Variety (March 1953)

Wednetday, March 4, 1953 OIjW|ia x 9 Miami Mitral, March 1. Anthony Dexter (with Lillian Molieri ), DeCastro Sisters, George DeWitt, Cycling Villenaves, Joe Sodia, Les Rhode House Orch., "Babes In Bagdad ” ( UA ). ' Lineup this week is a well-bal- anced one, though components, in soirie instances, earn lukewarmish reaction. TopHner is Anthony Dexter, making a tour based on rep gained from his pic, “Valentino.” Filmster handles himself w r ell, with stage deportment on the plus side. Concentrates on graceful ballroomology with assist by Lil- lian Molierl. They offer three rou- tines with middle bit accenting the “Valentino” lovemaking technique. Best of stint is finale, a colorful tango. Intro to this sequence is on the corny side, taking some of the edge off overall, act earns fair mitts. Supporting bill has two regular returnees.' George DeWitt handles the emcee chores in smooth man- ner and in own spot takes several minutes to get them warmed up to his assortment of pattfer and car- bonings of names. Keeps tossing until he wins them for healthy finish. DeCastro sisters take the palm honors with frenetic approach to their specially tailored harmony- comedy catalog. Trio’s delivery of the laugh side of their act is broad, though the mugging is over- done in many instances have them all the way. Teeoff spot has the cycling Vil- lenaves wheeling up standard tricks on unicycles and bicycle. Balancing is achieved smoothly to earn requisite amount of gasps. Guitarist Joe Sodja is a regular around the nitery circuit here- abouts. Makes the instrument come up with offbeat tonal effects to buttress standard tune-plucking. Les Rhode house orch handles showback assignments in compe- tent fashion. Lary. Apollo, N, Y. Wynonie Harris, Larry Darnell, “Red” Saunders Orch (11), Arri- olas (7), Freddie & Flo, Violn Kemp, Clark Bros. (2); "Chicago Calling ” (UA), Aero and vocal turns make up the bulk of this w r eek’s Apollo bill, with overall show registering as just fair entertainment. Routine slotting of band in teeoff number is dispensed with this trip around via the Arriolas, trampoline unit. Group, made up of four gals and three guys, score strongly with their flips, somersaults, etc., all done rapid-fire. Vocal- end of bill is held up by blues shouter Wynonie Harris and Larry Darnell. Both are faves at this house with latter going over big with the femme element. Darnell delivers “Better Be On My Way,” “Singing My Blues” and “Say Good By” to okay mitting, but gets top response with his dramatic rendition of “I’ll Get Along.” Harris wraps up the pro-, ceedings in a stompin' vein Via his blasting of “Greyhound,” “Rot Gut” and “Keep On Churnin'.” Viola Kemp, reviewed under New Acts, fits into both the vocal and aero group. Also in the latter category are the Clark Bros., acro- tap team. Guys, decked out in tux- edos, make a nice appearance in addition to coming through solidly in their stint. Comedy spot is filled routinely by Freddie & Flo, who chit chat in a blue vein with gal constantly hoisting her gown for gam display. “Red” Saunders orch, comprised of three reed, four brass, piano, bass and two sets of drums (one set handled by Saunders when he’s not batoning), takes the spot- light twice, once for a medley of tunes, recorded by band on the Okeh label, and again for a bounced-up version of “Slaughter on 10th Ave.” Jess . Clrfic, Ottawa , Ottawa, Feb. 28. Guele MacKenzie, Meribeth . Old, Bruce Stevens, Buddy Clay- ton, Harry Pozy Orch: "Mr, Peek- A-Boo” (UA), . fhis former nabe filmer, well into new vaude policy, shows all signs of keeping its stage lit for some time to come. Filling the geographic stretch between Mon- treal's Seville and Toronto’s Ca- smo. Glebe can., catch acts on the way through and. give Ottawa okay vaude. Current bill, headed by Canad- ian Gisele MacKenzie-, is getting capacity px*actlcally every show and manager Hye Bessin upped three- to four-*-day over the weekend. In ahead, Peep River Jaoys teed the stage policy, and to follow are Billy Gilbert, Four Jan August, others. Glebe had no trouble selling Miss MacKenzie to Ottawa, her ^mehavmg once been top radio <CBC) and she had been seen lo- cally before she went to “Club 15 airer as Bob Crosby’s canary. She opens with racing arrange- ment of “From This Moment On” and calms without a stop to “Waltz Again With You.” From there on, her songs are tailored to fit her style and the selection is okay. Best are “Chorus Girl’s Dream ’ and the cute French- language “Le Fiacre,” almost a Gisele trademark. Colorful gown- ing and pert appearance need only improved grooming on the chat- ter bits to make her act top stuff anywhere. Bruce Stevens, musicomedian, also emcees. With Miss MacKenzie on earlier than usual so she could get away to a broadcast, Stevens handles the difficult stint of fol- lowing the gal and closed the snow on night caught (28) with ability. Buddy Clayton gets heavy mit- ting on impressions ranging from Jo Stafford to Ezio Pinza. He uses an Arthur Godfrey “Talent Scouts” takeoff to carry the aping, doing Godfrey and all the other parts. Meribeth Old does most of her dancing by tying herself in in- credible knots. Boff contortionist, the looker sells the house solid with smooth routining and clicko twists on floor and a prop table. Stevens, in own act, employs trombone, trumpet, sax and piano to handle impreshes of w.k. mu- sicians such as Tommy Dorsey, Sammy Kaydi Lombardo, Caval- laro. Harry Pozy band, on the stage, continues expert support for show, enhanced by drumming of Eddie Ackland. Band also opens bill with a quickie. Gorm, Empire, Glasgow Glasgow, Feb. 23. Diana Dors,' Radio Revellers (4), Georgie Wood, (with Dolly Harmer), Monte Rey (ivith Monte Crick), Stan Stennett, Woods & Jarrett, Annell. & Brask, Gaby Grossetto 8c Gaston, Merle & Marie, Bobby Dowds Orch, Diana Dors, British pix starlet, makes her tlebut in vaude here and proves that success in any variety layout is not automatic on a film rep. Her 10-minute stint is below average, gal showing attrac- tive face and lines but little abil- ity to put over a personality act. She opens with “Come On, Get Happy,” then proceeds to flaunt her s.a., telling stubholders she’s the gal who caused Certificate X in films and branding herself “Lit- tle Miss Sex.” Miss Dors follows this with an impersonation of a “Holiday Queen” at a northern British re- sort that’s of average quality* and then monologs “I’ve Got the Thea- tre In My Blood,” all to piano ac- companient. Long, slinky ash- blonde locks are interesting gim- mick, but act is n.s.g. and per- former exits to doubtful queries among outfronters. She needs a Completely new act, more towards the Impressions she^utilized lately 4n British TV. jpiicko is the Danish cycling team of Annell & Brask, man-and- wife who open by riding cycles while garbed in period costumes and wigs. Femme’s billowing skirt covers her bicycle, giving impres- sion of gliding across stage. Gal propels another cycle by turning pedals with her hands the while she lies across frame. Naughty 1890s skit is well done on ancient velocipedes. Closing thrill has male on bike with revolving frame and femme inside the latter. Duo exit to solid mitting. Stan Stqnnett, new-style English comedian recently boosted on Lon- don radio, has a jerky, nervous« style plus humorous material, and neatly skits western films in num- ber he has used so often it’s be- coming too familiar. Comic uses creaking, silly-boy voice and plays guitar while he tilts at the thata- wayers. Georgie Wood, vet English com- ic-philosopher, attunes his act well to Auld Lang Syne taste by pay- ing tribute to late Scot comedian Neil Kenyon in latter’s classic “The Postman o’ Dunrobin” num- ber, which he did recently but anonymously on video from Lon- don. Sketch hds good blend of humor and sentiment, plus top nostalgic interest for older stub- holders. He follows with his own classic skit about “Mrs. Robinson’s small son,” in which Dolly Harmer, longtime partner, plays his mother. Radio Revellers, lively male quartet, are on before the interval curtain, opening with bright com- edy song, “Three Little Fishes.” Act scores with takeoff on British radio dance tutor, maestro Victor Sylvester, and in impersonations of Johnnie (“Cry”) Ray and Bing Crosby. Woods 8c Jarrett are okay in song, dance and gags, the humor side not being in top class. One partner mounts piano for a tap dance atop it. Merle & Marie, two gals, open bill in excellent terping style, being both lookers and talented. They are attractively garbed and have more personality than most other teeoffers. Monte Rey, Scot-bom singer of romantic tunes, registers strongly m “Black Sombrero,” “Here In My Heart” and other pops, closing with “Annie Laurie.” He's accom- panied on ivories by Monte Crick, w.k. pianist. Final turn is the juggling duo of Gaby Grossetto & Gaston, accomplished enough club tossers. Gord, Unit Review ■ — ■ ■ „ — ■ ■ . i n | Weep River Hays Revue (CASINO, _ TORONTO) Toronto, Feb. 27. Deep River Boys (5), Howell & Raxlcliffe, Arnold Dover, Derby Wilson, The Dycrettes (6). Kicking off at the Casino in a plush 65-minute stage stint that goes into the Black Magic Room for a 21-day stand at the Chez Paris, Montreal, with Lena Horne March 13, Deep River Boys’ new revue is packing them in here. Whole unit goes over for a Royal Command performance in Buck- ingham Palace during the Corona- tion festivities. All-colored unit will be flown to London by USAF and, prior to regal date, will play American air bases in Britain and Germany for some six weeks be- fore embarking on another Euro- pean tour commencing at the Tiv- oli Gardens, Stockholm, June 5. climaxed Aug. 10 with start of their fifth London Palladium date. New revue, with plenty of pro- duction mounting, is smash from zesty opening of the line girls to finale. Boss of unit is Harry Doug- lass, baritone lead, plus the DRB’s marquee trademark lure of Ed- ward Ware, bass; Vernon Gardner, second tenor; Carter Wilson, new top tenor, and the fine pianistics of Cameron Williams, arranger. Closing the exciting bill, boys in tan suits and green ties bounce on for a rousing “Jubilee,” a ballad switch to 'Tm Shy,” with the rip- pling treble background of Wil- liams at the piano, plus his unique bass chords, a terrific “Old Man River,” a novelty treatment of “Who’s Sorry Now?” and a wham “Old Shanty Town,” with all to begoff ovations. Lads have surrounded them- selves with plenty of top talent and are generous in sharing the spotlight. Notable on comedy and musicianship are Howell & Rad- cliffe for their horn and fiddle work, plus trick falsettos on trav- estied Italian and Mexican duets; Arnold Dover for his fine imita- tions of screen stars and pop singers; the light and effortless dancing of Derby Wilson for slow shuffles and oldtime soft-shoe rou- tines, and then building to plenty of heel-taps and a smash finale of simultaneous double wings on both feetswith triple spins. Deserved returns also go to the line girls for their lively voodoo opening with plenty of percussion background, later a neat ballet rou- tine with high leaps and nonchal- ant acrobatics, and a fine hi-kick finale *on third appearance for a strob finish. Notable is that the girls take' evident delight in their work and pride in their associates’ solo stepouts. On Deep River Boys’ new revue, the troupe likely will be one of the. most highly-received American acts of the forthcoming Coronation celebration. McStay. ASCAP’* Highs 1 ^—.m Continued from page 1 — new publishers have been enrolled, bringing the pub total to more than 550, another new high. Harbach received an ovation from the writers . after Coast ASCAP rep L. Wolfe Gilbert point- ed out tli at the vet lyricist was stepping down as ASCAP proxy this year* Deems Taylor rendered the exec committee report in wiiich he said that ASCAP Is expecting Congress to pass a bill permitting the Society to license jukeboxes. He also stressed that ASCAP is continuing its campaign to license theatres which use recorded inter- mission music. Rudolf Friml was presented with a plaque for his Contributions to American music and ASCAP. The vet composer, who was 78 last month, responded by doing a piano medley of his standard hits. Turnout at the meeting was around 230, about one-half of ASCAP’s 500 members on the Coast In addition to 108 estates still drawing ASCAP dividends. MOUSE REVIEWS S7 New Acts NANETTE FABRAY .MARY MEADE Songs • ■- Grouya 23 Mins. ' tSO rigir *' s ' Sands, Las Vegas ' ! Apparent nervousness in /the jump from musicomedy b^rds lo nitery surroundings only'serv'd to sharpen Nanette Fabray’s’Tfrsf foray. With succeeding appear- ances, the thrush will ease into, her routine with little trouble. She looks pert, chirps a work- manlike job, sells most of the way. Spotting showtunes, in particular : her own for which she attained a. name on Broadway, is okay. But for Vegas audiences such revela- tions are generally received with only moderate enthusiasm. Fortu- nately,. the tunes she chooses to display are fairly w.k., including “Evelina,” “Chi Chi Costenango* and “Everything I’ve Got-Belongs to You.” Of minor importance in the set- up. and a possible deletion for non- in time boites, is her diva impres- sion of “Sunnyside of Street.” Ringing a bell is the lilt from “High Button Shoes” of “Jealous,” and “Papa Won’t You Dance With Me.” Latter has gimmick in. which ringsider is lured onstage to polka, receiving a nice buss at finish. George Wyle’s keyboarding is in full .accord with every Fa bray, nuance. Her more solid future in niteries, however, seems to de- pend upon bookings in sophisti- cated surroundings with audiences hep to Broadway shows. Will, LUC BORNAY Songs 25 Mins. Continental Cafe, Montreal Luc Bornay, is a cinch for the vaude and music hall addicts, but he hardly comes under the head- ing of straight cafe entertainment. Bomay is of medium height with big, expressive mitts which he uses forcibly in every song and re- lies on broad comedies with plenty of hokum and gimmicks to put act over. Bornay works in an easy manner, has an unaffected approach to most songs, but the similar tempos have a tendency to level out of- fering. Intros, all in French, are brief and hurried and guy would be more at home fronting a pro- duction number or as part of a group rather than a single. Voice and delivery are oke but language barrier may limit possibilities (out- side of Quebec, etc.), in the aver- age American cafe or theatre. Newt. VANNA OLIVIERI Songs 20 Mins. Marietta Bar, Vienna This black-haired Corsican has about as much of the Piaf magic as can be found outside of the mis- tress of the chanson herself. Vqnna Olivieri, working in French, Ital- ian, German and (excellently) Eng- lish, has been charming them in Vienna night* spots for almost a year and is a certainly for more important dates. Miss Olivieri is no beaut, but exudes sex appeal in a thoroughly Gallic way. She has some lessons to leam in the wardrobe depart- ment, running mostly to severe black in both evening gowns and semi-formal suits in her appear- ances here. She’s plump, but wouldn’t have much trouble slim- ming down to North American tastes. The chanteuse uses no special material, sticking to both old and new numbers from her interna- tional repertoire. French entries are probably her forte, with em- phasis on the rhythmic ones where she can close her eyes and rock into a musical ecstasy that carries the audience right along. The voice is husky, strong enough to carry even sans mike in a moderate- sized room. In the Tin Pan Alley sector she does such numbers as “Blacksmith Blues” and “Man I Love” with complete conviction and aplenty of charm. She's devel- oped both U.S. and native follow- ings here stemming from the sev- eral Vienna rooms where she’s ap- peared.. Isra . VIOLA KEMP Singer-Contortionist 6 Alins. Apollo, N. Y. Viola Kemp, Negro chirp-contor- tionist, is a good bet for vauders and niteries of the Apollo genre and might go over in other situa- tions. Gal, an okay looker, comes on fully garbed and tees off act with a pleasant vocal of “Squeeze Me*” Following the tune, she starts to exit stage, but-stops short, takes off shoes and removes gown to re- veal herself in shorts and halter. In that outfit, gal retakes the spotlight and for the ensuing few minutes puts her body through a wringer. Jess* 20’'Mint. v Pa!nlfe)f- House, Chi w.k. performer in the " smarter supper clubs here and “ahi'd’adrtfits blonde thrush is mak- ing fresh start in the U. S. It’s been a#t£ost four years since the former radio singer and film ac- tress lias played over here, and meantime she has gained in tim- ing, projection and polish to make her ready for all areas of show biz. All that is lacking is the pub- licity with the traditional disclick. Most of her stint is special ma- terial for which she has a distinct and engaging flair. She’s fine in the torch slot, too. Her French in- tro needs, little translation, with the few bits of English giving the customers the needed clues. Love- ly miss has a hilarious session with a willing male stooge as she in- quires where she can get an apart- ment during her Chicago stay. Miss Meade does a medley of her husband accompanist’s Ted Grouya’s tunes, the best of these ’’Flamingo,” to which she gives some warm overtones. Undeniably, it’s his touch in the sock arrange- ments that sets them off. She does a brace of Neapolitan pops, but here one of the numbers would be sufficient to impress. As a closer she dons a 10-gallon for a satire on the mores of the unique Texans that gets her a solid' hand. This could be clipped a little with more of the same type inserted to dis- play her talents as a comedienne. Definitely a bet for all visual me- diums. Zabe. VIKKI CAROL Songs 15 Mins. Blue Note, N. Y. Vikki Carol is a blonde looker who .knows how to sell a song. She’s got a pleasing, husky voice that she keeps at a near-whisper, and an excellent sense of timing. These factors help her capture the audience, but there are a couple of things inherent in her technique that cause her to loose it soon after. One is her apparent inability or reluctance to sing a rhythm num- ber. She did only one moderately fast number, but the one out of six didn’t provide enough change of pace at show caught. And with her low-keyed style, those slow bal- lads start to wear after a while. But thrush has a lot of promise. She is nicely gowned, .uses lights to good effect, and shows a lot of poise. Addition to rhythm num- bers and some careful pruning of material should make her eligible for some class spots. Chan. Sweden Sweet on Ray mmmmmm Continued from page 2 some leading Swedish manufactur- ers are putting on open-air plays and revues—free—with ads subtly slipped in to lure the unwary. People are awaiting Frank Sin- atra who is supposed to come over for a concert around June. Every- one asks about Johnnie Ray and 1 have developed a shrug Myron Cohen would be proud of. They have a phenomenon! named Snod- das, a pro athlete, who can’t sing a note, who was recently covered by Life mag. Even Snoddas can’t figure it. out but he is a nice guy and takes all the money the rec- ord companies give him. I was supposed to play a part in “Foreign Intrigue” but Jerry Thor can’t dig up a scene requir- ing an American. I try to be mod- est about my Swedish but when guys like Thor can’t see how for- eign I’ve become what good does it do. I Roz’s Boffo .n.i Continued from page 3 -■ ; ) with “WAC” set to follow the en- gagement of Samuel Goldwyn's “Hans Christian Andersen,” also an RKO release. Capitalizing on Miss Russell’s success in the musical, RKO has determined to give. “WAC” a big bally pitch, tleing in where pos- sible with the stage attraction. Un- der terms of Miss Russell’s pact with Robert Fryer, producer of “Town,” show's curtain may be de- layed if the performer 1 chooses to make a personal appearance in con- nection with the Gotham preem of “WAC.”