Variety (February 1950)

/WednesdayV Febriiai^ 2% 1950 P^IE^ H€i1J$i: REVIIBWS 5S Roxy^ N* V« Alton Joms, Betty & Jdiie Kean, Berry Bros. (3), Anthony, Allyn & Bodges',^ Koxy.M0n$e Orch; ^When WilU0 Conies Marching Roma** (20th)i reviewed in Variety Jan, 4,.;m ^ V With a name-laden lirieup topped Iby Allan Jones and with an ap^ parent eye towards ecOhomy, the Hdxy’s new Stage layout eliminates t)ie Roxyettes -and the fine ptdduc- tion numbers usually associated ■ the house for dialect jokes^ al- though one or two ring the bell, it^s when Tony Ganzoneri Joins the buifoon that the act stafts to pick up.' Ex-boxer, with his ap^ parently stupid questions and an- swers and beat-up face gets first real laughs of the bill. His imita- tion of Edward G. Robinson is sharp, Mark Plant, hefty . singer; joins them, and after some rep- artee with Adams sings; Where or When” for neat applause. How- ever, his burlesque of ^‘Sonny Roy” with comic on his knee gets laughs. Abrupt curtain closer, with Adams back and making a pitch with this house. While the pulch^i-.j j- j, book leaves . ah awk- tudihous line is missed, of ^ourse^ i ward pause. Louis Basil orch does the show plays very nicely without ' a competent job in backing the Paraniount, S. Y. Jghnnie Johnston, Lina Rorndy, George De Witt, Mayo Bros. (2),! in the Dark” and a.- novelty tune which earns maximum response, Leon Fields times his material Boyd' Raebutn Orch' <16); "Poiti 1?®“: mixing up his gags in _prac- in Full" (Par), renieu!e4 in Va- f*®®'!. sW® ^™‘®^" rieTy Dec 21 '49 lude, after which Pritchard & Lord ” sell their smooth ballroom stuff to The Paramount, which id Appar- nice returns. Lots of help through- ent.ly marking time until Bob Hope ®nd his crew, rnmOs in. currpiitlv has a fair-i ''^PP them, shaping as a well-paced 50 niihutes of diversified entertain- , ment.,- JoneS/ doing his first vaiide date : in New York in several years, holds down the final spot usually accord- ed the top act at the Roxy. While he still' has the looks that helped him sell his voice in pictures and on the -Stage, those tenor pipes are beginning to show signs of wear. He’s still doing the musicomedy humbers, such as “World Is Mine Tonight” and operatic arigs, like Vestlv la Giuhba,” but he doesnt quite have the old punch,Range is still good and his experience is plenty evident, but Schrtialtx has crept into his voice to tOo great an extent. Thus^ he hais little trou- ble in doing a fine job oh a simple ballad like **! Gan Dream, Can’t 1,” and, of course, soCks across his “Donkey Serenade” trademark, which gets him off to hefty ap- plause, Bright spot. of. the show; is the nifty comedy work of Betty and Jane Kean> Two sisters have been getting this act into shape for sev- eral years via vaude and television, and seem now to have hit the pay- dirt formula. Uninhibited antics are Still backdropped in the main __by -thmt-jfihe-iimpressiGns^-^hiGh' are interspliced into their excellent special ihaterial. In addition, they both vocalize with ease and Betty gives out with some okay comedy terping. They’d do better, however, to abandon that final, routine—an Impersonation of the Duncan Sis acts. Zdbe. comes in, currently has ly placid show which is somewhat overboard in the vocal department, Where the name strength is con- tained. The layout comprising Boyd Raeburn’s Orch, Johnnie Johnstpn, Lina Homay, George De Witt and the Mayo Bros, (2), just fails to emit spiarks despite good ieceptions by everyone on the bill. Johnstpn is an extremely per- sonable chap and would be sensa- Paldce^ lWv V* can. cut a show with the! best. Biz, fair, Burm. . Strand^ Y* Lou Walters* mtin Quarter Re» vUe with Joey Bishop, Ernestine Mercer, Lucienne & Ashour, Ben: Yost's Vikings (5) , Ballet: SeuiL lano (12) Linda Lombard, gCalvin Holt, Line (14); -Vhdin Light- ning'* (WB); reviewed in Variety Feb. 8,’50. Broadvi^ay Strand should draw , plenty of visiting firemeh’s; trade with its current bill,' which com- > prises the show from Lou Walters* : Enipirc 9 Londpii London, Feb. 14. . ■ Mdx Wall, Tay-Ru, 6 Rays, Eih> "■ Latin Quarter transplanted to the pire Girls (24), Empire Ballet (20), Strand stage. Colorful rbvue, with ■Choral Ensemble (12), George Mel d compahy of 38, features plenty dchriho ' & Orch; '^Adam's Rib”' pf. the w.k. LQ cheesecake aha (M'-G), ^ slickness in the , ! large theatre. Because of the' dif-: ; The fiO-triinnte vaiiHpRhnw af Hip fei’Cnce in tariffs between the is tough on the doing, three shows club and four or North, Athos (2),: .Don Albert’s"*^■iabove last year’s averages; v ;nve a a.;y at ine theatre. House Orch; "Mark of the Gorilla” ' of ballet dartc-, LQ .setting, with its Jwln stair- (Col), reviewed in cittreni issue ! ^ chorines and choralers are be- ; case, has been simulated At the of YAmETY. < : Em- :.Strand so that the show required current 'layout here is well- ^herg^l nothing lack^^^^ new^show went tu fournumbers/ paced and evenly balanced, with | cepU^ notning lacicing m nis re the Empme Girls, whose, precision which provide a chance to segue; sufficiently . diversified entertam- ] Miss Romav similarly does a one act_to^ aTiDther, ment from the eight acts to please^neat^^^^^ ^Bill^iathemed^around a number : and eomedian Joey a all tvoes of oavees ' popular drinks, with the “red;, monolog. Opener is the standard t> 1 .^ xj 1 f! vocalist works, ^mrgetically from the excellent :LQ cah-can, featuririg the 12-girl Rudenko Bros., youthful pair of J and comes out on too. There’s onlv = i\/r«ij .rji,,: jugglers, are lively pacemakers in their manipulation of hoops, balls and other objects for happy re- turns. Billy Bishop, satirical magi- CO with mien of a parlor enter- tainer, cashes in on this stance for laughs.. After purveying some i run-of-the-mill tricks which he ac- centuates for values via his . comic approach, he tops with the Houdini rope trick for solid palming; His atti’active frau,. Ann, assists with the props. . Jack Marlin is on next for a se- ries of^^impreshes of Hollywood greats, with the Walter Breiinan bit and Arthur Godfrey doing “Fat Man's Rolka” standout and send- ing him away to neat returns. ,Clark Brothers, Negro tapsters, with their nifty with the “red. monolog: Operier is the standard j ^ , , - . **«*•• the excellent: LQ cah-can, featuririg the 12-girl “plfik i line and two showgals, along with ^^^ . chainRagne’V from the ;Six Rays, a ; the Ballet Sevillano (six mixed B oiwiVr of fast movihg and: energetic ;;couples) in a nicely-executed :-J-JC ■ TVltt S .* COni0CliCS IttilK© & slow ■ TVyTiv XA/qIT •* fl •'f7’rfc/*ol4o^ T iVi'rlo T start, but He derives much of its appeal from ex- which leads into the * speGtacular iinpre^sions^ ai^e satirical barbs and pj-ession, is not entirely suited for apache routine of Lucienne and RalbUTi^^^M ‘ has two num- ^ type of show. ; Tay>Ru gives a Ashour, Duo mixes it up plenty ;; • iirstrate balancing act, performing With some standout acrobatics and hers. Both; are culled, from the j a number of new arid intricate the gal takes a real heating until longhair library, “Scheherazade” arid “MAlaguena.” They are given click, as usual, cleat and rhythm ioutines. . .. , . - . I The Arnauts, two men and gal,: ters doing “Topsy and Eva.” Seri- are also potent aPPlause-getters (f hrfihf tSitr Lrw osp motif is too much out of char-- with thei^ combo of instrumentals aren t too bright, their terp- acter, and they sell it none too and bird-flirtation bit, essayed Via i whistles, that has served them well for years. : Joe Morris and Susan North, in next to closing, are. the comedy, hit of the bill in a revised edition rieck-nsking: stunts. / she turns oh her partner arid starts Thc Ballet sequence Is tuneful, . tossing It’s a good colorful treatment vyhich permits . gpior charmingly conceived cr6wd-plea.ser. a Parisian festival setting. Again ! Ben Yost’s Vikings five-man Knf^audiemce^s^^^^ is the firiale, in which group, hold^ with to their yisuarbobust hari^ a . mg seven brass,.. five reeds and ; pnctumpc^ anH cintr ’ ■ permits livoly or^'^SeUt^ Bill is completed by the tapster- • ^ ing of the Mayo Bros. (2), a team Berry Brothers, the three colored tapsters, open the bill with some fast, flashy stepsmixed with, neatly executed .acrobatics and splits. Irv- ing Fields and his trio (piano, bass arid drums) wow with their sock instrumentalism, With Fields dis- playing some pyrotechnical finger- work on their trio of tunes. .They open with a fast “Wedding Bamba,” achieve a good pace-change With “St. Louis Blues” and wind with Fields’ compositiori, “Managua Nic- aragua.” Comedy adagio team of irig is satisfaetpry. Jose. 01 jmpia^ liliaml Miami, Feb. 18. Orphciiiiii^ Oiilalia ; Omaha, Feb. 17. Sammy Kaye Orch, Frank Mar- . I lotoe, Laura Leslie, . Tony . Alamo, Blair & Dean, The Kaydets, Chub- by Silvers; "Free for. All" (U). deriionstrating a well - modulated voice. Sevillano group wrap this one up with a fast Spariish folk- dance, Ernestine Mercer, sexyi lorig-limbed singer, takes over the other two numbers. She shows good comedy technique in a “Dan- gerous Dan .^cGrew” skit, which features dancer Calvin Holt, the Sammy Kaye’s new idea clicked y^khigs on the lyrics and t^^^ Constance Moore, Russ, Mack <fif mightily with Clrplieum theatre company ^ in welKstaged oT BeUon, a. Bay Ter-; fans. . Idea is to introduce as much s^quare ^ance, ; Miss Mercer shows with^Fln® PamS Jack & Marilyn Wagfe, I,es standout local talent as po.ssible. y®*'satility in the finale num- with: Fm Garapbell. Morris arolt-IRhode .HoUSe , Orch*. “Mp Foolish So Kaye uses a disk jockey, from 'ber. turning on her sultriness wuth Heart" (BKO). : each of the six radio stations, and f, Love For - -■■■ i preserits three of their talent dis- Constance Moore is a comely and./eoveries. Each day’s wiriners com- eries, stooging from an upper box, keep the hilarity rolling at high, while Miss North proves a valua- ble and eye-filling straight. Lawrence Brooks and Victoria Sherry, singing duo; and Athos (Lasslo Feldman), balancing. act^ are reviewed under New Acts. talented songstress who makes a i pete in the finals, with prizes for strong point for the Hollywood tal- all. ent that rates personal Appearance Kaye proves his smart handling bookings, based on ability, and not pf the show when he didri’t drop just looks. Her offering embraces the “So You Want to Lead a Band” n «ii%4 n L 'WO iO A ^ 1^1 A /I — ^rvf ^ ^ ^ 1 % ._ ‘ Sale,” backed by four male dan- cers. Bishop, ill what would be the next-to-closing, socks across some fresh; new material via his dry, well-timed delivery. Guy ha.s $ nice technique of apparently toss- a 1 Uo*« 4 -’o • AooU v.Towl** luuivott AjiL^s: ^Ax*M*«vvo rnp DO XOU wani LO XjCcIU a OdiJU • _ • t • i • Aninony, Aiiyn ana Hoages. rouna i , Don Apert s house orch, work-.| ^intelligent and well paced blend- i wure This also brines in ama- away : his gags, which gives won’t let the audience take seri- ously, and winds With some funny clever routines. Fiin has all the more impact via their serious tee- off; Their work, even though it draws yocks, looks plenty intricate, and they handle it excellently. Stal. ing. she gets. Standout is “Never Un- hquses bn opening day derestiinate the Power of ; a Frank Marlowe, comic, is all over Woman.” ^ • the stage, house and floor as-he uie In the emcee and cqmedy ;slot does his breathless monolog, Stunt ..bout his Army days. Clitca^o^ rill Tip, Tap h Toe, Ralph Mendez, June .Havoc, Joe Adams, Tony Canzonert & Marie Plant, Louis Basil Orch; "Chain Lightning" (WB). Apollo, Y<, 1 Cootie Williams Band .Ml/, !!. - ... , , r- -.—- ■^' 7 '?' - - loinafi Wfashingtoh, 3 Wells; Herb gpes^ over_ big, especially his -argu Lonce, Frank Paris, Apus & Estre- ' fter ‘s smooth on the ante^s and ments with the band, audience and litn- **rh 0 ri^pri>H Cnnte* ( 90 th} ^ own spot sets up a combo Of other, performers. Laura Leslie’s iita, unecKerea Loats izmiu, yams, hoofery and songs that are: chanting of “Echoes” with male fresh and timed for maximum re-: harmony group scores . hcayily.' Stal. With Dinah Washington . and suits, which he garners. Cootie Williams; Oil hand to draw Orolioiim. L. A; Los Angeles, Feb. 15. _ Three. Guys; Margaret Brown, Tony Alamo’s ^singlrig and Blair -Ala Bfmoy Rtm Clark.. Gonsolo * Comedy acrOantics of Russ, Mack arid Dean’s dancing hit another oiic Garspri, Gil Mais^, arid Owen set off hefty applause, high mark in a swift, well-routined Tbe Gortschts f3J, Al Lyons Or- the customers, current Kaye, who holds Orpbeum orch; "Pirates of Capri* sion should play to good business,' terns are tricky enough to' house record, may repeat tlii.s trip. 'FC). I Rach. ' ‘ While this bill has some of the : Show is a , routine offering that mark the diio as above aveiiage essential elements of good enter- tainment, it really never succeeds, lagging most of the way; Audience doesn’t help much with sparse ap- plause. Tip, Tap and Toe, \\?orklng on an elevated platfortn, get a few patters from the cold seatholders for their toe f&ps; and challenge ■;.'ivork.: ; Ralph Mendez is an unusual at wins approval. Standard legerdemain of G* Ray Gomprised of four reeds, four Terrell is suav^^^^ presented. With brass; arid three rhythm, the Wil- showmanship lifting caliber ^ act Hams aggregatiori starts the ball above par. Les Rhode s orch backs rolling with a whirlirig V'Typhqon,” acts neatly. Lary. Number is spariked by Willis Jack -1 son’s frenzied .sax playing, which! Rlppoifroilie^ BftltO# he repeats later in the show while : Baltimore, Feb. 19; band goes to town on “Dping the Three D's, Gaeng & Palm, Fran Orpheum is going to the dogs again this week for the top laughs on the current vaiude bill. . It’s Gil ; Maison, two dogs and a monkey who rate, the big guffaws with ,a traction and with liberal' of lining ■ Gritor Tail.” Eddie Mack, vocalist, Warren, Leori Fields, Pritchard: & . of material should be acceptable joins: the crew for a quick reridi- Lord; Jo Lombardi House ;Orch ^ strongly received fQr.liresentatibn,hoU)ies. Top.tt^ “Mercenary baddy’’ for :^12);: " Port of New York . ^ Pa I aniar^ Soai II $eattle, Feb. 17^ Ruby Ring, Dollita, Dick Kim- ball, Red Ingle & Natural 7 uuth; fast nine minutes of .funny rou- Hlein Martin; Dave. Watkins HQu.se tines. Maison’s been aroupd long iorch <B); “Holiday Afair!’ IRKO>. enough f? know how to enag the ' guffaws. The ape Who hates Frank ^ / Buck; the St. Bernard who is a Red Ingle’s brand of corn is clown and a tiny Ghihuahua are ■ • m . j At. .Vv . _• 1 __ . M' peter starts with a classical num- ber done in cpricert style but which okay audierice Teception. The Three Wells, ofay falls to re^^ter^ due to lack showmahshi^p — ho makers It took .i'u® Li too easy. First halt of “Ticp-Tico” ^should be ciit, biit Sustained finger- ing and solid breath control iii half gets a neat hand, of Bumble Bee,” also in the Sairie vein, is a ^olid closer; . June_ Havoc surprises with occa- sional glimmers of sparkle which ( EL);. it; Dick Kimbairs impersonations ■ Two dance acts also impress on • . go over big as does his gagging and this week’s bill. There’s a class ' Modest layout is given some emceeing. polish to the ballroom terping of , • - V , marquee support by Fran Warren,! Rqby Ring opens with a fast turn'Con.solo;& Melba In four routines guy, garner salvos AVithTaney bal- up arid coming chirp whose rge-f^bat features some daring contor- that rated hearty mitt-pounding aricirig arid gymnasUcs, Trio, work-; o^ds are beginning to: catch on danoinv nn her harids and do- ii’om audience. Margaret Brown, a ing at a fast clip, offer a number and who conies Ihrough with a T a snlit ^rom twoToot stands is easy oh the . here In . good !,“S ®/Pl« ^ tap expohent; fac- of eye catching maneuvers. Some j persoriar appearance : slick puppeteering is provided via style. She has a decided way with, Frarik Paris’ adroit manipulation of the ; dolls. Extra heavy initting [greeted bit where. stage goes dark ske buries With a mass of special ' and the ofay Paris puts a partially ,which doesn’t At fier i phosphorus skeletdn through a and ^ag^ opens well, dressed tastily in blue polka dot crinoline, with a fastyi You’re So Delicious,’’ but then m;ops into the usual Hollywood tors that are; helped along by smart stage presence. Her, Teturns are excellent. : Ala Ming ;supplies a nifty wire cliches. Her recitation '/My I Through.” “That Lucky ting gown, aim ^y^W Mama” she’s hack in the groove, however, her specialty dance, wiilch follows, is a meandering thing Which gets her off weakly. ^ Joey Adams, the brash come- man, has a hard time throwing away some quickies arid this isn’t a "sorig and when caught drew a/ Tiny Dollita warbles “Just strong series of bows; Rest of the .Baby,” “I'm a Big Girl Now” .setup backed up knowingly by Jo “Pig Foot Pete’’ for : good hand, ^ _ Lombardi and his house Vorch on coming back to do “All Dressed Up aci doing h^r~1)atortcto^ iuggling stage, Pl^s easily. , ’ ^ , With a Broken Heart,” arid backAips without ari un^elia : Three D s, Uyo meR ^ Williams puts over .sonic th a good response. Russ Clark ■ " . . npopets iriake lip a stand- e turn that is liked, wheth- .his tap dancer, strip teaser « .. tpp fast* draw*? a big h . or arunk. The fast unicycle act of Sun” ousin the finals of the big Monday draws a mg nana.^^ the three G.oetschis, in closing spot, soriie. gravity-defying hair ork ori the wheel that clicks mifHenerr. niruu V .» with her vocals. Nicely gowned, I With YOU. she whacks out good arrangements Comedy spot is filled routinely, of “Sunday Kind of Love,” “Over i by Apus arid Estrcllta. I the Rainbow,” “Envy,” “Dancirig Ray Watkins pit orchestra does abundant material; As seen at show nice job of backing acts; Good caught, she is giving too much and house at show caught. Reed. 1 (Continued on page 61) MS