Variety (March 1950)

66 HOUSE REVIEWS , . .. PESStGff Capitol, X. 1. George Paxton Orch (14) r with Gregg Lawrence, Toni Arden, Artie Dann, Meribeth Old; “The Yellow Cab Man” (M-G) , reviewed in Va- riety Feb. 22, ’50, The Capitol bill fails to generate any degree of excitement. It’s a collection, of entertainers with a good potential that fails to pay off in applause or boxoffice values. As is the case with most shows of this type, the major response bility on getting the bill across, is left to the turn occupying the next- to-closirig spot. Artie Darin, in this position, hits some tough sledding . in the early portion of his turn. . His material, filled With Italian asides not Understood by many payees, isn’t of the best, and he fails to establish himself as a. funny fellow until late in his act, The major emphasis is still on his king- sized proboscis, and he makes the most of that facet. But it’s still not a strong enough hook to carry the bill at this house. ' George Paxton, who isn’t doing too much batoning these days be- cause of his preoccupation with his duties as a song publisher, has col- lected some good sidemen for this occasion. He gives a varied set of numbers a good ride with an in- strumentation of five brass, five reeds and a trio of rhythms^ Show- ing up best is a colorful Sy Oliver arrangement of “That’s A’Plenty,” which gets in some fine musical figures. His showbacking is excel- lent. . ' v Another orch item showing up well is a medley of pops culled from classics and folk-tunes. It’s a well-produced number with off- stage announcing by vocalist Gregg Lawrence, who chimes in with the final tune, “There’s No Tomorrow,” Lawrence, a well-groomed chap, has some uneasy moments at the start, He begins his Vocal maneu- vers in a manner that looks> like he wants to make the kids swoon immediately. The juves apparent- ly aren’t taken over that readily. Tohi Arden, who has had a long apprenticeship as a band vocalist, has been getting a jukebox ride with her Columbia disk version of “Rain.” The tune is naturally in- cluded in her session and it Shows up nicely. Vocally, she’s okay, and potentially looks good. She does well enough, though, to get into the good graces of the audience with earned encores. Unfortunate- ly, she was forced out by throat trouble after Sunday’s perform- ances. Sylvia FrOos replaced. Meribeth Old, first act on the bill, impresses with her supple con- tortion work. She combines a de- gree of cuteness in her posturing to get the measure of the crowd. Jose. Alliaiiilira 9 N. Y. Andy Kirk Orch (13), Willie Bryant, Son & Sonny, 3 Riffs, Ap- pletons (2), Harris & RadcKffe, Valaida Snow, joe Morris & Susan North, Yacopis (6 ); : “The Green Pastures” (WB). The RKO Alhambra’s periodic forays into vaude is gradually es- tablishing an audience for this Har- lem house. During these weeks there’s terrific competition between this theatre and the nearby Apollo. The current semester, the RKO outlet has a highly playable vaude bill competing with the Apollo dis- play topped by Dizzy Gillespie band and Nellie Lutcher. Many Harlemese are patronizing both houses. Business graph in both theatres is on the rise when the Apollo counters the competition of the Alhambra with top acts. It’s apparent that competition; has given this section’s theatregoers a better break, Though the Alhambra bill com- prises good talent, it’s a sprawling . affair currently, in which the turns stretch the time too iriuich, The six acts take approximately 90 min- utes, which destroys the show’s ' pace. •' : As usual, lyiliie Bryant does well as emcee. He shows a famili- arity with patrons of this sector, At display caught, he had to leave midway. to assume his disk jockey chores from the nearby Baby Grand nitery. He’s a definite draw in this area, and is accountable for the sizable trade here, despite the stiff competition,. Another local regular is Andy Kirk’s band, which accounts for excellent show back- ing. Jimmy Crawford, drummer for the late Jimmy Lunceford, joined the outfit for this show. Openers are Son and .Sonny, who chow a good line of ballet-styled taps. Their dance designs are suf- ficiently commercial to get maxi- mum applause here. The Three Riffs, doubling out of Le Ruban Bleu, please with a good tune assortment which carry ex- cellent comedic overtones. Fur- ther novelty is by the Appletons, a f wa-girl-end-map. adagio, threesome which calls for a dash of mayhem and knife-throwing, and gets good all-around results. Harris and Rad-, ciiffe’s comedy is effective. This vet comedy duo still have one of the funniest Negro talking acts, but their apparent efforts to kill time militate against them. Valaida Snow tends to overdram- atize her songs: In small doses it’s okay, but protracted session can be wearing. She gets off to a good hand, when she shows some speed with a trumpet session. Joe Morris’ comedy, done in a box, is oldtime but has some effec- tive moments. This ancient format works .out. fairly Well. Susan North, provides the assist from the stage. The, Yacopi .troupe, in the closer, exhibit their highly developed, tee* terboard turn for excellent results. Jose. ■ . Apolla, IV* Y. Nellie Lutcher, Dizzy Gillespie Orch; (14 ) with Joe. Cariolli Johnny Hartman, Teddy Hale, Vir- gie & Elree, Spider Bruce & Co.; ■/Chain Lightning” (WB)> . Lent must be taken seriously in Harlem, for despite stage fare headed by Nellie Lutcher and Dizzy Gillespiels band plus “Chain Lightning” (WB), riabe first-run, business was only fair at first show Saturday night (25). : Miss Lutcher and Gillespie give the ses- sion plenty of individual zip. How- ever, the 76 minutes running time could be tightened considerably. Goateed Gillespie, with three rhythm* five reed and six brass, registers neatly with his musician- ship as well as his eccentric man- nerisms. Combo opens the bill with a brisk “Just You” to pave the way for its leader to pull some bop tongue-twisting with vocalist Joe Carroll. Unique chanting is good for ample returns. Miss Lutcher’s staccato warbling and facile pianistics get her across solidly with the house’s clientele. Does some five numbers including her wellknowri “Hurry on Down” and “Real Gone Guy/’ - Somewhat new in her repertoire is the oldie. “Fine Brown Frame,” which she dramatizes in sock fashion. Sandwiched in the layout are songster Johnny Hartman, terper Teddy Hale, Spider Bruce’s com- edy bit and' the rollerskating turn of Virgie and Elree, reviewed un- der New Acts. Hartman displays a pleasing baritone, However, his talents seem more fitted for the pop ballads than for the challeng- ing “Old Man River,” on which he nevertheless netted a healthy salvo. Teddy Hale, who once trouped with Ted Lewis, is an effortless stepper whose routines are classy and well executed. . His softshoe- ing is meritable as is a stretch of rapid-fire terping sans musical ac- companiment. While Hale’s work holds interest through most of his 12 minutes onstage, his long time allotment takes the edge off what otherwise would be a much punchier act. Spider Bruce’s comedy blackout, usually a consistent laugh-getter, is pretty weak stuff this week. Trouble is that this “after-hours” saloon sequence has such a tepid punch-line that the whole thing’s^ not worth doing. . Gilb. Oriental* Chi Buddy Rogers, Artini & Con- site lo, Georgie Kaye, Margaret O’Brien, Carl Sands Orch; “Gold- en Gloves. Story”' CEL). Current bill has many uneven spots which will have to be ironed out before show hits its deserved potential. Main change, of Course, lies in reroutining Margaret O’Brien’s act. Buddy Rogers hasn’t lost any of the personality which he displayed in the early ’30s; in fact, it Seems he’s more at home now with thea- tre audiences.. He handles emcee- ing With ease* and also clicks with jazz version of “Liebestraum;” his duo piano Work .with Charlie Bourne in a classical number, arid ending with a flashy 88ing of “I’ve Got Rhythm.” Offs to. solid returns; Artini and Consuelo, working in street clothes; make a good impres- sion, but might, have registered stronger with better costuming, fl’hey get nice reception for their ballroom terping of. various styles of dancing, the best being their Latin numbers. Georgie Kaye, youthful comic; has some good yarns in his routine* but fails to get the best values, as he’s; too fast bn the quips. While some of the gags are familiars, several Of them hit the mark, especially the skit on a daffy psychiatrist And his patients. Liberal weeding and shortening would make his act more punchy. \ Margaret O’Brien (New Acts), film moppet, seemed not properly S repared for her vaude debut,; ogees comes, back to tie things iiflywith, Session on .drums if or t jt strong finale. Zabe. Strand 9 N*Y» Billie Holiday, Count Basie $ His All-Stars (9) r Will Mastin ■ Trio, The Chocolateers {2): “Barricade” (WB), reviewed in Variety* March 3, ’50. Current bill has potent mafquee strength, particularly for jazz- ophiles, and should give the thea- tre a good two weeks, if packed houses the last two shows opening day (24) are a criterion. Show is fast, entertaining,' and filled With high-caliber talent, only fault lying in the pacing which lumps jump, dance apd comedy numbers in the first 40 minutes, leaving Billie Hol- iday’s blues and ballads spotted at the end. Billing obviously could have it no other way, but it still: makes for uneven routining. Basie All Stars’ opener, “Royal Garden Blues,” clarinetist Buddy D»e Franco’s two solos, and Georgie Auld’s tenor sax contribution are all top-drawer jazz. Highlight, how- ever, is “Basie Boogie,” midway; through the bill, The Count’s finger Work on the ivories long ago need- ed no further improvement, and yet he seenis to play more bril- liantly, more effortlessly with each succeeding appraisal of his tech- nique. Backed strongly. by his eight-piece jump crew, Basie is an object lesson in jazz piano at its finest. Chocolateers, knockabout dance 1 trio, are best when sticking to the foot work. Comedy efforts don’t al- ways come off, and the talk rou- tines are marred further by being too lengthy. More of the fast aero, hoofing that closes the act would get them off to a better hand, Mainstay of the Will Mastin Trio is Sammy Davis, Jr., featured in the billing. -Mastin (young Davis’ uncle) and his father tap expertly to open the turn, but from then on it’s all Davis, Jr. Lad is excep- tionally talented as both tapster arid mimic, and if his career de- pended iipon doing only ope . or the other, it would be a tossup as to which would get him farther; Tap imitatiop of the late Bill Rob- inson, plus several other intricate toe-and-heel routines,; indicates no limit to where he might go in that department, while voice arid face impressions of Cagney, Jimmy Stewart,; Edward G. Robinson, and singers Sinatra,. Laine, Eckstine, among others, stamp him as a sock mimic. It’s a curious and amazing blend of unrelated talents that pro- duced a complete showstop. when caught. Miss Holiday, looking exception- ally well in a white gown and un- der soft pin-spot lighting, does her accustomed superior job of jazz warbling. “Lover Man,” “Crazy He Calls Me,” “All of Me” and other blues items, plus a couple of up- tempo numbers, reveal once more this singer’s distinctive, subtle way with a lyric. Especially hep crowd 'at the show caught couldn’t get enough of her/ Rich. Olympia* Miami Miami, March 25, Rudy Vallee, Ted 8e Dennie Pe- ters, Prof . Marco Maliny,\ Shirley Martin, Bingo the- Chimp, Les Rhode House Orch; “Captain Chi- na” (Par). There’s a 'balanced measure of variety here this Week, with Rudy Vallee easily rating the . topliner slotting. The vet songster 'still retains that youthful quality, and offers a well-rounded stint which includes his croonings of “Whiffenpoof Song,” the nostalgic “Vagabond Lover” and other pops identified with him for years, plus some in- genious tale-spinning that garners laughs and sets him solidly for top honors. v Runnerup on applause meter is Shirley Martin. Tall blonde has played here previously under vari- ous names, but each time with a zingy session of songs, plus hilari- ous impreshes of Louella Parsons, Carmen, Miranda, Billie Burke, et : al. Material; is fresh and clever. Balance of bill is fair. Ted and Dennie Peters contrib standard terp routines tri okay returns. Pro- lessor Marco Maliny. does a shad- owgraph canto that gets over. Nov- elty slot is also filled by the chimp, Bingo, who Clicks with the audi- ence. ■ Lary. ,y ■ Fox* Detroit Detroit, March 25. Jack Carson, Robert Alda, Janis Paige ,. Honey Bros (3); Tommy Wells, House Orch (17): “Mother Didn’t Tell Me” (20th). A too-liberal supply of Indigo from Jack Carson's troupe pro- duced some bare laughs and ap- plause from a near-capacity audi- ence in the 5,000-seat Fox at show caught Friday (24). ’ «* Carson gets things started with three # rapid-fire, very blue, very tired jokes that get only, lukewarm reception.. The Honey, v pros/, acro- batics, particularly the rope-jump- Wedncsdayy March 29, 1950 ing - while - lying - down routine, warms the audience considerably. Tommy Wells teams with Carson in a newspaper skit that rates well. From then on, Wells is employed to chase a bosomy girl across the stage at intervals. Each time he carries a different article . used for reclining—i.e., a cot, a mattress— and each time Carson renfarks: “I knew He had something in mind.’ 1 Smuttiness ’ becomes a little heavier When Robert > Alda joins Carson, ending with a Jane Rus- sell tidbit that gets half-hearted response. Alda also sings “My Blue Heaven” and “O Marie.” / A parody on “Dear Hearts and Gentle People” gets Janis Paige Off to. a very slow start. It doesn’t fit her vocal equipment. She re-, coups neatly with ”1 Can Dream, Can’t I?” snaring one Of the best hands of the session. Carson arid Miss Paige duo with “I Said My Pajamas,” arid then go into a much too-long routine oii Carson’s effectiveness as a lover* Alda gets into the act, which ends With a homo twist that reduces the audience to. embarrassed gig- gles. Arden and Hartman, dancers, billed as "part of the . show, did not perform at the performance caught; Tew. ' Paramount, L. A. Los Angeles, March 23. Dick Wesson, Gil Lamb, Johnson & Johnson, Mary Jane Reid, Fan- chonettes (20), Rube Wolf & Orch (14) / with Ronnie Gibson ; “House By the River” (Rep). to dr Anita, Jack Gilford, The Her. zoos W; "Side Street” (M-G ) re- viewed in Variety Dec. 28, >49, ‘ Current bill has speed, variety and several ace turns to furnish solid entertainment values. It’s one Of the strongest shows to play this house in recent weeks. Catherine Harris flashes some neat hoofing. Smooth and trim Miss Harris makes a specialty of toe-dancing routines with tap beats One of the standout items on the bill, Karl and King sock across an unusual ventro act (New Acts) Also reviewed under New Acts are the flamenco team of Juanito and Anita, arid Chambers arid Blair who open with a roller skating team.-; Only straight musical turn in the layout, Lester Cole, with a fenime quartet, deliver several standards in conventional style. Cole does a schmaltzy solo on “Lucky Old Sun’’ with good audience results, while each of the girls takes a brief solo to show off their strong pipes as an effective closer. iri a hokey musical vein; Ken Whitirier Has a firstrate comedy-in- strumental act. Garbed With tricky hats arid a bowtie, Whitmer plays briefly but expertly on nearly a dozen different types of horns arid fiddles for solid payoff both, for his musicianship and incidental sight gags.-' Paramount is. offering a snappier- moving show for its second week of stageshows revival, but house still has a long way to go before hitting the solid class. Grossing possibilities here would seem to hinge on strong name values. Rube Wolf’s orch is blowing bet- ter : notes; the Fanchonettes are stepping in smoother precision, arid lighting and costuming are ef- fective, These are among the top. credits this Week. Gil Laihb, hold- ing over, with Dick Wesson added as a new starter in the featured billing, provide the chuckles; Else- where are Johnson & Johnson, good juggling team, and Mary Jane Reid, an adequate Ventriloquist. Wesson, working with Ukie She- rin, has some gag material that is hardly fresh, and some imitations that get across nicely. His Jane Russell impression is the most hi- larious during the 16-minute stint. Lamb uses a switch of material from last week, except foi a re- peat of the bebop film fan Top fur. is his harmonica turn, the big- gest laugh-earner on the bill. Fanchonettes start the program with a Showy beach number and close the bill with a repeat of their “Scottish Precision.” Latter makes a good impression on stage but shouldn’t be seen again for some time. Ronnie Gibson; orch vocalist, does a very good piping chore on “Dear Hearts” and “Stormy Weath- er,” strengthening the impression she made last week. | A sixman Combo from the stage orch, plus Wolf on truritpet, pro- vide a rhythmical beat to some special bebop swing and then Wolf does “Russian Fantasy” as a brass solo. Show moves 'along smoothly. " Brog . Paloiuar, Seattle Seattle, March 23. BUI Griffiths, Louis Armstrong’s All Stars, with Jack Teagarden, Earl (Fatha ) Hines, Barney Bi- gar d, Cozy Cole, Arvell Chase and Velma Middleton ; “Dear Wife” (Col).; Dixieland jazz may be making a comeback in other precincts, but in Seattle it’s right on top* with Louis Armstrong arid his all-stars deriionstrating how it should be played to packed houses, There’s plenty of it, too, with nothing but jazz for a solid hour except the tap-dancing of Bill Griffiths, local disk jockey; Griffiths emcees and is on for a fast round of taps which he sells neatly* From then on its the Arm- strong band, with each member featured in solos in addition to solid ensemble work. Armstrong sings “Someday” and joins Teagarderi in a . reprise of “Basin Street.” Hines shines in piano solos on “St. Louis Blues” and “Honeysuckle Rose” for hefty response, and Cole takes over for a slick take on the skins in a bebop number. Velma Middleton sells “I Love That Man” in a boff manner, arid is joined by Anristrong for a socko rendition of “That’s My Desire.” Band shows skill iri true Dixie- land style with “That’s A Plenty/’ “Old Rockin’ Chair” and “Way Down in New Orleans” for a treat for anyone who likes two-beat stuff, and the packed house at the first afternoqri fthpw phyj^ity did, , Reed. Jack Gilford, hext-to-closirig, is dishing up most of his standard nitery trim in sock style. Gilford makes skillful use of his rubber face in two long.sketches. First is his familiar burlesque of a symph orch conductor: which he punches across with a good assist from Don Albert’s house orch. He closes with another clever on-themicotine- wagon sequence with a, surprise blackout bit for strong audience response. The Herzogs, topflight standard aerial trio, bring the show to an exeitirtg curtain. Two of the gals open with some standard rope- climbing and trapeze-swiriging. but the turn picks up steam with entry of the third member, who pretends to be a member of the audience. Latter’s attempt to negotiate the trapeze while maintaining her mod- esty is surefire comedy while her final swings and fake falls gen- erate plenty of audience gasps. Hem. Paramount,, Hollywood Hollywood, March 25. Herb Jeffries, Bedell 8c Mattson, Winona, four-piece combo; “House By the River” (Rep). Fanchon 8c Marco is breaking in a new, intimate stage policy at this Hollywood showcase. House," for- merly a legiter (El Capitan), now has only an eight-foot deep apron for a stage, but that’s enough space for the small, personality type of show operators have in mind. . Kickoff bill sees two of last week's Downtown Paramount acts headlining, Herb Jeffries’ singing style fits better into the more con- fining Hollywood Par than it did downtown and at shoW caught cus- tomers liked his offering. “I Love You,” “Old Man River,” “Basin Street Blues” and a windup on the swingy “Jump For Joy” had stub- holders asking for more. Bedell & Mattson, record panto* mimists, is the other moveover turn. Boys repeat their miming to Miranda, Crosby-Martin and Spike Jones platters. Opener is Winona with , fiery Afro-Guban . dance rhythms. Acts are supported by a four-piece combiriatiori playing at the side of stage; and performers, make entrance up the right side aisle. . Brog. Banker Favors Issss Continued from page 4 ss reissues iW worth widely varying; sums, but are said always to be able to bring in sbriie income. Sale to video, bank fears, will reduce or eliminate these other values. Indie Production 6n Upbeat Hollywood, March 28. Indie film production is picking up, according to Bernard Giannini, veepee in charge of riiotion picture financing at the Bank of America. Six deals have been made with in- dependent producers since March 6, the deadline for California’s tax on exposed film. Only three such | deals had been made at this time last-year. At present, Giannini said, the bank is not interested in television financing• not until a stabilized riiethod-of payment fpr/yidep, is dc- {> veloped. " .