Variety (Jun 1947)

50 HOUSE REVIEWS Wednesday, June 11, 1947 Paramount, IV. V. Perry Como, Helen Carroll & Satis- £ers (3), Lloyd Shaffer Orch (20), arry Storch, 4 Evans; "Dear Ruth" reviewed in Variety, May 28, '47. Perry Como's Chesterfield airshow transplanted to the Paramount stage •with buttressing by Larry Storch and the Four Evans,-will contribute to hefty grosses at this house. Ac- cording to initial show's reception, the swoon era is with us yet, even though bobby-soxers are more de- corous than in former years. Attraction at the matinee sessions, at least, is Como, although film "Dear Ruth" will draw payees for- the evening shows. Como, during his three years' ab- sence from this house, hasn't lost his knack of keeping the youngsters happy. His informal clowning with audiences and easy affability are as potent as his singing, consequently, it didn't matter much that he used the initial show as a testing ground to as to what audience wants. He ran a wide range of numbers from "Chi-Ba-Ba" to medleys of oldies and his inevitable "Prisoner of Love." Some of his tunes such as "Girl of My Dreams," and "Song of Songs" weren't exactly what the hepsters wanted. They yelled for "Tempta- tion,"- which he eschews this trip. Nonetheless house took in every- thing and his near half-hour stay .wasnlt.too long. • ... The other Chesterfield show'com- ponents, Lloyd Shaffer's band and the Satisfiers with Helen Carroll work cohesively as a unit. The vocal group, with Miss Carroll and three males, provide a smooth blend, an easy style and good arrangements. Their three tunes, "Wyoming," "Mc- Namara's Band" and "Mahzel" make for hearty applause. Shaffer, making his first stage appearance is obviously unversed in theatre ways. There were several uneasy moments such as introducing Storch before he was scheduled to come.on, and difficulty in handling the audience. However, his music is sufficiently eloquent to make up for other lapses. He provides smooth and literate arrangements, all in good | taste. With an instrumentation" of five reeds, six brass, same number of strings and three rhythms, there's no blast, easy listening and imagina- tive musicianship; Shaffer has a knowing way of backing Como as well as the rest of the show, having the knack of sneaking up with the music to form a completely harmoni- ous background. His -own numbers are restricted to "Adobe Hacienda" and a medley of "Peg O' My Heart" and "Plight of the Bumble Bee," all nicely done. Storcl- making his second appear- ance at Ms house is one of thq fresher impersonators. His subjects aren't on the standard track, going in for takeoffs on Cary Grant, James Mason, George Sanders, Akim Tam- iroff and Gary Cooper. He's back for a solid encore and a begoff talk. Four Evans, a family team of parents and son and daughter, pro- vide a sprightly dance session dis- playing modern and oldie terps for solid results. Once there's general tightening up on overall stage deportment, cur- rent Par layout will smooth itself put into one of its strongest sessions in sometime. Jose. interesting touch to his terping. Eddy Julian, drummer with the band, gets a featured spot during the show, and a novel twist is offered here when fellow-members of the orchestra, in seeming disgust at his rapid-fire business with the sticks, walk off with his equipment piece at a time. This got lots of laughs. . Band comes through nicely with own version of "Margie" and "It's a Good Day." Monroe acts as emcee in addition to singing and leading the band. Biz only fair when caught. Shal. Earle, IMiillv Philadelphia, June 7. Vaughn Monroe Orch with Moon- maids, Johnny Mack, Frank Fon- taine, Eddy Julian, Ziggy Talent; "I Cover Big Town" (Par). Vaughn Monroe and his orchestra found favor with the Customers when they bowed into the Earle on Friday (6), but the crowds were disappointing numerically, causing the management to make a quick switch from a scheduled five-a-day routine to four shows. As for the show itself, proceedings pace off to a harmonious start with Monroe joining the Moonmaids in "Dreams Are a Dime a Dozen." These five gals, Monroe's air and recording vocalists; present a good stage appearance. ' The Moonmaids also presented a version of Gershwin's "Man I Love,", singing it straight at first, and then playing hob with the original lyrics for- "novelty." Femmes also appear in closing number, kicking around "Kiss the Boys Goodnight" after this number is teed-off rousingly by Ziggy Talent, who steps down for his turn at the mike. Talent has ,a lusty singing style and goes through lots of energetic gestures that click with audience. Besides "Kiss the Boys Goodnight," he warbles three novelty tunes, "Why Did I Teach My Girl to Drive," "Bubble Gum" and "Pancho." In addition to singing with Moon- maids, Monroe gives fans plenty with renditions of "Mam'selle" and "Ivy," both calculated to appeal to femmes. He delivers in neat fash- ion. Of the featured acts with the show, Frank Fontaine is easily outstanding in his impersonations. He runs through Boyer, Grant, Robinson, Cagney, etc., in humorous style, but really hits comedy jackpot with bit on a "Sweepstakes Winner." This gets best response. Johnny Mack offers smooth tap- Btering, and is a good solo number. His gimmick with a cane adds an Roxy, I*. V. Jerry Lester, Art Lund, Jan Au- gust (4), Salici Puppets (4), Gae Foster Roxyettes, Paul Ash & Roxy Orch; "Miracle on 34th Street" (20th), reviewed in Variety May 7, '47. Following the boff run of Jack Benny and his troupe, it's the picture "Miracle on 34th Street," which drew rave notices from all quarters, that has the greater potency than the stage layout to keep the Roxy wick- ets turning to another top gross stanza. Not that the stage fare isn't diverting and entertaining—for it is. Jerry Lester, comedian, admits he's in a tough spot following Benny in, but manages to keep payees happy with his patter, buffoonery and songs. Latter are merely fill-ins to space zanyisms and prop for his Jolson caricature... on .'."April Show- ers." Starts off slowly but once he gets 'em leaning his way, he holds them for solid response. His kid and bartender bit killed this audience, despite obvious milking. Lester's the sort of comic you like or you don't like. However, when audience likes him that's pay dirt that counts. Other stage items include first N. Y, theatre date of Art Lund, re- cording baritone, who bids fair to duplicate that success. He's perfect for vauders, smart boites or musi- comedy. Discussed under New Acts. Another socko turn is the topdrawer pianoing of Jan August, flanked by trio of male instrumentalists on guitar-, bass and drums which pro- vide neat backing for his nifty key- boarding. All contribs win loud plaudits, with his now famous "Miserlou" and "Jan's Boogie" particularly standout. Salici's Puppets, manipulated by mixed quartet, offer and click with practically a vaude show of its own, given by expertly manipulated dolls, ranging from acros to operatic quartet. It remains one of the classiest acts of its kind in show business and gets plenty well- deserved plaudits here. Acts are spaced by usual color- ful production numbers by the Roxyettes, deftly staged, neatly executed and with the hooped dress number best of the contribs. Paul Ash and Roxy orch provide usual good job of backing show. Edba. Capitol, Wash. Washington, June 8. The Smoothies (3), Benny Ross & Maxine Stone, Peggy Taylor Trio, the Reddingtons (31, Sam Jack Kauffman House Orch with Connie Krueger, "The Homestretch" (20th). Show clicks nicely this week, though not in sensational class. Ross and Stone supply comedy for good returns. Ross, smooth with lines and a vocal or two gets his own laughs and plays straight for Miss Stone, whose lazybones routine and deep voice go nice with the crowd. Some of the comedy is a little broader than customary here, but is handled well and appreciated. Sharing the top spot are the Smoothies (Babs, Charlie and Little Ryan) in a nice song stanza, spiced with comedy. In "Good Day" and "Sin to Tell a Lie," they display better than average rhythm. The comedy is milked from a series of burley imitations of radio commer- cials and soap operas. Act winds up with an audience participation stunt, setting balcony against orchestra in guess-who-delivered-this - song stunt. The imitations of the singers aren't so good, but house gets the idea and joins enthusiastically in the fun. Peggy Taylor Trio, gal and two meri, furnish a short and only aver- age adagio whose chief feature is the colorful costumes and flashy back- drop. Curtain raiser is the Redding- tons, a trampoline novelty with some audience participation. Act has mama at the mike furnishing the patter and daughter in a slick white costume to do stunts. The male member of the trio is planted in the audience as a stooge who comes up when people in the house are in- vited to try out the trampoline. After gagging some falls, he cuts loose with the really fancy bouncing of the act, while puffing a lighted cigar Invitation to the audience also brought up two small boys at show caught. They were allowed to bounce a couple of times before leaving the stage, to the delight of the crowd and the kids. Lowe. Hayes' Beach Nitery Johnny Hayes, vaude and" nitery comic, has taken over former Board- walk Cafe, Rockaway Park, L. I., and plans to reopen July 1 as the Carousel nitery. Strand, I¥. Y. Ted Lewis Orch (12) with Ger- aldine DuBois, Stars of Tomorrow (.Eileen Ayers, Julee Ann, Pat Yan- kee), Shirley, Sharon & Wanda, Paul White, Elroy Peace; "Cheyenne" (WB), reviewed in Variety April 23, 1947. To paraphrase "Ted Lewis trade- mark query, everybody should be plenty happy at the Strand this ses- sion. The slick performance of the high-hatted, cane-swinging, tragedian of swing has cooked up one of the best entertainment packages of his career—and that's saying lots when one retrospects what he has con- tributed to the gayety of the nation in his past 35 year tenure in show- business. ' By coincidence his opening date fell on his 55th birthday last Fri- day (6) which besides the on-stage stuff was sparked by a marathon birthday party backstage that started at noon and ran well into the next morning. Everybody who is anybody in show business dropped in to felicitate him. It was a great day for a great guy. Getting back to the performance, Lewis has surrounded himself with nifty array of talent, all youthful, good-looking gals who are talented as well as decorative. He's also showman enough to give them plenty opportunity to display their wares, rather than hog the spotlight for himself. That sort of showman- ship jiever fails to .pay- off. -Lewis, has found that out over the years, Not that Lewis, himself, is not as boff as ever, for he is. He's also smart enough to figure that if you have an abundance of clever talent surrounding you, there's no sense handcuffing it. He once told a guy if he thought he was clever enough to carry a whole show alone he'd better do a single and save support- ing acts expense. Lewis, backed by his band of three rhythm, violin, four saxes, three trmnpets and trombone, walks on in battered topper and cane for brace of introductories, "Still Going Strong" and "Short Life and a Merry One" to set audience in proper frame for what follows. Shirley, Sharon & Wanda, attrac- tively garbed, ankle on for preci- sion tapstering to keep things roll- ing, with Lewis and band taking over for torrid "St. Louis Blues." Paul White, colored comic, sends on "Woodman Spare That Tree," which is by far best interpretation o& come- dy number since originated by the late Bert Williams in an early "Zieg- feld Follies." Band also does nice arrangement of "Trees." Geraldine DuBois, nifty gal in pink soubretish costume, doubles in clown session with Lewis that keeps everybody happy, seguing into brace of vocals and then giving out with the maestro on comic novelty num- ber, "The Face and the Body," worked up for a comedy stanza that rocks the house on applause. Elroy Peace, clever colored youngster who's subbing for Charles "Snow- ball" Whittier, currently in the Army, teams with Lewis for the inimitable "Me and My Shadow" stanza, standard for years with Lewis and still socko. Stars of Tomorrow (Eileen Ayers, Julee Ann, Pat Yankee) wham across close, harmony on brace of vocals to nice response, topped by one of the gal's "I'm An Indian Too" from "Annie Get Your Gun." Then comes the real sock that practically stops the show when White and Peace go into their ex- pert hoofing, interlarded with corned- antics and registering a new high on applause decibels. White's "Whiskey in Well" is laugh-compelling stuff, with house going into pandemonium when Peace, in dame garb, clinches with White for real Harlemania hoofing. Lewis has 'em all on for finale, with stanza doing neat fade- out to Lewis's subdued vocal of "When My Baby Smiles At Me," which is showmanship at tops. At performance caught Sophie Tucker dropped in from the Latin Quarter to wish Lewis a happy birthday and gifted him with check for $500 as donation to his boys' camp at. Centerville, N. J., one of his several charities. Jesse Block & Eve Sully come on for additional clowning with Lewis and Buddy Clark ran over from the Paramount to warble a song in his honor. It was a great night for Lewis—but a better one for the audience. His show is tops. Edba. Chicago, Chi Chicago, June 6. Billy DeWolfe, Mills Bros., Jeanne Shirley, Sensationalists (3), Lou Breeze Orch (14); "Framed" (Col). Jack Benny's record-breaking en- gagement apparently set a standard which succeeding shows at the Chi- cago theatre are trying tried to live up to. The current bill headlined by -Billy DeWolfe and the Mills Brothers is a close contender. The Sensationalists, rollerskating trio, starts things rolling with fast and exciting opener, "Beguine." Two boys and a girl, femme takes turns on intricate aero feats with first partner, and sleek boleros and waltzes with other. Second lad solos on "Intermezzo" with particular skill in neat, fast spinning work. Act "is thriller that gets over nicely. Jeanne Shirley, a luscious brunet in scanty black lace gown, gets wolf calls. Opens with "Jack, Jack, Jack" and for change of pace, "That's My Desire" and "I'm in Love With the World's Dumbest Guy," for solid re sponse. DeWolfe as bill topper has pep pered his old vaude act and as i stands, his routine is one continual laugh. His naive conveyance of blue jokes and humorous chiding of aud is convincing. Doing skit from lat- est picture, "Blue Skies," he as Mrs Murgatroyd, a typical matron on clandestine visit to cocktail lounge, had payees holding their sides. Begs off after wacky chorus girl routine Mills Bros, in closing spot, couldn t get off until after three encores. Among their best numbers are "Across the Alley From Alamo "Basin Street Blues," during which they incorporate trumpet effect, and recording oldie, "You Always Hurt the One You Love." ■ Lou Breeze, who almost forgot his own band number, does nicely as emcee. Only band feature is "Bumble Boogie," which sells well. Hunt. Capitol, S. Y. Guy Lombardo Orch (14) with Kenny Gardner, Don Rodney; Lathrop & Lee, Pitchmen (3); Jean Carroll; "High Barbaree" (MG), re- viewed in Variety, March 12, 47. They say sweet music is climbing over and smothering the blare of the swing-happy band business of re- cent years. Whether it is or not makes .no.difference. .t°J? u y. Lom- bardo. Swing or sweet, uppermost; his combo goes on in its quiet way doing a highly satisfactory job, both at the b.o. and artistically. And this Capitol show is no differ- ent. Coupled with a trio of good acts, Lombardo's sticky style sets foundation on which is built a show that few can dislike (except, per- haps, the, jazzophiles). Too, with singer-guitarist Don Rodney inserting occasional cutting- up bits into vocals, and the impact of Kenny Gardner's delivery of the novelty, "Story of Frankie and Johnny," a parody on the original, there's more showmanship than usual in the_Lqmbardo combo and it all makes for warmer perform- ance. Add a wise choice of tunes and you have a high audience rating. Lombardo nicely mixes pops and standards, opening with "Mam'selle" and thereafter coming up with 'I Wonder, I Wonder," "Humoresque," among others, capped late in the show by a medley of hits written or collaborated on by frere Carmen Lombardo. It's a nice touch for stage purposes and the tunes are so widely known that the impact is sharpened. There's "Little Coquette," "Snuggle On Your Shoulder," "Sailboat in the Moonlight," "Boo-Hoo" and C. L.'s latest, "You'll Know When It Hap- pens." - - Rodney and Gardner handle all vocals, singly or with the trio. Rod- ney does an excellent job/although he's inclined to rush and thereby ruffles his phrasing. Gardner's "Frankie & Johnny" is the high point, however.. He hits 'em hard with a deliberately corned-up parody and it registers heavily. Lathrop & Lee, one of the best dance acts, tee off, the outside help. Their three routines are expertly done and smartly accepted, although they could have gotten better accom- paniment in a few spots when caught. First is a duo bit, then a solo by femme, capped by the "High Hat" routine, a classy-looking rou- tine that gets the pair off big. Pitchmen is another by now stand- ard act. Their use of a small mouth instrument somewhat like a gazoo, combined with the comedy they in- sert, built around instruments seem- irigly made out of odds and ends a la the Korn Kobblers, is surefire stuff. They never fail to rack up a winning number of laugh-points and they're consistent here. Jean Carroll, one of the few, if not the only femme comic to hit the bigtime. delivers all sorts of gags in a peculiar monotone with only a handful of lines bright enough to get attention. Yet, she has her audi- ence in constant giggles and gets solid reaction. Perhaps it's the nov- elty of a gal comic that puts extra hop on what from a male funny-man would be ordinary egg-slants. What- ever it is, she gets 'em with very little. Wood. Memphis Ban Continued from page 1 ; picture is a comedy that makes mur- der a joke." He amplified the statement with an admission that the board con- sidered "Chaplin's reputation" in making the decision. Okays Modified 'Macomber' Binford, incidentally, has changed his mind again. He will permit "The Macomber Affair" to play Memphis with only o' ■ of the three cuts originally or- dered. UA • opus now dated for Loew's Palace week of June 19. This is second time in recent years that Binford has reversed himself. Another UA feature, "The Southerner," was Binfordized in toto three years ago, but ban was later lifted on heels of a storm of criticism. State, N. Y. Diosa Costello, Archie Robbing, Estelle Sc Le Roy, G. Ray Terrell, Earl Warren Sextet, Gautier's Steeplechase, Louis Basil House Orth; "My Favorite Brunette" (Par). State's layout provides one of the longest stage sessions in- sometime, taking up 80 minutes. With the drawn out bill, the show plays too placidly to keep the customers at high pitch throughout. Individual acts, however, do okay. Longest time Is given to the Earl Warren Sextet (New Acts) which takes up the closing 20 minutes. Rest of the acts perform regulation wise as far as time elements are con- cerned. ' Toppers are Diosa Costello and Ar- chie Robbins. This showing, Miss Costello seems to have lost much of her energy, but still shows enough pep to get an encore. • Most of her efforts are devoted to song work in which she indicates that she can do handsomely except for surplus mug- ging. She gets a good ride out of 'Babalu," and as long as she sticks to straight singing, but once she goes into her cooch interpolations, singing impressions are lost. She's better in cafes, despite popularity with evening audiences,, inasmuch as theatres still play matinees when kids come in. Robbins starts out slowly, but builds effectively, once he gets rid of his too familiar material. His French -chanteuse- has some bright, moments, as has his dissertation on cafe pa- trons. He's strong enough for an encore, but milks to a begoff speech. Rest of the bill's items are familiar. Opening by Gautier's Steeplechase With its horses, ponies and monk, builds to a good warmup, with G. Ray Terrell doing some smart nec- romancy to get himself a hot palm in the deuce. Estelle & Leroy have a smart set of ballroom routines which reaches its highest effective- ness with their samba and boogie- woogie. Jose. Icer With U.S., Canuck Acts Grossing SOGWkly. On Run in Buenos Aires Buenos Aires, May 31, Impresario Borges Villegas' blade- show on Buenos Aires' Avenida Nueve de Julio is olaying to packed houses and bids fair to recoup the $150,000 investment involved in transporting the portable theatre, tank, and 55 skaters from the U. S. at a cost of $50,000 for passenger fares alone. Encouraged by the profits he is raking in with his Buenos Aires ven- ture, Villegas planed to Chile this week, to make arrangements for a similar show in Santiago and pos- sibly Valparaiso. With its two performances a day (at six p.m. and 10 p.m.) the show is grossing $80,000 weekly, in spite of unfavorable weather conditions (rains and an unusually early cold spell). Electric heaters have been installed' but they aren't adequate enough to keep patrons warm. Although attendants sell cokes and hot coffee, the "nearby bistros are doing a thriving trade in Scotch and hot-chocolate warm-ups for the crowd after the show closes. Under the direction of the Ander- sons show is snappy and niftily cos- tumed. Choreography is splendid. Show runs through two and a half hours without a dull moment. Cast's evident youth and enthusiasm is one of the pleasantest features of it. The performers comprise Yanks and Canucks, with the exception of Lucky Peterson, described as Span- ish. Latter is a hot tamale on blades and pleases the natives. The show includes 19 scenes, tee- ing off with the Argentine Pericon (square dance) on blades, with the skaters in blue and white satin Gaucho costumes. The Pericon Is all footwork on the part of both male and female dan- cers, and as an exhibition of the finer points of skating, more subtle and less spectacular, it is a wow. Outstanding amongst skaters is Don Wussow, whose interpretation of the prologue from "Pagliacci" is a highlight. One of the femme con- tingent, Baby Voorhis, shines con- stantly twirling with bird-like grace. William Knapp is given less spec- tacular stints, but stands out in every number. Joan Walden is a brilliant youngster who made her preem in Buenos Aires. Her "Claire de Lune" number is solid. Those who have seen similar shows in New York describe the Buenos Aires edition as equal to the standard of any Manhattan pageant, and a tribute is due to Fred Ander- son and Elizabeth Chandler's direc- tion. .., • Musical direction is capable, but orchestra is cooped up in a smallish booth to the right of the tank and acoustics could be improved upon; at times the music is almost inaudible. wid! Eddie Nelson into Metropole, N. Y., bridging gap for Carl Bying, out for operation, but who returns there upon recovery.