Variety (Jul 1946)

Wednesday, July 3, 1946 PftRIETY HOUSE REVIEWS 43 Paramount. IV. Y. Andv Russell, Alan Carney, Ray. JTscott 0*h M) "frothy Collins; Pied Pipers (4); The Searching Wind" (Par) . reviewed m Varietv, May 5, '46. Box office value of the current Paramount layout is considerable with Andy Russell to draw the younger element while adult patron- age if virtually guaranteed by nature of the film "The Searching Wind and the mature rhythms of the Ray- mond Scott band. Layout constitutes a satisfactory blend of entertainment that packs a lot into its 45 minute running time. However, the show caught was somewhat abbreviated because of sudden illness of Alan Carney, who came on for a brief moment to get a few laughs, but had. to excuse himself and forego the rest of his session. Illness is . understandable, inasmuch as it happened on one of -the hottest days of the year. On a subsequent re-hearing, Carney was in clicko physical frame and bowled the audience with his impressions of w k's and scored most handily with a take-off of a Union Square soap- box session. j .. . ■ Russell carries out hi,s end admi- rably. He's been, hitting it hand- somely on records and has made some film appearances, and does his swooning in a robust manner. Of- fers a comparatively short song session, but is able to get off because of his closing position on the pro- gram when he goes down with the pit. He gets pitty-pats even from the elder members of the audience with tunes including. "What a Dif- ference a Day Makes," "Besame'.' and "Yo Te Quero Mucho." Also in the jive vein are the offerings of the Pied Pipers, (4) late of the Tommy Dorsey crew, discussed further under New Acts. Rest of the bill is along solid adult lines. Scott's instrumentation calling for eight brass, five reeds, seven strings including a cello and bass, piano and drums. The arrangements are studied and workmanlike and make use of some sound musical ideas, but for the most part, he fails to utilize the strings to fullest ex- tent. They're rarely heard above the rest of the orch. and one often wonders why they're around. But the mystery of the idle strings is solved once Russell goes on, then they provide some pashy counter point. Scott's offerings of "Full Moon and Empty Arms" •"Powerhouse," "Ce- ment Mixer" constitute nice variety Dorothy Collins, the band-vocalist, similarly reflects the good'taste of the Scott crew. She's a good-looking youngster garbed in a suit, rather ; than a gown, and gives out. with "Man I Love" in a well-rounded and full voice and with excellent inter pretation. Completing the line-up Is the recent GI Jack Williams, an elon- gated hoofer,, who attempts genuine tap interpretations minus hoke trick- ery. He gives a smooth -chorco of Tea for Two" and GouldV "Pa- vanne" to make a nice Impression Jose. Apollo; X. Y. Thelma Carpenter wilh Garland Wilson, Dizzy Gillespie Orch (16) with Moe Johnson. Mary Mani, Johnny Sellers, Bobbie Evans; Crack- shot, Sybil Kay, Charlie Ray. "Blonde Alibi" (U). provides the sex motive with a modified strip while emulating snake movements with her hands. Gilles- pie's elbwning during her number, didn't help her cause any. Pigment aided by Charlie Ray and Sybil Kay get a mild laugh quota for their sin- gle blackshow effort. Show is emceed by Bobbie Evans, who is strongest in his dance im- pressions. Jose. Roxy, N. Y. Cirelc. Indpls. 1 Indianapolis, June 29. Tex. Beneke with Glenn Miller Orch, Artie Malum, Lillian Lane, Bobby Nichols, Crew Chiefs, Whitson Bros., Crosby Sisters; "Truth About Murder" (RKO). . This Harlem house's current con tnbulion to vaude constitutes one of its minor efforts dcsDite yoeman work of headlining Thelma Carpen- ter. Layout misses on several points such as weakness of some of the acts, selections by the band, and above all, lack of air-conditioning which would make the most enthusi- astic audience wilt under the house temp. Miss Carpenter, with Garland Wil : son at the piano, generates as much enthusiasm as could be gotten out of this audience. Shes an excellent singer—one of the few Negro art ists to crack network shows on < regular rather than guest basis. Shes a regular on the Eddie Cantor program. Audience let her off after five tunes, mostly in the ballad cate- gory. Her "Happiness Is a Thing J-ajled Joe" is one of the classic in teroretations of this tune. : m She wisely brought along Garland Wilson as her accompanist, as the Dizzv Gillespie orch shows woeful weakness in the showbacking de Parlment. Throughout the proceed ings. band was too loud for back ground ourposes and needs consider able toning down. t The GillesDie crew makes the mis take of dealing entirely in originals, . which makes it a bit hard to take especially during the intense house ncat inasmuch as a lighter mood would be more conducive to listener interest. Its offerings consist mainly of angular rhythms with comolicated arrangements and riffs which re- quire intense concentration. He bills his stuff as music of tomorrow, and it may turn out that way, once the general public's aural eauipment Becomes accustomed to Gillespie's complications. But in the meantime, ne.should make, concessions to audi enccs of today. Rest of the bill has Johnny Sellers, a blues singer who while lacking . ff«"gc presence, has a good interpre "air for the race' tunes. Allotted only one number he gets good response for same. Marl Moni The Glenn Miller orchestra,: which never did get here when at the peak of its popularity before the war, .finally arrived at the Circle this week with Tex Beneke at the helm. Band is making a hit with customers by- playing a show that is almost solid music, interrupted- only by Beneke's short introductions and two extra acts: It's fans of long-standing like its authentic revivals of old Miller favorites in arrangements that still carry out the late leader's ideas. Many former servicemen recognize and applaud additions made, to Air Force outfit, including the 12-man string section and the singing of Artie Malvin and the Crew Chiefs, Show seems an all- around pleaser. Program Opens with "Moonlight Serenade," then swings into the Miller classic. "In the Mood." An- other oldie, "These Foolish Things," accented by Beneke's fine tenor sax, provides one of the main highlight.-. "Little Brown Jug," "Chattanooga Cho-Choo," "It Couldn't Be True," They Say It's Wonderful" and Swing Low, Sweet Chariot" are sold with a smooth change of pace. There's a special arrangement. of Gershwin's "Rhapsody in Blue," dating back to Air Force days, that registers plenty and, in the same category, a sock version of "Song of the Plains," official march of the Russian cavalry, with a powerful rhythmic, beat. Band proves it's still adding to its rep by getting a rise out of the house with "Hey-Bob-a- Ree-Bob." Lillian Lane, Malvin, Beneke and the Crew Chiefs all are well received in the vocals. Between tunes, the-Whitson Bros, impress with their topsy-turvy bal- ancing and acrobatic act, spiced with comedy patter, and the Crosby Sisters get nice returns in a little sketch called "Musicomedy Capers." Biz was oliay at opening. Corn. RKO, Boston ■ Boston, June 28. Sdiie Douiell Orch (14), Gloria Gilbert, Carter ft Moreland. Don Grady, Danny O'JVeil; "Runaround" (U). Using neat footwork, his own per- sonality and even his voice in a valiant effort to lift his orch above ordinary, Saxie Dowell returns to stage after three years with Navy in Pacific. ' With more experience at working together, band should be- come a top musical aggregation. As jt was, prize for distinction should go to Gloria Gilbert for rhythmic, spir- ited terps ranging from ballet to swing in an astounding ripDle of leg muscles. ■.• Ben Carter and Manton Moreland prove highly amusing in patter and music specialties. . Opening band number, "Rose Room", tias a rather wooden arrange ment. Don Grady, vocalist, is run o' mill with "Day by Day" and "Night and Day." "Rugged but Right," band number, is feeble. However, Dow ell sings his own "Three Little Fishes" for good returns. His alto sax, Joe Cross, is smooth in "Talk of the Town." Too much hamming marred Danny O'Neil's song offerings. He does "I'm Always Chasing Rainbows," "Gyp- sv" and "Toora-Loora," as though they were brand new, dragging out each song to limit. Lad has a good voice, though, and should be given some fresh songs with soft-pedal on Ould Sod stuff. Finale band offering, "Smiles, clicks. Dame. One You Love," concessions. to the I Well Be Spring" and "That's for contemporary mood being "I Don't Me," of which she does a few bars. Know Enough About You" and "Till Encores with "It's Wondeful." Turns Then." '■ Mike. | in an okay job in her first vaude date as a single Clark Bros., sparkling sepia tap n „ . -... „ , ■„ ,. _ i duo, are well received, too, with a House Orch with. Paul Ash, -Tony trio of precision Upstints and splits Lauelh, Roxyeltes, 3 Swifts, Buster Middle item, to "Rhythm Bounce," is ^iauer with Ohue, Richard tGeoroe, particularly effective, and the guys Donald O Connor with Patricia get off well. Fred. Lowery and Dor- OConnor; Smoky" (20th) reviewed Uthy Rae, whistling-singing team, in Varietv, June 19, '46. | a lso get applause for the guy's efforts . . on "Mocking Bird," "Waters of Min It doesn't seem so many years, ago netonka," "Rhapsody in Blue." in that Donald O'Connor was just one which he doesn't miss a single of the small fry in the O'Connor nuance of .the difficult Gershwin Family vaudeville act, but the time score, and bird calls, and for her differential only points up one thing chirping o( the tongue-in-cheek "De —talent can survive time itself. The butante's Lament." Close big with talent in this case Is young O'Con- duet Of "Whistlin' Joe." nor. The kid's got it, and Universal, Midget-to-king-size Low, Hite it which has him under contract, can Stanley point up the differences in enhance its values by allowing him their sizes , with roughhouse antics a season or so in a Broadway musical, and do the G. I. softshoe and gun With his GI background, what an drill in the pre-Blaine segment, corn- asset he could have made for "Call ing on again at the close with their Me Mister," the current Broadway platter iinprefh of the Andrews Sis- smash cast with ex-kaypees; Well, ters doing "Boogie Woogie Bugle so it isn't "Call Me Mister." So it Boy." Trio are always good for a would be another musical in which lptta laughs. ... O'Connor can show his comedy flair, Lou Breese's orch cuts the show his mimicry, his singing; his hoofing, well, and Breese's emceeing is pleas^ Is there anything else left ior him to ant. Orch's contrib is Cement do? Oh yes—he even borrows Paul Mixer," with Mario Sentella soloed Ash's baton and wields it as profes- for some lio.t trumpet licks and1 gran- sionally, say, as Ash himself. One ite-voiced vocals. Mike, thing, though—better and newer | jokes. O'Connor gets the top billing, but there are others here who also rate attention. Patricia O'Connor, who's Oriental. Oil Chicaoo. June 27. Mills Brothers (5). Nelson Sister: (2), Danny Dray s on, Ray Lang Orch (12); "Postman Always Rings Twice" (M-G). Million Dollar, I~ A. Los Angeles, June 29. ^ m _ u ^ „.,„„ Lecuona. Cuban Boys, Afiialia only three or^"fo"ur W yVars" vou^nger I Aouilar, fsqbelita, De Castro. Sisters than Donald, is introduced by the t3), Ernesto Ojea, Manyo Lopez; latter as his niece, and she sings a "Joe Palooka, Champ (Mono), song or two pleasantly plus looking —:— plenty cute in a quiet blue gown. L Latin-flavored stage bill that Then there is Buster Shaver with pleases holds sway here. Lecuona the midgets Olive, George and Rich- Cuban Boys is a class group of mu- ard, and they continue to entertain I sicians for below-the-border tunes, strongly, especially, when the nor- and deliver neatly. Show is sparked mal-sized Shaver and the under- by hip gymnastics of Amalia Aguilar sized Olive do their standard ball- and vocal delivery of Isabelita. Ap- room turn. I peal is especially forte for Million The Three Switfs, with their swift Dollar patrons, juggling of the tenpins and the Opener has. Lecuona group run- comedy that goes with it, are, as al-. ning through peppy delivery of ways, still socko. Rhumba Negra, seguing into "May- Ash still knows how to introduce ari" and "Dark Eyes." It's a showy a show with a minimum, of wordage, I band that knows how to please eye helping to achieve the intimacy be- as well as ear. Isabelita punches tween performer and audience. And over vocals on "Negro Leona," "Tres doing that in a 5,800-seat house like Caballeros," and "Linda Mujer" and the Roxy is no mean feat in itself. then acts as m.c. for balance of bill. Twenty - year - old. six-foot-three Ernesto Ojea, drummer, gives fine Tony Lavelli, basketballer at Yale workout to "Granada" and a tango, whom Ash "discovered" accordioning Manyo Lopez is featured on "I'm at'a New Haven party, is getting'a Learning English." Other bsnd chance at his first stage engagement numbers, all listenable, include ' Ti- here, and the gangling youngster Pi-Tin," "Quiereme Mucho," "Bongo tinkles a couple of classical tunes and "Professor." . that cricked big with the customers Miss Aguilar's hip twisting Is at show caught. straight from the runway but with "Presentation policy" is what this I a Latin bounce. She commands bill is officially part of, but some-1 most interest when shaking through how it plays very , much like the hot rumbas and sambas; and should vaudeville that's still beim; mourned lessen singing. She's on midway tol- as "dead." A bill like the current "Rhumbantela" and "Rhumba Tipica r one makes it difficult t8 find the and returns for finals with Babalu corpse. Kahn. | and a conga to bring down the cur AlvMnla Ut alB | I ^Particularly bright part of the uiynpia. niianii shdw js the De Castro Sis , erSi sing . . Miami, June 28. threesome that have the looks Lane Bros., Phil & Mildred Crane, an ^ ycrv g t0 back iip voices. Ar- Lewts & Van, Billy Farrell & Boots Pierre Cartier, Les Rhode House Orch (13): "Tarzan and the Leopard Woman" (RKO). rangements are good and delivery calculated to please. Tunes are Maracas de Caracas." "Peru and Manisero." Broo. Capitol, Wash. Washington, June 27. Billy Hines & Co. in "Gay Wine Topheavy with dance, layout here this week makes 1 for an uneven af- fair. Lewis and Van tee off with some, —.. „. , , nifty, but standard tapology - Knock lies Revue" (11); 'Two Sisters from out the usual challenge steps and Boston" (M-G) works on stairs to garner good re- , , _. turns. Billy Hines. of mmsUel fame, and Trick dancing spiced with some his troupe of old timers, garnered fair comedy, features the Billy from vaudes hey-day. continue to Farrell and Boots turn. Sit-down wield their nostalgic appeal on tne routine and broom bit by Farrell Capitol stage. . are standouts. Despite little change in the bill Phil and Mildred Crane are a tall, since last year, show gets plenty ap- good looking pair of youngsters who preciation. It's hard to tell wnetner duet some classy versions of musi- the customers are cheering ine comedy tunes. Click with "Okla- sportsmanship and effort of these re- homa" medley, "Donkey Serenade" cruits from a past era, or whether znd "Who." Male half solos I'Old there is genuine respect for the Man River" for top applause. quality of the acts as well. There Magico Pierre Cartier offers a is probably a little of both m tne pleasant stint. Nothing sensational, enthusiasm that rocks_ the Capitol as with most of the legerdemain the the boys and gals, with an average stock style. Ingratiating manner age of about 65 years, go tnrougn helps get the act over. their paces. . 4 L.„.. m K Lane Brothers close with more Appeal of the /evue. .though hoofing blended into some neat turn- largely sentimental, Is still based on bles and lifts. Top turn with one the showmanship and zest of these brother skipping rope while perched old vaudevillians, which many^ a on others shoulders, off to healthy jaded and blase younger Pcrformei salvos ' could well imitate. What they lacK Les Rhode and.crew back show In. " n Polish, they make up for in know- rfe'al fashion. Biz good when caught, how and zest. Pic at the Oriental is the big draw this round, with only three acts and the air-conditioning as additional hot weather lure. Nelson Sisters have a good flash act to open, going about their aerial twirls and flips on horizontal bars and rings iii a nonchalant manner and to solid salvos. They top the. stint with the understandcr hanging by her neck to a strap hanging from the other gal's neck, plus a terrif pinwheel, jn which they lock arms and-legs and spin around the bar. Scantily dressed and not too muscu- lar, gals have a neat-looking turn. Danny Drayson also goes over well with his streetcar rider-, gal taking a bath, and comedy falls, although some of the gags have, been begged, borrowed or stolen. Tops with the payees, of course, are the Mills Brothers, who close., . Fine Negro singing team do only four numbers, but it's the older ones that the crowd loves. Those are "Paper Doll" and "You Always Hurt the Lory. Chicago. Chi Chicaoo, June 28. Vivian Blaine, with.Howard Davis; Against a Tony Pastor setting, with house orch on stage, Minnie Allen and Jcanetle Dupre alternate in cmceeing. with each doing own stuff as well. Miss Allen clicks in a raucous type of routine, a la State*, .N. Y. Rochester (Eddie Anderson), with Kilty MUrray; June: Lorraine, Vul Selz,, Ed & Terry Wilser, Joe, Lou & Marilyn Caites, Ruby Zweriino's Orch; "The Green Years'' (M-G). It's an offish week at the State for current stanza, with not much to snare them past the wickets and nothing for marquee lure save Eddie Anderson, the Rochester of the Jack- Benny airer. However, what there is plsys smoothly, entertains in a mild sort of way and is probably satisfactory lor the transient clien- tele this house gets. Joe Lou and Marilyn Caites tee- off with standard; nifty hoofology wherein the younger couple display modern mode of tapstering for intro and then bring on their dad for con- trast stepping. Off to nice returns. Ed and Terry Wilser, twin sister and brother team, follow with musical act, their forte being trumpet work. In addition they give out on other instruments for impreshes of signa- ture tunes of Henry Busse, Harry James. Ted Lewis, et al. Make nice appearance, handle stint well and appreciably rewarded by audience. June Lorraine, who matriculated with Phil Spitalny's "Hour of Charm" all-gal orch, clicks, with her mimicry. Includes impreshes of Lionel Barrymore, Charles Laugh- ton, Bette Davis and Jimmy Du- rante singing "That's Why X's Were Born." Latter two are her best. Val Setz, juggler of no mean ability, takes over for his dexterity stanza; Guy . juggles balls, clubs and other objects in top fashion to win ap- plause. Rochester closes bill with prac- tically the same routine as when here last year, with exception of a few hew gags. After some throw- away stuff about Mr. Benny and lat- ter's frugal streak he brings on Kitty Murray, rotund sepia come- dienne, garbed a la Broadway Rose, and adding to merriment via re- partee with Rochester, some scat singing and other antics by duo which keeps them roaring with laughter. Panic, however, is jitter- bug finish in which she tosses Rochester around like a rag-doll and piggybacks him offstage for fin- ish to solid salvos. Ruby Zwerling and his. pitmen provide the customary slick job of backgrounding acts. Edba. Tower, K. C. Kansas City, June 28. Jack. Carson, Tommy Wells, Mary ■ McCarty, Johnny Laddie k Co., Buf- ■ fington Twins, Tower Orch (9) with Don Tiff and Beverly Cassady; '"Joe Palooka, Champ" (Mono). Whether this show is good or not really doesn't matter much. What matters is that it's a personal ap- pearance for Jack Carson, who was a favorite emcee of Tower patrons back, in 1935-36 and has now hit the top as a screen player and radio comic. His being here is the thing, and the patrons are turning out for what probably will be the biggest week the Tower ever had. The date in truth climaxes a senti- mental journey for Carson. He has said he would come back and play a week at the Tower for free, and he is doing it, giving his services (ex- cept for . expenses) to Manager Barney Joffe'e. It's the first time. Carson has appeared here profes- sionally since he left for a fling at Hollywood.. That the show turns out to be very good is just so much more, frosting on the cake. All Carson would have to do would be to stand on the stage and let the patrons gape and' clap. For the first few minutes of the show that is what happens while. Carson murmurs about his "personal Shan- gri-La." After the ovation show gets going for an informal get-together of gab, stories, mugging, buffonery and gen- eral fun. With his two henchmen, Mary McCarty and Tommy Wells, ■Carson works well over 30 of the show's 50 minutes. He's at his best mimicking Gable, Colman, Lorre and crooning like Sinatra and Crosby, wrapping the imitations up neatly in a comedy routine with Mary McCarty. Miss McCarty has her own spot to sing "Always in My Heart, and Wells has his turn, at a soft shoe comedy terp. There's also a string of laughs in card tricks and some dialogue between Carson and Wells, Show is rounded out with a num- ber by the band and Beverly Cassady chirping the vocal of "I'm a Big Girl Now." The other standard act is Johnny Laddie balancing atop an un- supported ladder while his trio of neat fox terriers climb over him Lowe. Hite & Stanley, Fred Lowery I Sophie Tuckei". while La Dupre, * Dorothy Rae, Clark Bros. (2). Lou self-styled "Merry Widow of Broad- Mcai ^ «, I1C1J> tllI11 „ „ Ytl „.,„ Breese Orch, Willi: Mariei Serilella; way" lives up to the titje with some i and the ladder Bilfnington twins Do You Lo«e Me?" (20th). . hep singing and dancing. _ am selections, a pair of attrac- Billy Hines recalls the old days of . • i- Back to singing in front of a band minstielry with appropriate mcdr after a two-year sabbatical with leys; Mary Noss, at 74, first femmc 20lh-Fox. Vivian Blaine, at the head saxaDhonist, gives ^ut with a few of a neat show.: is doing a job that numbers: Bonn & Bonn do an aero should make her bosses, who sent routine with hardly a creak and with her in as a hypo for: the picture on some rcr.l novelty to boot; La Scri- lap, very happy. Noxt-to-closing. da revives the serpentine dance she newly blondihed star weaves a neat- created at Tony Pastor's in 1892— ly written Eddie deLangc rhyme re and in the original costume; Tom how she got into pix around the Barrett, at 79. docs some high class <=ongs from her musicfllms. with hoofing; Blanche Lytcl burlesques Howard Davis giving her a nice as- the prima donna technique; and Bill siM at the keyboard McCullough docs a bell ringing num- Her pic oarade hits Include "Whls- ber worthy of any bM. ;.. ul Mre „„.. . ...» Dcring." "Somcthine for the Boys," There s; some line work, too, lhat s Maiestic at Antonio the follow "I Don't Care Who Knows It." "Here strictly for laughs, but even that ?" je "'k Comes Heaven. Again." "It Might as | seems to click. Lowe. "n« wees, pair live gals Whose'terping isn't too far off the professional pattern. All in all old home week is a happy thing for Carson, the Tower and the patrons. Qui)!. Interstate Sets Spike Jones Dallas, July 2. Spike Jones and City Slickers have been booked for two Texas dates by Interstate Theatres. Jones will open here for one week at the Majestic Aug. 8 and then the