Variety (Jan 1947)

Wdnos^ay, Jannary 29, 1947 Sniija HeoK ScorK A§»i inM 49 By JACK PULASKI Sonja Henie and her "Hollywood Ice Btevue" always was rated, the classiest attraction offered in Madj8on Square Garden and that goes for the present engagement, her 10th annual appe, ranee, which started last Thursday (23). Again it's a $6 top show, the ticket price hardly a factor judging from opening night, •when the audience virtually filled the arena's lower levels, but the top $helt was strangely bare. The Chicag.^ combo of Arthur M. Wirlz, the I presenter, William H. Burfee, the nroduction director, and Catherine Littlefield, the stager, has topped previous showings in production splurge, the nut being quoted around $400,000, It required seven 70-foot baggage cars to bring the settings, costumes and props from the "hi Stadium. There are scene changes for every number on the revolving stage at the west end of the Garden, it requiring 18 deckhands to handle the scenic end, while the crew also has 20 spotlight operator: up among the girders. The costumes are dazzling but Miss Henie doesn't count just on the duds desig iCd' by Kathryn Kuhn of New York. She is on the ice as often as ever before, dominating seven production numbers. She is billed the nonpareil of skaters^ and that is conceded to be so, from the time the little, blonde Olympic champ came over and became a professional. Since she gave impetus to the ice show field there have been a number of crack rink stars developed, but none is on a par with dainty Miss Benie. It has been said that there's little change in the art of exhibition skating hut Miss Henie has added something new In several numbers and It's a thrill to watch such a faultless performer even though there aren't iuch fabulous' trappings for her and the outfit. Miss Henie is doing plenty of solq work but is in action with three male partners, in pair appearances, as a rule, they being Geary Steffen, Harrison Thompson and Gene Theslof. Production number, billed as "Primitive Ritual" has most of the adagio which the star etarted several seasons ago. Theslof, rated one of the strongest skaters, does the lifting. In "Sleeping Beauty" she has Thompson as the prince and in "Happy Holidays" there's Steffen as consort A novelty production number called the "Bon Bon Shop," is ia standout with the principal rtien dancers participating, but Miss He ?iie finales the number stepping the ength of the rink on her toes, or rather the front tip of her skates. The concluding number, "Circus Bays," is reminiscent of the Barnum, Bailey, Ringling show, the biggest number of props being used. Star's hula number is her bell■ ringer, however, rnd has been since she started it. New bit has the star simulating a tight wire artist in the circus number. > Freddie Trenkler on lend-lease from "Icetime," the theatre skating Eliow in Radio City, which Miss Hesue and Wirtz also present, is again the favorite clown. He is using one trick from that show, grasping a wire and swinging over the audience. First appearance is in the "Borden FaiWly," a'Coinic trio as walking cows, with Trenkler the smallest, partners being John Farris and James Carter. Trenkler's policeman and fireman numbers brought him iKick for plaudits many times, and although the first nighters seemed to be a cold audience there were a number of encores, such as won by Fritz Dietl (stilt and pair skating), Carter, Rudy Richards a former line skater discovered by Burke, Gretle and Robert Uksila. There are half a dozen rhythm numbers, eight and 10 specialists working in some and the entire ensemble appearing in others. Costumes that touch the ice create allure to several ensemble evolutions but the pinwheel number with all tha girls and lads in action is a real Clicker as jt previously was. This season there are 24 male line skaters, more than during the war, the bunch that walked out in Detroit evidently Leing easily replaced. Musically the show is excellent both in the vocal and orchestral de J>artments, latter having jack Pfeiffer batoning. Miss Henie's revue Is a fast, darling pedformance, the number one steer ruhnef diversion, lar Tower crew. Tom O'Neal doubles in the m.c, spot. Beverly Hill contribs boogie-acrobatic terp in followup spot. Her work is interrupted by Al Dault staggering on stage as a drunk who wants to climb on tables. He's appeased with four tables which he pyramids to put him in the flies as he balances atop two chairs and quartet of bottles. Climax of the act is Okay, but couple could get there faster for increased audience approval. Jewel Joyce offers a couple of songs, "He's Funny That Way" and "Donkey Serenade," giving way to O'Neal's own turn at chatter in comedy vein. Has a fresh line of eorhedy chatter and embellishes with harmonica playing and travesty on toe dancing. Martellg & Mignon offer novelty acrobatic act, with three burly gents tossing the. petite gal about the stage. Routine is worked up into sequences during which Mignon is tossed and twirled between the trio without ever alighting to the stage. Act wins mce response. Quin. State, V. Bonnie Baker, Johnny Downs, Lionet Kaye with Kathleen Ireland, Crosbv Sisters, MeribetJt Old; "The JoUoh Story" (Col). MsiSie.Ji&all, M. Patricia Bowman and Charles Laskey, Robert Marshall, Gil Maison, Ted & Flo Vallett, Rocfccttes (36), Ballet (28), Chorol Ensemble, Sym' phony Orch conducted by Charles Prevtn: "The ycorHno" (M-G), reviewed in VArietV, Nov. 27, '46. Tower, K. C. Kansas City, Jan. 24. Tom O'JiTeil & Jewel Joyce, Al Vault & Beverly Hill, The Martells & Mignon, Totoer Orcli (9) with Jack Parks and Kenny Field; "Plainsman and the Lady" (Rep) and "Dangerous Millions" (20th). Despite the generally good calibre of the individual acts. State's bill' fails to jell into a well-playing layout. One of the faults is the longrunning film, "The Jolson Story" which necessitates the minimum playing time for each act. Ordinarily,, this would be an asset, but in this case, several tuVns just about warm up when they're off. As a result of inclusion of six acts when the house had to go into timesaving maneuvers, Barry Gray, is just doing a straight emcee job, The WOR disk-jock, is, as expected, not the most polished conferencier extant, but since he hasn't the time to make any kind of impression on the audience, it would have been better for him as well as the theatre if he were shifted to a bill where the time problem wouldn't be as acute. As it is he's getting $1,750 for doing next to nothing. Rest of the bill has its moments. Meribeth Old, a comely contortionist, does supple backbends and cartwheels to send the bill off to a strong start. Continuing in the fast vein are the Crosby sisters (2) with broad and juvenile comedies which can be extremely boring or get across hand"somely. At show caught, team affected the latter result. The headline lure is in Bonnie Baker, who 'some years ago catapulted to name brackets on the strength of her vocaling "Oh, Johnnie" with Orrin Tucker's band, The' slight-babyish voice isn't as evident today, but she still pleases an audience. Her three numbers topped by her Inevitable theme, makes for a hearty exit. Johnny Downs, simil^Iy has a chance to show his entertaining potentialities in his song and dance work, but doesn't get a chance to fully carry out his aims because of the time element. Gets more than passable returns, nonetheless. Lionel Kaye's auctioneering stint, with merchandise and cash giveaways, is still surefire audience fodder. He has no trouble in getting patrons to the stage for the opulent gifts. Assisted by Kathleen Ireland, he's able to accomplish a lot during his stint, via his fait chatter and bribes. Louis Basil's orch is onstage this week, and It doesn't show up as effectively as in the pit. Jose. Russell Markert's current Music Hall production, labels "Carnival," is generously spiced with sockp turns, but poor routining and selection of numbers give an overall impression of dragginess and bad pacing. The layout is • overheavy on ballet and vocalization. Distinctly on the credit side, however, are three of the acts supplementing the M, H. regulars. They are Gil Maison and his assortment Of animals, singer Robert Marshall and, baton-spinners Ted and Flo Vallett. Ballet tees off the proceedings with a pleasant routine into which solo terpers Patricia Bowman and Charles Laskey are spotted. It's all up to top standard, but nine minutes of ii starts to give it that draggy feeling. JCnstead of a change-of-pace which should follow it, Markert brings on his choral ensemble and featured singer in Neapolitan costumes.. They go through some semi-classics and occasionally break into life with a tambourine, but there's a lot more dash needed, Bruno Maine's set is excellent, incidentally, with a gondola floating on a very realistic water illusion. It's here that warbler Robert Marshall is introed and makes considerable Impression, although pretty much buried under the set, costumes and choral group. He's a young tenor whose good looks equal his vocal ability. Gil Maison's laugh turn, which could have been used earlier, is spotted here, between the Neapolitans and a New Orleans Mardi Gras with the Rockettes. Maison's act, long a standard, is always a topper, with his monkey enraged by the name "Frank Buck" and hiS assortment of big and little dogs. He's added a neat new gimmick, too, a Negro assistant who does a brief routine with a ventrilo dummy at the getaway. Segued into the Rockettes' finale are Ted and Flo Vallett, who can do things with batons that will give American Legion drum majors nightmares for weeks. 'It's a fast and spectacular turn. Rockettes, in new and very legsy costumes, go through their smash precision work against the New Orleans set with the choral group backing them in attractive fluorescent costumes. Herb. up is Bob Evans, ventre, with his stooge, Jerry. Kvans scores heavily with the dummy doing several songs but could build better with bits instead of fast quips, which throws much of his material away. Lane brothers, tumblers, are standard and one of the best in the biz with their unusual acros and zany comedy. Band does a medley of top tunes of '46 and features the mae-stro, Lou Breese, on fine trumpet solo of To Each His Ovifn."' Loop. Olympla, Bf ialmi Miami, Jan, 24. Gil Lamb, Viuian Fay, Lucille Barton, The Hergogs, Don Henry Trio, Les Rhode House Orch; "Sister Kenny" (RKO). Pace is only moderate on this show, and for entertainment value it stacks up similarly. r ■Medley of Gershwin tunes is the lead-off with specialties by track Parks, trumpet. Ted Greer, piano and Kenny Field, vocals, of the regu Layout this week adds to solid effect most of the way to inake the regulars happy. , Gil Lamb toplines in good style with his comedy dances and patter. Works in engaging manner to get them from entrance and tops stint with his nursery songs ala Cole Porter, Vincert Youmans and Shostakovich. Ballerina Vivian Pay comes in from her Latin Quarter engagement to score nicely with her toe terps. Garnered heaviest response with her bullfight number. The Herzogs, four femmes, garner gasps with their trapeze work, with front rowers ducking as they swing out over stage. Added comedy sequence aids in rating the group heavy palmwhacking. Lucille Barton got by with her song versions, which seem more suited to intime clubs, rather than in a large house such as this one. The Don Henry Trio round out the layout with their better than fair mouth-organing. Les Rhode and house orch hanc(Jle the show neatly. Biz good when caught. Lan/. Boston, Jan. 24. Kathryn Grayson, Johnnie Johnson, Dot & Dicfc Remv, Jan Murray, 4 pSJcotinjr Mocs; Larry Flint's House Orch; "Boston Blackie ond the Law" (Col). Strand. V. Chorles Barnct Orch (17), tuith Billy Usher, Rex Stewart; Dorothy Claire, Ray English. Coles & Atfcins,"Man I Lone" AW B), reviewed in Variety, Dee. 25, '46. A little out of the RKO's slot, soprano Kathryn Grayson proves plenty capr.ble of rousing enthusiasm among the raucous juveniles as well as with the more adult customers of later shows, and thus is ace in a profitable layout. Screen star, one of few to come oi-t with a fairly well-planned routine, does the operatic aria, "Sempre Libera" to click on the heavier side, then does "All of a Sudden My Heart Sings" and other pops for a beg-off. Later returns for duet with Johnnie Johnston, finishing with "Down by the Ocean" and "The Song Is You," to Wind up the Stage show very big. Johnston, baritone with a nice stage presence and a lot of ease, does "Connecticut," "The Things We Did Last Summer" and a Kern medley, catching a big . return from the audience. Show is emceed by Jan Murray, whose comedy chatter is distinctly okay. Other act", are Dot and Dick Remy, standard aero dancers, who keep the act in the air with cross talk, and the Four Skating Macks, roller skate artists, who pull fast and skillful stunts in a small rink. Show moves fast, the people look good, and the musical background by the house orch is okay. A nice variety layout and doing biz. Elie. Most satisfying aspect of the new Strand bill is the fine music of Charlie . Barnet's orbh. Maestro brought only siX of his original combo back with him from the Coast, augmenting the group with 10 musicians from New York Local 802, but the fact that the new men have never played before with Barnet is nowhere noticeable. Band, although a little on the brassy side, sounds as good as ever. Balance of the bill is an okay conglomeration of songs, dancing and comedy, making for a well-rounded 50 minutes of entertainment, Orch, with eight brass, five reeds and three rhythm, tees off with a hot jump tune featuring solos by Barnet on his alto sax and Rex Stewart's cornet. Singer Billy Usher follows with "Pretending" and "Only Have Eyes for You" in ordinary style. Lad has a smooth baritone but tries too hard to imitate Sinatra, resulting in a display of seeming nervousness marked by bad breathing technique, Stewart takes over next with a novelty cornet demonstration, drawing hefty applause via smooth work in the upper register and simulated talk on the horn. Songstress Dorothy Claire, an attractive blonde who's back in N. Y. after a successful Coast tour, perks up the proceedings with her boisterantics on the musical comedy side. Gal still has a tendency to overdo the bantering asides to the audience but pleases with a raucous delivery of novelty tunes, including "Kansas City," "Coffee Song" and "Say Si," She encores with an excellent selling job on "I Cain't Say No" from "Oklahoma!" and begs off. Comic Ray English, gets the required yocks with his standard routine of prattfalls and hoked-up impersonations, although his gags are yellowing at the seams. Acro-dance windup, though, is good. Coles and Atkins, couple of top sepian terpsters .(New Aets), complete the bill, Barnet orch backs the show well and closes it with a nostalgic medley of the band's faves, including "Cherokee," "Pompton Turnpike," "Smiles," etc., with Barnet in the groove on his alto and tenor saxes and clarinet. Stal. Capitol, Y. Tex Beneke Orch (31) with Gary Stephens, Ginny O'Connor, and Meadowlarks (3); Fontaines Gene Sheldon; "Lady in the Lake," (MG), reviewed in Variety, Nov. 27, 1946. Chicago, Ciii Chicago, Jan. 24. Diana Lynn, Bill Johnson, Lane Bros. (2), Bob Evans, Lou Breese Orch (W; "The Man I Love" (WB), Although current show iS' better than its predecessor, acts have a tendency to milk, which slows up pace. This probably was remedied after initial session. Diana Lynn, Paramount starlet, in making her first stage appearance has much more than the average Hollywood player has to offer on stage dates. Gal knows how to'play piano and sticks to just that. Starts out with "Lover" then swings into "Clair de Lune" and ends with a Gershwin medley. She is simply dressed in a blue satin hoop gown and makes nifty appeai*ance. Gets solid response. Another refreshing change on the bin is a singer that dispenses with the mike. Bill Johnson, recruit from light opera and revues, does only one pop n"umber, "Things We Did Last Summer," and the rest are show tunes ending with "Old Man River." Hefty reception follows, even from the bobbysoxeri; Follow Capitol, Wash. Washington, Jan. 24. "iStor ond Gorfer Revue" with Chaz Chase, Sparky Kaye with Vince Pellegrini, Helaine Jarrow, John Barry, Vanderhilt Boys (2), Bobby Winters, Ross Wyse, Jr., with Peggy Womack, Frank Brooks, Line (18); "Two Smart People" (M-G). This is off the beaten path for the Capitol, and is first gander many of its regular patrons have ever gotten at a relatively big-timS Broadway show. Parts of show seem a little on the rough side for family trade this house garners, but customer approval is unanimous throughout, with cash register ringing up hearty returns. Tabloid edition of the show Broadway saw a few seasons back stacks up well with original. General frimming and tightening has improved pace, and effect is good. Sliow is wealc on voices, strong on razzle dazzle, comedy, ant', specialty numbers. Girls are only so-so with the pipes and terping, but impress with looks and the original costumes, which still look okay. They do four production numbers, with "Girl on the Police Gazette," the finale, a standout. John Barry does the tenoring for parade numbers, registering okay. In the specialty slots, Vanderhilt boys start out with precision terping and then surprise with some fancy hand balancing stunts, all for good returns, Frank Brooks follows, in combo with chorus and tenor John Barry, in a fast shuffle routine, which he hai.dles well. The Sparky KayeVince Pellegrini fight scene proves roof raising, with pint-sized comedian Kaye knocking out ex-Golden Gloves champ Pellegrini, after plenty of funstering. This act and Chaz Chase get most mitt action. Chase does his usual eating stunts, swallowing everything in sight. But he clicks best in his take-off of Gypsy Rose Lee, and a gagged-up Russian dance. Bobby Winter registers in a deadpan, comedy juggling act which impresses as being an improvement over usual run of the mill juggling routine. Ross Wyse, Jr., assisted by Peggy Womack, do an adagio dance that is strictly for laughs, with thiS horseplay a bit overdoiie. Helaine Jarrow does okay in her acrodancing. Show, which leaves a general well-worth-the-money feeling, closes after its week here. LovSe, Tex Beneke and the Glenn Miller orchestra is one Of those things that • the band business has been endeavoring to figure out since it came into existence. Never before has a band connected with an absent leader's name been able to make a go of it, Beneke, at the helm of the late Major Miller's combo, has not only made a go of it but has turned out to be one of the few leaders consistently good at the b,o„ on one-nighters, locations, theatres— and ap^ parently still building. Beneke gets a crowd reaction here similar to the old days, with kids yelping for old Miller faves. That is now a rarity in a Broadway house, At the Cap for the second time since reorganizing, Beneke's grouping of f<3ur trumpets, four trombones, six saxes (with leader's), one French horn, four rhythm and 12 strings does a sound job of entertainment though it follows the prescribed "rules" of stage deportment for name bands, meaning it doesn't step out of the ordinary routining. And it's backed up with two equally entertaining acts in the Fontaines and Gene Sheldon. Opening with an arrangement of "Toselli's Serenade," the show opens on a fast pace and doesn't relinquish it; a Beneke vocal of Jerome Kern's "Yesterdays" follows, to establish Beneke's status, and is tailed by Ginhy O'Connor and the Meadowlarks neatly doing a brace of items recorded by them for RCA-Victor, Happily, "Uncle Remus" and "Gal in Calico" both are good stage material. This maintains right down the line to a really sharp performance ()f Jerry Gray's arrangement of "Russian . Patrol," here called by its original title — "Meadowlands." It's a fine bit of writing by Gray, and the band, an excellent combo which displays a lot of the spirit so glaringly missing in postwar bands, does an admirable job. "Something Old. Something New. . .Borrowed. . .Blue'* completes the band's chore. It consists of "18th Century Drawing Room," "This Is the Night," which sounds .like a new hit; "Don't Be That Way" and "Serenade in Blue." Gary Stephens, who has replaced Artie Malvin on vocals, works between the Fontaines and Sheldon. He does well enough with the lyrics, but at this showing seemed a bit scared and as a result his stuff made no more than a fair impression. He lacks personality; as a matter of fact, Beneke himself is no personality kid as yet, but he does handle himself with a great deal more poise and assurance than he did last time around. He does all introes here. Fontaines put on a crack aero exhibition. Two boys and girl, smartly attired, have worked out some unusual handstands, etc., often using the girl as the understander. She's so clever and graceful at It that she's always able to maintain the femme aura while making with the'musdes, and that fact contributes plenty to the overall success of the act. Sheldcin, around for years with the ' same act, goes over heavily. His comedy , routine with the banjo still gets plenty laughs. His panto work and bits of business with a femme helper (outfitted in repulsive black), all capped by his familiar finger-, sewing bit, add up to a strong turn. Wood. Adams, Mewark Newark, Jan. 23. Connee Boswell, Shep Fields, conducting the house orchestra (16), JocJc Carter, Martez & Oelito; "Search for Talent" contest; "Street Scene" iVA). If the Philharmonic can have guest conductors, why not house bands? Shep Fields, former "Rippling Rhythm" maestro and name band impresario, is having a crack at the guesting racket and making out quite well. If the decline of top bands continues at {present rate, some such arrangement as this may prove a lifesaver to the baton wavers, left without bands but in firm possession of a known name and a library of arrangements. Fields handles it with aplomb. The pit band has been put on the stage in tasteful uniforms, its number expanded to the usual strength of traveling combos. What's more, this one Seems to play just as well as the highly touted touring jobs. ■ • ■ Fields is in good coin^any on ttiis bill. Best of the turns is Connee Boswell, a songbird whose charm and song projection improve with each season. This time the wheelchair gal, pushed to the mike on a dolly, essays such familiar bits as "Bill," "Can't Help Lovin' Dat Man," "Five Minutes More" and "South America Take It Away." Off to sscko returns. Fields ripples through "Thanks for the Memory" for most ambitious stint. For the rest, he emcees, paces the show and conducts the vamps with iadmirable musicianship. Jack Carter, new comic, delivers in spades in first appearance at this spot. His delivery is lightning-like, hfe feeling for audience reaction is "(Continued on page 54)