Variety (Nov 1947)

nHPlJSB HBVIBWS Ice Folllesi of 1048 Latest ilink^MVUe pr&$«nt4d by ttaft Shipstacte and Johnson, the. I2th in their annual steel-mnner shows, lm» presses as the best of the series. It powe^l in at Madison Saviare Garden last week (18). Show has youthful, standout skaters, a number being Hew to the. outfit; there are novel-t ties, excellent costuming and plenty ol comedy. Second part of the show is best and a concentration of scor-^ ing turns near' the close brings rounds of plaudits. ?'Ice Follies 1948" jumped here from Chicago, where it played 33 perforniances at the Arena to gross takings of $375,000. Tbete was an advance sale there approximating $175,000, and it wa^ about the same in Hollywood, w b e r e the revue opened around two months ago, but it's understood there was little ad- vance for the Garden date, although the "Follies" was smartly advertised prior to debut. However,-the first night at $5 top (same as last season) was ■ well filled except for the gal- lery,' Garden 'date is limited to 15 performances, finale to be Sunday <30). Roy Shipstad, one of the three presenters (his brother Eddie and Oscar Johnson bein^ -the others), jSoIos in an attractive Hawaiian pro- duction number. The performer ap- pears in white flannels whereas for- merly he was in tails, topper and cane, which is more approjiriate to his classy style. Shipstad starts the second half string of click numbers, one of whidi has Evelyn Chandler and Frick and Frack, -on next to closing.', Aliss Chandler is one of the mar- vels 6t the ice shows, being a Brook- lyn matron with grown offspring. Still,"she gives a sterling exhibition, with most , of the acrobatics still- in her routine; it's ah exhibition that makes other femme skating stars sit up and take, notice. The comics, who have been fixtures with the "Fol- lies," count as surely as ever. They are from Switzerland, right names being tiansreudi Mauch and Vemer Groebli. All - three of the latter Sweaters are 'in an extended produc- tion number billed as "Old San Francisco,*' which cues into a well- staged sailor, number,' in. which the show's 32'linegirls are in action, .."Old King Cole" number, which ojiens after intermission, has the girls in transparent plastic costumes and hats richly adorned with ostrich feathers. Featured are the identical Scotvold Twins .(Joyce and Joanne), honey-haired kids from Minneapolis, home . townr' of the' Shipstads and Johnson, Solo, skaters in that num- ber also are bes'Hamilton and Vir- ginia Morrison. ■ ' ' . Another, set of twins is Roy and Ray Schramm, one' of their special- ties being a number while chained together.' Sctarams and the Scotvold girls, ate paired, especially in the swing .waltz ensemble number that has been identified with the "Fol- lies" since tjie show vras formed. Betty Schalow and Hugh. Hendrick- son are the ,imit's top pair skaters the. latter a young 'newcomer who also is assigned a solo spot. Hazel Fcanklin, who «iD>ahates from Hotel Mew Yorker, N. Y., ice shows, has been steadily developing, and there .probably is no faster spin- . ner on skates. Others in the show's younger contingent are Monica Mo- ran, from the Coast; Marilyn Sahlin, M»S Ross and Billy Sttee, Genevieve Norns and Ted Roman, also of New Yoric,. who : have ■ accomplished an adagio skatiitg number, and Shirley, Gmger and Glee, 'Among the comedy numbers is "Fun On the Farm," during which ft pony, goat and small pig usuaUy manage to keep from sUpping on the .ice, .prmcipals being Bill C&meron and Russ Tuckey, on* of vyhom gets dunked. Oldtime winter number fcatuces.Miss Sahlin, Cameron and Dick Rasmussen, latter pair for comedy. Hariris and Pliyllis Legg are uie stilt-skate specialists, the num- ber, being aided by production, Jidule his jumping feats, are rfmilarly bolsteredi Below the border num- ber is featured by Ole Ericsen, Jim Hutchinson doing Ferdinand the bull, and Carlos Romero, Jr. In an early number a new effect simulating a rain showeir and snow flurry, was necessarily skipped on aie.first night,.the apparatus not liavmg been installed in time. ■ TBie "Follies" is designed to amuse jrojingsters, but the show in toto is distmctly diverting. ibee. Chicago,. Cbl Chipago, Nov. 21. Rose Marie, Michael DouoWs, Acj-omoniacs (3), Cy Reeves, Lou Breese Orch; "Where There's Life" (Par). and creates a strong Impression wltb his good looks and dellverr. How- ever, h« need« to'w«e(} out ui^ old^s, and add some current Hit Paraders. Cy. Reeves, comic, starts mildly but builds ' -with take-offs in the Danny Kaye manner of "Dark Eyes" and ' Old Man River." Rose Marie, blond looker, does "Mania Says No" in modified Betty Hutton style. Changes - jjnood for semi-torch, "Aint'cha". and really cooks with her gravel-voice satire of Jimmy, Du- rante. , She then makes a pitch, to large Italian contingent with "Chena Luna^ ("There's a Moon"), -which she explains in English for-closer.- Zahe. National, LVIllo Louiamlle, Nov. 20. Clyde McCoy's Orch (13), Froncis Craig & Bob Lamm, Shavo Sherman, Roberto ft Jtfacfc; "Dragnet" (FC). Combo of Clyde McCoy and Fran- cis Craig, who is currently ridmg on a popularity' watte on strength dt his hit Bullet disk "Near You" makes for a neat stage package which is doing business. McCoy's crew makes for sweet listening. Most stage bands to play this spot go heavily *for brass, but this combo,- five saxes, three trom- bones, three trumpets, guitar, drums, bass and piano, play danceable tunes on the quiet side. Band's standout instruwental innings come with "In the Mood" and "Sugar Blues" Mc- Coy's identifymg perennial. Maestro introes -a novelty, by playing what he calls, ihe world's smallest trumpejb Tiny horn has plenty ' of zingi and patrons'like his music. Femme vocalist Billie Jane-Ben- nett registers with "Civilization"' and "Managua Nicaragua." " Don Rey- nolds does neatly on "I -Wish ! Didn't Love You," "Danny Boy" and "Peggy O'NeiU." Opener, acro-dance novelty, Ro- .berta & Mack, grab solid applause- with comedy terps and tumbling. Male member of the team helps- a loti to bring turn to a fast dose with his clowning, dressed in comic femme garb. A solid opening act. Shavo Sherman, comedy imper- sonator; dticks -with his realistic im- pressions of Ted Lewis, Groucho Mar^c and Jimmy Durante. Francis Craig, erstwhile WSM orch leader, out for a little welcom- ing .talk, then into Iiis piano version of "Near You." Brings on Bob Lamm, who toots a nice trumpet on "Margie." Then goes into his vocd on "Near You," later giving patrons a preview of another of' his disks, "Beg Your Pardon/': «<ion ,t<» be re- leased. Turn goes over big and wing plenty applause^ Hold. After a punchy opening, rest of the bill bogs down until closing act, It's not the acts so much as the routining .that slows the show. With a bit of trimming, package will be OK as fill"in for the Bob Hope film. Acromaniacs are one of the best flash groups in vaude or niteries. Youngsters race through tumbling stunts with three high falls, hand lever turns, and piggy-back somer- saults to solid returns. Charlie 'Wagner, band drummer, doe.<i !) nept beat to Ravel's "Bolero " with)violin section doubling on tom- toms and brass blaring a smash cre- scendo finale. Michael Douglas, ro- mantie tenor, has second billing here Apollo, N. Andy Ktrfc Bond- (15), BeoCrlii White, The Cats and the Fiddle (4), Holmes & Jean, Addison Carey's BroiBWsIcin.Cfioriis (6), Spider Bruce &, Coj, "Circumstontial JEiHdence" (20lh). With Andy Eirfe's band-furnishing the :marauee : lure, , show at this Har*.- lem vaude showcase is in the groove this week. Prqceedmgs are also em- bellished'by vbc showgirls' plus a half-dozen ponies comprising Addi- son Carey's Brownskin chorus. John Vigal opens the bill, teeing off an ensemble number- with an ok^ Vo^ cal of "No Business Like Show Business," followed by Vivian Har-i ris' intro of Kirk's band. Made up of three rhyiJim, five roed and seven brass, orcb js pleaty- hep with "Mooching the H&ocK" Boys pave., the way for Holmes & Jean, novelty acrobatic dancing and magic , turn. Lean gal and stocky male open 'with comic aero stuff; He-then shifts to a bit of business with,, lighted cigarets. Coimtless cigs, one after another, appear in his mouth, done by clever sleight-of- hand and illusion work. Team closes to strong mitting in dance routine. Three members of Kirk's outfit, pianist Edgar Hayes (who once had a band of his own), electric guitarist Vinnie -Hall and bassman Laveme Barker are introed by Kirk as "The Stardusters." Ttio does a couple numbers of'which "Stardust" is the better. : Hayes stands out in a sock pianistic. interpretation of the Hoagy C^michael classic for neat returns. Beverly "^Vhite is an uninhibited chirper. She pipes "I Don't Wanna Get Married" with gusto, scores with 'K I'm Lucky," done in a softer vein, and_winds up with a smash novelty, ''That Ain't Nobody's Busi- ness What I Do" for an okay recep- tion. Spider Bruce and Vivian Har- ris do a so-so intro of an ensemble number which is built around a mock wedding. Band returns for a hot session where tenor saxman Ray Abramson and Sherry Green on the alto sax cut loose on a torrid tUne, "The Thdaxes." Boys' work is sol- idly received. In closing spot are The Cats and the Fiddle. Male group appeared here last season sans its new femme pianist. Unbilled gal is a neat war- bler as well as bansing a mean '88. Others in the unit are bass and two giiitars (one electric). Quartet opens ■with "Dai-Iiug, Can't We Make a Date." Follows with "Happiness lis Thing Called Joe," which the pianist Slugs for good response. Outflt^s unique vocal harmonics stand out in a customer-pleasing "St. Louis Blues." Group closes solidly to guitar player's vocal of "I Miss You So," i t'i I I I K^l I PiirMBinuitf .IV* ir« ,' Kinfir,;.CoI| Trio, C<mn(e Haines, Rimdy " Brooks Orch; Bob Evans, Bobby Lane & Cloire; "Wild Horoest", (Par), reviewed in VABUstv Aug. 6,'47. The word "pleases" could easily be overworked in reciting how things go with tills show. Everybody pleases but nobody whips the Customers into- a .frenzy of approbation. Or, ssy,: even a little excitement. , . It may be that the, bills have slipped into a rut of sameness or repetition, or that the booidng com- petition along the street has seriously narrowed down availabilities. Or, that even the patrons have become so jaded or familiar -With the procession that response has become a mighty effort. In any event, the reaction to the runoff when caught at last Thurs- day's fourth performance: didn't seem at any time to get much b'ciyond the For the King Cole Trio the current stand is a promotion;' When'It last played the house, a little over a year ago, it shared top billing with Stan Kenton. Now the trio headlines ,:aU by itself; but something, 'Oomi>arably, seems to be' missing. Nat Cole, what with those millions of disks and a commercial program all his own for .over a year, not to mention those concerts, impresses as a far more finished performer-and personality, but the act now/' mbves With A> rote that is not far ,xemoved from the jukebox. Cole ranks among the finest stylists and heart singers in the business. Few can pour that warmth of in- timacy into a lyric as he does, but Cole isn't reaching as earnestly for the heartstrings ■ and the rhythmic jangle of the^customers as he .jUsed to. At the performance caught it wasn't until he had run through "Angelina," "I Miss You So" and "Henry Jones," and then applied himself to his en<^ core, "The .Christmas Song," that the old whir of quickened interest stirred out front. That whir built up to a solid sendofti , ' Connie Haines' charm and dainty pulchritude serves as quite an im^ pressionable trimming tor her talents as a singer, -She's as sure-voiced with a novelty or rhythm number as she is with a ballad. - Ther,e's a wealth of range, tonal quality and knowhow at interpretation. ' Miss Haines might sell herseHu little more effectively if she occasionally looked out at her audience and didn't direct .all of her- self to the mike. Also if she> didn't: punch as hard on "You Made Me' Love You." That song might be soft- ened to suggest the sentiment of regret, and not anger. ' ■ Randy Brooks is tmdoubtedly one of the best .technicians In his field. Color and.personality run far behind his mastery, of the trumpet, but his three interludes,. "Brooks Boogie," "Man With the Horn" and "Hora Staccato," invest the "show with plenty of robust dansapation. - Bob Evans comes through with not only an. exhibition of standout - ven- triloquial skill but a downright funny act. Evans has this adv>intage. over his confreres; he isn't content to fall back on a rapid crossfire of "Xresb kid" - jokes but he works for distinct- ive touches of voice nuance and character. ^His knack for timing is also a darb. Eyians' .technique has all the earmarks .of la perfectionist, and if .he doesn't look out they'll be re- ferring to him as 8 ventriloguist's ventriloquist. In any ievent, he goes over handsomely here. The soft shoe and acrobatic antics of Bobby Lane and Claire make .a pleasant teeoff: Even when not in motion the .girl soember of the team is an optical magnet, It's all per- fectly stacked. Odee. IMlillon BoH^, I» A. ' Lot Arwelei, Nov. 18. Gcrotd Wilson Orch (16) vAtH Arthur Wolfeer, Earl Ic ■ Francis, Mable Scott, Johnnv Taylor. Jackie Robinson assisted by Monte HawUv; "The Case of, the Baby. Sitter" (Screen Guild), "The Hat Box Mys- tery' {Screen Guild). Million. Dollar show is long, slow and'brassy with sepia singer Mable Scott and comedian Johnny Taylor accounting for the only lift in the 86-.minute presentation. Orchestra lacks polish and house technique and band leader Wilson lacks personality strength to make £roup noticeable. Wilson's group (five saxes, four trombones, four .trumpets, rhythm section and trumpet-playipg maestro) goes through an original, "Jackie Robinson Jump," "Dissonance in Blue," "Vance" and "See-See Stomp." Numbers are all jump tunes filled with brassy trick ar- rangements, uneven in tempo and very tough on the ears. . Earl and Francis, tap duet follow- ing first two tunes by Wilson group, are medium fare with strong Clum- ber, a rhythm «oft shoe, coming in the encore. Band member .Arthur Walker comes In for vocal on "I May Be Wrt)ng" but group fails to spften brass for him and at times he can hardly be heard. A rever-sed pro- cedure finds Walker chirping soft and low when the band is at its brassiest and hitting the high notes strong and loud when orch is hardly audible. Wilson , and an unnamed femme trombonist handle the vocal on "Vance" running into exactly the same situation. Walker, Wilson and femme tram player are all unaware of mike -technique. Marquee lure is Jackie Robinson. ■■ -' 1 Negro baseballer, assisted by Mohte Hawley in a 10-minut* interview which amounts io' • btief sketch of Robinson's life before starting hi* present career, through his time in the 'Army 1W to the present. Robin- son talks about bis relationship with his teammates and opponents, his desires for his yearrold.^oh ana fU< ture ambitions, Mable Scott highlights the bill with four ;numbers touching on blues, ballads and novelty tunes. She possesses the same effervescence, on "Good Lookin' Fella," as Betty Hut- ton plus a fine voice. She also puts "That's My Desire" over with plenty of appeal and then goes into a solid torch rendition of "St. Louis Woman." Comedian Johnny Taylor handles a pantomime baseball routine which is good for a few yuks hat which is, overall, about two minute?- too long. . :■ Free, ■ BKO, Boston Boston, Nov. 21. Betty Bruce; Stevi 'Evans, Hi Lo Jack and the Dame, Dcvol, Merte & Lee, AnMc TrJoIa, Don Henry Trio, Whirlwinds, Larry Flint House Orch; "Black GoW (Jlifono); First full-size vaude bill house has had m a long time, these seven acts tote up to a full hour stage show that clicks throughout. Gets ofi"with standard Whirlwinds bike act, a*fast and novel routine with a batch' of good tricks to keep the customers on edge; Followed by Deval,. Merle and Lee, also standard, in their slick comedy adagio dances. More or-less new around is Anne J!riola, a gal who can warble -a slightly oS-color tune with the best of them. She wows with a quartet of plenty hep .numbers, among them an Jtem called "I Said "Who," and a'nother called "Bald, Repulsive and Unattractive." She really sells them and collects a beg-off, Don Henry trio, on harmonicas,' add additional musical novelty-with nicely arranged numbers like "Liza," and "Claire de Lune," and do a great takeoff on Spike Jones. • Headlmers are Hi, Lo, Jack and the Dame, who get -Cheir usual wel'' come with such tunes as "Too Fat Polka," "I Wish I Didn't Love You" and "Cowboy Joe," and Betty Bruce, last here with "Something for the Boys." She does taps, boogie wpogie, soft shoe routines, and ballet turns, demonstrating a fine, graceful style and a lively, vivacious form that goes big with the customers. Biz wasn't too good at opener, but should build. EliC, Oriental, Chi Chicopo, Ifov. 20: jach Smith, Red Ingle tt Natural Seven with Karen Tedder, Coley Worth A Morcio, The Appleton* (3), CJarJe Sisters (4), Can Sands Orch; "Heaven Only Knotos" {VA). Another radio^nd-record layout, this tee Jba»: more power than sev- eral recent offerings, Jack Smith is of the kilocycles, while the disks are represented by Red Ingle, who cut the heavy selling "Tiin-tTay- Shun." Show opeiiis at a fast pace v/iih the Appletons sidling on stage and Carl Sands' orch in the pit. Male and two femmes mix aero terping and knife-wielding in a rough-and- tumble routine that-'at times borders on parody. v Aud, in lor a western pic, warmed to the- mayhem and amdcered at the slaughter. Femme burled through window reappears •with Apache for a final pistoling m a neat bow-ofl. Coley Worth varies his fiddle pat- ter with car imitations and a mum- my-face bit. Using a dark house for the latter, he stcOka into the front row, where a plant hustles him back onstage.. He dona mustache and goggles, for a surprise turn-around as Groucho Marx that rates ap- plause. Jomed by Marcia in. halter and panties, they eccentric terp as a closer, with femme in spicy hip- pmg. J f Ii^le, formerly of Spike Jones' band, has applied refinements of his own on the.."mu6ji&al depreciation" theme. B^nA Is draped with ears of com, but the-hiUbiUy deal is wisely played down. Natural Seven (four rhythm, two brass, one reed) vi^ar screwball odds and ends, front- ed by admiral-coated maestro, who doubles on violin, sax and clarinet. Anvil Chorus" opener has side- men s hats, lighting up. on the beat, whUe Ingle fiddles with a frowzy • Tedder does fine, chirping in "Tun-Tayshun?' Songstress also scores in a straight sell-of "Can't Help Loving That Man." Ingle scat- ters sight gags by removing the fruit from her Carmen Mirandish hat while she sings "Man With the Big Sombrero." Gal makes three costume changes and looks good in anything. & '« Ingle nets solid salvos on his vo- cals of "Nowhere" and "Cigs, Whis- key, and Wild-Women." Best sWe-' men. bit is supplied by drummer tappmg out a tune on strings of the bass. Clark Sisters, known as the Sen- timentalists with Tommy Doi-sey's orch harmonize e«:pertly with Jack bmith, whos reviewed under New Acts. j3(^p4 .i'^ t t i y 'v fei i. I ti«ottH9 .PriX9.. Uaxitie , SulliMan. Ofbonairs (6), Thhik-A-Drink Hoffl man, Teddy Rodriguez & Phyllis Konojowo Trotttoe (3>^ "The-Wist' ful widow of Wagon Gap" m) reviewed in YMuanY, Oct, i, '47, There's a general cutting down on the running time ot the individual acts on the State bill with the result that the six acts make a run-through in a little over an hour, providing a punchy session that has the elements of variety and good showmanship. Most of the acts are of uniformly good calibre; all get heavy mittings. Standout is the miming of little Georgie Price. In showbusiness since Gus Edwards', moppet revues, in which he was a contemporary qf Jessel, Cantor and Winchell, there are few tricks he isn't aware of He's socko with any kind of audi- ence, whether in vaud^; cafes or concert hall, and he.*takes the State pewholders in stride with everything from his opening "Bye-Bye Black" bird" to his closing "Carolina in the Morning." But it's his miming of .some of the better icnown show- business figures that provides a per- formance of classic proportions. A smart addition to the bill are the Debonairs, who during the course of years have shrunk from an octet to a quintet. Theh: highspot is the dance interpretation of the machine age, which still is one of the clever- est bits of its type extant. Their opener, a tuneful roundelay with gestures, sets them, off neatly. Maxine Sullivan, whose first de- lineation of.."Loch Lomand" some years ago brought her into promi- nence, still uses that number to in- sure a hot.getaway. .However, it also points up the fact that her cur- rent pops aren't of the satne calibre. The crowd would like more of her swing version* of the oldies. As is. she's well-liked. Think-a-Drink Hoffman may well .raise the interesting legal point of whether the theatre should take out a liquor license for the week he's there. He dispenses all sorts of al- coholic -concoctions during his fast turn. He extracts a large variety of liqueur from the same mixer and passes the drinks out to the audi- ence, who attest to the authenticity. The crowd can well be gratefuL ibo,th for the drinks and the enter> taiAmettt. ■ Openers are by the Kanazawa troupe, the Oriental risley turn which oflTers a speedy and skilled ^essiOQ ,«f, fpotwork. They're excel- lent wdnner-uppers. Teddy Rodriguez and Phyllis close the show with Latin ballroomlstics. The pair get by without any tricks; they cpuld use a few, to point up theh: turn. jo»«. Olympia, Miami Miami, Nov. 22. Cliff Edwards, Rudy Cardenas, Gene Gory & Roberta, Billy Van, Owen & Johnson, Les Rhode House Orch; "Crossfire"- (RKO). Current layout here i^ heavy on novelty and parlays into a satisfac- tpry sesh for the stubholders. - In Cliffl Awards, the house de- parts from its- customary swoon- croon vocal topliner, with the aud reactmg in healthy manner. The vet performer hold* them aU the way with his uke-accomped versions.of the hits he'-s been - identified with. Easy approach and quietly effective presentation racks up plenty palm- whacks. IRudy Cardenas, a fave in this house, cliclcs with his suave juggling stint. Work wjth the rubber balls, top hats and sticks is slick as ever. Comedy slot has Gene.Gory and Roberta. Pair ' are also familiars here, and gather In good portion of laughs with the guy's violining, straight and comedy -wise, plus the femme's orb catching "star'^ dance. Billy Van handles the in trees for the layout and'in own spot does okay with his tap Impreshes. Tee Off act is Owen and Johnson, who give'proceedings a brisk pace With their piTrallei bar work. Muscle'^control breathtakers are smartly C0|ttrlved lo *arn full re- turns, .. » Les Rhode atid house orch back acts in crisp, efficient style. Lary, Hippodrome, Balto. Baltimore, Nov. 23. George Jessel, Stagg McMann TTio, Penn Carroll with AT Siegel, Ralph tt Mary Camavalle, Jo Lombatdi House Orch (12); "Green for Dan^ gef^ (Els)., George Jessel Is making an ap- pearance here and there aire several acts included in support, but what more is necessary for a completely rounded sesh of topflight entertain- ment than Jessel himself? From his first appearance to final begofl he prove*! his stature among the all-time greats of vaude with experlly-timcd story- telling and flip gags along with potent vocal impressions and appeal* ing reminiscenses. It packs a wal- lop all the way. Supporting slots arc assigned to the Stagg McMann Trio, harmon- icists, with smart arrangements of swing and classic including "One O'clock Jump," "FllghJ; of the Bum- (Continued on page 61) I I'll/e athil • «< ii ii j j' "