Variety (Jan 1948)

HOVSE RBTIEWS WcJweaJay, Januaiy 28, 1948 Sonja Heme Oicb Agun in Colorfnl H'wood Ice Revue' at Mad Sq. Garden By JACK PULASKI ■♦^ Sonja Hcnie, tha golden-haired gold mine, is again gliding' over the ice at Madison Squar» Garden, it being the 11th aimual metropolitan date for the incDmpavable champ of former Olympic triumphs. When the star and her "Hollywood Ice Re- vue" opened last Thursday (22) th'e outfit came from the Chicago Stadi- um engagement, where some $50*000 In mail orders were returned. Art Wirtz. the Chi showman. who pre- sents Biiss Henie; Bill Bui^e^ the production manager, and Catherine Littlefield started for Wew York by planey but were-grounded in Buffalo and came in on a milk train. Other arena skating shows may have more specialists, but the "Re^ vue" has Miss Henie. . If she has let down any from last season it wasn't apparent, and she is on the ice sur- face six .timf'f'. two. numbers bein,? solos; In addition to her mastery of ParaMonnt, N. Y. Andy Russell, Helen Forrest, Jerry Wald Orch, Dick Wesson, Mack St Desmond; "I Walk Alone" (Par), re- rietoed in Vametv, Dec. 17,'47. Either Andy Rufsell is trying to lighteathe load for his vocal chords- he recently went throufih a tonsilee- tomy-^r he's been impressed by the Martin and Lewis act and thinks it wouldn't be a bad idea to do some projecting, into the ftitute. Dean Martin, who himself at one time rated as a pretty good crooner, has his Jerry Lewis, and Russell, who still invokes a shrill matecall from; the bobbysockers, has Ivs Dick Wes- son. At least, that's the way he seems to be teamed up at this Times Square stand. \ The singing quotient of Russell's act is practically one of those oncC' — ^ . over-qiiicVdy things. The time that the steel runners, she has the class i Russell actually devotes to giving that has made her one of the Gar" with songs is about what, the aver den's be.^t boxoffice draws and the class, ol patronage she attracts is ftuite «v»dei>t: 4hn upper fihelt hav- ing''few cttstomei<& , ' As always, 'tiie revue has gorgeous costuming, this, time Billy Livingston teaming with Kathryn Kuhn in the .designing, the former doing . Miss Henie's form-molded duds. Every- thing is new in production as well, aud a revolving platforni at the western end of the .Garden is used for sc{!nic ^ects. That requires a crew comoarable with Broadway musicals in addition to the flock of light operators, in the steel beams, and that's wljy it's, a .$6 top show. Cost this season is stated to be the same as last year, totaling around $400,000. which was a-new high. Classiest .pair skating has Miss Hienie working with Micliael Kirby, former Canadian ice- champion, who last season was mostly occupied on the Metro lot, iand first came to pro- fessional attention *rhen with the "Ice Follies." Kirby'-s dark thatch contrasts with the Star's blonde tresses. .He's over six feet tall and weighs 170 pounds, easily handUng the 105-lb. girl who's, always adept In jumps and lifts. Kirby is the ninth partner for Miss Henie since Wirtz started the "Revues," and she has announced him as the best skater to have appeared with' her. Last season Harrison Thomson was her principal partner, and he's again With the show, pairing with Miss Renie ,in «ttiat she ^regards as her "serious" number, jOtated to the strains of "Intemiejizo.'" SO is Geary, Steflen, a Iwmer partner.. .While the choreography'on skates cannot foe changed as much as stage dande routines, the care in staging ensemble numbers is just as impec- cable as the costuming and the per- xormance gives the impression of >ex- pertness. That goes for. the.staging of JMiss Henie's hula numberv re- tained season after season because of its popularity. Star likes; to hula alright, and the little wiggle- is-per- haps the sauce that' creates the best audience reaction. The popularity of Freddie Trenk- ler, rated the funniest man on the Ice. is very definite, toOi and audi- ence reaction on the first night was surprisingly strong because the little clown is on leave from "Icetitne of 1948," the Henie-Wirtz theatre rink show at the Center, N. Y. Trenkler hasn t changed his routines to any considerable extent, but at one point the first nighters gave him.heartier §la«dits. than accorded the star, xenkler has two principal numbers and one novelty interlude. Retained, also from last season are Gretel and Kobert Ufc.-i'Ia. Used in comedy numben too are Thomson, Jobhny Farns, Jack Raffloer, John Jolliflfe, George H. Flaherty, Tex Mangium and Tommy Travers. The Henie show will have a 17- day engagement, bisected this week- end to permit a rest period of sev- eral days and afford the showing of other events. The Coast won't see the show despite its title, plans for headquartering there still being sty- tnied. One more stand has been added this season, new date being Detroit but unjike othei' major ice shows. Miss Henie's appearances are limited to half a dozen cities and then she'll be back in Hollywood for another picture. Vocals are exceptionally well handled by Dave Marshall, Helen ■Pfeiiler and Geeile Descant. The Hawaiian quintet: Mel Peterson Andy lona, George Ku, Jimmy Hau?avi a|id George Fern. A special, arrangement of the "St. Louis Blues" .'s used for the finale and Calypso music is used for one of Miss Henie's numbers. Jack Pfeiffer is again batoning. Grayson, Johnston's Vauders Kathryn Grayson and Johnny Johnston, Metro filmstors, will re- sume vaude dates at the Golden Gate theatre,. San Francisco, Feb, 11. They ■re husband and wife. Other dates are- being arranged Huougk ihe William Itlbrris Agency. age crooner requires "for a warmiy). After opening with a quick one, Rut- sell dives into a medley of a few of his past elicits (some of which, as he tells the- custbmers, he introduced from the same stage five years be- fore), and from then on he's off on a Comedy binge with Wesison, a la Martin and Lewis. And the. out- come- is not only surprisings but of bolf dimensions. Russell, despite impressions -from his pictures, is a trouper in the full sense of the word. He can take as well as give. He's at ease and adept at feeding lines and building up a gag. There's nothing strained about him in chiming in on a bit of out- and-out clowning. And, what's more, Russell has the feel for timing and tlie knack for helping on the other fellow with the coat when it comes to spotlighting the laughs. In his debut as. the straight half of a comedy team Russell is- equipped with a surefire thing, the' talents of a young fellow who was riding high as part of the Wesson Bros, when the act, for personal reasons, sud^ denly broke up. On the Paramount runoff Wesson does a single routine, which rocks 'em consistently, and then returns for about IS minutes of laugh-punting with Russell. They work well together and their per- sonalities dovetail. A passage in then: routine that got both, solid mirth and rounds of applause when caught was bulwarked on Russell's pinpoint mimicry of such fellov^ crooners as Tony Martin, Dick Haymes, and even Al Jolson. Whether it's for just this date or it leads to things of a continuing na- ture, the Russell-Wesson combina- tion sparks good entertainment. Wesson's own section of the show is taken up for the mos^ part with impressions of screen personalities. His specialty in that department 'are the stars who play tough guys. It's zany stuff that puts Wesson in his class by himseU, especially tiie mug-, ging tliat goes, with the patter., As potent as were his rewards in this inning, when caught, it was obvious that Wesson is in his prime when he has some o;'ie against whom he call bounce his lines and business. Whatever vacuum Russell may leave in the singing needs of the bill there's Helen Forrest on hand to make up for it and in a big way. Miss Forrest, who has spent several seasons as Dick Haymes' girl Friday on the Autolite show (CBS), soothes the eye as well as the ear. She ap- plies plenty of warmth and heart to a ballad and sells a rhythm tune with fine timing and zing. As' a stylist Miss Forre.st is still in clover, and the repertoire for this Stand fits that style of hers snugly, The same goes, for her gowning. The latter points up a petite svelteness that's above par. Jerry Wald, who remodeled his band along extra sweet lines a little while back, scores at his best with a nifty and exciting arrangement of the "ISabre Dance." He gets in some ear-tickling licks on his clarinet dui-- ing this and the opening instru- mental se.<u!ion. Mixed team of Mack and Desmond in.iect some smart touches of hoofing into the proceedings. Their specialty IS comedy buck and -wing. When he jsn t off on a shuffle the male strikes off some pleasant exercises at the piano. .. This show doesn't carry the over- aU impact of the one before it, the quality that satisfies is there. Odec. r, .1 Chicago, Jan.. 22. Esther Wilhams, Fred Lowery & Dorothy Rae, Wally Brown, Bobby Lane & Claire, Lou Breese Orch: "Always Together" (WB). Esther Williams is a little handi- capped here without a swimming pool, but her enthu.<;ia.sm and ad libbing place her a cut above the usual Hollywood .star p.a.'s. Gal parades in a green wool jersey, whicli does plenty for her figure. With the aid of a youthful college stooge, she hokes her screen test bit. then .finales with a song lament, "Cant I Do Something put Swim." . Opener is Bobby Lane and Claire,, aero dance team, who score with shoeless routine and come back with •a fast sequence of cartwheels while reading the funnies. Wally Brown, film comic, garners- guffaws with un- finished sentence routine. Fred Lowery, top notch whistler, leads off with "Listen to the Mock- ing Bird" and then "Stardust.^' He then brings''on Dorothy Bae, viva- cious brunet, and pair close strong' with "Whistling Joe." House orch features the violin section this week in "Perpetual Motion.:^ Zabe, OI:^in|il«, Miami Miami, Jan. 23. Bert Wheeler, Jerri Blanchnrd, Jancf & Paul,' Fayne & Foster, Bob- by Van, Les Rhode House Orch; "My Wild Irish Rose" (WB). ■Voted by local critics the top comic to play this house last year, Bert Wheeler Is drawing them in again with his softly pointed, howl making comedies. Bringing'to.£olid proportions a fair layout of vaude, the little guy wanders in and out of the proceed- ings, accomped by the inevitable sandwich, gets together with the stubholders, worics on his unbilled aide, involves orch leader Les Rhode and tops witri a.yocker with Jerri Blanchard, co-featured on the bill, for plenty howls. ' Miss Blanohard, a favorite in local' niteries, has sapolioed her material for the .family trade here to~good effect. Works sans mike, with a -strut reminiscent, of yesteryear top femme performers. Divers in as- sured fashion, with theme, "Shine." specials on "A Glood Man-^ Hard to Find" and "I Don't Want to Leave Miami" to reap hearty returns. Bobby Van goes .over j nicely .'via his loose-limbed terps, with the Ray Bolger takeoff, an .authentic carbon. Aerial artists Janet and Paul contrib the aero section of the layout and Fayne and Foster purvey their musi- cal novelty on bells, etc., to round out bill. Les Rhode and house orch haridle backing in ,competent manner. Lary. UNtiioiuil, E'vine Louisville, Jan. 23. . Ernest Titbb, Drake Bros., Tomimi "Butterball" Page, Tejeai Trouba- dours, Short Bros.; Radio Dot and Sntokey; "My Dop Shep" (FC) , It's been about two months since- this house has had a stage show, so the cavortings of sundry hillbilly acts, headed by Ernest Tubb, whose stamping ground is at WSM, 'Nash- ville,, is bringing out the local fol- lowers. Tubb's vocal efforts .have ef- fective background of string music by the Troubadours, the usual fiddle, guitar, bass combo. Lad's are at- tired in 10 gallon hats and semi- cowboy costumes, as is Tubb. The cowboy singer has played in west- ern films, and is a fave via liis juke box records. Registers solidly with "Soldier's Last Letter" "My Hill- billy Baby," "I'll Step Aside," "Rain- bow at Midnight," and "Move It On Over." Rounding out the bill are Jack and Bill Drake, guitar and bass players^ backed by other stringed instru- mentSj who' harmonize on "Tear- drops In My Heart" for good re- turns. "Butterball" Page cops atten- tion with his sly comedy stuff, and a. bluish tinted novelty "I'm Too Old To Boogie Any More." Fiddler with the Short Brothers, "Piddlin" Bed" scores with playing of "MoCldnS Bird." Radio Dot and Smokey. get laughs with their comedy antics. : Most all of the hillbilly units to play this hou.se follow the same pat- tern, both, in music and comedy. Curent show is no exception. Hold. llip|H»4r»nic, Bal^. Baltimore, Jan. 24'. Marilyn Maxwell, Great Barton, Jimmy Husson, Lowe, Hite & Stan- ley, Jo Lombardi House Orch (12); "The Gangster" (Mono). Pleasing layout is headed wp by Marilyn Maxwell in an experienced sesh of top-flight vocalizing and high- lighted by comedy sock via Lowe; Hite and Stanley, vari-sized trio of comics ranging from dwarf to giant. Openmg slot is a potent flash with The Great Barton working from a platform and contributing tricky bal- ancing and juggling to good response. Trick on ladder is a breath-taker. Jimmy Hus.son, impersonator, is in the deuce and a greatly improved performer since his last appearance here some years ago. Scores with all the familiars, especially the Jolson bit, which is standout. Lowe, Hite and Stanley next with half their act including the knockabout and mili- tary tap, just right for Miss Maxwell to follow. Nice appearing femme who knows her way with an audience give-s out with solid numbers,including "Stan- ley Steamer," "My Man," "'Civiliza- tion," and, for an imperative encore, "He Like It. She Like It." Had audi- ence yelling for more when caught. Lowe^ Hite and Stanley close witli balance of turn including the mouth- ing and panto to recordings by An» drews Sisters, just right to close the bill. Biz all right. Bum. Capitol, IV. V. Sartimy Kaye Orch^iiFlorence Des- mond) ffle Fontaines; "If Winter Comes" iM-G), reviewed in Va- riety, Dec. 24, '47. While Sammy Kaye Is "tht head- liner and the name that carries the weight at the Capitol's boxofflce, it is Florence Desmond who accounts for whatever stimulation or excite-: ment there is to bo had from tiiis hour of stage entertainment. Without taking anything from Kaye's ability to spread melody and cheer among the customers, the fact remains that his act in mold and manner has become frozen and ster- eotyped with the passing years. The items pretty well follow a now fa- miliar groove, or pattern. -There are Kaye^s little-jokes in the intro- ductions. The drummer's and the fat saxman's bits of clowning have their set places in the proceedings. The vocalists fall into regularly placed niches following- instrwnentM num- bers. Included somewhere is a "re-, creation" of his "Sunday Serenade'' program on ABC; And as an afterr piece, contestants are recruited from the audience ta participate in Kaye's simple charade, "So You Want ,to Lead a Band?" As a familiar spectacle it all has its payoff' merits. , The audience lauglis at Kaye's pleasantries, the mugging of the drummer and the prattfalls of the fat saxplayer. Some give off with a^ fast handclap and a murmur of approbation when Kaye announces the *'rc-creation" thing. They enter into the contest phase of the act with more or les.s sub- stantial enthusiasm and. .greet the participants' awkward brandishings- of the baton with spurts of laughter. But as the Kaye act's routine niun- beis and capers keep clicking off, in almost machine-like fashion, the spectator's memory can suddenly be- come quite annoying. It «tarts flit- ting back over the years, seeking the answer to a question - that it has posed for itself: What is there about this jnachine-lace and frozen por- trayal that strikes a reminiscent chord? Corollary questions quickly follow: Could it have anything to do with the eventide of vaudeville? Or does it bring up the telltale characteristics that, put the wraps- on what was oncfe. known as the picture house presentation? Memories can play strange games, but, coming back to the show at hand, the Kaye act does have sev- eral cutely amusing spots and vocal- ists who know how to go about a pop number with professional pre- cision. The takeoff on the Ink Spots by a batch of the boys out of the band and a larger group's exposition of "Too-Pat Polka" and "I'll Dance at Your Wedding" collect lots of laughs. Don Cornell's baritone rides well with "The Serenade of the Bells"' and Johnny Ryan's Irish tenor makes a big impression out of his treatment of "Golden bar- rings." , But the singer in the troupe that packs' the personality, plus a way of her own with a diity is Laura Leslie. Her specialty seems- tb be novelty lyrics, particularly those with a double entendre slant. Com- ing from her they sound cute. This youngster is endowed with the dou- ble knack of. timing and casualness, and when it comes to trouping a comedy song, sweh as "What Every Young Girl Should Know," for in- stance, the odds are strongly in her favor. Miss Desmond's talents as an im- pressionist has gained her a sohd niche in the swankier night spots around the country. The personali- ties she cuts'up with take on a life and vividness-all their own. On this bill she's "the" vibrant force, and the customers take to her with a bang. There are lots of femme mimics around, but here's one that's pretty much in a class by herself. With Miss Desmond the conception goes away beyond a facsimile of the voice, It's a complete personality study, in facile characteristics, bodily mannerisms and whatnot. It's the artist at work and not the, off-the- elbow imitator. When she does Tal- lulah Bankhead it's as close an ap- proximation of that, personality in every facet as is possible. Other crack conceptions of hers involve Bette Davis, Claudette Colbert, M^ir- lene Dietrich and the inevitable Hildegarde. Miss Desmond's act has the distinction of belonging any- where. The Fontaines round out the stage fare. In its own category, the turn is also dipped in class. The hand- stand bits performed by the two men and a woman are models Of precision, skill and grace. Other assets are the trio'6 looks and at- tractive garbingv Odcc. Apollo, V. Ink Spots (4), Georflc Hudson Orc)i (12), Guje?i Tynes, Little Joe tc Tiny Lou, Derby Wilson, Pigmeat Markham, Craclzshot & Sybil: "Back Lclsh" (Rep). and three trumpets, tees off with iam sessioix tp set things for tittle Joi & Tiny Lou,«only ofay act on bill, who give out with a brief but fast acrn. Jitterbug routine that registers Length of show does not perinit an encore. Band takes over for a sweet version of "All The Things You Ari- as prelude to Gwen Tynes song stmt. Good looking colored gal with ^ piping does a slick job on "What Is This Thing Called Love'" "If I Had You" and "I Wish I Didn't Love You So" for plenty patty-cakes Pigmeat Markham. Grackshot and Sybil do okay in house comedy skit this Ume. a "School. Days" interlude somewhat risgay but worked up for boff laughs. Derby Wilson, reputedly a protege of Bill Robinson, follows and clicks with his neat tapslering and softshoe dancing. Topper of tura is an impresh of Robinson's struttina tap. Offtosolidapplau.se. Ink Spots, spotted in closing, are solid as e\>er and really wham 'em here. Piloted by Billy Kenny they sock across a reprise of their jtike* box numbers such as "If You Have To Hurt Someone," "Java Jive" and "I Wake Up With a Tear in My Eve" for solid returns and encore with the inevitable "If I Didn't Cai-e" lo stop the show. Kenny fronts mo.st of the tim?s with other trio backine him nicely. • ■ Edbo.: Tlie Ink Spots, making their ump- teenth appearance at the Apollo, N. Y., to head up the current bill, should provide this sepia vaude with another good take. Co-featured with the singing combo is the solid aggre- gation pi George Hudson, who's also been strong at this spot previously. Hudson band, comprising three rhythm, five saxes, two trombones ii'>«ran«l. !%\ V. Lione! Hainpton Orch (lat witfi Winni Brown; Koland Burton; Red t Curley; "The Treasure of the Sierra' Madre" (WB), TenrBtued in 'Variety, . Jan. 7, '48. .It's enough to say about the cur- rent bill at the^^trand that Lionel Hampton's orch is bade in top form. Layout is comparatively short, being limited to the orch and one act, but this musicrew can pack more sock into a number than most orchs. Hampton rings up tire curtain with his regular opener, "Hemp's Boogie." which seems to increase in tempo as the years go by. Abetted by trick lighting and the batonist's stomping antics, this number practically lifts the roof off the house. Hampton maintains this terrific paee through- out. Band also plays''two 'other numbers in the same groove, "Hey Bob-a-re-bop" and "Flying Home," which ring dbwn the curtain in a virtual frenzy of-rhythm. Femme vocalist Wini Brown shows off a neat-set of husky b]ue.sy pipes in "He's Gone Again." Mitting rates an encore which is ruled out by a tight running time due to the lona picture. Crooner Roland Burton . handles one number in medioci'e .style. One of top features is Hamp- ton's vibra-harp playing and his drumming 'utith plenty of tympany tricks. Hampton paces himself and the orch in perfect showmanship to a crescendo upbeat. Red and Curleyv-regular items with' Hampton's orch, have -■ improved their routine from a so-so -terping act into a crack novelty terp-com' edy-drumming parlay. Both boys play hard and fast, showing off'some fancy hoofing then seguing into some comedy recitations which they don't chew to tatters. Their finale is a smart drum duo spiced with addi- tional terping. Act is on and off very rapidly^ earning solid payoff and rounding ojit this sock bill. Herm. RKO, Bofiton Bottoti, Jail. 24. Bill Robinson, Jane Kean, Renald St Rudy, George Prentice, West * Lexino; Larry Flint House Orch; "Prince of Thieves" (Col). This one's diversified enough, to click with all types of audience, with Bill Robinson, old fave here, hypo- ing the draw. , The ageless Robinson holds the customers in the palm of his hand from walk-on as usual, but doesn't do too much of bis great dance rou- tine of former years. What he does, however, shows same old spark. Audience was plenty satisfied to award nice reception. Show opens with Renald and Rudy togged out in white trunks and bulg- ing muscles. Do a slick turn of hand balancmg and acrobatics. George Prentice follows with a Punch and Judy show with plenty of slapstick. Jane Kean, neat warbler last seen here in "Call Me Mister," wows with songs and impersonations. Opens with "Stanley Steamer" in standard vein and follows with "Show Busi- ness" in manner of Bette Davis, Ethel Merman and other personali- ties. Same treatment on "Too Fat Polka" a la Elsa Maxwell. Mae West and Margaret Truman warbling it to Sidney Greenstreet gets sock applause. Bows out spoofing "South America Take It Awav." West and Lexing offer a patter routine remi- niscent of yesteryear, Style ap- parently still has merit. Biz so-so at opener, Elte. Capitol, Wash. Wasliinelon, Jan. 23. Gene Sheldon, Harrison & Fisher. Ann Russell; Arthur La Fleur, Sow Joefc Kaufman's House Oreh; "Secret Beyond the Door'' (U). Stage show, rather than screen fare, carries the load this week and does a neat all around job of givins the customers their money's worth. Gene Sheldon, wistful comic pan- • - (Continued on page 55> .