Variety (Oct 1947)

Wednesday, October 22, 1947 Paramount, N. Y. Charlie Spivak • Orch (16) with Iren« Doye, Mel Torme, Al Bernie, Tip, Tap & Toe; "Variety Girl" (Par), reviewed in Variety, July 16, '47. The end of the swoon era is here it the current Paramount show' is any criterion. The wartime genera- tion of bobbysoxers are now in the long-shirt class and it seems glis- sando passages that once caused feverish excitement are something that they can. look back and laugh at as one of their youthful follies. Now that the war is over and the men-folk are back, the vicarious ex- citement offered, by pashy trouba- dours are no longer necessary. These facts are borne out with Mel Torme's first N. Y. theatre ap- pearance. This youngster has gone a long way via his waxings, en- larged his audiences with his Toni airshow and his nitery click at the Copacabana, N. Y., and is a consid- erable draw. Built up as the "Vel- vet Fog," he's extremely personable, registers with the rhythm numbers, but unfortunately, the bedside of- ferings are something that incites various degrees of risibility in the audience. In fact, there's much out- right laughter and frequently it's difficult to tell whether Torme is burlesquing the swoon-singers or if he's playing it straight. However, the latter seems more probable, espe- cially in view of the soulful lighting these sections of his turn get. However, his rhythm songs genu- inely get the mob. He shows a sapient handling of these tunes and they hit audiences with solid impact. He goes very far for a guy without an essentially strong voice, and he's probably one of the more controver- sial pipers in the,pop-realm, which makes him good b.o. Walter Gross does his piano and Celeste accomps. In contrast, the rest of the show consists of solid staples with a high degree of entertainment value. The lineup with the Spivak band, Al Bernie and Tip, Tap and Toe offers nicely paced variety that gets solid reception. Spivak's band with an instru- mentation of eight brass, five reeds and three rhythm, plus the leader's trumpet, shows nice all-around mu- sicianship with showmanly arrange- ments. Leader's trumpet offerings get good orchestral support for a fine effect. Items such as Kreisler's "Schc-en-Rosemarin" and "J'Alousie" hit the mark. On this trip Spivak carries only a femme vocalist, Irene Daye, whose two numbers. "Near You k and- "WistvFDidn't Love You So get nice returns. Bernie, a previous theatre click, does a solid job at this house. He has some mad bits of business, com- bined with some literate humor tnats good for a couple of encores Tip, Tap and Toe offer a prime dance exhibit. The sepia trio has diminished sliding steps that caused audiences to fear for the terpsters' safety, but newer dance designs are as effective for audience values. Jose. Oriental, Chi Chicago, Oct. 16. Frankie Laine, Winter Sisters (3) Howell & Bowser. Raymond Pike, Jr. (Bobby Winters). Carl Fischer, Carl Sands Orch (14). "Her Hus- band's Affairs" (Col). Frankie Laine is a welcome change from the usual line of croon- ers who drape themselves over a mike and whisper to the first three rows. He opens with a stepped-up version of "By the River St. Marie," *nd then swings into his best selling platter, "That's My Desire." Laine punches all the way. He rocks 'em with Fats Waller's "Black & Blue" and then segues into "All of Me," and "Two Loves Have I," for terrif response. Encores with."Sunny Side of the Street" for additional salvos. Bill opens with Carl Saiids orch playing "Whiffenpoof Song" bright- ened by neat vocal job of Smith Howard, drummer. Winter Sisters follow with aero terping to good re- ception. Howell & Bowser, sepia comics, score well with comedies and vocals. Bobby Winters, who is using his real name, Raymond Pike, Jr., to avoid conflict with Winter Sisters, is one of the more refresh- ing jugglers in the biz. While his routines are just a bit above the ordinary, his deadpan antics win heavy applause. Zabe. Apollo, X. V. Jackie Robinson with Johnny Tay- lor, Monte Hawley. Tiny Bradsliaw Orch with Maybelle. Butterbeans k Susie. Harris Bros. (2). Hon & Burl- "!/; "Sport of Kings" (Col). inclusion of two similar type terp turns with Harris Bros, and Hon and Bunny. The Harris Bros, are a pair of energetic tapsters that have some applause-winning tricks with' break up of team work with in- dividual stints. The pair make out well, Hun and Bunny are two at- tractive femmes who similarly work along energetic lines, but whose rou- tines need inclusion of trick steps. They get by nicely, mainly on their personality. The Bradshaw band reflects the leader's, ebullience. Although there's a diminished personnel with an' in- strumentation of five brass, four reeds and three rhythms, plus an infrequently-used vibes, the crew makes with some hard-riding pieces that Apollo patronage likes. Brad- shaw contributes with some musical impressions that go over nicely and does a bouncy piano stint. The band chirper is Maybelle, of mastodonic proportions, who can get yocks merely through wriggling her king-sized torso. Her voice is fair- ish, but once she goes into the cooch sessions, the mob is floored. The comedy by Butterbeans and Susie is in the vein liked best in this theatre. This vet comedy pair have come in this trip with a turn centering around rhymed jive talk, and they've no trouble in getting the utmost from the crowd. Jose. The major draw of the Apollo ses- sion, is provided by the first vaude appearance of the Dodgers' first- sacker, Jackie Robinson (New-Acts) who having caused major excite- ment in his initial year in the big leagues, is following the path trod by other baseband's, who capital- ized their winter layoffs with per- sonal appearance- stints. Naturally, Robinson isn't expected to entertain—that's left up to the other sections of the bill, and it's, done effectively with a lineup con- sisting of Tiny Bradshaw's orch. a P-iir of dance acts, BuUorbcan.s and Susie for comcriv. Bill would have better effect had'it not been for the State, Pf. Y. Joan Roberts, Ben Bert, Angie Bond Trio, Buck & Bubbles, Paul Haakon, with Nina Novak; The 5 Grays, Sammy Fidler House Orch; "Monsieur Verdoux" (UA). PfiniETT HOUSE REVIEWS 55 Capitol, N. Y. Hal Mylntyre Orch (16) with Frankie Lester & Johnnie Turnbull, Betty Bruce, Jackie Gleason, Ger- trude Niesen; "The Swordsman" (Col), reviewed in current issue oj Vareity. The State, N. Y., has another slick layout in current bill, that's swift in pace and entertaining all the way. Coupled with the Chaplin pic, "Mon- sieur Verdoux," it should do plenty business. Five Grays, family act comprising brother and four sisters, pace show in solid terp routine, giving all an opportunity for solo displays as well as ensemble work and registering for nice response. Angie Bond Trio, doubling from the Mermaid Roofti of the Park Central hotel, N. Y., duplicate their nitery click with bouncy jnstrumentals and vocals. Femme combo comprises piano, ac- cordion and bass and really cook on "Wish I Didn't Love You" and other items for solid returns. Ben Beri, one of the slickest jugglers around, also merits resounding applause for his clever manipulation of balls, clubs, etc., with stunts interlarded with comedy. Joan Roberts, original lead of "Oklahoma!" and "Are You With It?" scores in her song session. Nift- ily gowned^nd coiffed, she tees off with "Almost Like Being in Love," from "Brigadoon," which sets her pretty, and segues into medley of "Who Knows How Much I Love You"—"Ask Anyone Who Knows" for additional patty-cakes. Then, of course, a medley of "Oklahoma!" tunes that really rocks 'em. Encores with Irish ditty, "How I Envied Mc- Ginty" for more salvos and begoff. Buck & Bubbles, Negro comics, get over as sock as ever with their clowning, pianoing and hoofing. Paul Haakon, assisted by Nina Novak, ex- udes class and talent in ballet terp- ing stanza. They work well together in several imaginative routines, topped by Haakon's topflight solo work. Sammy Fidler and house orch gives show neat backing. Edbfl. On paper this bill reads like some- thing—but it doesn't play as well. Only a single performer, Betty Bruce, socks over. Gertrude Niesen was nursing aryngitis on the opening night, so that's a partial excuse. But when is she going to get rid of that extra- curricular byplay. Alright, so she can rhumba. But the billing says she's a singer. And Miss Niesen is still employing a bad choice of tunes, such as opening with "Free- dom Train," which is certainly not the type for an opening number but more of a pace-changer after a rou- tine is already going. And the oldie "Coax Me Little Bit" should be mothballed by now. Miss Niesen still is one of the fine rhythm singers of the times but, as has been true in the recent past, she needs counseling on routines, and needs it badly. She has a cute flair for comedy, but the Capitol has no book show, and when she improvises her comedy, it just isn't so funny, namely on the now moth-edten Jol- son takeoff. Jackie Gleason is another disap- pointment. Especially so because the stout comedian has talent but is | wasting most of it on poor or old material. At Loew's State he could get away with much of the stuff he's using here—but at the Capitol he's hardly doing anything more than he used some months ago at the vaud- filmer. Of the two Loew houses, the Cap, as the flagship of the chain, requires much more. Miss Bruce remains a classy hoofer. Everything that she does is ultra, and she's sock with the pew- holders all the way. Mclntyre's orch has little chance to project, being called on mostly to play for the show. The leader him- self fails to sell as well as his ex- perience should suggest, especially in a bit with Gleason, Singer- guitarist Frankie Lester, with the band, is just a stage wait. Kahn. cannot be denied that the boys like it, In addition to operating with the band and soloing Krupa also docs a number, "Dark Eyes," as part of the Jazz Trio. Other two are also sax Charles Kennedy and pianist Billy Baker. Generally speaking, the full orchestra numbers come in loud and strong and, with Krupa setting the New Acts JACKIE ROBINSON With Monte Hawley, Johnny Taylor Talk, corned]) , 28 Mins. tempo, make everything sound like a : Apollo, N. Y. convention of jungle drummers. | Jackie Robinson, who during his Even "Valse Triste" discovers to its initial year in major baseball has be- surpnse that it comes out stomping ] come one of the more colorful fig- boogie. Loire. Casino, London Loudon, bet. 14. Borrah Mineuitc/i's Harmonica Rascals, Gil Lamb, Jack Train. Billy Russell. Jewel & Warriss, Roily Roll.';, Charlie Wood, Marie Louise & Charles, Horlobagyi Troupe. Eli-, saweta, Harold Collins and Casino Orcli. Circle, Indpls. Indianapolis, Oct. 18. Ted Weems Orch with Elmo Tan- ner; Beverly Tyler, Herb Shriner, Ladd Lyon; "Second Chance" (20th). Olyinpia, Miami Miami, Oct. 17. Smiley" Burnette, Steve Murray, Jack Hoist & Milady, Senor Fran- cisco, Vince & Gloria Haydock, Les Rhode House Orch; "Welcome Stranger" (Par). Combo of Smiley Burnette, Gene Autry's movie pal, and "Welcome Stranger" on the screen makes for double-barreled draw here this week, with supporting lineup adding diversified supftort to make for well paced bill. The corn-laden humor Burnette purveys is of the brand regulars in this town go for, and the drawler could have stayed on longer than allotted time. Stuff is old enough to creak, but they went for it in palm pounding fashion to make for begoff. Tops with self-accomp on accordion. In contrast, emcee Steve Murray s fast paced gaggery gets a gcod re- turn on laughs, though a lot of it sailed away. Comedic nuances are carefully worked out in his violin foolery, to get full values from that section of his stint, but slowing up on patter would strengthen overall effect. ^ Vince and Gloria Haydock tee off layout in brisk 'manner. Refreshing youngsters shW imagination in ap- proach to standard duo hoofery and score vwith version of old time tap- sters. Neat costuming adds to sight values. On the whole a deftly con' trived turn, that earns neat returns. Senor'Francisco goes well with his juggling and ball balancing inter- lined with comedy angles to garner series of mitts, with ciggie trick a nifty boWoff. Closers are Jack Hoist and Milady. Horizontal bar work is played for laughs and gasp*. Stuff is effective for good returns. Les Rhode and house orch back show in capable manner. Lary. The same nostalgic appeal that made Ted Weems a threat again on disks is getting him plenty of atten- tion from local band fans in his cur- rent week at the Circle. His own stuff is solid, and he gets plenty of help from Beverly Tyler, Herb Shriner and Ladd Lyon in strategic spots on bill. Show is a little heavy on vocals .but makes up for it by carrying a comedy punch. Weems' best sellers are the old ones—"Mickey," Heartaches" and "The Martins and the Coys," the latter given a regular production, with sound effects and action flashed on a transparent curtain. Whistling Elmo Tanner does "Heartaches" just right, along with "Nola," "Indian Love Call" and "When You Were Sweet Sixteen." Battery of vocalists, including Bob Edwards, Shirley Richards and trio, gets a nice recep- tion. Weems coatinues to produce good listening music and customers obviously like it. Shriner offers a fresh and funny line of chatter in a Hoosier drawl and gets a warm reception for his effort. He clicks on the harmonica, too. Miss Tyler looks pretty and proves she really can sing by wartfling a Strauss waltz and Gersh- win's "Summertime" with class. Ladd Lyon's acrobatic hi-jinks add to the laughs. His trick of tap- dancing on his hands is a good one. Biz better than average when caught. Corb. tires on a highly colorful team, is making the rounds of a lew vaude houses during the diamond off-sea- son at a weekly salary far greater than his baseball earnings. He im- presses as an unassuming gentlemen whose actions are bound to reflect considerable credit on his race. He's hitting the trails blazed by other diamond artists, Al Schacht, Nick Altrock and Joe E. Brown among others. In those . instances there was definite comedic talent Witn the exception of Borrah j that could be exploited on variety Minevitehs Harmonica Rascals—the stages. Had the stagers of Robin- only act to arouse any enthusiasm son's turn been able to devise a —and to a much minor degree Gil method whereby Robinson's rattling Lamb, this is a very moderate bill tactics, when attempting to steal tor the West End. Too much de- I bases could have been used, there pends on the Minevitch troupe, and flight have been a different type an absence of many years and en- [ ac t. Since no such imagination was shown, Robinson's turn is confined to a question and answer period with Monte Hawley throwing the questions. The intent of putting Hawley, an ofay performer, in that spot, was good but unfortunately he goes overboard in making Rob- inson the subject of adulation, which impresses as being embarrassing to the ballplayer and for many sec- tions of the house as' well. Robinson speaks briefly of his background at UCLA, a bit with the National Youth Administration, and his hopes of continuing with youth 1 work when he winds up in baseball. Turn could be livened up with in- clusion of anecdote material. From forced lack of publicity can hardly be made up by word of mouth dur- ing the two weeks they are playing here. As usual Johnny Puleo pan- ics the audience, and the Rascals were responsible for the only real laughter of the session. A sock turn. Gil Lamb suffered too from lack of publicity and from following a series of solo acts. He needs ac- climatizing before he.can give his best, but his artistry was appreci- ated. Jewel and Warriss, popular com- ics here, do not improve on ac- quaintance and two spots in the bill is one too many. Roily Rolls, the "boogie-woogie" pianist, repeats his act from the former program; Marie Louise, trapeze.artist; Charlie Wood, i Brooklyn could come lots of funny juggler on the unicycle and the st0 ries. For historians, Robinson springboard Hortobagyi troupe, all denied any animus from the rest of win moderate applause for good work. Of the rest, the radio-comic Jack Train gets over nicely, and comedi- an Billy Russell well earned his place with his topical humor. The lackadaisical Casino Girls who open both halves of the program deserved the solitary hand or two they re- ceived. Cane. Capitol, Wash. Gene Krupa Orch (16) with Joey Rardin, Folie Miller, Buddy Hughes, DWores Hawkins; "Undercover Maisie" IM-G). |\ Puzzle of the week here is what j. has caused Gene Krupa's D. C. 'draw- i to "-fall off so sriarply. The take is I far below what was expected and | what other recent band visits have i pulled into Loew's flagship here. Answer does not seem to be in the show which is about as usual. The maestro of the drums still makes the skins laugh, cry and roar out in pain: and he* is supported by a good gal singer, Dolores Hawkins; a hard- working live-wire comic, Joey Rar- din, who lays 'em in the aisles, and a flock of other stuff, including, a I band which is heavy on the brass. ! ' Aside from Krupa, who racks up his top score with the hot "Drum I Boogie." which he solos at a furious ' pace, the show belongs to Rardin. ; who displays enough virtuosity to I run a show of his own. He sings, i dances, tells jokes and does imita- tions of everything from Jimmy Cag- ney to automobile horns. He offers a fast-moving piece of business which rates second only to the Krupa boogie finale. Miss Hawkins keeps the singing end rolling moje to the tasjte of the customers .. than' baritone Buddy Hughes. '•..'■ • Folie Miller does neat taps. She gets mere hip weaving into taps than anyone seen in these parts, and it RKO, Boston Boston, Oct. 17. Ella Fitzgerald, The. ShyreUos, Lucien & Ashour, frauds Craig, Bob Lamb, Senor Wences, Larry Flint 'House Orch; "Singapore" (Ul). Another neat layout of straight vaude acts—three in a row—testifies to the dearth of bands for this nom- inally bandshow house. Shyrettos, standard bike act, tee- off with the conventional assort- ment of tricks no less skillfull for the familiarity of the routine. Lu- cienne & Ashour, likewise standard, repeat usual click with a smooth assortment of terps and apache, and Senor Wences, always a sock per- former, wows as usual with his ven- trilgquial skill, pulling feats few others on the stage try to pull off. He makes ventriloquism^rather than gags his act, and it proves plenty impressive. Other acts are less familiar. Fran- cis Craig and Bob Lamb combine following their wow with the re- cording of "Near You." and turn up an act that's accomplished but not slickly professional. As a matter of fact, plenty of evidence they hadn't been out along these lines too much, but they handled it with easy in- formality. Craig fools around at the piano using a straight melodic line With his right hand, a strictly ac- cented bass with his left. Lamb, be- sides doing a trumpet solo on "Mar- gie," does the vocals and they reg- ister fine. Ella Fitzgerald in the ace spot scores as usual with a nice program of pops including "Almost Like Being in Love," "That's My Desire." "A-Tisket," etc. Audience went big for her. Elie. the club for colored players. Robinson's bit is preceded by a baseball pitching pantomime by comedian Johnny Taylor that ap- pears labored and has too few sock laughs to justify the long-running time. Bit is also open to criticism inasmuch as Brooklyn has a Negro pitcher, Dan Bankhead, and there could be some construction that the burlesque is aimed at him. Jose. ; FRANKLIN TWINS Comedy 12 Mins. La Martinique. N. Y These two lads, identical twins, will definitely be arotlnd for some lime. Bearing a striking resemblance to Danny Kaye (except that their schnozzes are slightly more pro- nounced), they tailor their material along the zany Kaye lines, which right now looks like their chief fault. They handle the stuff okay, getting plenty of yocks from the audience, but they're certainly not up to Kaye's standards—yet—and suffer from comparison. Material, most of it specially- written, is good, giving the twins full opportunity to exercise their scat vocalistics and facial contor- tions. Fast teeoff is a gagged-up im- pressionistic routine of natives in foreign lands, highlighted by a French film parody titled "The Bagel Baker's Daughter." "Jekyll and Hyde" number, in which one pantomimes while the other makes with sound effects at the mike, is also good, but the choice of a swish routine to close it is questionable. They incorporate a raft of hilarious throwaway lines, delivered rapidly enough to keep the laughs piling in. Although newcomers, the lads have acquired plenty of poise and stage presence. Their raucous humor would make them unfit for the class spots but they're primed now for any other big nitery or vaude dates. Stal. Hippodrome, Hallo. Baltimore, Oct. 19. JOAN FIELDS Dance 5 Mins. La Martinique, N. Y. A lithe tapster with routines suf- ficiently different to maintain in- terest, Joan Fields pleases in her bigtime nitery bow here. She's a pretty gal, with a pleasant, expres- Connee Bosmell, Joe E. Howard, , -. - ■ ., . . • _ . Betty Jane Smith, Stan Irwin. Jo PY« face which she employs well to Louibdrdi House Orch (12); the Blue" (EL). "Out of help sell her terping. Numbers emphasize fast spins, which she executes gracefully, and her offhand touches-of interpreta- tive dancing, in which she makes with the hands as well as the feet, are neatly done. Her best attribute, Strong layout is topheavy with vocals but potent in name value and style contrasts. Joe E. Howard and Connee Boswell are spelled nicely . ... •with telling niches smartly separated though, is the fact that her routines for maximum return's Ooeriin^ is : are out-of-the-ordinary. which alotteT STOTtthto a^fast ^"j^S* simH * r ^ and flashy spot of hoofery with , or vaude bo okings. Howard taking hold next. Vet gives out with the old familiars, everyone^JMcLERIE & BUTLER a signal for applause and everyone Dance Stal. sold to the hilt. Final bit of cake walking and impression of George M. Cohan is surefire for abegoff. Stan Irwin in a tough spot next registers nevertheless with calm style of gagging, highlighted with parody and impressions, all adding up to pleasing interlude just to bring on Connee Boswell to close. Top flight songstress handles typical, ar- rangements of "Peg O' My Heart," "Frudin' and FightinV "Stardust" f 20 Mins. Cotill on Room, N. Y. Allyne McLerie. ex-"On the Town" and "0ne Touch of Venus." and John Butler, ex^'Oklahoma!." are among the fresh faces in terp teams to come out of the ballet- mania school of contemporary musi- comedy. They're not ballroomolo- gists in the accepted style, their routines instead being off the stand- ard path. They do "Paper Moon" to and a "Show Boat" medley, all solid i rhythmic arrangement; an impres- and groovey. j sion of Irene & Vernon Castle; an Biz all right. Burm I (Continued on page 62)