Variety (December 1952)

Wednesday, December 17, 1952 ltEVIEWS House Reviews paraiuoiiutf N* Y* Tack Carter, Janis Paige, Honey n/os (3), Buddy Morrow Orch , n > with Frankie Lester; “Stop, You're Killing Me!" (WB), re- viewed in current issue. Despite competition from Christ- roo s shopping, the Paramount ap- oears to have suitable customer Lit in its current stage bill headed bv comic Jack Carter and Warners’ “Stop You’re Killing Me!” on the screen. Live entertainment is fur- ther augmented by songstress Jan- is Paige, acrobatic troupe of the Honey Bros, and Buddy Morrow’s band. Carter is on for 21 minutes to displav a line of rapid-fire gags and varied impressions. His mim- ing ranges from President Tru- man to Menasha Skulnik. There’s nothing subtle about either the comedian or his material. How- ever. the direct approach seemed effective upon the light house when caught. And, after all, that’s what counts. With experience in both films and legit behind her, Miss Paige goes about her garbling chores with an understandable air of as- surance. She’s attractively draped in a decollete gown that fittingly complements her appealing figure and coiffure. In chirping five num- bers, the songstress shows a breezy style whether the tune is the bal- lacly “You Belong to Me” or a style and only a small parcel of material. Kanazawa Trio provide a brisk closer with their rapidflre risley and barrel teaser, for plaudits. Re- viewed under New Acts are Don Hooton, rope twirler; Jelly Roll & Zuzu, Negro comics, and The Savoir Faires, singing quintet. Jo Lombardi backs the bill in his cus- tomary authoritative fashion. Trau. Capitol, Wash. Washington, Dec. 15. Jom James, Harrison & Fisher, Harry Martin, Jim Wong m Troupe (4), Sam Jack Kaufman House Orch < 18); “Turning Point ” (U). This is a pleasant enough lineup sans one sock act to give bill the lift it needs. Pace is slower than usual here and while payees are pleased, they’re seldom enthusias- tic. Headliner Joni James makes a flashy entrance with a few offstage bars of her M-G-M records click, “Why Don’t You Believe Me?” and a dazzling red gown, then fails to live up to promise. Chantoosey hits a few high spots and show's a keen sense of the dramatic in some of her numbers. General effect, how'ever, is spotty, and her slow, torchy style tends to become monotonous. Pace-setter. “Wish You ,Were Here,” gets Miss James off to good start with its torchy, self-conscious over "There’s No Tomorrow” and then into further Irish and Italian songs. These are interspersed with genial patter plus a pleasant personality for lots of audience ap- proval. Line finishes with a hi- j kick finale, tops on precision, with whole bill high on entertainment. McSJay. Olympia, Miami Miami, Dec. 13. Frances Langford, Marc Ballero, Christine & Molt, Chet Dixon's Marionetes, The Marcos- <2), Les Rhode House Orch; “Scotland Yard ! Inspector" ( UA ). 53 boogie-woogie opera ditty. She i •r*tted a'solid reception •* ■ ■ • $ud she, scorns to he .well oh They open with some fair hoofing, then uncork a series of somersaults in unison and kindred feats. At one point the boys impress band- leader Morrow into service to round out the turn. It’s a touch that’s good for laughs. However, the trio’s other comedy is too much on the order of the Three Stooges and only serves to accent their aero ability. Morrow, who currently has sev- eral RCA Victor hits to his credit, fronts an outfit of four reed, three rhythm and six brass. It’s a com- mercial combo that adequately meets the demands of the house. Aside from capably cutting the show, the band reprises its disclick of “Greyhound,” and has a hep ar- rangement in "Stairway to the Stars,” But its discordant "Bring My Baby Home” has little value except possibly as a novelty. Vocal chores are handled okay by )< v 'mk- ie Lester. Gilb. Palace, !\*. Y. Cycling Villenaves (2), Don Hooton, Jelly Roll & Zazu, The Savoir Faires (5), Maurice Col- Icano (4). Felo & Bruno, L. B. Fwlds, Kanazawa Trio, Jo Lom- bardi House Orch; "The Raiders ” ft/-/), reviewed in Variety Oct. 8, ’52. There s a lot of interest in this pre-holiday bill, despite some weak spots. Maurice Colleano, the zany, gob-garbed aero, hoofer and what- not, rates the loudest reaction in ms fifth niche (he should have been in the traditional next-to- closing). Another big winner, open- the bill, is the Cycling Vil- lenaves (New Acts), with the girl, Julie, being of the Colleano clan. Colleano is strictly in the mad- cap vein, building his nonsense 1 a PWO«. His balloon dance With a straight Is a classic nV lts , st $ overtones that do not ffend. For this, he changes from Sh ° f r ,. r !? 1° femme briefs and a J a /^hlwig. It's a different kind fniu ^Iroomology lampoon, with iin! ni n ? s Pushy antics and sock shin 11 ® it education in showman-. a n ,{\ He s also an eccentric aero \v- 100 * Cl ' cons iderable weight. rniiiin a • cafe scene as theme, snn« i° . ls su PPorted in relief dWrt,.,i a .crackerjack femme bnlift?m') 10 a so ballerinas with a on oon to precede the star’s turn onorotno P r °P; A fourth member his £ R °u r ds. Colleano peddles Jl,s dippy stuff to the hilt. rj* 10 , ' B ^ a * a) & Bruno (Tar- nilcnMv. P u b a o duo-pianists with debrn b : lck ? r °und since their U. S. stvSh ,y enr a £<?. They’re a riiiigen’inn 1 / luos o Pair in their ar- on ?, h apsody in Blue” edv liiio n ^ UOna ’« Pl us some com- ments S t< awa ^: f r °m the instru- tbev need S in C however, that Pori with to establish better rap- uould }?«i a , vaude aud, and that tiS a n CO V ple of P°P click in ii l U i a *■ they re a minor s(int. ^ 11 h house in their unusual ’f x “. Leon Fields) oc- anll ottlwi°‘ c losmg with his gab only a Ul< a pr lm & lass ons and raises guy, but 1 .vHi e l s a genial sort of without any particular action. Sags, however, with "You Belong to Me,” with the slow, al- most monotone treatment failing to come through to aisles. "My Baby Just Cares for Me” is okay, as is a new tune, "Have You Heard?” but customers never re- cover enthusiasm of first segment of act. Makes fine windup with the "Believe” tune that catapulted her to top of the jukebox heap, and walks off to warming, but not all-out, reaction. Harrison & Fisher, trailblazers in the art of comic terpery, still garner beaucoup chuckles for their caricatures of the Martha Graham technique. Theirs is a high, wide and handsome kind of terpfoolery, and they score with both their numbers. Team has some neat twists in Oriental dance, with both subtle and obvious jabs at the cur- rent mode of modern terping. Crowd gives this top reception of bill. Harry Martin, billed as "pride of the English music halls,” mingles humor and music with a toy-size electric uke. Does okay musically and in the laugh department with such tunes as "Blue Heaven,” "Hot Canary” and his own "Ukulele Boogie,” among others. Patter is funny in spots, but it’s the tech- nique with the strings that seems to please the galleries. . Jim Wong, quartet have an j above-average acro-tumbling-con- tortion act. Their colorful cos- tumes and hair-raising antics make a fine curtain-raiser for any bill. Lowe. Teeoff bill for return of vaude to this lone showcase for the medium in south Florida doesn’t add up as too exciting, though solid biz did mark opening week- end, with partons who made a weekly habit of entertainment, back again. Frances Langford, in topliner , spot, sets up a smartly arranged j group of pops. There’s nothing showy about her stylings and de- livery, the vet thrush basing her appeal on straight approach to her lyrics. Nifty coiffure and gowning add to impact and mitting earned on her stint, which leans to the ballads. Emcee spot is held down by Marc Ballero. Works okay therein and on own gets by with standard group of carbonings of the stars. Terp department is held down for top returns by Christine & Moll. Heel-and-toe and comedy- angled routines sell all the way. Black-light effects utilized by Chet J Dixon lor his- mariypet .ideas rate j healthy panning.'' • • Ip ppening -are -the-Marc-os. start 'sldwly ; but ^Kmiir 'tair hands at finish with’their adagio lifts. Les Rhode house orch backs show in highly capable manner. Lary. Unit Review •Viniiiiy McIIugli’s Soiig Stars of Tomorrow (RIVERSIDE, RENO) Reno, Dec. 16. Jimmy McHugh, with "Song Stars of Tomorrow ” — Dorothy Coulter, Judy Clark, Eve Marley, Beverly Richards, Darla Hood; The Appletons (3), Riverside Star- lets (8), Bill Heathcock Orch; orch direction by Matty Malneck for McHugh songs; arrangements. Norm Hawes; staged by Sammy Lewis; no cover or minimum. . 5-Branch Union ; Continued from page 2 ; Casino. Toronto Toronto, Dec. 12. Woo Shee . Tien Tsi Liu Troupe (4), Marr Kim, Kim Yen Soo (3), Peter Chan, Manhattan Rockettes (10), Archie Stone House Orch; “Confidence Girl ” (Col). Billed as "Oriental Follies,” this all-Chinese vaude package (with exception of 10-girl line) is a brisk stage sesh, strong on flash and customer-pleasing diversity. Manhattan Rockettes, in Chinese costumes, get proceedings under- way on "Chinatown” motif with neat tap routine and ball drill. Segues to Woo Shee, in white gown, for a shout-style opening medley, a ballad switch to “So Madly in Love,” and a peppy vari- ety of song-style imitations, includ- ing Merman, Shore and Hutton, all well done and rating a begoff. Tien Tsi Liu troupe, two boys and two girls perform table aero and swift balancing feats, plus the traditional foot-spinning and cross- tossing of brightly-hued cylinders, and a whirlwind finale of danger- ous double-table mounts and risley work to another ovation. Line gals, in Grecian draperies, are back for silver disk arm drills, with Marr Kim on for an outstanding full-stage ballet specialty complete with spins. Kim Yen Soo, with two comely femme assistants, opens second half with standard magic and a costume transformation for finale. Top returns also go to Peter Chan, in mandarin costume, who opens offstage with an Irish tenor med- ley and then walks on to wham to the individual's annual earnings in all fields, would be assigned by the parent group to whichever unit the member was working in at a particular time. ‘Organic’ Merger Later Although even the "federation” setup is more drastic than anything the affiliated unions have ever been willing to accept before, the Equity official is confident that it will soon be passed by all groups. Moreover, he believes that the "federation” consolidation will probably lead in a few years to a full "organic” merger. That would involve com-, plete consolidation of all affiliates into a single union, with no af- filite groups retaining identity or autonomy. The Equity official says that al- though the union’s council recently voted down the five-branch merger proposal, it did so because l he specific terms of the plan were unacceptable, not because it is op- posed to merger per se. On the con- trary, he claims, the council shares the strong sentiment of the Equity membership in favor of effective and equitable unification. In pre- dicting that the two film guilds and the American Federation of Radio & Television Artists (the lat- ter having recently effected its ob- ject of consolidating the American Federation of Radio Artists and Television Authority) would accept the new merger plan, the- Equity- ite implied he has been assured of the support of those unions. Jessel-Skelton Continued from page 2 don’t get the same Danish doctor who transformed that GI into a woman.” Skelton, whose recuperation from an operation for diaphrag- matic hernia is expected to keep him from work until mid-January, leaves the hospital next week. Due to the doctor’s ordering him to rest for another three weeks, Metro has shelved “The Great Jewel Rob- bery” until star can return to work. Pic had been before the cameras for four days, with Cara Williams, Dorothy Stickney, Kurt Kaszner and Reginald Owen in the support- ing cast. Twainites Cite Jcssel In recognition of his contribu- tions to American humor, George Jessel was elected an honorary member of the International Mark Twain Society. Other honorary members include Harry S. Truman, Winston Church- ill, Clement Attlee, Mrs. Eleanor Roosevelt, Dwight Eisenhower and Alben Barkley. The Jimmy McHugh songwrit- ing package is supposed to be breaking in during this two-week frame, but from the first show the group appeared to have been in business for years and is simply playing another successful date. The Riverside, chosen as. the quiet proving ground for the show s on its distance from. Hollywood, evidently knew what it was buy- ing, too. As a matter of fact, this is probably one of few acts which has been booked so far in advance in quality spots without so much as a ‘ look-see. William Morris Agency has the unit skedded next for Ciro’s and then Las Vegas. Sammy Lewis, who built such packages as Edward Arnold’s “Dia- mond Jim Brady Revue,” has been. ■; friViililig’ Vfois o'ne "for Ynonths. ‘ ftic- i Hugh hi'rnseif ‘ has" spent ' several fblend oi singing taTent which the show is built around. McHugh says, “After several years of persuasion I have finally succumbed to playing the larger cafes.” The job of persuasion and the long wait were worth every minute of the effort. McHugh is the lovable, rather shy m.c. of the show. He has a script with some cute lines which he has so far declined to use ex- tensively. Instead, he sort of fathers his brood of beauties with short introductions and an obvious personal pride in them, leaving them alone with the spotlight. He sits quietly behind a grand piano, strikes a few chords to start off the orch and songstress, and then is heard occasionally through the rest of the arrangements. ‘ Each girl has distinctive style and looks. As they trade off num- bers, they change gowns so that besides a nice song parade there’s a good fashion show. Format is set up in chronological order dating back to “Blackbirds of 1928.” All five of the lovelies are on to introduce McHugh, stand- ing in line and stepping up mike- side to sing a few bars each of. his outstanding songs, ending with a parody on “When My Sugar Walks Down the Street” by the quintet—“When Jimmy Walks Down the Street, Meet Jimmy Mc- Hugh.” Songsmith briefly describes his show and introduces Dorothy Coul- ter for her first number, “I Can’t Give You Anything But Love.” Mi^s Coulter is a refreshing, blue- eyed blonde, who has a sweet to concert voice which she uses to best advantage on buildup endings. Clown of the quintet is blonde, vivacious Judy Clark, and all- American type with sex to boot. She cxplbdes provocatively for “Digga Digga Do” vriggling and prancing in Lrief red feather cos- tumes of the era. Bursting with energy, she leaves an echo with her first charge on*stage. Sultry chahteuse of the group |. is luscious Eve Marley, breathtak- ing in a clinging red satin gown. The olive-skinned, black-tressed miss fastens some frank dark eyes ! on ringsiders and dishes out ' “Porgy” in low, soft tones. Beverly Richards, with an Esther Williams frame and dressed as briefly in nifty costume, highhat and tails, has Riverside Starlets with hfer for her production num- ber of “Sunny Side of the Street,” for sock response on voice and appearance. Darla Hood is the last of the five delicious flavors in the first run- through. Petite, with turned-up nose and wide-eyed, her voice is strong, steady, big for her size. She stays a while to start the run back through the quintet. A little exchange of dialog with McHugh after her initial song, “I’m in the Mood for Love,” gets her in a med- ley.* This includes “Let’s Get Lost in Each Other’s Arms,” “You’re a Sweetheart,” "Exactly Like You” and "Got a Touch of Texas in My Heart.” Then she and McHugh put their heads together at the piano for "When You and I Were Young Maggie Blues.” Miss Hood closes her term aboard with a pro- duction, “Don’t Blame Me.” Miss Richards checks back in a tight, bare-shouldered, ruffled ankle gown for “Cuban Love Song.” The handsome, broad- shouldered femme gets a chance in this one really to sing out. Exotic Eve Marley makes her sec- ond intro after a buildup ‘ by Mc- Hugh on the history of “Lost in the Fog” (which he wrote for the old Tommy Dorsey orch. (This time she appears in shimmering blue and fits into her moody number like the dress. Judy Clark bounces back on in slacks and sweater for a frantic “Murder He Says” which out-Hut- tons Betty. Complete with aero and mugging, Miss Clark somehow stays in tune in the middle of her flips. Back in a white ballerina skirt with red shoes right out of Vogue, Dorothy Coulter is thrilling a-s she sings “It’s A Most Unusual Day,” with vocal trills and all. There’s a double climax to this show almost; first when all the girls are back for some community singing. Tent cards are on all the tables imprinted with "I’m in the Mood for Love,” "Sunny Side of the Street” and "IjQan’t Give JYou Anything But Love.” Miss Clark and Miss Hood have handmikes which they pass around ringside , for some solo work by customers. jTniS ’goes 'uritisua'iiy well foil,this j soft of thing, mostly ! ' f• I Second climax is Miss Coulter’s introduction of McHugh’s “Coming in on Wing and a Prayer,” with an almost patriotic gleam in the girls’ eyes. The quintet sings it with fervor. Mixture of entire package is so well conceived as to proper doses of nostalgia, fun clowning, produc- tion and just plain good music, it would be hard to improve from here. Package itself is self-sustaining and needs no supporting acts al- though there is one in this show. This is a wild Apache dance by the Appletons, with all the flying furniture and hair-pulling. Action takes place in front of a Paris bis- tro set “and ends excitingly as the brute of the outfit impales a girl on the door with knives. All this would seem to be enough, but to tack a sure hit sign on the show, George Mora has in- troduced two Christmas numbers, the opener in red skirts with snow frills and the closer a medley of Yule tunes with a prance in brief Santa outfits. Marc. London Fog Continued from page 2 was the 20th-Fox "Sailors of the King” unit filming at SheppertOn. They called a dubbing session for Saturday but two members of the cast got lost in the fog and were unable to reach the studio. A full unit had been kept standing by at overtime rates. With the blackout still persist- ing on Monday, artists and tech- nicians arrived late ; at a num- ber of studios, and consequently production was delayed well be- yond the normal starting time. In London’s West End, many theatres closed their doors early in the evening and moved the few patrons they had as close to the screen as possible. This step was taken in an attempt to prevent too much fog entering the theatre and obscuring the screen. It had been •found that each time the swinging doors were opened to permit an- other customer to enter a little more fog would creep into the au- ditorium. The visibility was bet- ter, of course, close to the screen. Legit houses, which are facing a heavy seasonal slump, were also adversely affected. A perform- ance at Sadler’s Wells had to be called off because the .cast could not see the conductor a few feet away. Several radio artists failed to get to Broadcasting House on schedule and last-minute program changes were announced over the whole weekend. With public transport at a stand- still, and taxicabs paralyzed by the fog, the late night spots were par- ticularly hard hit. Niteries nor- mally look to Saturday night as the best of the week; in the great fog, it was understandably the re«- 1 verse.