Variety (September 05, 1951)

64 HOUSE REVIEWS Wdnefdif, September 5* 1951 pRTMMUty 5. V. Jan Murray, Toni Arden, Ray Malone, Pryde k Day, Elliot Law- rence Orch; "His Kind of Worn an" (RKO • reviewed in Variety July 18. *51. Current stage layout at the Paramount adds up to solid enter- tainment with four ace turns framed in a snappily paced and neatly varied session. Further pointing up video’s potential for building marquee names. Ray Malone, from the “Broadway Open } House'' show, scores handily in a fancy terping routine. He’s re- viewed in New- Acts. Returning for another one of his periodic stands at this house, Jan , Murray tops the bill with his regu- lar comedy routine. Although only a couple of new lines have been added to his repertory' since last appearing here, Murray so»*ks over his material wi*h a sharp edge that maintains its fresh impact He's an expert clown who knows how to reverse his field between a hoked-up vocal and last throwaway jof a gag. llis extended ‘ l,augh. Clown. I^ugh” number, with its # numerous time-outs for incidental chatter and berating of the orch. still registers heavilv. His closing pitch before the Labor Day week- end for careful driving on the roadways adds up to good show- manship. In the vocal department, Toni Arden delivers a brace of numbers with a bravura style. The quality of her pipes is undeniable and she works her range to the utmost, from a rhythmic brassiness to a lyrical sweetness. At times, she seems to pour on the stylistic flourishes too heavily, especially on her “Come Back to Sorrento," but she's commercial all the wav. Her rendition of “Too Young" is tops. Pryde & Day. as the opening turn, clirk with their admit jug- g’ing routine Duo negotiate a series of nifty stunts with 10-pins and rubber balls while maintaining a light comedy flavor to their op- erations. Their pyramid trick, with both juggling balls while she's standing on his shoulders, gels them a soiid milting payoff Elliot Lawrence's crew, compris- ing seven brass, six leed and three rhyhtm. cuts th. show sharply, the band flashing a driving instru- mental style Length of the cur- rent show has apparentlv pre- cluded spotting the band beyond the curtain-raiser. Hcnn with gals in tinsel attire and rea- listic ft reworks effect. Karson Is not overdoing the bal- let stuff, so as not to clash with current Metro pic attraction, “An American in Paris." Judging by turnout, which was practically capacity on morning show, pic and show are good for five to six weeks. Reye. Illinois | Baxy, N* Y. I Frank Fontaine, Harmonicait (3), Norwood Smith, Arnold i Shoda, Carol Lynne, John Walsh. Roxyettes k Escorts (24», H. Leopold Sptfalny Chorus, Paul Ash House Orch; “ People Will Talk” i • 20th), reviewed in Variety Aug. 22 . * 51 . After the excitement caused by Milton Berle’s appearance at this theatre, nearly anything that Jacquet^'orch *" (8). follows would be a letdown. Yet ... . —. r.. • j I no s»a« rrnnl fiiuivlav in onf irpl V utK. Earle, rhlllv Philadelphia. Sept 1 Saratmah Churchill & Four St rid ers. Piano Red. Conunty k Parks. Satnwy Hinds. Frank Juele s House Orch (161; '* Fugitive Lady" (Rep*. ;ne current display la entirely satis- factory as the A. J. Balaban-Sammy Rauch combine has chosen to ac- centuate production. Arthur Knorr has designed a gay Th Earle relights for well-bal- atmosphere; costuming and routin- anced vaude that comprises most | ing are lively enough to keep the of the currently pop ingredients of customers interested throughout; stage fare. Illinois Jacquet and again the ice section is integrated his expert septet take care of the into the rest of the proceedings hot jazz department, while Savan- i so that the combined flash has nah Churchill with the backing of a greater Impact, new quartet scores a minor tri- With the heavy ballyhoo on the umph. , film. “People Will Talk." the stage- Show opens with Frank Jude s show looks like it's been de- pit band mounted on stage and a • emphasized budgetwise. But with fast team of steppers to kick it off. i the presence of Frank Fontaine. Conway A Parks, a pair of eccen- there's a degree of name value, trie terpers. always register steam Fontaine, w-ho registered hand- with their footwork, no matter how soinely on video initially, and who lukewarm their songs and the pat- went on with Jack Benny to be- ter may be Their jitterbug dance come known nationally, is a funny routine is a solid getaway. citizen. His sweepstakes winner The Earle revue has no emcee characterization is his best known and each act introduces the next staple and a rewarding bit of turn. Piano Red follows with low- tumor. Fontaine at times^ weakens down keyboarding and backroom this bit with injections of gags ballads. Sample chant is "I Got no t in keeping with the character, the Right String. But the Waning t t on the whole it’s strong enough Yo Yo." Keyboarder works with m Re t him a couple of earned re- backing of his own drums and bass, calls. His gallery of impressions Numbers are in the rhythm blues j s well done. His subjects are category and the lyrics are far fitted into the framework of an from subtle: act would probably Arthur Godfrey show, and he gives bo much stronger in a cafe than in his impressions a great deal of big auditorium Reception at the fidelity. Karle was only fair j Other major act on the boards Sammy Hinds offers an okay Jerry Mur J ad s Harmonica*. This \entro att with his dummy Ed m0 uth-organ trio is a showy group. d ”\ H? !V IS SKS^HlSLlr 0 ! Jh,!; skilled at extracting melody and ri l ^ by .. 8 , in ^ a . applause out of these instruments. wiU*_the dummy. 1 Cant Give They hit jackpot nuttings with "Galloping Comedians.” a boogie tune and the inevitable “Peg O’ with th* comic tarn him * fine mitt Only spot to bring In the scis- sors might be with Sid Gary.' He shows off an excellent vole* in warbling "Old Man River,” but it impresses as a bit too slow to keep show’s pace. His vocal carbons of Downey and Jolson, however, are high spots, as is his closer, a black- face duet with Berle. Rotund singer Fatso Marco is a fine opener, and virtually brings down the house with powerhouse treat- ments of “Sweet Lorraine,” “Changes Made.” and “Sunny Side.” Stooge' Stan Ross carries off his quickie "I’m With You” business to plenty of chortles. It behooves to admit that It’s all Berle. despite the generally high calibre of the other turns. He’s never offstage, of course. His rarping at the house orch. the stage crew and the electricians is not to his credit, nor is it very wise to stalk into the aisles and angrily yank an annoying camera out of a teen-acer’s hands. It's not funny, but by Virtue of his comic genius it can almost be over- looked Carl Sands, subbing for Louis Basil, does a commendable job backstopping. And the Texaco Men. appearing only briefly, are solid in the leadoff spot. Mel. Apollo. !\. Y. Billy Eckstine,' Bobby Tucker. Buddy De Franco Orch (14>. until Pat Collins: Son & Sonny, Bobby Jule. Harold King, Spider Bruce <3*; “Return of the Vampire" (ColK You Anything But Love,’’ that real ly break> up the house The Four Striders and Savannah Churchill are a happy combination The quartet shows the star to ad- The nautical production hits an Empfro. l,on«lon London, Aug. 28. Empire Girls <24*. Empire Ballet < 20», Choral Ensemble (12», The Four Furres, Jackie Hunter, The Three Wilkes. Bill Hurley. George Metachrino Orch An American tn Paris" (MCi. ' No sign of diminution in the ver- satility of Empire s stageshow pro- ducer Nat Karson. Despite this being his 24th ef- foit, Karson .still reveals new ideas and novelties; and he still man- ages to unearth new* acts, in spite of having to face strong opposition from Val Parnell at the Pal'adium. This week’s production is aptlv titled "Festival.” second edition -of a previous show. Backgrounded by quick glimpse of massive plane, with fadcout re- veal ing the 24 Empire gals, best troupe in town, in some fine pre- cision steps, fronted by panorama of Festival setting. Scene fades out to Music Pavil- ion. with George Melachrino and his symphony orch giving out with medley of songs, including “Cruis- ing Down the River.” with Hill Hurley topping with “Paper Doll” and "Good Night Sweetheart” to good returns. Boy has personality and fair pipes and. with a little more experience, should go places. As is, can front for anv niterv band. With Fun Fair setting, the Three Wilkes «two men) are Continental horizontal bar offering of the reg- ulation type, with one man sup- pling the comedy and the other doing most of the hard work, which comprises several vaults and swings from bar to bar. Gal is in for flash. The Empire Ballet, comprising a east of eight principals, is held over from the May show, and is Worthy of repeat. This is followed by the Four Furres (two men* in aerie* of chair stunts, with best trick being the youthful member of the team bal- ancing atop six chairs. Jackie TTunter. a radio and vaude name, puts over some good impreshes of various cops regulat- ing traffic, a couple of stories, which scored laughs, and closing villi comedy drumming, helped by- stooge in tne pit. Show rlimaxe* with “Changing of I he Guard" s^ene. usin -’ Eric Coates' theme of the same name. vantage (Miss Churchill has nevex^ exceBen t stride with good forma- looked or sounded better than she a ” d j' vel >’ Norwood does in this Earle show) and the Smith baritones ‘David and Bath- boys possess some qualities on sheba authoritatively. His back their own. They are young and ground is enriched by a guitar in from the top tenor to the bass they * a J*‘ Ash orch, and net effect have a wide range. ,s A 004 *- Miss Churchill- and the boys Arnold Shoda does a bit of open with “You’re Just in Love” dramatic terping to “Malaguena” and follow it with her latest re- to diminish his total effect. There's cording. “I Don’t Believe in To- appreciable pickup during the morrow.” Then come "Wedding lighter passages wherein the mu- Bells Are Breaking Up That Old sic permits him to pick up speed Gang of Mine” and the number and get in some of the tricks which that has virtually been identified Roxy customers go for. He walks with Miss Churrhill. “Time Out off to a fiine mitt. For Tears ” They close with the | Carol Lynne similarly makes a jumpy Route 66 and get off with m ark on the rink She opens in the customers still yelling for the tandem with John Walsh, but short- Stars I Want TO Be Loved. I lv afterward «nln (nr finrv The sock registering of the sing ing group leaves Illinois Jacquet and his combo in an anti-elimactic spot for the show’s close. ■ The hard-driving saxophonist soon picks it up. however, and his rhythmic group cuts loose, solo and in uni- ly afterward goes solo for fancy maneuvers which provide the show with a strong closer. Jose. rhi«*ago. flii Chicago. Aug 31. Milton Berle, Dagmar, Sid Gary. son. on such items as “All of Me" Leonard Sues, Fatso Marco, Texaco and “Baby, Don’t You Go Away Men <4>, MagUf Triplets. Louis Mad." In addition to Jacquet's Basil Orch; "Rich, Young and opening medley on the sax. another Pretty ” (M-G>. sock reception is accorded Jo Jones [ in his solo flight on the drums The Question of who will break the session^ winds up with Flying Chicago Theatre house record is Home the Jacquet version of , the big trade subject this week which has more sustained excite - - - ment than any in the hooks Gfl0)i. Judging from the mob on the sidewalks opening day (31* in 90 - degree heat. Milton Berle could well chastise current holders. Mar- tin & Lewis. Only drawback is the length of the flick, which is keeping the comic down to six-a- day schedule. Cristianis. pail of IMer. A. r. (MUSIC HALL) Atlantic City, Aug. 29 Rosemary Clooney The Ville■ , . . _ . - naves <2*. Hal Sands' Dancers (5* L he B T e ln Gotham, have The Kemnu/s «2». Artie Dann ™* en dro PP* d »«•«* to recoup the House Oreh (10); "This Is Ko tlme - rea" (Rep*. ‘ , Entire parkage. amply led x bv I Dagmar. Is in at a straight 50-50 Rosemary Clooney, who got her s Pbt with the management from start on this pier four years ago the initial buck. “It’s my financial when she and her sister Betty au- • pleasure to be here” he quips, ditioned fully for vocalists with -* nd though the romic may fall Tony Pastor’s band, tops stageshow s b°rt of the house mark, it’s still in the Music Hall this week. a Pt to be his pleasure upwards of Her top platter. “Come on-A My $55,000- House.” is saved for last, begging Remarkable about Berle is his off at its conclusion. combined drawing power with the Making for more than an eye- juves. Mites barely old enough ful in a white strapless evening to walk unleash salvo after salvo gown. Miss Clooney’s numbers are of “Uncle Miltie" They huddle well geared for summer audience.. around the pit as though he were laking a Chance On liOve.” her Santa Claus; his influence, how-- opener, starts., her well She fol- ever, may not be as healthv. He lows with “Mixed Emotions.” and swishes, offensively grabs the then “The Ijidy Is a Tramp.’’ male performers arid all but for- Brought back, -stir-chirps “Brown gets that Dagmar’,* supposed to be a dumb femme and not the phe- rhe VUIenaves. bike act in open- nom she U. On the plus side, he ing slot is okay , with boy and girl sings; he jollies the patrons; he doing nice jobs on the two-wheel- dances; he crawls in the aisles. It’s ers and unicycles. Audience cn- one of the most vigorous perform- joys nonsense of the Kemmys, duo ances ever seen here, whose stuff centers around a hat I Dagmar doesn’t disappoint. Her Artie Dann. who emcees show, fol- .two vocal efforts are capably done, lows Miss ( looney, proving a good but for the most part she serves laugh-getter (hiring his stint. as a foil for the comedian. Berle Last spot on bill brings on Hal and trumpeter I,eonard Sues cum- sand* Dancers, three girls and two plement each other neatlv. Sues bo s who offer Javanese and C an is an ingratiating lad and his numbers, both well done. Walk, j splendid tooting and fast rapport The return of Billy Eckstine to his annual Harlem date is an event of considerable boxoffioe impor- tance to the Apollo. The Frank Schiffman house is able to snag the majority of the important Ne- gro headliners for one appearance yearly at this Harlem vaudfilm flagship Many attractions feel an obligation to play a date here. It’s a house that nurtured and encouraged fledgling talent when they meant nothing more than just an act. The obligation is further heightened by a headliner's feeling of responsibility to the Negro com- munity. and to help keep the house open as a Harlem outlet for em- ployment of vaude performers. Many play this house at consider- ably less than that which could be obtained in the downtown delux- ers. although it must be noted that an appearance here doesn't affect the gate at the plushier spots. Eckstine’s draw is excellent, and it’s noted that this house gets more than its usual share of ofay cus- tomers during his stint. His pipings have tremendous warmth and pow- er. There’s the sexy quality that pulls the kids, and adult interpre- tations that please the mature members of the audience. He’s al- lotted six numbers which mix bal- lads and rhythms. It’s the former that gets the maximum response. Six strings, five fiddles and a cello are added to the Buddv De Franco orch during Eckstine’s ap- pearance only. Eckstine also car- ries his own conductor, Bobby- Tucker. During show caught, there wasn’t the necessary integra- tion between the strings and the rest of the crew. There obviously should have been more rehearsal so that the catgut could have got- ten the prominence that -would further enhance Eckstine’s efforts. This failing, however, didn’t dimin- ish the overall response to the singer. The De Franco crew is making its first Apollo appearance. It's a Caucasian crew that's well versed in the kind of musical fare that’s popular at this house The instru- mentation of five reeds, an equal number of brasses and a trio of rhythms, with De Franco showing virtuosity at the clarinet, makes for a lively brand of music. Maes- tro shows some good interpreta- tions of varied tunes and his fod- der gets a good reception. Blonde songstress Pat Collins gets across her single tune. “Because of You.” The surrounding act lineup does very well. Son A Sonny hit the mark with their hoofing. They have a fine approach to their work with some ballet influences shown. They work out some clean cleats and show a few tricks that give them midterm applause. Harold King, a youngish vet at terping on roller skates, has a set of good routines. He has an easy style with a lot of slithering move- ments that get applause. Topper is a session of terping on a table top while blindfolded, which is a good applause-getting item. Sole ofay act on th* layout Is juggler Bobby Jule. a clever youngster w ho has a lot of comcdic designs in his manipulations. He works smoothly, has some good juggling patterns and a pleasant personality. Spider Bruce does the comedy skit this week with Vivian A Ray assisting. As usual, it gets yocks. Jose, Palace, N. Y. Ted k Flo Vallett, The Work- mans 12), Gillette Ik Richards , Betty Clark. Sharkey the Seal , De- Lage k Shirley, Roger Ray, The Caribbean* (3), Tim Herbert A Don Saxon, The Del Mars (2), Don Albert House Orch; “Passage West ” tPar), reviewed V* Variety May 30. '51. This is about as nicely balanced a bill as has been Palaced for tom* time. It moves along smoothly sans benefit of a sock turn. Opening baton tossing of Ted k Flo Vallett is a clicko warmer- upper. Feature speed and flash in their twirling and juggling flavor- ed with aero work. The Workmans are a neat-look- ing couple who please with trum- pet. cowbells and extraction of tunes from glass tumblers. Supply comedy motif via melody race with orch on the bells plus Spike Jones- ish rubber-pipe contraction. Mark Huling’s Sharkey the Seal is surefire on any stage. Flipper does everything in the book, top- ping with “River Shannon” on bells after terrific balancing and carrying stints. The orthodox magico repertoire of DeLage k Shirley is set off by polish and showmanship. Their dollhouse sword box and trunk stunts are well-wrought standards which earn ample rewards. Roger Ray's fast patter, ribbing of pit maestro Don Albert, ana suspenseful delay of xylo hammer- ing provide many a laugh. The guy is a natural comic whose in- strument functions as an ever- present prop. He’s not too bad at the knockabouts, either. Tim Herbert A Don Saxon, next- to-closing. are irrepressible cut- ups, with Herbert supplying na- tionality characterizations and Saxon a fine foil for his skinny partner’s eccentrantics. They’re in there pitching with fight pix aid “Dapper Dan” song - and - dance takeoffs. Reviewed under New Acts are Gillette A Richards, comics; Betty Clark, blind singer; the Carib- bean*. dance trio, and the Del Mars, gymnasts. Trau. i Palladium. London London. Aug. 28. Jacki Carson, irifh Three Honey Bros., Marion Colby and Tommy Wells, Deep River Boys (5*. Hall, Norman & Ladd, Christina k Moll t Clifford Stanton, The Rosinas < 2 *. The Mo "yadors (2*. The Palladium Girls (16). Woolf Phillip*’ Sky- rockets Orch. London Palladium bill measure* up well to its predecessors. With Jack Carson and gang, newcom- ers. topping; The Deep River Boys, in their third return, and newcomers Christine A Moll, there is enough diversified talent to more than satisfy the regular clientele. Opening the program, the niftly attired Palladium Girls in stereo- typed routine give way to the Kosinas. man-woman aerialists. Plenty of thrills here, with man atop a trapeze holding a portable bar on which the femme perform* series of gyrations, some breath- holding Act is ideal circus stuff. Clifford Stanton features politi- co takeoffs; some of which are realistic, especially the Prime Minister and Herbert Morrison. Of the stage personalities, the best was impresh of Robert Newton as Long John Silver in "Treasure Island.” He should delete the late Billy Bennett, which, although well done, is too sad for those Who still remember him. Newcomers Christine A Moll, who have played America, are novel. Open with gal dressed as shoeshine urchin and Moll doing some fine stepping atop the shine box. Then both perform some in- 1 tricate rhythmic steps, with Moll's finger snapping giving realistic sounding taps. Gal’s ballet work revejafTs ,hei* a s having mastered the tochnique. Hall. Norman & Ladd are com- paratively new- team. Norman was originally American Norman Bart- lett of the Three Admirals. Act specializes In comedy music. Ag- gregation comprises cello, fiddle and guitar. Boys' straight pans are great asset to their antics. Doubling from Val Parnell and Bernard Delfont’s "Folles” show at the London Hippodrome, they are still novel enough to garner big hand. Deep River Boys are favorites here. They come on to recep- tion and immediately get cracking w ith ’ Hallelujah” and ”Tc o Young " Then go Into their semi- spiritual. “Shadrach.” identified with them since their first visit here. Follow with “Get Up Those Stairs," and insistent applause brings them bark for “Little Eye*. I Love You.” As a parting, they sing “May the Good Lord Keep You.” Bovs finally had to beg off. Carter Wilson, who replaced Jim- (Continued on page 65t