Variety (December 1954)

46 Wednesday, December 29, 1954 House Reviews Marx, conductor and director of the Mack tv show, batoning the { house orch tiered onstage. Music Hall, IV. Y. Leon Leonidoff production of “The Nativity ” and “King Krin- R le” unth Shir lee Emmons, Norman fyatt, George Sawtelle, William Upshaw, Egar Powell, Shellie Far- well, Ramses (4), Eric Hutson, Marlys Watters, Clauson’s Bears. Glee Club (directed by Raymond Paige), Corps de Ballet (choreog- raphy, Florence Rogge; director, Margaret Sande); Rockettes ( cho- reography, Emilia Sherman), Ray- mond Paige Symphony Orch; Deep In My Heart" (MGi re- viewed in Variety Dec*J, '54. During the Christmas week, when the schools are out and New York is flooded with visitors, the Radio City Music Hall is probably the top attraction in the city. The only institution that exceeds the Hall’s gate at this time is the N. Y. subway system. The esteem with which this an- nual presentation is held by all and sundry is seen by the fact that the queues around the house are prob- ably the longest in theatrical an- nals. Many regard a trip to 4he Hall during Christmastide as a must. The annual presentation of “The Nativity” is perhaps the ma- jor lure here. This superb blend of music, pageantry and narration has an eleyating feeling for many. For this many wait as much as three hours in line, and they are rewarded with one of the most im- pressive theatrical tableaux around. The vocal solos by Shirlee Emmons and the narration by Norman Wyatt contribute to the unity of the presentation. And after this excursion into reverence comes a frothy and frivolous tribute to the Yule sea- son. Leon Leonidoff, who has f iroduced this session, has fash- oned an imaginative show. The Corps de Ballet, working from a choreographic blueprint by Flor- ence Rogge, has a pleasant routine with Shellie Farrell providing- a picturesque solo. The costumes during this number draw applause as the skirts form poinsettas. It’s one of the top segments in this cession. As always, the Rockettes work with their w.k. precision to draw top plaudits. In this Emilia Sher- man-designed routine, the Rocks depict toy soldiers to “Babes in Toyland” music. The charm of the routine is evident at all times and when the girls kick through to the finale, the applause hits jackpot proportions. The Glee Club adds a chapter on the light side with a variety of tunes for good effect. George Saw- telle. William Upshaw, Egar Powell, Eric Hutson and Marlys Watters contribute to the proceed- ings.. The outside talent does excel- lently here. Novelty inherent in The Ramses, three men and a girl, doing some heavy aero work, brings out maximum response. The chief switch of this act lies in the fact that the girl is the understand- er and she, at one point, supports three huskies on her frame. Their tricks are sufficient to bring spontaneous applause at various times during their act. Clauson’s Bears provide another novelty note. The animals are paced by a lively blonde who works along with the future rugs and gives the act a lively pace. / Raymond Paige conducts the orchestra with his usual profi- ciency. As always, the Hall’s technical facilities contribute hand- somely to the excellence of the show. At times, it seems that the stage can do a terrific juggling act by itself. Maybe Leonidoff and Russell Markert can work it out. Jose. Casino, Toronto Toronto, Dec. 24. Ted Mock A His Amateurs, with Lloyd Marx; Ronald Sweetz, Danny McKinnon, Benny Brown Jr., Peggy Jo Stewart, Teddy Block, Theresa McMahon, Vis- counts (4), Ed Neily, Sam Petrou, Tony Russo, Freddy Hallette, Fay McKay; Archie Stone Orch; “Al- giers” (UA) (reissue). With most of the youngsters on school holidays, including a male teacher, this is a one-week get- together rounded up by Ted Mack from his tv series, plus three To- ronto acts who survived a three- day private auditioning of some 550 local applicants. The 70-minute stage stint, showcased for a week only and then to break up, is breezily emceed by the personable Mack and notable for his clear enunciation of names, with Lloyd On a four-a-day basis, the show has 12 acts, with all expertly cut down to short appearances, and whole run off at top tempo. It’s a pleasant novelty that is doing hep biz on holiday mood, with the cash customers not too critical, thanks to Mack’s handling and the youth of the amateur artists. Obvi- ously, most of them are lacking in trained showmanship values, but some of the youngsters portray plenty of potentiality. Outstanding and over to ova- tions are Danny McKinnon, the schoolteacher, for tenoring of “They Called It Ireland” and “When Irish Eyes Are Smiling”; the neat, self-taught tap dancing of Benny Brown Jr., a young colored hoofer; Fay McKay, a port- ly brunet, who hits plenty of high notes in her warbling and packs a wallop with her ‘‘Wheel of For- tune” finale, all to her own piano accompaniment, and Freddie Hal- lett, a one-legged tap dancer, who also manipulates his crutches for comedy airplane swoops. Other acts over with the holiday-mood payees include Ronald Sweetz on accordeon for a "Bumblebee Woog- ie” finish; Peggy Jo Stewart, in cowgirl outfit, for some yodelling to her guitar accompaniment; Teddy Block for vocal effects of a blitz, a dogfight and jungle sounds, including trumpeting elephants; Theresa McMahon, a young trum- peter who doesn’t read music, and over on a “Tiger Rag” finale; The Viscounts (James Drover, John Little, Bob Taylor, Frank Little), a singing quartet, for “Organ Grinder’s Swing”; Ed Neily, for voice impressions of film stars; Sam Petrou, warbling “Granada,” and Tony Russo, in service station coveralls, getting tunes out of a fire-extinguisher, a tire pump, and a “Stars and • Stripes” finish squeezed out of an inner tube. Me Stay. Apollo, N. Y. Joe Loco Band (5), Four Guys, Sonny Stitt Orch (12), Little Wil- lie, Othella Dallas, Magid Triplets, Pigmeat A Co. (3); “Drums Across the River ” (U). The Apollo’s holiday show this sesh is the usual mixture of music, song, comedy and dance. It’s a festive blending in the last half of the bill when headliners Joe Loco and The Four Guys take over. Loco’s group is one of the top mambo crews around -today and the boys whip out a flavorsome potpourri of chile rhythms. Sparked by Loco’s expert key- boarding, the segment rolls with a peppery beat. Best in the rep- ertoire are “Jingle Bells Mambo,” “Flamingo,” featuring Pete Ter- race on the vibes, and “Cha Cha Cha.” spotlighting Bobby Flash’s bongo work. The Four Guys are a standout vocal group. The two ofays and two Negroes hit a neat harmony pace on the sprightly rhythm stuff as well as the romantic ballad items. They make a flashy en- trance with a rocking “Tonight’s The Night,” then segue to a sincere reading of “I Believe.” After that comes a well-balanced songalog consisting of “Organ Grinder’s Swing.” “Ebb Tide” and “Zing Went The Strings of My Heart.” Closer, tagged “School Days,” shows the ofays as slick in- strumentalists (piano and sax) while the other two display some slick terp trickery. The Magid Triplets are ofay juves with a showmanship flare. The lads, effectively garbed in blazers, score with old-fashioned strutting and vocalizing of “Dark- town Strutter’s Ball,” a takeoff of George M. Cohan and a naval rou- tine. They just passed their eighth birthday but they hold the aud like vets and work to a solid begoff. Othella Dallas is a looker with an engaging piping style. At times she gets a bit too mannered in her delivery, but in all it’s an okay stint. Does well with such varied tunes as “Girl From Memphis,” “Vous Qui Passez,” “Lo Ultimo” and "I’ve Got A Right To Sing The Blues.” Pigmeat and his two aides have some fun with a blackout about a hustling Santa. Sonny Stitt swings strongly in such numbers as “Stitt’s It,” “Pink Satin” and “Sonny Sounds.” Stitt's sax leads the three rhythm, five brass and three other reeds. Little Willie, a terpster making his Apollo how, is reviewed in New Acts. Gros. Palace, N. Y. Kovacs (4), Stuffy Bryant, Leo- nardo A Anita. Michael Chime* (5), Sibyl Bowan, DeMattiazzis (2), Frank Marlowe, Four Comets, Jo Lombardi Orch; “This Is My Love” (RKO), reviewed in Vari- ety Sept. 29, ’54. The Palace has fitting holiday fodder for this semester. With the kids home from school, there’s big boxoffice, and at a time like this, Danny Friendly has yisely extend- ed himself in getting a topnotch bill. Bulk of the turns have worked this house previously and most of them comprise those that have been hits. One of the timely factors lies in the preponderance of comedy and turns using comedy. With the hol- iday spirit around, there can’t be too much of this on the bill. For example, Frank Marlowe, who has played this house several times, scores heavily with his prattfalls and talk. He still shows the ten- dency of using a lot of trade gags best appreciated by the orchestra and the agents in the house, but the larger portion of his gab is ap- preciated by all and sundry. He gets off to a hot mitting. Another fine comedy turn is Si'byl Bowan, a vet impressionist with a fine gallery of characters. Miss Bowan is an excellent oper- ator, working smoothly and provid- ing a generous sized act. Her king- sized running time is appreciated by the audience. Leonardo & Anita, a ventrilo- quist turn, is an essentially clever bit of technical manipulation. Male handles five dummies simultane- ously, and has a good gimmick whereby he draws a face, which becomes a talking character. With some sharper material, this act could hit some tall coin. Stuffy Bryant has a good dance turn. He works atop a drumlike platform, and knocks off some good slithering movements. Some of his tapping could be edited for sharper effect, but he still hits a heavy re- sponse. Michael Chimes has a pleasant family act. Chimes and three small sons, whose top age is 12, play the harmonicas in solo and in tandem, and his daughter accomps. They work very well and hit a top with a collective effort, “Tiger Rag.” The DeMattiazis, doing their doll act. continue to hit fine audience response. It’s a good novelty of a dancing doll which gets periodic refurbishing and the audience takes to it avidly. Closing are the Four Comets, four youthful girls in a tumbling act who throw in some trick for- mations. These fresh-looking kids still need to iron out their rough- spots, but they have the base of a good turn and go over well. Jo Lombardi has worked out a good Yule overture which gets ap- plause. The New Act this session is The Kovacs (4). Jose .. Unit Review London Palladium .Show (Prince of Wales, London) London, Dec. 21. After 34 weeks’ run, show has been transferred to the Prince of Wales, to make room for the Pal- ladium’s annual pantomime. Other- wise, it could have stayed on for several more months till the vaude- ville season, due sometime in March. Despite the Wales’ stage being half the size of the Palladium, crew managed to transplant the entire scenery with good effect. Small- ness of Wales, in comparison to the Palladium, has proved to advan- tage of Norman Wisdom, th£ chief comic of the show. House is more intimate for his type of comedy to get across. 'Changes necessary due to panto season has Fayne & Evans replac- ing The Three Monarchs, and Jean Bayless subbing Fay Leonore. Flor- ence & Frederic, Continental ada- gioists, have also been replaced by James Upshaw and Lydia Kuprina, Americans. Fayne & Evans, vaude populars, rely mainly on a series of comedy takeoffs of current personalities: Offering is well received. But as show is to a good extent built for the kids, act is not suitable for their consumption, being more for adults. Upshaw & Kuprina turn in per- fect ' adagio work, with femme partner not enhancing offering by her stern look. She would help much by relaxing. Otherwise, they are okay. Other feature acts transferred from the Palladium are Walter Dare Wahl, Schaller Bros., Bob Williams and the Peiro Bros. They go over even better at this smaller capacity house, with Williams and his pooches a standout both for the kids and grownups.- Rege. VARIETY BILLS WEEK Or DECEMBEK tf Humoral* In connection with Mils bolow Indicate oponlna day of show - whether full er split week Letter In parentheses Indicates circuit. (1) Independent; ft.) Leewi <M> Masai <P> Paramount; (R) RKO; <S> Stoll; <T> Tlvell; <W> Warner NSW YORK CITY Music Hall (I) IS Shirlee Emmons George Sawtelle William Upshaw Edward Powell Shellie FarreU Eric Hutson Clausons Famous Bears Ramses Rockettes Corps de Ballet Sym Ore Palace (R) SI Bomb Busters Capt Shaw & Bobby Theby Sis Martin Bros Wallis Sc Car roll J Valentine A R Larry Best Co CHICAGO Chicago (P) 31 Julius La Rosa Kitty Kallen Gary Morton P Lawrence A M AUSTRALIA MSLBOURNl Princess (T) 17 Jean Sablon hr Is Cross uss Brox St Myrna Ron Parry 3 Hellos Irving Sc Girdwood Eddie Lynn Dale Gower Show Girls Dancing Boys Dale Gower Patricia Raye Helen Stocks Shirley Murphy Jennifer Eddy Eddie Edwards Mel CliiTord William Eastham Robert Herbert Lewis Jacob Tivoli <T) 37 Roy Barbour ~ T Fontane St K Vaughn Margaret Brown Julian Somers Nina Cooke David Eadie John Bluthal The Chadells Arthur Gorman Tan Field Maureen Helman Helen Walker Jean Ross Tivoli Celebrity S Tivolovlies PERTH His Malestys (T) 37 Michael Bentlne Buck & Chic 2 Myrons Seyler Heylen Max Blake Irene Bevans Beryl Carline James Blake Phillip Edgley Ronald Graham A McLean Val Cobum Paula Cantello SYDNEY Tivoli (T) 37 David Hughes Howell & Kadclirfe W Latona & Sparks Francis Van Dyk Jenny Howard Jim Gerald Balcombes Billy Andros Ronnie Shand Robert Burns Tom Toby Dawn O’Connor Wendy Burr Betty Linke Dancing Boys Cabaret Bills NEW YORK CITY BIRDLAND Count Basie Geo Shearing Sarah Vaughan Lester Young Jimmy Rushing Bon Soli Tony A Eddie Jimmy Daniels Blue Angel John Carradine Pat CarroU Mort Sahl Susan Johnson Bart Howard Jimmy Lyons Trie Chateau Madrid Ralph Font Ore Maya Ore Belmont Plata Joan Bishop A1 Castellano John Barney Hotel Ambassador Quintero Ore Sarkozi Ore Hotel Pierre Denise Darcel Stanley Melba Ore Copacabane Frank Sinatra De Marco Sis Joey Bishop Bob Sweeney Peter Conlow Jean Stevens M Durso o»c Frank Marti Ore Gale's Alan Gale Jackie Heller Warner 4c McGuire Larry Foster Teddy King Ore No. 1 Fifth Ave Bob Downey Harold Fonvllle Hazel Webster Hotel Plaza De Marcos Jenny Collins Ted Straeter Ore Mark Monte Ore Motel Roosevelt Guy Lombardo Ore Hotel St Regis Rosalind Courtright Milt Shaw Ore Ray Bari Hotel Statler T 4c J Dorsey Oro Hotel Taft Vincent l.npez Ore Latin Quarter Wiers Bros Chiquita 4c Johnson Bss Sheva Ashtons Debonairs Jet Sharon Ralph Young Piroska Art Waner Ore B Harlowe Ore Le Ruban Bleu Julius Monk Norman Paris 3 Dorothy Louden Melita Little Club L’Apache Faconl Jules Kuti Rudy Timfield Two Guitars Kostya Poliansky Misha Usdanoff Lubov Hamshay Aliys Uno Versailles "Bon Voyage" Paul Cray Louise Hoff Tommy Wander Margaret Banks Rosemary O'Reilly Carl Conway Betty Colby Ann Andre Rain Winslow Danny Carroll Danny Desmond Don Dellalr Jim Sisco Salvatore Gioe Ora Panchito Ore Vienntse Lsntern Helene Almee Dolores Perry Bela Bizony Ernest Schoen Paul Mann Charles Albert Village Barn Hal Graham Senna 4c Gyle Jack Wallace Givens 4c Ferris Mary Ellen Trio Larry McMahan Piute Pete Waldorf-Astoria Jose Greco Dcrs Nat Brandwynne Mischa Borr Village Vanguard Stan Freeman Sylvia Syma C Williams Trio CHICAGO Tommy Dugan Charley Foy Mary Foy A Browne Ore Crescendo Arthur Lee Simpkins Choo Choo A Arlene Mocambe Mary McCarty Paul Herbert Ore Joe Castro Four Moulin Rouge Frank Libuse Margot Braader Szonya CD Mias Malta A Co Doubledaters <i) Mme Ardelty Jery LaZarro Ffolllot Chariton Tony Gentry Gaby Wooldridge Luis Urbina Eileen Christy Bob Snydsr Ore Statler Hotel Ella Logan Skinnay Ennis Ore MIAMI-MIAMI BEACH Clover crub Sherry Britton Lula Torrens Betty Ford Tony Lopes Ore Selma Marlowe Line Woody Woodbury Leon A fddle't Lois De Fee Toni Rave Rose Ann' Rita Marlow Charlotte Waters Nautilus Hotel Larry Storch Antone A Ina Sid Stanley Ore Black Orchid Jo Thompson Richard Cannon Count Smith Sans Souci Mote' Fecundo Rivera (S) Del Breece Sacasas Ore Ann Herman Dcrs Anne Barnett Saxony Hotel Hurtado de Cordob and Co. Perez Prado Ore The Haydocks 12) Tano A Dee Mrva Freddy Calo Ore Johnny Silvers Ore Bombay Hotel Phil Brito Nelida Peter Mack Sandra Barton Johnina Hotel B S Pully Sam Bari Harry Rogers Ore Bobbie Lynn DILIdo Hotel Bea Kalmua Patsy Shaw Four Joes Wally Wanger Line Fausto Curbelo Ore Vanity Fair Pat Morrisey Havana Cuban Boys 3 Tones Jerry Brandow Club 33 Paula Watson Three Peppers Club Echo Jayne Manners Bobby Byron Satin Dolls Grade Scott Mikki Mars Ray Sindino Trio Bar of Musis Bill Jordan Hal Fisher Beth Challis Harvey Bell Fred Thompson -Five O’Clock Bell Barth Hal Winters Don Ostro Ore Isle De Ceprl Ruth Wallis Holly Warren Eleanor Luckey Charlie Carlisle Caprician Trio Wally HankJn Ore Cope City Peter Lind Hayes Mary Healy Tony Bennett Eileen Barton Step Bros. June Taylor Line Red Caps David Tyler Ore Fontainebleau Vaughn Monroe The Belmonts (3) Richard Hayman Ore , - La Plata Sextette Val Olman Ore Beachcomber Martha Raye Vic Damone Jack Cartar Novelltes Len Dawson Ore Casablanca Billy Daniels Myron Cohen Kramer Dancers Jacques Donnet Ore Balmoral Hotel Hlldegarde Jack Whiting Emil Coleman Ore RENO Mapes Skyroom Joanne Wheatley Sonny Howard Donn Arden Skylets E Fitzpatrick Ore New Golden Romaine Brown A Romainea Rowen A Martin Larry Logan Will Osborne ore Riverside Mary Kay Trio Starlets Betty Joyce Bill Clifford ere HAVANA Montmartre Novellos La go Sisters Romero A Chicuelo Salvador Levy Nancy A Rolando C Plays Orq Fajardo Orq Troplcang Tax Mex D’Ruff Quartet Tropicana Ballet S de Espana Orq A Romeu Orq S Suarez Orq RKO Studio SS Continued from page 3 the N. Y. Court if the D. of J. says no. Theatre outfits reportedly are taking the position that they want RKO only for the reason of assur- ing more product for their thea- tres. Presumably they’ll ask no voice in management of the film company and would surrender their stock in some sort of trustee setup. Further, they’ll ask no pre- emptive rights to the films turned out by RKO; this product will be made available on an open, com- petitive market to all exhibitors. Robert Clary Mello-Larks Naomi Stevens Rudy Kerpays Duo Bluo Angel "Calypso Jamboree" Phyllis Branch Count Daville Lady Tina Joc-a-bodi Dcrs A1 D’Lacy Quintet Blue Note Woody Herman Ore Lou Levy Chez Pare* George Jesscl Joyce Bryant * Terry Sisters Brian Farnon Ore Cloister Inn Ruth Price ouaI UU Ace Harris Dick Marx Johnny Frigo _ Conrad Hilt 'Skating Stars’ Margie Lee Cathy A Blair Shirley Linda Weldemanns Polo Perky Twlna Jimmy Caesar Eileen CarroU Ray McIntosh B Dears A Dor Frankie Master Palmer Hon Los Chavales de Espana Trini Reyes Empire Eight Charlie Fisk 0 LOS ANGELES Ambassador Hofgl Manuel Capetlllo F Martin Ore Band Bo* Mickey Katz Larry Green Trio Bar of Music Alice Tyrrell Dave Gardner Kenny Pierce Geri Galian Ore Biltmore Hotel Sue Carson Gal. Gal. Cheerleaders Villenaves (3 Hal Derwin < Clro's Mills Bros Nits A Pepp G Lewis Dan Dick Stabile Bobby Ramo Charley I Carl Ravazza Step Up Production Thus, these key circuits expect- edly will argue that their only mo- tive in looking to buy out Hughe* is the desire to step up the avail- ability of product Tor all theatre- men and, as such, the move could hardly be construed as any poten- tial restraint on trade. Exhibitors across the country for some time have been howling about a product scarcity. Theatremen in the first-runs, particularly, say they’re the victims of a squeeze that evolved as major studios shift- ed production emphasis to fewer pix. Of all companies, though, RKO is unique. This operation has con- tinually lost ground as a producer of film for theatreowners due to its own unsettled condition. The uncertainty under Hughes has reached the point where some ex- hibs are fearful that the company could actually dry up as a supply source unless some major changes take place pronto.