Harlem style dancing to make a proper balance for Louis Armstrong band's sizzling sepia setup, and the band itself isn't exactly a paragon of perfection, but the layout has a sort of an infectious improvisatory quality which, with Satch'mo's own completely, off-the- cuff stage presence, puts it over big. Overture of "Stomping at the Savoy" and "I Can't Give You Anything But Love" finds Satchmo taking off for familiar licks on the trumpet and catching a big hand from then on with every lick. Main trouble is he doesn't sing enough, but grinds out enough of his gravel- voice to captivate the cats of whom, incidentally, there was a house full at opener. Band also does -'Solid Sam," "12 o'clock Boogie" and "Back 6' Town Blues," some of them with fairly ragged spots. Vocalists are Vera Middleton, hefty gal, who jives "You Won't Be Satisfied" and "Hey-Bob-a-Re-Bob" and ends up with a wow split for cheers, and Leslie Scott, who Sin- atras "Gypsy," etc., to make a big play with the romantic type. song. Other three acts are all dance and though, good prove tiresome. Slim and Sweets give out with the jitter- bug stuff, the Zephyrs do an eccen- tric turn ending in a dice game pan- tomime that clicks big, and Coles and Atkins in a tapperoo. Thus show is all on same fast key and of- fers little contrast, but it's plenty lively and the hepsters like it fine. Elie. The riffs are rampant at the Chi- cago this stanza. Show stacks up as olid all the way down the line, from nifty deliveries of good ar- rangements by the Woody Herman outfit to Paul Winchell's sock-get- ters with dummy Jerry Mahoney, which seem to increase in effective- ness every lime the guy plays this burg. • Billed but not in evidence, be- cause of illness, chirpstress Lynne Stevens is missed, but Hermans 8 brass-6 reed-4 rhythm outfit, prov- ing once again why they're the de- spair of imitators, carry on, elo- quently to make up for her absence. Start it off with a sizzling -'Cal- donia." featuring Herman on clary and vocals; then do "Come Back to Sorrento," with more Herman vo- calantics. plus Bill Harris' smoky tromboning and some wailing, bluesy saxing by Flip Phillips— sweet enough for anybody and taunt sufficient to them as claims Herman jams' it \oo much. There's more of the Harris horn— and not enough—in "Mean to Me," with the segue to "Hey - Bop' demonstrating how well Herman knows his way around (he sepia riff outlands. Trumpets back up part of this stunningly, with the maestro weaving his clary and vocal patterns out front of the lusty arrangements. This one is a classic. Steve- Condos full-shoe taps to Phillips' own "1-2-3-4-Jump," getting off loudly after some terping in varied rhythms. Red Norvo has by- passed the comedy bit he used to do with Benny Goodman, wherein he ripped the keys off the vibraharp, but he's no straight-man in any- body's league. Gets a big nod for his own individual noodling of "Man I Love." Blue Flames''two contribs are "Shoo Fly Pie" and "Day By Day," latter shared with Herman and Phillips, and the three guys and gal inject lotsa gusto into their vocals. Caviar of the layout up next, with Chubby Jackson's bass supplying wicked rhythms, aided and abetted no less vehemently by the rest of the rhythm section. Orch's clam- meroo. with every man apparently for himself but all held together nonetheless in a fine, rhythmic drive, is "Northwest Passage," which could probably be spotted better at the end, In lieu of "Apple Honey" pres- ent incumbent. While a trifle less effective than "Passage" jive-wise, latter is still stamped indelibly with the Herman crew's solid musician- ship. Theory of "always leavin' 'em laughin'" is used here with telling effect, with Winchell wrapping 'em up from the start. His smart banter with "Jerry" and their "dueling" of Lady's in Love with You" isn't hurt at all by the windup pitch to payees to get behind the President's Famine Emergency program, proving that if an act's good you can still get off-to an ovation even though holding out a tin cup. Encores with the w. k. sneeze bit, Herman being "Jerry's" stooge. Mike. Stage show headed by Tommy Tucker's orchestra is.a pleasant af- fair. None of it is sharply outstand- ing yet it provides a smooth hour of entertainment to those who may be tired of the stronger, blasting type of band. As for the acts, they're in the same category. Tucker's combination of five sax, four trumpets, four trombones, four rhythm, hasn't changed Us stage presentation ideas much since it played this house last. It uses the usual group of pops, novelties, etc. Perhaps'-trfe standout job is a pro- duction built around "Sunny Side of the Street." sung by the Three Two- Timers and pictorially aided by phosphorescent cutouts depicting lines of the lyric. A "Hcy-Ba-Ba Re-Bop" medley, performed in van ous tempi, strictly is something to help pass the time. Singers with the band, the /Three Two-Timers and Don Brown, are real strong points. Trio of good looking gals are good performers, delivering "Laughing On the Out- side" as well as "Sunnyside. Brown, tall, sharp-looking, is excel- lent on "It Had to Be You," "Pris- oner of Love" and a religious tune, accomped by the girls, Ross Sisters, a swell aero act, open the bill smoothly after Tucker's intro number and a novelty by Ker- win Sommerville. Their turn is a smart few minutes of difficult stunts. They could forget the getaway har- monizing, however. Three Chords is an act that doesn't seem strong enough for the Strand. They're musical imitators, and much of the material they use has been done better by other turns of the same type. They work hard while running through vocally-produced apings of Guy Lombardo, Vaughn Monroe, Henry Busse, Tommy Dor- sey. Hawaiian band. etc. These items are a clime a dozen and per- formed accurately mean only a fair act at best. Its when the duo get into such things as a take-off on Spike Jones' "Cocktails for Two" disking that they score best. They'd be wiser to dig up more material of that nature: the act then would be on a more solid foundation. Steve Evans, who has been around for some time, also starts lightly. His material during the first few minutes is from Passaic. It's not until he gets into the excellent drunk bit that his audience begins to lean in his direction. He tightens his hold thereafter by imitating various types of laughers spotted in ah audience. The bit employs the simple psychology that an unusual giggle in itself is funny and the au dience howls at seeing itself re- flected in Evans' antics. Wood. casing Al Killian, one of two Negroes in the mixed outfit, with trumpet. Tick and Tock follow the house's policy of one male dance team ana these guys arc plenty okay. Tock provides bobby-sox glamor, but the little guy, Tick, has the solid show- manship, with fine tap-leips nnd.a good singing voice. Does "Sympho- ny" up in nice package. Orch's male vocalist. Danny Payne, seems to lack experience. Shy on high note.-, although he evidently can hit them, Payne sings deadpan and lacks salesmanship. Voice is good in "Crying on the Inside and Day by Day." Bond is again spotted in "Giilf Coast Blues" with rides by Killian and Paul Webster in front of light reed and gutty trombone. A local fave, Pigmeat has only to walk on the stage to get laughs. Skit, with John Bunn and Sybil Lewis, is old burly routine on love- making school Frail Warren, a willowy blonde, wows even this crowd with husky blues pipes and boff selling. Fine femme sings."So Nice to Come Home To" and "I'm a Big Girl Now," encor- ing "I've got It Bad and That Ain't Good." One of'the best, with plenty s.a., voice, and personality. Only ofay act outside of the band is Gil Maison and his monk and dogs. Monk, which had a spot in "Follow the Girls." is trained to show anger at mention of Frank Buck, does a terrific jitterbug routine, and steals the show in gen- eral. Dogs are . well-trained, and bring laughs, especially liny mutt which runs out when Maison says, "Meet You Around the Corner." A top act. Tomm . CapHol. Wash. Washington. May 23, Jerry Lewis, Dr. Neff Magic Show (7): "Breakfast in Hollywood" llM). State. V. Manuel Viera, Harold Boyd & Jigsaws. Larry Stevens, Richards- Adair Dancers, Willie Howard. u»ith Al Kelly, Ruby Zu>erling House Orch; "Ziegfeld Follies" (M-G). Ornheum, I.. A. Los Angeles, May 25 Jimmie Lunce/ord Orch (17), featuring Joe Thomas, Nick Brooks, w - - -• Rhythm Boys (4); Slim Gaillard pWade Me a Killer" (Par) and "Cara Trio, Ivie Anderson, Business Men of Rhythm (2); "A Guy Could Change (Rep). Tower, K. €. Kansas City, May 24. Carlton Emmy & Pets, Jay Arnold, Hal Menken, Wing & Wingo, Teddy Mitchell. Tower Orch (9) with Don Tiff and Beverly Cassady; "They van Trail" (PRC). A lot of adjectives have been flung Jimmie Lunceford's way for. - . . the kind of music he and his orches- i amateur selection and band number. Rating for this one runs a notch or two above average. Bill conforms to the long-established policy with quartet of standard acts, weekly tra make. They're still true. It's a smart aggregation of musicians de- livering listenable arrangements. From the opening with "Annie Laurie" right through to curtain time when orch joins in with the Slim Gaillard Trio on "Cement Mixer," sidemen make music with enthusiasm. Strong sax and rhythm sections keep the brass departments under control. „ "Annie" is a hot swing version of the old tune, and the melody is still recognizable in the Lunceford treat- Opener by the orch is "All Through the Day" with Beverly Cassady tak ing the vocal. Emcee chore is handled by Jay Arnold, and he turns the spot on Hal Menken offering a trio of taps and featuring a r drum and step con traption. Arnold follows with his own round of reminiscence in song, warbling a medley of light opera and classical faves tied together with patter in rhyme. He's followed by Teddy Mitchell, young am. winner in an ment. "Don't Worry About That acrobatic-contortion routine. Mule," gives sax man Joe Thomas I w i"B and Winso are on for chance to both vocal and noodle to ; comedy terping and acrobatics. Their good response. "Laughing on the best bit is the closing adagio.routine. Outside" is capably handled by Nick I Carlton Emmy and hi* troupe of Brooks on vocal. Band is next out' about a dozen wagging terriers art The State comes up with another regulation vaude bill, topped by the perennial Willie Howard, who re- cently closed at the Latin Quarter, and is playing a repeat date here. Howard, of course, steals the show. Rest of layout makes for a fast, en- tertaining 45 minutes stanza. Manuel Viera lees off with his novelty monk act. The monks are put through tumbling routine and wind up playing miniature instru- ments that wins plenty applause. Harold Boyd and Jigsaws, three guys in sailor garb, offer a tumbling act punctuated with clownantics. They register on both. Larry Stevens, who pinchhit for Dennis Day on the Jack Benny ra- dio program while latter was in the Armed Services, clicks in his song stanza, teeing off with "Blue Skies. He segues into "Day By Day" and winds up with "Laughing on the Outside" in solid fashion. Richards-Adair Dancers, compris- ing man and four gals, provide a novel flash in a jungle number wherein the gals are tigresses and man the trainer. It's a switch on adagio and gets over neatly. Howard, flanked by Al Kelly and other stooges, scores solidly. He gives them everything from the law- yer bit to the soapbox orator. He also includes his Ukeoffs on Sinatra, Jessel and Jolson that has them literally rolling in the aisles. Off to sturdy returns. Ruby Zwerling's pitcrew provide its usual nifty backgrounding of acts. Edba. Capitol stage bill, taking its cue from the feature, is just so much fluff, with nothing solid to offer. Jerry Lewis tees off with imper- sonations of Danny Kaye and Frank Sinatra, both of which get laughs. The Kaye take off is heat, imitation of the real McCoy, while the Sinatra stunt is the conventional slapstick caricature of "The Voice." Tying in with the pic'Lewis does a Tom Breneman hat auction, with volunteers from the sidelines as models.. Audience cooperation is along acceptable lines, with no of- fense to participants. Amateur models—all male—under Lewis' able m.c.'ing, fall in with spirit of act, and bring the house down aping a Powers model in the act. She plays straight to the stooging. Bit is clever stage business and clicks. Balance of bill is consumed by Dr. Neff's Magic Show. Magician is a far cry from the modern trend of sophisticated, magi-comedy. Reverts back to the standard type of mumbo- jumbo of the carnival school. How- ever, it has streamlined sets and props, and eye-filling femme as- sistants. In a 40-minute pot-pourri of voodoo, spiritualism, ghosts, sleight- of-hand, plus "witnesses" from the audience, Neff works smoothly and quickly. Gags are strictly corn, and should be omitted or jazzed up, but he relies less on them than he does on his bag and boxes and trunks of tricks. Mystery patter is without meaning, but manages to mystify, judging from audience Teaction. Lome. Iloxy, N. Y. Count Basie Orch (17) with Jim- my Rushing, Bob Bailey, Ann Moore, Jo-Jo Jones; Gene Sheldon (2), Peters Sisters (3), Ray Sax, Roxyettes (24), St. Louis Stoingsiert (12); "Do You Love Me" <20lh-Fo. T ), reuieuied in Variety April 17, '46. A. J. Balaban and Sammy Ranch have provided a sprightly and jivey display as worthy stage accompani- ment to George Jessel's "Do You Love Me." The Gae Foster produc- tion and Arthur Knorr settings are sufficiently grdovey for this layout built around Count Basie's orch. There's a surplus of talent in this session so that Basie's contributions as well as those of his. colleagues in the band are cut short. But this makes for a tight and well-gaited stageshow that doesn't let up for the 50-minute running lime. The Basie crew, with its Rifled soloists and outstanding rhythm sec- lion, does some cutting up that warms up this huge house consider- ably. Even though some of their tunes weren't melodic enough for the usual patronage of this sedate emporium, they generate enough contagion to warrant healthy ap- plause. Basie contributes an organ solo While Bob Bailey vocals "Danny Boy" for a fine recepsh and Jimmy Rushing's single blues number sets the usual big exit mitt. Ann Moore's efforts arc confined to the produc- tion numbers. Gene Sheldon's pantomimicrv with the aid of an unbilled femme foil loses none of its finesse at this 6.000- scater. He manages to register with every minute grimace and hits the applause jackpot. Peters Sisters similarly score with n near showstop. These rotund gals groove out with considerable com- edy interspersed with their songs which makes for repeated curtain calls. Magnum opus of this st^ion, however, is the blues production number by the Roxyettes. the Negro dance group, St. Louis Swingsters (12) with Ray Sax, a terping instru- mentalist. This choreo is staged with considerable color, speed and variety to strengthen the midway point of the show. House hard hit by rail strike at show caught. j 0 se Blocked Liras ; Continued from page 1 5 Apollo, >. Y. Charlie Burnet Orch (20) with Fran Warren, Danny Payne, Art Robey; Gil Maison; Pigmeat, with John Buiiu and Sybil Lewis; Tick & Tock; "Sirangler .of the Swamp" i PRC). aid groups. Warner Bros., Univer- sal and Columbia are said to have made the biggest exchange to date via the Jewish Joint Distribution Committee. Established rate is one U. S. dol- lar for 225 liras. Large black mar- ket that operates in New York, ap- parently with more or less Govern- ment sanction, has offered the com- panies no better than $1 for each 375 liras. Religious and relief or- ganizations . are offering approxi- mately $1 for 300 liras, which both sides considered very favorable. Aside from the big deals, there are apparently many minor ones in the making with indie producers who have blocked lira. Various Catho- lic church groups all over the United States and Canada, through collec- tions made among their member- ships, have been sending aid to sim- ilar groups in Italy. They have been given these dollars they collect to the film men in New York for the lira which they need in Italy and gain- ing 75 liras to the dollar by the process. Much of the American coin tied up results from showing' of U. S. pjx in Italy during the war. Army has segregated out as much of the Kirsch's Talk 5 Continued from pace * — false position due to their affiliation with other branches of the indus- try, he added. "It's absurd to say, as a few have done, that Allied's insistence on the maintenance of separate organiza- tions for independent exhibitors re- flects a .non-cooperative attitude." he said. "We in Chicago have battled the exchanges and the higher-ups as well over the terms and conditions for film, but in those encounters neither side has lost its respect or its regard for the other. That is my attitude, and as president of Allied I shall strike to make it a national policy." Kirsch declared that the building of an all-inclusive independent or- ganization calls for time, patience and understanding. "I am especially anxious that my disclosure of Al- lied's policy be made known to in- dependent exhibitors who have be- come confused by recent develop- ments and who are being beckoned by' many hands to follow strange leaders," he said. Main problem facing group, he underlined, is "securing supplies of suitable film at prices within our means." And In the period of re- adjustment ahead the exhibitors need "a strong organization, with no entangling alliances, to deal with that problem." And that organiza- tion, he concluded, is offered by Na- tional Allied. Among those attending the affair were Spyros . Skouras, Thomas J. Connors and George Jcsscl. 20th- Fox; William F. Rodgcrs, Loews; Charles M. Reagan, Paramount; Peck Gomersal, Universal; Waller E. Branson, RKO; James R. Grainger, Republic; William Heineman, United World; Richard F. Walsh, IATSE; and former Allied States presidents W. A. Steffes and M. A. Ro.-cnberg. Actresses Carole Landis and Yvonne De Carlo also were on hand. with potent "One, for the Book" fol lowed by "Jay-Gee." Four sidemen from orch make up the Rhythm Boys, a sharp singing group who shine particularly well on "The in closing spot It's the standard turn Emmy has shown for years with dogs playing leapfrog in various forma- tions, some jumping out of turn for comedy effect. Quin. One ol the best bills to land here in recent months, this layout has _ balance awl sock entertainment, 1 money due as can be accounted for, with Charlie Barnct heading the j and credited it to the U. S. com- parade. ...■„„. . ... ipanies. Orch opens with Cherokee fca- _. .. , . , . . luring maostrfc on tenor and soprano Similar procedure existed in reeds; and "Sorgcant Was Shy" show-IFrancc for a spell. One K.C. Robbery Nets $125; Another Nothing Kansas City, May 28. Burglars hit 50-50 in two tries against organizations within film industry here recently. Thugs broke into the Vista theatre, northeast nabe, after prying open a window, but could not batter open the ollice safe. They left empty-handed. The same night, other thieves made their second try with belter luck at the United Film Service, stealing $125, two typewriters and two camera stands. Previously ruo- bers stole an electric fan and a type; writer at UFS, May 13.