Variety (September 1952)

66 HOiTSK 4Rie:vii:ws ■ W J T i Trr-m i m ill I- L-I1M1* I 4I1—a—^ — in—a— I ■ ——— »TI -- - I Wednesday, September 17, 1952 Button Paces ‘Capades’ to N.Y. Oick; Sonja Henie Revue Sock in Qiicago John H. Harris has thrown j sword dance with some of the Ice everything into the pot in his most ambitious bid for the ice show bigtime. Since “Ice Capades” hasn’t been seen in N, Y. in a dec- ade, the latest Harris frosticulture comes through with a big quota of extra addeds not unlike the tal- ent spottings by the Ringling cir- j cus when playing Madison Square Garden. This gimmick not only squares the scale ($5 top) but sup- plies the exploitation values for the road trek in addition to w'ord of mouth for the important N. Y. money. For the marquees, the biggest banana is Dick Button, the tw’o- time Olympic champ and world’s ' greatest figure skater. The only male name of international repute ever identified with an icer, he could easily rival the long-running Sonja Heme at the wickets were it not for his interest in a legal ca- reer (Harvard Law School). The fancy-dan of the frozen, floors played the Pittsburgh preem, en- ters the Cambridge school during the Gotham run (commuting by air) and will be seen again at the show’s Bosten engagement, Dec. 26- Jan. 11, plus-picking'up an Easter- time appearance on his reputed $100,000 five-year contract. C'apados of ’5*1 (MADISON SQ. GARDEN, N. Y.) John H. Harris production of •‘Ice Capades of ’53,” in two parts. Choreographed by Chester Hale Itnd John Butler, with additional dances by Rosemarie Stewart, Rob^ ert Dench; costumes, Billy Living- ston; scenery Richard N. Jackson; musical director, Jeri Mayhall, as- sisted by Fran Frey, Leon Rose- brook; lighting, Dan Broum; ^*‘Brigadoon” (condensed version *of original Cheryl Crawford pro- duction ), book and lyrics, Alan Jay Lemer; music, Frederick Loewe; dialog and ice direction, Donna Atwood; choreography, But- ler; vocal arrangements-direction, Jud Conlor; recording director, ’^Lowell Frank. With Dick Button, Jacqueline du Bief, Sonya Kaye (Klopfer), Bob- by Specht, Ginny Baxter, Ruby & Bobby Maxson, Jackson & Lynam, The Maxwells (2), Alan Konrad, Forgie & Larson, The Old Smoothies (Orrin Markhus & Irma Thomas), Filler & Curtin, Paul Castle, Helen Davidson, Charlie Slagle, Patricia Matthews, Herbert Cowman, Leo Loeb, Rob- ert Bingham, Tommy Travers, Bob Skrak, Alma Castle, John Gaud- reault, Setta, Bauer & Esco Larue, Tnixie, Mary Lou Landreville, Bert Ye'ates, Rudy Eyman, John Brown, Ice Capades Orch, Ice Ca"Pets,” Ice Cadets. At Madison Sq. Gar- den, N. Y., Sept 11-21, $5 top. Trixie and the Larue troupe, switching back to the sister show', ‘Tee Cycles,*' after the. N. Y. run,, and with the Bv'tton spots pre- empted, “Ice .Capades” w'ill he seU-pruned. Trait. Sonja Honio loo Hoviie (INTL. AMPHITHEATRE, CHI) . Chicago, Sept. 11. Sonja Henie's 1953 Ice Revue, The Sotti.sh Highlands fantasy has ' staged and supervised by Miss been pre-recorded, and synchron- , Henie; choreography, Elizabeth ization with the panto mouthings Kennedy; choreography of Cuban- of the cast is a model qf perfection number, Rodney and Alexander;- in sound and timing. j musical director. Jack Pfeiffer; cos- Discounting a couple of mmov\^^^Ys, Billy Livmgston a exceptions, show is smartly se -1 Anxdo, seUmgs, R. L. Grosh quenced, with solo, small group or: Studios. At International Amphi- Cadets, and such other boff bladers as Ginny Baxter and Ruby Maxson. ! comedy slots relieving the produc tion stanzas. There is an abun- theatre, Chicago, Sept. 11, '52. Stars Sonja Henie, with, Marshall dance of the latter in the opening! ^Tomnii if n finha” anH i & Woms, WUHc, West-Sc McGinty, »nH i 7 Aslitous. Amin Btos. (2i, Gil & 5 T w i T-itff!/ McKelloi, Lcon De Rosseau, of Lollipops, Lamps for M Lad, j.Bog ■'Miller & Bill Griffin, Donold Watson, Alexander & Martha, Ken j Stevens, Chorus (40), Orchestra and white-befurred waltz finale in the second. “Buddha” is not too snappy a warmer-upper, though it spotlights Konrad, an authorita- tive reverse spinner and twister. .31). Sonja Henie’s show had a two- and Helen Davidson. Kapers is j breakin on the Pacific Coast “dwTri .Aug. 29. and then did 12 perform- nnho-i suces in Denver before coming Robert Dench (overall ohoreo of Under this spasmodic setup. But- ton is not integrated into the blader, getting two solo spots in- stead in each half. Lad is truly a great stylist in his extravagant spins and cavortings, which are skaterobatics from the highest shelf. Initial entry is primarily a stunning exhibition of skill from his Olympic routine, while his sec- ond supplies some showmanship via a lightly done negotiation of the arena that culminates in a hoked-up Charleston, which demon- strates the performer’s fine com- mercial potential. His whirlings and leaps drew near-thunderous ac- claim from a preem audience pay- ing obeisance to the New Jersey titleholder, who carried the U. S. colors to victory in the last two Olympics. “Ice Capades” is an overall daz- zler, bright in its costumes, elec- trics and ensemble patterns, but particularly standout in solo and principal turns. Its biggest and costliest ammunition, however, a watered-down version of the 1946- 47 Cheryl Crawford production of “Brigadoon,” with book and lyrics by Alan Jay Lerner and music by Frederick Loewe, is a letdown* Its identifying accoutrements-- and name value should, of course, prove a strong road-plus. Never theless, it can stand liberal cutting from its 45 minutes as the first- half finale, and the chopping block must include a large part of the narrative and dialog, which slow the pace to the point of dullness and audience fidgets. It’s certainly not for moppet trade in its present structure and the skating arena is not yet the musicomedy stage. Fronting the story, with numer ous scene changes (four) are the pick of the icer’s performers, notably Bobby Specht, one of the best equipped soloist extant; Son ya Kaye, the former Sonya Klopfer, with whom he pairs on occasion; Alan Konrad, spotted in a smash the show is by Chester Hale and John Butler), with execution by the Ice “Capets” and Ice Cadets. The post-“Buddha” fillip sets off the diminutive Paul Castle as Cassalong Hoppity in an “Oh- Gohoma romp to a recorded ‘Cow Cow Boogie” vocal that has him in western motif garb for his rapid-fire barrel leaping, fortified by similarly attired boy-girl lines. Fast teasing comedy and good announcer patter develop from the badminton turn of Forgie & Lar- son, quondam vaude tandem op- operating the shuttlecock skill- fully. A fine stilt session is by Charlie Slagle, bedecked as Robin Hood for his stunt skating, fol- owed by a ballet briefie via Patricia Matthews, apparently in- serted hastily when it became evi- dent that the touted “Air de Bal- et,” a flying tour de ozone accom- plished via wires as per “Peter Pan,” ran into mechanical trou- ble. Some of this stemmed from fact that the Harvest Moon Ball was presented at the Garden the previous ’ night (10), which also brought the ice thickness dow to smallish quarter-inch that im- peded toe-digging by the perform- ers. Preserved in this section is the click ballet satire, with audi- ence plants, of Larry Jackson & Bernie Lyman, segueing into “Bal- let Apache” (another cHcko) by mixed duo of Piller & Curtin. As Supersonic Simps,” the Maxwells wallop over their slow-motion aero and table-sway turn. Juggler Trixie was switched to first half for her hat-ball-plate maneuvers |*and mouth'-stick display in a good solo. “Lollipops,” which follows inter- mission, gete the full confection treatment and stacks up as the best of the big splashes in kid and gen- eral values. Aside from huge lollies and candysticks, there’s a corking session as six giant sodas glide zig-zag across the arena in a dodgem formation, the whole to the tune of “Good Ship Lollipop.” Ginny Baxter earns a tall mitt in her solo capers and Paul Castle and troupe appeal- as monkeys. “Lamps for M'Lady” is a mouth- watering invention with lamps and shades topping the line’s nog- gins for eye-arresting appeal. It introduces the single of world femme champ Jacqueline du Bief, the French stylist. She’s a saucy looking skate saleswoman Who is loudly salvoed in this spot—^her only effort, although billed in the ‘Kitchen” sequence. There is no doubt of her filling one or two other niches with distinction in both blade and body appeal. Show-stoppers are the Young Smoothies—Ruby & Bobby Max- son—cavorting over the 'floor in their cream-smooth dance designs that are carried out with strong peddling. Comedy elements de- rive from skateless Esco Larue (husband of Trixie), who breaks up the would-be ballroomology skate turn of partners Joseph & Peggy Bauer with gags and shenanigans of the Olsen & John- son school plus a Continental flavor. Unbilled but operating along the lines of the Four Bruises is a quartet of male charwomen in a lusty chambermaid frolic of hockey via mops, etc The amply proportioned middle- ager, Orrin Markhus, pairs with Irma Thomas as the Old Smoothies in an al^-arena waltz that pulls a fat and sentimental hand. It’s positioned too soon after the Young Smoothies for best effect, however. Producer Harris has an un doubted blue ribbon package for the tour, and with proper scissor- ing is a cinch to mop up in all situations with or without cbmpe- tition. With several acts, including blade shows into Chi. It’s here for 17 days, winding up Sept. 28, be- fore going into Indianapolis Oct. 2. While she has retained much of the revue which she took out last year. Miss Henie has also radically veered from the accepted blade- show format. Some of the ice work has been replaced by sock vaude acts and, surprisingly, with the ex- ception of the star, they and a few other artists are the strongest part of the two-hour,. 45-minute’presen- tation. Most of the non-skating acts take part on a special stage or on mats placed over the ice. Accordingly, the ex-Olympic champion and film star takes a generods hunk of the spotlight, and apparently that’s what the audi- ence wants. The canny Norwegian still retains her ace showmanship and knows how to punch up her scenes. There’s a preponderance of chorus numbers, especially in the first half; some of the line num- bers seem oldhat and endless. At least two of the productions could easily be dropped for better pac- ing, putting several of the faster and more interesting dances in the forepart. Most of the routines are repeats: “Jewel Ball,” a glittering extravaganza; “White Elegance,” with loads of plumes; “College Ca- pers,” a lively takeoff on the hectic ’20s, and, of course, “Hawaiian Paradise.” In addition, there is a sultry voodoo spiritual routine, one based on familiar nursery rhymes, and a flashy “big top” finale. Miss Henie does six numbers, displaying the grace that has be- come her hallmark for years. She pairs with Marshall Beard in her opening waltz for a big hand, thep comes'back, to take the spot alone several times. In the Cuban voo- doo stint, she excels in a shoulder- shaking few minutes, backed by some of the line boys, but it’s still the hip-swinging that the skater does in “Hawaiian Paradise” that has the crowd cheering and W'his- tling. When she does her artistic grinds the seatholders give her rendition their closest attention. Miss Henie stays away from the high leaps and intricate sweeps of former years, leaving the male con- tingent to try the more difficult stuff. Beard, her current leading man, does his subqrdinate duties okay and'gets,,a nice hand for his solo turn. D^ald Watson Is strong in the backflip department and sweeps in two stlpts, but Buddy LaLonde gets the loudest mitt for his speed skating jupips, Norena & Norris are eye-pleasing with their adagio work. Spectacle lacks comedy, but what it has is potent in its two, and too brief, episodes. First features Bob Miller and Bill Griffin in a cops and-robber chase around the rink. Second, even more sock, is the an- tics of the McKellen Bros. The less- brawny brother has a field day hit- ting the ice in assorted positions, bussing the numerous femme pa- trons, climaxing it all by sliding half the rink, in his football hel- met, knocking the pins,set up in simulated bowling alley. Act gets a tremendous response. In the non-skating division, it’s still foot-work that counts. Oddly enough, the producer has booked two acts that fall in the risley class and are basically similar, yet there is no clash. Amin Bros, work the first part of the bill and the leg pushup work of the youths is amaz- ing. The shoulder and rear end catches are fine but the gasper is the flip which catches the head of one lad on one foot of the other for a perfect balance. Bottom man has superb control and winds his partner into an airplane spin for solid reception. Seven Ashtons do a similar turn I (Continued on page 67) House Reviews Palace? Y. We Three, Danny Davis-, Will & Gladys Ahern, Helen Halpin, Slate- & Berney, Bonnie Baker (with Billy Rogers), Johnny Morgan, Victoria Troupe (4); ^'Beware My Lovely" (RKO), reviewed in Variety July 30, ’52. The Palace bill; represents a well-balanced layout carrying a de- gree of name - value and one that keeps the curtoihers interested. By- this time, . booker DiEmny Friendly has disepyefed that thie theatre during the eight-act era represents one of the major corn holdouts on Broadway. Acts with copiu amounts of that commodity do well here. Take the case of Bonnie Baker, who hit name proportions with her “Oh Johnnie’-’ vocal with Orrin Tucker’s band about a decade ago. The small-voiced piper has come into this house with some new ma- terial, but it’s, her old tunes that hold the major interest. The afore- mentioned song, plus some of her other, recordings during that period, win the major applause. She brings on her husband, Billy Rogers, who arranged and wrote some of her newer material, to aid her cause and help give her greatciv variety. He accompanies her on the mambo drums. Other major item, is comedian Johnny Morgan, who has also had a long career on Broadway via many vaude appearances. Wisely, Morgan selects wofks that have done well for him over a period of years. He has no trouble at any point during his appearance and, he hits a top mitt for his ef- forts. Will & Gladys Ahern have an act that similarly works wonders in the maize department. Male does rop- ing, gabbing and dances with his partner, for top effect. Ahern’s stories are palatable and capably delivered. The fast dance bits help them off to a sizable reaction. Openers are We Three, a youth- ful tap team, comprising Maggie Nelson and Jack & George Floyd. Trio have some excellent dance designs that encompass tap, soft- shoe and ballroomology. It’s a well-contrived act with pleasant execution that offers good enter- tainment while warming up the premises. In the closing spot, the Victoria Troupe, two ^ mixed couples, show a succession of tricks on bikes and unicycles. It’s a vet act that holds up well. The New Act section is popu- lated by Slate & Berney, Danny Davis, and Helen Halpin. Jose, Casiuo? Toronto Toronto, Sept. 12. Buster Keaton, Teresa Brewer, Happy Jesters (3), Karpis Trio, Harrison & Muller, Jimmie Cam- eron, Archie Stone House Orch; *Vaptive City" (UA). Heading a neat and varied pack- age here, Buster Keaton continues to show why he has been a great pantomimist for so many years up through earlier vaude and the silent film days. To slow tempo of “Two Sleepy People,” the dead- pan comic takes some 12 minutes to show how difficult it is to put his out-cold wife to bed after both have been to a party. Silent act is done in opulent full-stage set with 'Keaton’s wife (Eleanor) as partner, for that frozen-faced bewilderment that has so long been the Keaton trade- mark. Had the audience convulsed, when caught, and a great contribu- tion to mime that has universal comedy appeal because of no necessity for dialog. (Two leave after Casino engagement for Paris for three-week date at the Me- drano. ) Diversity to otherwise swiftly- paced bill is contributed by Harri- son Sc Muller for their vigorous taps and eccentric challenges, plus their Impressions of 1920’s soft- shoe routines, complete with sticks and strawhats; the Karpis Trio, two men and a girl, for clever risley work and the ladders; the Happy Jesters, a terrific trio of zanies, for mutual mayhem and their top takeoffs on pop soloists and singing groups. Pert brunet Teresa Brewer closes show in her shout-style warbling with her bouncy “Theme There Eyes,” her “ I Don’t Care” in waltz time, a bang-up “Alex- ander’s Ragtime Band,” and a final second set involving a medley of her recordings, particularly her “Nickelodeon” and “Old Man Mose Is Dead.” All acts go over to terrific re- sponse, with Jimmie Cameron as singing m.c. expertly knitting the bill and Archie Stone’s house orch 1 lending top support. MeStay. £inplre? Glasgow Glasgow, Sept. 9. Frankie Laine A with Carl Fischer) George & Anne Doonan, Rob Murray, Tattersall, The Valet tos (2), 2 Alfreros, Reg Russell's Suzie, Empire Orch under Sydney Williams. Impact of Frankie' Laine here is immense. The Chicago^born singer, on first trip to Scotland, has the bobbysoxers screaming in all pkrts of auditorium. They gasp wit^,.,adulation as he announces each number^ At show caugiii, house was 70% moppet type, with SRO biz for entire stint. Enthu- siasm of the teenagers had older patrons completely bamboozled. Shouting was so great at certain points that stubholders not in the frenzy mood would have been well advised to carry earplugs. Showmanship of the Laine act is tops. Before it is flagged, front curtain is lowered, then raised, a move generally limited to start and finish of entire show. Singer starts with tribute in song to Glas- gow and mention of previous U. S. artists having told him not to miss this key spot. He opens with “Georgia.” then gives out with “Cry of the Wild Goose.” \\Tien fans become noisy and shout for certain numbers. Laine quiets , them judiciously. He’s in top voice, confidently using hands, knees, feet and mouth to secure best audience effect. His song hypnosis obviously takes big trick with moppets, who hang onto his every word. Choice of songs is bright, includ- ing oldies as well as the very lat- est. It ranges through “That’s My Desire,” “Jezebel” and “When You’re in Love” to “Rock of Gib- raltar,” “Lucky Old Sun,” “Sunny Side of Street,” “Do Not Forsake Me” and “Jealousy.” Singer, who introduces his pian- ist and partner Carl Fischer to ex- ceptionally warm mitting, gags pleasantly. He raises laffs by say- ing of one number that they have a very sentimental attachment to it for one very good reason—“it has brought us an awful lot of loot.” No U. S. star has made a bigger or more immediate effect on an audience here than Frankie Laine. Strength of his reception, while not numerically as big, beats that given to Danny Kaye. The fans shout more loudly, being complete- ly under his spell. Rest of bill is better than aver- age. A standout is the sad'faced Australian, Rob Murray, making wry smiles at his juggling gear- while tossing the balls, plates and sticks in most expert fashion. (Re- viewed under New Acts.) George Doonan is w.k. English funster with blond hair, a breezy manner and not the cleanest of material. In second-half spot he’s aided by his daughter, Anne. Tattersall has a neat line in ventriloquism, using as one of his props a lifelike Chelsea Pensioner doll in scarlet uniform, and with a head contrived to bow in an off- to-sleep mood. Suzie is a clever little pooch working on stepladders and trained by Reg Russell. Her finale is a dive in blinded, fashion (with handkerchief for blinkers) into master’s overalls from top of high ladder. Two Alfreros gain well- deserved mitting for a class bal- ancing act, while the Valettos are more than just a pair of staircase dancers in graceful opener.s of each half. Gord. Apt^llo., N. The Orioles (5), Paul Williams Orch (12) unth Danny Cobb; Edna McGriff, Peg Leg Bates, Spence Twins, Pigmeat & Co. (3); ‘'Pre- historic Woman" (UA). This Harlem vaude flagship has stacked up a hefty helping of rhythm and blues purveyors for current sesh which keeps house rocking throughout the 77-minute layout. Sparked by the Paul Wil- liams orch and the vocal combo work of the Orioles, bill is pegged strictly for the Apollo crowd since it likes to take its r. & b. stuff in large doses. Supporting turns help fill the lulls but it’s the Williams- Orioles tandem that really gets ’em. In the closing slot, the Orioles, a five-man combo, drum up plenty of frenzy with their high-powered emotion vocalizing. Belt out “Good Rockin’ Baby,” “Trust in Me,” “Proud of You” and “Baby, Please Don’t Go” in a style that appeals more to the id than the ear. 'Their vocal pyrotechnics and song-sell- ing style are filled with sensuous overtones drawing boisterous femme wolf howls. It’s a frantic turn. Paul Williams gets much the (Continued on page 67)