Variety (January 12, 1955)

Wednesday, January 12, 1955 REVIEWS 65 POLLY BERGEN Songs, Dance* 35 Mins. I hunderbird. Las V egas Polly Bergen is a click in an ex- | pensively mounted presentation iiiat brings out her beauty, person-! uiity and undeniable singing abili-1 tv She dances and cavorts with her aides, Tom Avera and Dick Crowley, during their 35-minute k tint and is a winner from start to finish. The new "Miss Pepsi-Cola” is lucky to have such standout song and dance partners. Presentation, written by Erwin Drake and Jimmy Sliirl, and conceived and staged by Jack Stanton, is tailored to bring out the charm, talent an<J pulchri- tude of the star. She can belt “That’s Entertain- ment” on the contrastingly moody "I'll Be Seeing You” with equal aplomb. “Mountain Dew” is a clever bucolic number and the headliner’s flashing personality scores in “Got You Under My Skin.” “Just A Dream Ago” is socko and “Hooray for the Difference” is a sexy, cute finisher. Paul Shelley conducts the A1 Jahns orch in excellent fashion. Miss Bergen is a cinch cafe bet for the bigtime. Bob. THE MOREOS (3) Aero 9 Mins. Palace, N.Y. The Moreos, comprising two husky males and a girl, have an essentially excellent turn. The hand-to-hand work by the two lads is based on tricks that require prodigious strength. Some of their lifts draw salvos and there are some that are done by a few acro- bats very early in their career be- fore being retired as too difficult. The act opens with a few tricks with the girl, after which she retires before becoming too dis- tracting. The act could be im- proved either by giving the girl a more definite role and utilizing her looks and ability at aero work to it fuller degree, or retire her com- pletely. Under the latter setup, they become only an aero turn. They have a better chance to cover more territory with the femme doing more useful chores. Jose. ISOBEL ROBINS Sonrs 15 Mins. Paradise Room, Atlanta Flashing freshness, plus per-| sonality, this pretty young thrush j scores well in her hotel date debut. A looker, Isobcl Robins’ face isn’t unfamiliar to Paradise Room pa- trons, because of her tv appear- ances. She does her act straight, and depends upon her voiceband delivery to put herself over. It’s adequate, and when she gets the feel of the mixture of audiences she w’ill face in hotel rooms instead of the club spots she’s been play- ing. she will do better. Her voice is throaty and the special material she uses suits it j fine. On show' caught, she sang , “Love Isn’t Born” and followed it i with “Country Store.” For encore | she offered an Irving Berlin medley as arranged by Bud Redding. Her repertoire includes Roy Freeman’s I “Miller’s Ridge.” “Little Ol’ Me” | and "Complaining.” She does a good job of selling her songs. Luce. threesomes and larger groupings. They are garbed in black and red checks and make good appearance on the stage, winding act by com- ing into auditorium to coax three males and three distaffers from among customers to dance with , them. Despite difficulties of insur- ing pronto aud participation, they persuade six young persons to dance with them for comedy effect, the distaffers of the act engaging male customers in plenty comedy 1 routines and turns. Useful act for most vaude loca- tions in both U.S. and Common- : wealth. Gord. Palace, V. McHarris & Dolores, Ching, Hank Sicilian, Susan Silo, Lou I Daley, Moreqs (31, Ken Whitmer | 12), Tokayer Troupe <t>>; “Black Tuesday” tUA > reviewed in Vari- ety Dec. 22, ’54. provide a powerful curtain. Under New Acts are Susan Silo. The Moreos < 3) and Iaju Daley. Jo Lombardi,, batoning the house crew, cuts a sharp show'. Jose. HELENE CORDET Songs 25 Mins. Rita Carlton, Montreal For a diminutive blonde, Helene i C’ordet essays authority and con- ‘ viction, with a songalog that is okay for a cafe of this type. Originally from France of Greek parents. Miss Cordet is playing her first date on this side of the Atlantic. Her bilingual talents make her a natural in Montreal, and gal should be a cinch for any of the more sophisticated boites on either side of the border. Songstress is liberal with offer- ings and mixes the routine ballads such as “While We’re in Love” with a fine special material item, “Three Carnations,” to a solid re- ception. Several pop Gallic tunes keep Interest, but the hokum is kept to a minimum and Miss Cor- det never goes overboard trying to impress with her language talents. Act is relaxed and pliable enough to fit most audience situations. Plenty of experience in the cafes of London and various musicomedy stints makes this thrush a sure tiling for any visual medium on the specialty beam. PEARL EDDY Songs, Piano 18 Mins. Kddys’ Kansas City Blonde Pearl Eddy has lately eschewed voealling for records and night spots after some former suc- cess as a straight pianist. On the Label X past several months she has had a success in “Devil Lips,” and is due for some additional releases from the RCA subsid shortly. Her appearance at the Eddy (no relation) Restaurant here is one of several she is fulfilling in night clubs currently, combining her vocals with work at the keyboard. Livelier tunes seem to be her best forte, as she drew a notable hand from the customers on “Devil Lips,” “When Get I You Alone To- night” and “Linger Awhile.” And her piano work, such as a solo hit on “Cumina,” is firstrate. Here and there her vocalizing could stand some picking up ana projection of personality for better registry with the patrons. Voice- wise she has a definite quality, and when rounded out with a bit more sparkle, is bound to grow in de- mand for p.a.’s as well as records. PAUL St PETA PAGE Puppets 10 Mins. Empire, Glasgow Paul St Peta Page. English pup- peteering twosome, show some in- teresting routines in an act which has much international potential, and they reveal skill in siring ma- nipulations. Puppets are seen against black backcloth, the two humans also being garbed in same dark material as they operate the dolls from behind in full view of stubholders. Puppets are well-made and color- ful, choice of characters is bright, and entire act reveals humor aspect w-hich should click with most nationalities. Act is okay for vaudery and nitery dates, and a good bet for the U. S. cabaret field. Gord. Hope vs. Union Continued from page S SUSAN SILO Song* 7 Mina. Palace, N.Y. Susan Silo, a 12-year-old in pig- tails and bob bysox, apparently has been rushed into a solo vaude sit- uation too prematurely. Although having basic attributes that can lead her into a good act, the mop- pet needs material that isn’t so obviously a bid for sympathy and applause, such as the “Mama Doll” number. Granted, it’s difficult to find material for precocious kids, but even at the advanced age of 1: Miss Silo can wait for the right ua- tion. so that she can cop te. 'ic mitts instead of polite hands. Jose. LOU DALEY Comedy 8 Mins. Palace, N.Y. Lou Daley looks like a good com- edy worker once he gets proper material. Youngster has an assured stance and rapid delivery, along with some impressions that regis- ter. However, many of these items aic encased in verbiage entirely too familiar. Daley can get by in many situa- tions. just as he’s doing here, but * 01 ’ the smart coin he’ll have to bee hi s catalog with some better Writing than, he now possesses. • Jose. BRUXELLOS (2) Acrobatics 10 Mins. Lido, Paris Phis rates pegging under New Acts due to a phenom twist of this “et. In which one of the duo takes f tray fujl of drinks and is flipped *nto an overhead somersault with- out spilling a drop. Act frames tins solid innovation with fast- paced mpa and knockabout, but it J* tiie two back jumps with loaded ,r *Y«th*t makes the difference. inis seems a natural for U.S. ty or nitery or vaude placing for that unusual turn. Mosk. HORTENSE ALLEN St CHORUS (9) 12 Mins. Apollo, N.Y. Hortense Allen has worked with other of the Apollo lines, but for the first time brings her own into the Harlem key. Her terp troupe (six femmes besides herself and two males) appear three different times during the current card. Chief asset of the outfit is its col- lection of costumes, running from variegated tights to glow-in-the- dark attire. Chief faults—poor routine, poor precision. Responsibility for sloppiness , seems to rest with Miss Allen. Not only does she fail to select experi- enced terpers and then give them something to do, but she does not give a strong lead to her hirelings. Art. on the Comedy Hour so that it would reach a maximum viewing audience. Hope made the New Year’s eve jaunt to Greenland to entertain troops stationed there, with his troupe. "I had nothing to do. with the hiring of the cameramen, but I understand these are the same guys the. Army uses to photograph A-bomb blasts,” said the comedian. Hope mentioned the flight to Greenland is a hazardous and long one. and “it would have been much more comfortable just staying home and having the show filmed here In Hollywood,” But, he added, the trip was made to hypo morale of troops, and AFM prexy James C. Petrilio was so eager to co- operate tow'ard this end he granted clearance for the 150-piece Air Force band to make the trip from Washington, D. C., to join Hope for the show up north. The comedian mentioned he is a member of many showbiz unions— at least 12—and is a former prexy of American Guild of Variety Art- ists. No money was saved on the Greenland trip, be emphasized. During World War II Hope was the most active of all Hollywood names participating before U. S. troops throughout the world, and one year he passed up three pix commitments at Paramount to ap- pear before the troops, sacrificing $1,500,000. Hope also donated all royalties to his tome, “I Never Left Home/’ to the National War Fund, with the coin said to approximate $175,000. Ironically, Hope has also done benefits before photographers unions. China Rads Continued front #aa« 1 JIT-BOPS Dance 8 Mins. Empire. Glasgow Youthful jiving group, direct from Paris, comprise three males and three femmes, who work ener- getically with lots of movement in modern Gallic style, to win jazz and rhythm fans. ■ .< ‘.. * Against a symbolically wnodern backcloth, the Gallic sextet la a flashy terping team as they jive rapid-style across stage In pairs, the number two star in Shanghai, who plays the lead in each play, owns the costumes and sets and di- rects and produces each show. Informality is the keynote at Chinese opera with the orchestra smoking during recitative breaks, sipping tea and even removing shoes for a bit of toe scratching Likewise, the performers seem to have fun, with principals playing to the front rows of the audience with a great deal of coyness. The theatre is a place to enjoy yourself. And the audience does just that. In back of each chair is a rack for a glass of tea, fried rolls of batter-wrapped sea food are served by attendants. Smok- ing is allowed and throughout the performance groups of patrons, bored with a particular scene, strike up animated conversations among themselves or wander out of the house for a shoit stroll in the lobby. Anything is permitted from the audience except during the appearance of Miss Chiang— then utter silence descends on the house as complete attention is paid to her. To walk out while she is on, even if your comfort depended on it, would be the utmost gauch- jerle. The Palace is operating under t unusual circumstances this week. For the first time in the history of this house since its latter-day vaude resumption, there’s a hold- over picture with a new stageshow. Business seems to be holdj^ig up. However, the new vauder fails to get off the ground until compara- tively late in the proceedings. Show has an even gait, with a minimum of movement, until the appearance of a few vets in this house gives the session a strong sendoff. It gets an okay start with Me- IIarris & Dolores, a Negro hoofing duo, who get good response. The big boy is extraordinarily light on his feet, and the femme gets over okay. But the strength in the turn lies in the male. The magic by Ching, working the deuce, seems to be a victim of spotting. Later on in the bill, he would have gotten the response he’s become accustomed to in this house. Ching works easily at card manipulations and gets off some good deceptions, but response isn’t as heavy as it generally is for him. In the trey. Hank Sieman’s ventriloquy comes to life late in the act, When he gets audience volunteers to pantomime for his patter. Lad is in dire need of ma- terial. His gab with the dummy contains some long and. arid stretches. In the next-to-closing slot, Ken Whitmer, displays his usual pro- ficiency at an assortment of musi- cal instruments^Whitmer’s comedy instrumentalizing hits its mark most effectively. His efforts at the end to show his versaility at every instrument in the catalog slow up his turn, especially when he goes into the pit for bits at the piano and drums. He has a comely as- sistant who sets up a few laughs for him. Altogther, it’s a solid turn. Closing Is by the Tokayer Troupe, a sextet of male teeter- boarders and tumblers. This family group displays a lot of tricks, in- cluding three highs and some ex- cellent long distance catches. They Apollo. A. Y. Bill Kenny, Eddie Bonnemere Orch (13), Hortense Allen & Chorus <9), Cook & Broicn, Car- men McRae, Frank Marlowe ; “Tennessee Champ” (M*G). Headliner Bill Kenny (soloing as “Mr. Inkspot himself”) has the knowhow, but fails to generate any great excitement here, and the secondary turns, Carmen McRae and 88er Eddie Bonnemere and orch, while pleasant to listen to, haven’t got sufficient name pull to make it a hot b.o. week. Kenny, showing his age (he’d been with the Inkspots for ages, he him- self admits), leans heavily on memorabilia. * He. does a medley of old hits that lasts for a full 15 minutes. Some of the more w.k. numbers as well as some of the better ones are “To Each His Own.” "Maybe,” “My Echo, My Shadow and Me” and Kenny’s big one, "Do I Worry.” Stuff is okay but it appears he’s depending more heavily on the “good old days” appeal than on the quality of his delivery. It doesn’t quite come off. Carmen McRae does a mixed foursome and draws hefty returns. Thrush is pretty as well as having neat pipes. Big tune is her “Foggy Day.” Eddie Bonnemere, who follows the femme, has a smooth novelty orch, a pleasant deviation from standard rhythm & blues. Batoner works on a very stylized piano, baeked mostly by a large percussion section. As a matter of fact, the three bongos, a drum (and a bass on rhythm) work four times as much with the leader as the remaining seven tooters. Inciden- tally, Bonnemere is excellent back- stopping on all other turns. Much after the fashion of Apollo faves Stump and Stumpy, Cook and Brown do some fast terp-comedics with incidental vocalizing. The male duo works challenge and slapstick dives for okay reward. Ofay monologist Frank Marlowe and the Hortense Allen crew (New Acts) round out the sesh. Marlowe Is on stage too long with meaning- less chatter. When he gets past punchless lines, he fills with archaic routines. Only time he gets above his norm is at brief times during hokum with the Bonnemere bandsmen. Art. 'Janie, Make With The Lungs’ Continue* from pate 1 endowed Miss Russell prepared to go underwater equipped with breathing gear. “Janie, make with the lungs!” was the quip. The Junket of 156 arrived from Hollywood and Manhattan in TWA planes landing in Tampa and Jacksonville, respectively, and were brought in by bus to this backwater tourist trap in northern mid-Florida. TWA, like RKO, Is controlled by Howard Hughes. While the stunt was obvious enough, and strictly in showbiz tradition of anything-for-a-news- break, cheesecake has never done better this side of Lindy’s as the femmes competed with the marine flora and fauna. The screen stood in 25 feet of water, the projector was water- proof, suspended from, the keel of a boat. There were benches set up on the lake’s floor. Guests “dressed” for the occasion. Turn Blue For Their Art Plainly it was a cold, cold plunge into the crystal-clear springs for Miss Russell, her co- star Richard Egan and a handful of newsgals and newsmen who ac- tually braved immersion. As Miss Russell waded into the lake a wag cracked, “This looks like a new finish for ‘A Star Is Born,’ ” and that added to the general gaiety since nobody took the thing too seriously. There was an added attraction for the photogs in an unknown named Jane Mansfield. How she got included in the party from Hollywood Is unknown at the mo- ment. But she proved worth her weight in cheesecake to the affair. A blonde who fits onepiece suits or Bikinis like skin fits sausage, with bumps where the blueprint ealls for ’em, Miss Mansfield is a road company Marilyn Monroe. She went underwater to see the pic- ture but it was generally agreed by the press that the aqualung was as redundant in her case aa in Miss Russell’s. There was no estimate available today on what this exploitation stunt cooked up by Perry Lieber and his staff costs RKO. But what- ever the amount it was worth it aa a tremendous publicity kickoff for “Underwater” (which is reviewed in this issue of Variety, as caught in Hollywood, not downstairs in the lake). Tills kind of enterprise is of the essence of creative film showmanship. Jane Russell, Richard Egan and Lori Nelson, stars of picture, headed the Hollywood contingent. Other film names included Mala Powers, Barbara Darrow, Gordon Scott, Jayne Mansfield and Rose- marie Bowe. On the television front, person- alities who arrived to cover the event included Steve ^llen, Dave Garroway, Sheila Graham, George Fisher, Shirley Thomas. “Queen for a Day” and NBC and CBS newsreels also will be present for coverage. Ike Asks Continued from pait 7 tell the American story to the re- mainder of ths world, Eisenhower told Congress. He said that in a later special message, he will specifically “re- commend the establishment of a Federal Advisory Commission on the arts, within the Department of Health, Education and Welfare, to advise the Federal Government on ways to encourage artistic en- deavor and appreciation.” This is in line with legislation proposed in recent Congresses, and already in the present one, for such a commission and for a na- tional theatre a/id opera house to be built in Washington.