Variety (March 1953)

Wpilnesday, March 25? '1953 Ufi&IEff HOUSE REVIEWS 69 Paraniount, N« Y« J h ,j‘ Paac, Bobby Sargent, sn Pa l tl Rros ?2), Jerry Wald Orch; ^confess': (WB), remewed ,n Variety Feb. lhjM - Pniencv of disk names at the is again spotlighted m repeat hooking of Patti Page tl,IS v.JflSiiner of the current Para- as ^nf lavout which, incidentally, m° u r i n on a Saturday (21) in- l> . ow a d nf "the" usual midweek open, to hypo biz. This is a fast- 1 Itnne show with Miss Page get- KS okav support from comedian Sargent and the Clark Bros. hoofing team. Miss Page, who has been a con- sistent bestseller on her Mercury f. nvines is a solid performer even though she works with a deceptive casualness. In not trying to over- all she achieves an intimacy with the customers which probably is the best salesmanship of all. For her current stand, she is delivering » familiar repertory of standards anddisclicks which builds into a hig sendoff with her warbling of ‘‘Doggie In The Window, with a live puppy as a prop Her effect tiveness in the POP-styled hillbilly vein is displayed with her work- 2 if such tunes as "I Went To Your Wedding” and her phenom- enal “Tennessee Waltz” hit of a couple of years ago > In the comedy slot, Bobby Sar- gent starts off unevenly with some routine gags but recovers quickly with his takeoff stints. His carbon of a Ukranian millworker in the US. is cleverly executed, Sargent using his expressive mugg to milk the laughs. Not so good is his im- pression of a nitery operator. This is overdrawn and overlong. He closes, however, with a socko Groucho Marx tutn in which his makeup, facial grimaces and lop- ing gait are sharply and accurately done for a heavy payoff. In the opening spot, the Clark Bros, click with an exceptionally S ood hoofing turn. The Negro duo ash some fancy precision tap terping and segue smoothly into intricate challenge routines with no letup in pace. Jerry Wald’s orch cuts the show in okay style after opening with a swinging “Lover Come Back To Me” instrumental. The band’s sub- sequent workover of “Love For Sale” is, however, marred by . confusing tempos in dressed arrangement. a an over Herm. Leader also plays the show book in surprisingly sharp style. Roger Ray fills the comedy slot in excellent fashion aided by a prop marimba, mainly used for slap- stick or to enable him to lean over and get confidential with the audi- ence. He gets chuckles with his quips, some tinged, and laughs with his pratfalls. However, the audience really starts yocking it up when he starts a fake battle with the band and continues with his bit of catching an imaginary coin in a paper bag, Lewis & Van start off the act fare neatly with their terp unison work on the miniature stairs; then do some brisk challenge steps, and encore with a nostalgic softshoe, replete with strawhats, that gets the tap team off with a fast hand. Zabe. Palladium, Edinburgh Edinburgh, March 18. Billy Rusk, Aitken & Gordon, The Clanceys (2), Ramoni Bros. (2), Burgess Bros . (3), Angus Campbell & Johnny Lane, Jack E. Raymond, Pearl Whyte, Irene Bruce, Venmore Girls, Helen Fow- ler Orch. ’ Capitol, Wash. . burst of Speed in all 'the singles. Washington, March 19. His songalog is punched across for Karen Chandler, Joel Gray, Al good reception. The Negro singer Gordon, De Santos Trio ; “I Love hasnt ; changed his routines to any Melvin” (M-G). Chicago, Chi Chicago, March 20. Joni James, Ralph Marterie Orch (16), Roger Ray, Lewis & Van; “I Confess ” (WB). This two-weeker leans heavily on waxworks in pairing two con- trasting disk names and the duo should do much to counteract the usual Lenten low grosses. In addi- tion, two supporting acts are ex- cellent in-between fodder. There isn’t much letup along the way with this hour show. Both platter favorites are localites, which should add to the b.o. Joni James, who has beeri click- ing with one hit after another, seems to have all the ingredients that will make her not only a top record seller but a sock cafe and theatre attraction. However, she suffers from a v sameness in repeat- ing all her plaintive tales; a little relief in two or more tunes would be a better balance. The over- arranged “Birth of the Blues” isn’t the answer, either, as it’s too styl- ized. Naturally, this petite femme reserves her biggest hit, “Why Don t You Believe Me,” for a strong closer. Ralph Marterie is also on the top rungs of the disk ladder and, with the exception of playing two weeks a J ii e Param ount Theatre, N.Y., is still a novice in the picture houses. However, seasoning of one-night- ers and location dates makes this outfit right at home on this large ’ Grouping of five saxes, four trombones, four trumpets (includ- i n ?u e mae stro), and four rhythm with a guitar added, adds up to ? l ! c -u./ nc)r > e Power than has been exhibited on these boards in a long time. Most of the orchs that have ap- peared here lately have attempted to he jacks-of-all departments— singing groups, comedians and giveaway artists. These are just inusicians, perhaps a rarity in these times." * Ien break the curtain with a biassy “After Midnight” and then version of “In a Per- a ” Garden,” which gives the first °PP°rtunity to core with his mellow trumpet on nn ew . sol ° Passages. Band picks P again after the Lewis & Van ‘.Protend/* a sharp con- 11 i Phi mut od scoring which rin 1? h , ts A he guitar work of Dar- an< i saxman Charles i-njf/n 0 ’ both of whom get brisk rianc* the final tune the musi- ns - ^ e t back into the upbeat with nne arrangement of “Caravan.” Billy Rusk, well-groomed, erect young comedian, tops so-so vaude layout, adding considerable vital- ity to bill that has goodly propor- tion of conventional acts and sketches. Rusk, one of the upcom- ing school here, is vigorous in at- tack and wins sympathy of stub- holders via innocent comical man- nerisms and catch-phrases. In series of musichall sketches. Rusk is supported by femme chir- per and comedienne Pearl Mhyte and by Jack E. Raymond, long- time English foil. Best sketch is an oldie domestic scene with family and visitors, first in actual conver- sation, then seen as they would be if speaking true thoughts. Greater part of bill is not one to excite stubholders, settings be- ing conventional and novelty ele- ment lacking in type of fodder of-j fered. Aitken & Gordon are a kilted duo scoring in homely Scot songs, notably “The Crookit Baw- bee.” Best of support acts is that of the two Ramoni Bros., hard-work- ing terpers who put much energy into their routines. They, garner solid applause garbed in wide- shouldered style as a couple of English spivs or tricksters. More comedy from a cross-talk duo, Angus Campbell & Johnny Lane, in which former, another youthful comedian, shows much promise. Vaudery, catering to man-in-the street type of customer, is well patronized here by variety en- thusiasts starved for good music- hall In a city where legit, revue and ballet are given greater pride of place by civic heads and crix. Gord. This lines up solidly as bright, hep vaude, and Capitol crowd shows appreciation throughout. There’s less variety than usual here, but each act scores, ■ Headliner Karen Chandler, one especially in this Union Square of the newest jukebox f^ves, hds 3 neighborhood* extent for a long time. There’s ap- parently little need for it in his case since he still gets top effect. Alan Carney, who emcees, is the next-to-closer, and his comedies weave their usually good response. His windup is still the soapbox ora- tion and it gets a healthy mitting, fresh, washed-behind-the-ears per- sonality and tuneful pipes to go with it. Her voice has range, true pitch and warmth, and she sells herself on this basis. Closer is the Tokayer Troupe (6) who give the show another speed session. Their teeterboard work contains most of the standard tricks, but they’re done with pre- >«,, J| . AV1W) MUb V11WJ V* UVUW Tf 1 Vli V Miss Chandler impresses as wel- cision and showmanship. The Nick come departure from the usual Francis orch showbacks on stage, glamor and sultriness offered in Jose. the music department. Sticks to pop tunes, with accent on her own _ disclicks. Best bet is “Hold Me, Casino 9 Toronto Thrill Me, Kiss M.e,” which cata- Toronto, March 20. pulted her to top of the heap. Don Cornell, Marshall & Caesar, Also solid are “That Old Devil Lane Bros., Mind a Lang, Paul Moon” and “Don’t Let the Stars Kohler & Jain, Jimmie Cameron, Gpf in Vmir Eyes.” Get’s good but Archie Stone House Orch; “The reception from gal- Ring‘ C UA). With new arrangements of “I’m not all-out leries. Joel Gray zooms onstage to mild reception and bounces off with mo$t of the mob loudly on his side, other standbys, Don Cornell is do- His is a singing-terp routine with ing a rousing five-a-day stint, corn- comic accents.rather than straight plete with the jeans set for moans comedy. Pint-size and teenage in and squeals and later jamming the looks, he’s a cross between Eddie stage door in hundreds. Also pop Cantor and Jerry Lewis, both ol ular with the adults on suave per whom he imitates as part of act. sonality and patter, Cornell had a Material is punchy and well reception so whammo when suited to his “little guy” person- caught that he had to stay on for ality and his sizable talent. Ribs 25 minutes, including a begoff on his own youth in a novel arrange- unfilled aud requests, ment of “Do You Remember?” Singer is in top form on tempo and clowns tind bounces to delight switches from romantics to comedy of customers. Hasn’t quite hit the pops, notably his “It’s a Lie” on exact format for his specialized latter, but it’s those robust, unre- kind of talent, but has certainly quited love songs the customers made a good start, and walked off were waiting for. Jerry Carr, pit here to near show-stopping *mitt accompanist and Cornell’s ar- action at performance caught. ranger, also rates a bow. Al Gordon and his dogs raise First theatre appearance . in a curtain while the De Santos trio of year after their cafe dates, Mar- Latin terpers ring it down. Both shall & Caesar are sharing the are sound acts in their field and marquee billing in a lusty stint of do well. Gordon and his canine material new Annie Get Your Gun (FLAMINGO, LAS VEGAS) • ‘ Las Vegas, March 20. ‘ "Annfe* Get Your' Gun,” with Jhcqueline James, Earl Covert, Jack ^Rutherford, Cynthia Latham, Roy Mttton, Teddy Hart, Bradley Mora, Kirby Smith, John Dorrin, Bertram Yarborough, Kathryn Al- bertson, Natasha Carr, Patricia V r hite; Ensemble, Kathryn Al- bertson, Eileen Broderick, Peggy Drew, Jane Heyes, Barbara Slate, Jean Stuart, John Dorrin, Harry Nofel, Charles Presscott, Talmadge Russell, Robert Troutman, Bill White; musical director, Arthur Lief, director, Yarborough; chore- ographer, Roy Milton; music and . lyrics, Irving Berlin; book, Herbert and Dorothy Fields; produced by Leighton Brill & Ben Kamsler; Torris Brand House Orch; no cov- er or minimum: First of a series of tabshows de- Yours” and “It Isn’t Fair ” plus ‘rived from w.k. musicals, current xuurb ana it is>n t ran, piua t D«ni s. two-frame Leighton Brill & Ben Kamsler production of Irving Ber- lin’s “Annie Get Your Gun” will be a good test booking for this nitery mecca on the prowl for something different. Without top names in lead roles, management is also taking a close gander to find out whether pop musicom- edies can offset dwindling supply of headliners. Brill & Kamsler have a contract with the Flamingo to supply several tab versions . after October, including “Girl Crazy,” “Where’s Charley?” “Gen- tlemen Prefer Blondes,” and “On Your Toes,” but not necessarily in that order. Choice of “Annie” to begin the series was wise. Filled with fave tunes, many of which have become standards, the production has sparkle in its 80-minute running time. Dialog has been pared to department. Flor. prinl npw frn vanrfp-anprc hilt X-»I«iue ima uccu comics are a perennial fave here all predicated on their pattern of an l di- and continue to be One of most re- eye-gouging and mutual mayhem, a 9*J°f u5?? s ^ n i 1 il’ orn ? 1 n^J? 1 ctnmpd liable animal acts in vaude,, De with Jerry Marshall euphemistical- ences have to become accustomed Santos, two men and a gal, have ly playing straight man. Both a flashy routine of south-of-border youngsters are a riot in their dances liberally sprinkled with knockabout routine, plus gagged some strictly North American ada- impressions of film stars and pop gio and aero. Score neatly in mitt singers, a hilarious Cagney-Bog- art tough guy takeoff. Their nitery stretch sees a commendable loosen- ing up of their act, with Caesar showing evident improvement on timing and delivery. Howard, Martin & Florenz,' Mage diversitvb^ith^llane f Bras* onelf P lot line wlth Earl Covert’s easy- & Carr, Tokayer Troupe (6), Nick inrfn their eccentHc dancin^nd Z° in & Portrayal, of Frank Butler. Francis Orch; "Stronghold” and nMinda Lane for her no veil v voicing “The Girl That I Marry.” “ ' f«J>, Minda Lang for her novelty Segues are fast< making the st0 ry Umdd ^nn Tf^hipp thread easy to follpw as the west- m 2r/mh^>°^Ivni-ir er n yarn unfolds. Highlight is the on uic must aimmiuus iiaue vuuuc I nAfnWv°^Mfti9” ir anIT a “Qnhi?p three-way warblin? of “Show Busi- SwouW dTcredU 1 to a midc!# ^ h h te t d 0 f n d ;^Tent S f t or k a 5 £& "ta°£ 'SSf’wK ^eddy"^’ Chartfe «e tt oit«adX du oM EHra&SSF saar- and Earl coyelt as in the heart of the 14th St. shop- “ _ Terrif mood, scene of “Wild Academy of Musie 9 N. Y Al Martino (with Joe Sinatra), Sherry Britton, Alan Carney, Bob ‘Outlaw Women ” (Indies). The Skouras chain has embarked on the most ambitious nabe vaude to the different manner of enter- tainment being tossed over the footlights; therefore it takes a matter of about 10 minutes befoiy full attention is concentrated. This coincides" with entrant of Annie Oakley, performed very well by Jacqueline James, thrush- ing “Doin’ What Comes Natur’lly/' Immediate followup begins the boy-girl interest moving along the Apollo, N. Y. Buddy Johnson Orch (14) with Ella Johnson, Nolan Lewis; Lady Odiva, Jay Smythe, Emitt Slay Trio, Pigmeat & Co. (3); "Chain of Circumstances ” (Col). Tipoff to the paucity of top Ne- gro names around today to play this Harlem flagship (house has been running sans marquee power for the past month) is fact that Apollo vaude is throwing in the towel next week and switching to a triple-feature grind policy. In- person policy resumes April 3, however,, with the Ravens, fave vocal combo, headlining. Current bill is mediocre fare with only the musical sequences, whipped up bv. the Buddy Johnson orch and the Emitt Slay Trio (lat- ter reviewed under New Acts), bringing 4he 70-minute sesh to life; Johnson gears his repertoire for the pewholders and each itenpi, in- strumental or vocal, comes over whammo. It’s a high-spirited out- fit with plenty of drive and show- manship. and the sidemen make an attractive stage grouping in their bright red dinner jackets. For the ballad entries, Johnson uses crooner Nolan Lewis and lat- ter scores easily. He's got a smooth, romantic technique that builds such tunes as “Tenderly” and “Love For Sale” into socko listening. The high-powered blues items are belted out by Johnson’s sister, Ella, for okay effect. Her repertoire includes “Don’t Leave Me Now” and “Hittin’ On Me.” Lady Odiva, underwater strip- per, who shares the top marquee spot with Johnson, is reviewed under New Acts. , . Jay Smythe, energetic skate- tapster, opens the layout with a fast-paced turn. His heel-and-tap- ping on the rollers includes take- offs on the rhumba, Charleston, applejack and. mambo. Winds to good mitt with a roller-tapping stint on a table. • . Pigmeat & Co* work through some standard ' blackout sketches that please the house. Gros . ill \IIC iicai l UJ. LHC ittn ou snupr „ -11 anH rlAintr a cnnP 1CiJ ' u muuu ping section for a five-day vaude hfffself Don Cornell’?*insistence 8 Horse Ceremonial Dance receives fvna nimseil at Don l^Oineil S insistence. With fturtrnm Varhnr- semester. With the present type bills, the bargain-seekers in that area should flock to this house. It’s one of the better buys around, and one which errs on the side of lav- ishness. Booker Al Rickard has devised a catch-all card for the first try. He figured that singer Al Martino would capture the teen trade, while Sherry Britton, doubling from the 52d, St. Club Samoa, would lure the straying male patronage. The boxoffice theory, as evidenced at Archie Stone’s orch backing throughout. gives hefty McStay. Olympia* Ifia^il Miami, March 21-. Donald Richards, Roily Rolls, Raul & Eva Reyes, Bob Karl, Rich & Gibson, Les Rhodes House Orch; ‘Kansas Pacific” (AA). plaudits, with Bertram Yarbor- ough’s enactment of Chief Sitting Bull, authentic' tern flavoring by ensemble and modernized . ritual stomp by Roy Milton. Special credits for performances go to Cynthia Latham with her broad -characterization of Dolly Tate; the ebullient mannerisms of Kirby Smith as Pawnee Bill; the delightful thesping of young Brad- ley Mora as Little Jack. Also in for kudosing are specialty dancers Natasha Carr and Patricia White, with brief but neat terps.' Directing and staging by Yar- borough in conjunction with Brill Current lineup is one of the better layouts to play here in re- cent weeks, with the blend build- the attendance during the first day, i n g steady plaudits, proved to be correct, but it’s ques- Donald Richards is playing this tionable whether these two types arena professionally • for the first _ „ - . , .. . of audiences should be mixed. Of time (he was part of Special Serv- & Ka msler for the-Flamingo en- course two headliners of this kind ice unit on th g Beach during WW y irons was accomphshed without similarly result m a slower pacing n) and garne rs himself warm re- 1°® f Some spe^ could have^been_ used ception via his well-arranged group ^e?ed P]l . e ’ ro U P s^ with '^ western of tunes turned out in robust ban- neuverea props, wun wes er tone style. Mixes pops with the better musicomedy hits, with top- per the “Finian’s Rainbow” array. Roily Rolls is biggest crowd- in the forepart of the display and a consecutive run of four singles in a row averted. Aside from the general slowness of pace, it’s one of the big values 1” the entertainment Held. The p ] easer on bill with his droll ap- bill s openers, Mage & Carr, have ( 0 p ianistics. Gets them good routines which are designed £ uicldy wit £ French-accented gab for giace rather than to display j n tros to his impreshes of keyboard types, plussed by work on midget In the deuce, Martin & Florenz concer y na Sparks heavy mitting neuvered 'props, with theme idea carried out by murals flanking each side of stage. Torris Brand orch conducted by Arthur Lief works behind a scrim through- out, yet gives top support to all necessary backgrounds. Will. Cisco-Pancho’s Circuser Chicago, March 24. * • i. j -r mmnptrv Cilia. Qpaiaa ucay^ luiinug Duncan Renaldo & Leo Carrillo although some b of their character- with easy effective approach to his (Cisco Kid & .Pancho) have been T?n routine. Had them all the anri — j i-_„ v^i,* ranle^see^rlil^outdated 1 ?he -could have stayed on longer atch-a-cha routines seems like a recall of the ’20s. Martino doesn’t always, hold a note in its proper frame, but the net result is fine as far as b.o. and crowd reaction are concerned. His big number, “Here in My Heart, gets the greater share of the routine. Had them all the way and | s ig ne d as headliners for the Cole m , , . .. „ ...... Bros. Circus Chicago stand, April .Terp slot is solidly handled by 7 to jyj ay 3 Raul & Eva Reyes, regular re- Te j e ^ uo augment the saw- turnees to this ljouse. They're still b ( jth thcj own wester n handling their zmgy Latino rhyth- mic ideas in fresh manner and are s ow< socko when they hit into their now standard “Shoeing the Mare.” Bob Karl undertakes a heavy 'Circus Time' Exhibit New York Historical Society will Dlaudits C “WhlT Don’t *You Believe ventro assignment in utilization of hold a “Circus Time” exhibit at its mv’ aicn ensile iic effect on the four dummies. Exchange of voices quarters starting the first week in younger element. a ^ on ^ the group becomes confus- April, timed for the April 1 open- Britton does a tasty song in 8 at times. Overall, comes off i n g of Ringling Bros, and Barnum younger Miss and dance, latter accompanied by the gradual shedding of raiment. It’s all on a modest basis, espe- cially with current legislation In effect Miss Britton shows a good voice to warm response, Elimination of one or two of the wood-partners could add to more solid build. Rich Gibson round out mat-1 ters with their marimba and xylo- and'* also everything "else I phone bits.. Stint is spun out in & Bailey Circus at Madison Square Garden, N. Y. Display will in- clude posters, paintings, picture* of noted performers and freaks and other bits of circusiana. (hit's Dermlssible Her‘results smooth and showmanly fashion to , Circus clown Emmett Kelly Is entirelv^^ satisfactiry in iill Vcc- earn them healthy returns. Les slated as the subject of a press lo- tions satlslact y ' Rhode house orch backs the pro- terview at the Society’s headquai- Bob Howard gives the major ceedings' in apt style. Lary. J ters AJpril 3. ~a