Variety (April 1953)

70 NEW ACTS VSJettfiTr Wednesday, April 29, 1953 ► GREGORY RATOFF & SUSAN ZANUCK Comedy, Songs 44 Mins. El Rancho Vegas, Las Vegas Known for his scrambling of English in thick Russian dialect, screen actor-director Gregory Rat- off shoots an overdose of such gab in his new nitery venture, but without enough solid material. Gives big buildup to “niece” Susan Zanuck for her first wing into song, although initial flight is far from smooth. Ratoff wastes time at outset in nowhere chatter before hitting big with “Lament To Dice.” He keeps momentum by followup story rich with linguistic malapiropism good for.yocks. Brings Miss Zanuck on at this point. The plumpish blonde daughter of 20th-Fox chief poobah, Darryl Zanuck, has limited vocal quality, but shouts eagerly a special “Tough To Be The Boss' Daughter,” infer- ence being she’s related to famed boss of that West Pico empire. Ratoff returns to chin a bit before sending her off to change costume for funny sketch which saves latter part of the show and the act. A lampoon on Italian art films, call- ed “La Forza,” has melodramatic hoke, spoken lines in Italian, but English substitles raised in place on back of set. Miss Zanuck revs up tempo with ‘‘Give Me a Man Who Makes Music” in bright fashion, terps a jitterbug fling with Joel Friend. Ratoff enters - as roly-poly zoot- suiter complete with oversize cap for good sight finale. More attention to detail and proper approach to problem of nitery demands could make the act pay off better. As is, it’s hodge- podge, in spite of Ratoff’s funny antics like luggin a mike around strangely resembling an old-world Joe E. Lewis. This, however, was accidental at show caught, but turned out to be a very funny piece of running biz. Musical ac~ comps are impeccably stroked by Hal Schaefer at the Steinway, Miss Zanuck was given last-minute coaching by Billy Daniel, but will require much more to override present talent. Will. JEROME COURTLAND Songs 25 Mins. Hotel St. Regis, N. Y. The St. Regis’ Maisonette, with the booking of Jerome Courtland, keeps its franchise on its ability to handle masculine performers. They’re comparatively rare here; previous male entertainer to pre- side in this room was Russell Nype. However, Courtland is no stranger to the Maisonette. He substituted for his ailing wife, Polly Bergen, a couple of years ago. This previous briefie prob- ably serves him in good stead in knowing how to handle this en- gagement. He previously appeared in-"the short-lived legitei*, “Fla- hooley,” and was In the film, “Sunny Side of the Street.” Caught on his second night out*, Courtland spoke briefly between numbers on his errors during his S reem. This Smalltalk, although aving a tradey flavor* had suffi- cient appeal with fhe customers to enhance his standing With them. He’s a tall and handsome chap and seems to be endowed with a voice that bespeaks lots of time with teachers. His technical aspects are on the plus side, but impressing the St. Regis .set best is his charm in handling of tunes. Indication of the attention he- receives is his ability to draw laughs with “When I'm Not Near the Girl I Love,” from “Finian’s Rainbow,” and “Where Is the Life That Late I Led,” from “Kiss Me, Kate.” Both are fairly old, but he manages to Infuse freshness and some added humor into these tunes. Courtland has knit together a good- act. that encompasses an ex- cellent balance of rhythm, ballads and a couple of offbeat tunes such as the humorous items. His expo- sition is careful. He shows a polished turn fully capable of maintaining interest during his 25-minute stand. Other tunes in his catalog comprise “Where or When,” “Pretend^ and “Can’t Help Singing..” His magnum opus, which he uses for a closer, is an effec- tively done “Slaughter on 10th Ave.” Although the song seems like a shotgun wedding between Richard Rodgers’ music and a set of lyrics, the customers went for it. The imagery is Rodgers’ music plus the memories of its exposition in the stage arid screen versions of “On Your Toes” are too strong to be approached by the words. None- theless, it’s a dramatic closer for him. Courtland is further aided by the piano accomps of Jack Kelly and the Milt Shaw band. Latter crew mickeymouses its catalog into strong attendance on the dancefloor and the Horace Diaz crew provides effective rcljef VAN JOHNSON Songs 21 Mins. Sands, Las Vegas An immediate click with Vegas hoop-de-doers, Van Johnson shows potential that should make him a big draw in any cafe or theatre. Some material will have to be changed, but since he has two of the best—Ben Oakland and Don Raye—to whip up specials, this will not cause any headaches. Appear- ance is great. Looks young, full of vitality in his white dinner jacket, dark trousers and trademark red sox. Opening ditty is a good wedge for this spot, containing explana- tion of why the jump into niteries, “Back Where I Belong.” With a lot of know-how, sets up engaging chatter sans stilted domedic man- nerisms between tunes. Gab Is humorous, delving into film love scenes, rib about his wife, Evie, and distaffer foibles in general. His “Come Rain Or Come Shine” is fair. Has a tendency to pitch every- thing too high, in a way nullifying final measures, since he goes for paramount finishes. Contrast comes with narrative about Hollywood greats of the past, segueing into saga-song of new stars coming up with “Old Actorls Dream.” From this high spot he goes into “Too Marvelous For Words,” during which he breaks up the place with hoofing and exhibit of vaunted red sox. Great windup has him begging off every stanza. Full credit for excellent- backing of the Johnson debut goes to Buddy Bregman, arranger-maestro, Morty Jacobs at the 88, and Jack Berger, thumping rhythms on timbalis. Will dansapation. Jose. 1 BETHE DOUGLAS Songs 20 Mins. Club One-Two, Toronto Dallas*-bom- Bethe Douglas, an Arthur Godfrey “discovery” two years ago and latterly a pro, is playing the towfl’s top posh spot and is over nicely on well-man- nered appearance and delivery the socialities seem to want. Titian gal, in pale green reveal- ing gown, uses a unique whisper style in most of her numbers, but her gentle diction still carries with fine effect to the back of the room. Paradoxically, she uses no volume propulsion, but her song style is governed by that low and vibrant delivery and disciplined phrasing, plus a breathless Intimacy that holds close attention of tjie din- ers. Label it a class act for .a dis- criminating clientele. McStay. TERRY HALL Ventriloquial 9 Mins. Palladium, Londop Ventriloquial acts are common enough but this British youngster shows above-average promise. There are no visible signs of lip movements and his delivery is smooth and fluent. The one dis- cernible fault in weakness in script. The talent is there in generous measure and there are obvious laugh angles to be obtained from the gimmick of using a belligerent Irish dummy. But the patter oc- casionally falls flat His skill is best demonstrated is a first-class duet of “Old McDonald Had a Farm” * with intricate lyric per- formed in flawless style. Already a safe bat for vaudeville and should ;soon qualify for the nitery circuit, Myro. FOUR FRESHMEN Songs-Instrumental 15 Mins. Birdland, N. Y. This combo is youthful, brisk and inventive. Unlike the current crop of vocal 'teams which have been breaking throitgh Via the wax route, the Four Freshmen eschew the frenetic pop»mannerisms and accent, instead, style and mu- sicianship. They build interest steadily and once the listener is captured, the grip never loosens. Repertoire is grooved along the rhythm & blues line with hints of progressivism, but it’s okay for pop display in vaude and tele guest shots. However, they’re best suit- ed for intimery work’ especially jazz locations. They’re a standout crew both in- strumentally and vocally. Arrange- ments are at ,all times lively and interesting and each man is given ample opportunity to get in solo licks. Group is comprised of Hal Kratzch, who triples on trumpet, mellophone and bass; Bob Flani- gan, trombone and bass; Ross Bou- ber, drums and trumpet, and Dan Bouber (Ross’ brother), handling the guitar and vocal chores. , Best in their repertoire are “Black .Coffee,” “Dry Bones,” “It’s A Blue World” and “The Day Isn’t Long Enough.” They racord for Capitol. >GTorf. , * ( EDDIE BRACKEN Comedy, Sang* 23 Mins. Last Frontier, Las Vegas Although he’s been around doing personals for some time, including a three-day jump-in at the Fla- mingo a couple of years ago, Eddie Bracken has been without an act. The one he devised for his first House Reviews Continued from page 69 <7 Palace, IV- of risque gags that tend to lean to- locally at La Vle° en Rose, occupies ward the banal, . For a change of thX TiPvt-tn-r»ir»Qinff ciot Anollon pace they toss in an occasional The one he devised for his first ” some nlw materM and song which is belted out in the display at the Last Frontier has gtbSuSs some new material^ ana e uninhibited style affected by «»£ S-S&JS smoothly, tedLJs that the,ref- this mixed combo While hardly iwlen Rhnidd aim for “ ^ ent variation of his act Win be suitable for the family trade, the Slacken should aim for. bls best working W ltll turn finds ample applause Ifom Right now, he’s a little tradey, have f ne Gustafson, who has been stallholders, with pantos, jokes, et al, based with him previously and a cow- Aside from backing the show within a special tune, “Next To g ir £ ElainaOrtlieb. The combina- well, Hawkins’ outfit sends ‘era Closing,” Goes through pantos of £ ion ’ of a heavy Russ accent and a with a spirited “Love for Sale.” fighter, baseball team, and a rather cowpo i ce twang is incongruous Skinbeater Sonny Payne also macabre doctor-patient scene. His enough to be a Solid comedy peg. stands out in an instrumental piece biggest yock comes, strangely Jft us ically, Apollon is in top shape, aptly tagged “Drummer Man.** enough, from a very suggestive story, although he is known as a “family” comedian in pix. Latter could be the role in niteries as well as on the screen. Should toss out the negative intro, get with the positive biz of estab- lishing the Bracken personality closer to that which his audience expects—and he’ll have his setup rolling. • Will He’s off to solid plaudits. Leading up to Apollon are Tip- py & Cobina, a charming monkey act. Manuel & Marita Viera are the simians’ handlers. They show ! off their charges expertly and get ] a continual flow of laughter. Top- per is the organing of “People Gilb. Will Say We’re in Love” b^ one Empire, Glasgow Glasgow, April *25. Allan Jones (with Don PJiillips ), Leslie Randall , La Celeste (2), Hackford & Doyle * Eddie Gordon Sc Nancy, Walthon & May, Cooke’s Harlem Trying Continued from page ing tge 59 - ■ - ■- of the animals. They, get a highly Pony Revue . Doreen & Sylvia appreciative mitt, Stephens, Bobby Dowds Orch. Also among the comedy novelty ... - a€} .... ^ line are Frank Ross & Anita La Allan Jones, on sixth time here, Pierre. It’s also a solid turn all scores with charming smile and the way through. Ross’ vocal im- voice, being contrast to recent run presslons of instalments and Miss f v s sInger3 at this vaudery. Pierre’s singing to Ross’ ac- ” , . , . V,. V. ^ ps make for a pleasing session. His repertoire Is carefully chosen s Buster to appeal to most age groups, rang- Shaver & Olive. It’s a dance act ing from “So In Love” (from “Kiss Only Make Believe” La comps in that area to bring the white trade. The only spot where names go is to the Apollo Theatre, which | comprising a standard-sized gent I Me Kate”) to gets a periodic date from top Negro names. There’s an undertone of bitter- ness in the disentegration of Har- lem as an amusement sector. Un- derneath the evident decline of the area is the feeling that tolerance Fort Lee, N. J., last night (Tues.); Dorothy Dandridge recently played I, La Vie en Rose; Billy Daniels is a Copa regular; Ink Spots and and brotherhood have become' a one-way road leading top talent here. The act wherein he puts a and customers away from Harlem, nervous bystander through aero Lena Horne opened at the Riviera, Paces works up ta a good laugh and a diminutive dame. Their (from “Show Boat”). Established ballroom work has Its quota of ap- singer gains special mitting for his peal. Olive sings a couple of Gershwin medley and ends, as al- songs. The act goes over in all de- ways, with his famous “Donkey partments. Serenade,” gagging that he’s done Ladd Lyon has also changed his this so often it’s a wonder he’s not act somewhat. He now fetches a sprouting ears, girl instead of a boy from the He’s accompanied at 88 by audience. Otherwise it’s the same Don Phillips, w.k. English pianist- turn and gets a response a little composer, who gets spot of his own different from his previous trips during Jones’ act to play his com- session. Del Ray has worked cafes lo- cally, This magico, last seen at Leon A Eddie’s, has an expert line of tricks. He has a setup that ap- Nicholas Bros, are at the Bandbox Pa re ntly takes a lot of preparation His tricks go off smoothly. Ray palms cards, clgarets and shows a good line of bafflers. The Congaroos (4), two Negro couples, jitterbug their way into audience favor to op"en the show and Howard Sc Wanda Bell, in the closer, are an extremely versatile aero turn who show, proficiency In and Sarah Vaughan is at Birdland. With these stars go the Harlemese customers. It’s fashionable to take in an evening downtown—it’s a violation of state laws to refuse service to any person because of color. Consequently, the monied citizenry are drifting to the Broad- way spots and there isn’t a com- pensating flow of white patronage to Harlem. Don’t Want ‘Old Days’ Yet despite the serious damage that may Ue underneath the elimi- t nation of Harlem as an offbeat amusement centre, there isn’t a single operator who would return to- the old days when a Negro could position, “Concerto in Jazz” at the ivories. Leslie Randall, young English comedian and impressionist, is best of J;he rest on a reasonably satisfy- ing bill. Already a click on quick trip to appear on U.S. video (Ed Sullivan’s “Toast of the Town”) last fall, Randall, a tall, slim youth, wins warm mitting for comedy cameos of various persons smok- ing cigarets, shaking hands, etc. Performer has easy, relaxed style with sfubholders, and looms . a3 good bet for U.S. nitery and vaude. More humor from a silent clown, Eddie Gordon, who has leering, UVA V II MW V (. V*1WAV11VJ AM » « • . - _ many lines. This well-appearing smirk in make-up and a revealing duo are expert at hand-to-handing and teeterboards. They’re off solidly. The Jo Lombardi house orch showbacks nicely. Jose. Apollo, IV- YV Sarah Vaughan, Erskine Hawk • ins Orch (14) with Lu Elliot and laff when his brunet partner, Nancy (a tall, slender looker), walks on. His work on a comedy bicycle with handlebars detached from frame rouses yocks in last- before-interval act. Hackford Sc Doyle provide more comedy via crosstalk and music. Walthon Sc May are a couple of athletic male trampolinists balanc- ing on each other’s head for top . .. . , - . . . ... . Sonny Payne ; Apus St Estrelita, _ __ —_ „ be discriminated against without Stuffy Bryant, Gordon Sc Gordon ; effect. Doreen Sc Sylvia Stephens, recourse to law. It’s a forward “Untamed Frontier” ( U-I ). with terping and accordion playing. stride tor their race and they would have the difficult job of opening be the last to want that protection Sarah Vaughan, who recently re- both segments of the bill. eliminated. S” ed *2 ^ *or strong moppet and femm. Thus Harlem is being forced to European tour, tops the bill at the interest there is Cooke’s Pony Re- play the angles. Whether the sec- JJJ™* <£5?., ,.§5? a s °’ vue >- trio of animals working to tor will pay off with its switch hit- good tirain £ under strong direc- tors remains to be seen. The belt ^sestte shoV^SuriportSe turns C fem ™ e mentaUst, has always lured the °fays with its Steaded by E?sktae Slwktas’ ^“tabLltos^wMe he^ msdf uo„ y S; & Est a reiHu * comedy du<i o£ Apus tSS*? some attention to the area. Jj*?***j*^ baf^f gSS&JZF ™cu™y At any rate, Hkrlem has its problems, .one being common to rii<:hPQ I ? nd faring. Audience participation dishes out a half-dozen tunes | i s negotiated smoothly, only vol- every othe? nitery operator in the ^s" being drawn‘fttotSe act he? repert^re the ittfer number Do h wds h ho ^l ° 1C 5 lucky with an 7 act and d l ’” g t stm adds ud to a sock showniece Provides good showbackiiig and name, then the performer is iosi But desriite the solid salvos sho - — - to them forever. Once they get to elicits from the audience, it would Lai } 8 ^yne vaudery is in current be known/ many consider it a loss be decidedly refreshing if at least cycle of male singers, Johnnie Ray of prestige to return to the spot dne song were warbled straight ? nd Alla n Jones being followed in that .started them. And if there was sans the tremolo ' *ere by British singer David the desire to do so, then what, Har- lem boniface could pay four figures? Public Housing, Etc. The cafemen frequently have the feeling they've been deserted not Inhere Hughes and America’s ~BiIly Dan- iels. Gord, Danny Kaye Continued from page C6 With three rhythm, five reed and* as many brass, the Hawkins com- bo gets the sesh off to a breezy start with the “Down Home Jump. It paves the way. for willowy Lu Elliot, who thrushes an acceptable .. .. . . . A v - ‘‘Begin the Beguine” but is a bit only by the palefaces, but by their too strident in the upper registers own race as well. The latter hurts with “Hold Me.” worked with Kave in nearlv an his them most. Some think that the ^Gordon & Gordon are a coyple vaude iaunts during the na^few new large public housing projects lanky song-and-dance Sen ™“ de . may eventually help a few spots. routines adequately meet Influx of white collar workers and house’s requirements. Most of lesser rent costs, which would en- , ir ens ue via the 'de- able residents there to indulge in Y-? of twisting an imaginary radio a few luxuries, would hpln mnnv dl , Fro?* a low point reached on a few luxuries, would heln manv * rom a low point reached on families taink'a7ong lines o? °* “ Tutw evening out. That’s still a nebulous to some extent with the^evltable years. Fran Warren provided a sensitive touch. Her singing shows style, excellent tune choices and expert delivery. Darvas Sc Julia are one of the more spectacular dance acts. Kaye fcaid for this excellently plotted bill. Under terms of his contract, he pays for the rest of the show, the Jo Lombardi band: theory not borne out by facts. impression of Johnnie Ray’s “Ciyl But until something definite hap- Off to a fair reception. pens and prosperity of the ente?- . Stuffy Bryant holds down the Sammy ^raTer ° h^TccomnS 1 tamment industry in Harlem be- hoofing slot. Stocky lad opens de- ni tnt comes a positive fact, the nightclub ce Ptively with an okay vocal of SP? a + P° r ^ 10 ^ ^*he house ads. owner, if he’s to stay in business, ‘‘Oestin^tion Moon,” but shifts into which 3 ^ t??*? has got to look for new angles If ^ast stepping atop a cylindrical got $456,036. Its ad- one doesn’t work out, more will His routines are accom- nnttedly a_lot of loot, but the Pah come Thev’ll he trdSrfw . panied by a fair line of patter. On ace was glad to pay It and would tong time to restore thS neighbor the -.whole, he dishes out okay foot- have continued to shell out toore lung ume io resioie tnat neighbor- work that earns solid returns. of Ranip hn<1 hnnr? tn ifc | aona returns. i of same had not picture, commit- Woy.wajM* -