Variety (February 1955)

Wednesday, February 9, 1955 65 VARIETY BILLS WEEK OF FEBRUARY 9 Numeral* In connection with bill* bolow indicate opening day of show whether full or split wook Letter in parentheses indicates circuit. <l> independent! (L> Loewi <M) Motsi <P> Paramount; (R) RKO; (Si Stoll; <T> Tivoli; <W> Warner NEW YORK CITY Music Matl (I) IS George Zoritch Audree Thomas Eric Hutson Eddie Garson Senor Cortez Marilyn Murphy Rockettes Corps de Ballet Sym Ore Palace (R) 11 Bobby Dae Sc Babs Martin Sc Florenz Buddy Clayton Duanos A1 Gordon Dogs Windsors Cy Reeves Ann Marston CHICAGO Chicago (P) 11 Gaylords Roy Hamilton Jack Carter B Sc C Robinson AUSTRALIA AUCKLAND His Malestys (T) 14 Jean Sablon B Warren Sc Chic W Latona A Sparks Roy Barbour Margaret Brown 2 Myrons Harry Jacobson Chadells Max Blake Dancing Boys Ballet Girls MELBOURNI Tivoli (T) 14 Norma Miller Dancers Micheal Bentlno David Hughes Howell Sc Radcliffe The Alfredros Ursula Sc Gua Gordon Humphris Irene Bevans John Bluthal Ron Loughhead Dancing Boys Ballet Girls SYDNEY Tivoli (T) 14 WTnifred Atwell Chris Cross Eddie Vitch Fontane Sc Vaughn Joe Church 3 Hellos Romalne Sc Clairo Julian Somers Maureen Hudson Show Girls Nudes w Ballet Girls Dancing Boys CHICAGO BRITAIN BLACKPOOL Palace (I) 7 Larry Mocari 5 4 Ramblers Bobby Collins Shipway Twins Prof Olgo Macetti Twins Penny Regan 3 Harry Lovke C Warren & J BRIGHTON Hippodrome (M) 7 Edwin Styles Dorothy Carless Robin Richmond Boyer & Ravel Gray A Austin Joan Gibbons 8 Emney Anemones BRIXTON Empress (I) 7 I.eon Cortez Doreen Harris Dawn White Co Flavias Starlets Ken Wilson Co EAST HAM Metropolitan (I) 7 Lita Roza Jerry Allen 3 M & B Winter* Arthur Haynes Jackson Bow & D Griff Kendall Allen Kemble & C Potter & Carole EDINBURGH Empire (M) 7 Jack Anthony Granger Bros Henderson & Kemp Beryl & Bobo Gary Miller Arthur Worsley Ghic Murray & M Woodward & Cooper FINSBURY PARK Empire (M) 7 Max Wall .Joan Mann Peter Dulay Tanner Sis De Vere 3 Benson Dulay Co Terry Hall J Laycock & M OLASGOW Empire (M) 7 Carroll Levis Co Violet Pretty Teen Agers Les Duonos HACKNEY Empire <S) 7 Betty Reilly Jon Pertwee Dolores V'enturs Freddie Stewart Joyce Golding Louise A Daughters Del Cortina K A A Alexis NOTTINGHAM Empire (Ml 7 Billy Cotton Bd NAP Lundon Baker A Douglas Angelos Don Philippe A M Joe King J A S Lamonte PORTSMOUTH Royal (Ml 7 Frankie Hojverd Sandow Sis Tex James Co Rita Martell Pan Yue Jen Tp Gale A Clark Joan Hinde I.ee Young Downey A Dave SOUTHAMPTON Grand II) 7 ^ Phyllis I)ixey Jack Tracy Varga Models D Reid A Mack Winters A Fielding 4 Demos Boy Devel Co Benny Lee SUNDERLAND Empire (Ml 7 Jack Lewis Sonny Dawkes Frank Parr Gary Webb Mel-O-Macs Ronnie Mo.vnes Bertie Sellers Cabaret Bills NEW YORK CITY BIRDLAND Count Basie Modern Jazz 4 Bon Sell Tony A Eddie Jimmy Daniels Blue Angel Oreon Bean Portia Nelson Bart Howard Jimmy Lyons Trio Chateau Madrid Ralph Font Ore Mava Ore e Hotel Ambassador Quintero Ore Sarkozi Ore Hotel Pierre Marion Marlowe Stanley Melba Ore Chico Relli Copacabana Harry Belafonte Morey Amsterdam Mello Larks Donna Williams Jade Drummond Barbara Mayer Larry Howard M Durso C*»c Frank Marti Ore a. ©•>#'* Alan Gale Jackie Heller Warner A McGuire Larry Foster Teddy King Ore \ fifth Ave Rat Bright Leo Smiley Bob Downey Harold Fonvllle Hazel Webster . Hotel Plaza Lisa Kirk Ted straeter Ore Hark Monte Ore Botei Roosevelt Luv Lombardo Ore St Regis filly Daniel LcorgeU* D’Arcy Shaw Oro «ay Bari w Statier " oody Herman Ore H <>tel Taft Vincent Lopez Ore ‘-"tin Quarter f harlivels A L Simpkins *\ ,rre . Bros p’' <n, *ta A Johnson Sheva Llariss^ Melodears Harmoneers Piroska Art Waner Ore B Harlow# Ore Le Ruban Bleu Julius Monk Janet Brace Norman Paris 3 Little Club L’Apache Faconi Jules Kutl Rudy Timfield Patio Gleb Yellin Ore Two Guitars Kostya Poliansky Misha UsdanoflT Lubov Hamshay AUya Uno Versailles "Bon Voyage" Hope Hampton Paul Gray Louise Hoff Tommy Wander Margaret Banks Rosemary O’Reilly Carl Conway Betty Colby Ann Andre Rain Winslow Danny Carroll Danny Desmond Don Dellair Jim Sisco Salvatore Gioe Or* Panchito Ore Viennese Lantern Helene Aimee Dolores Perry Bela Bizony Ernest Schoen Paul Mann Charles Albert Village Barn Ilal Graham Fred A Sally Barry Joe Mavro Pam Dennis Gigi Mayo Melodiers Piute Pete Waldorf-Astoria Line Renaud Nat Brandvtynne Mischa Borr Village Vanguard Charley Manna Rosetta Tharpe Marie Knight ».Q AY iywotj „ Black Orchid Four Joes Jimmie Komack Phyllis Inez Buddy Charles Rudy Kerpays Duo Blue Angel Calypso Follies of 1955’* Phyllis Branch Talley Beatty The Charmer Verdi Lo Prestl A1 D'Laoy Quartet Blue Note AI Belletto Quintet Lou Levy Ruby Braff Chez Parte Mae West Morty Gunty Foley Stiller Brian Farnon Ore Cloister Inn Sylvia Simms Laurie Allyn Ace Harris Jack Wilander Dick Marx Johnny Frigo Conrad Hilton "Spurs ’n Skates’ Cathy A Blair Robert Lenn The Tattlers Marvin Roy Frankie Masters Ore Palmer House Los Chavales de Espana Trini Reyes Empire Eight '.Charlie Fisk Ore LOS ANGELES Ambassador Hotol Marguerite Piazza Honey Bros F Martin Ore band Box Mickey Katz Larry Green Trio Bar of Music Pontomaniacs (2) Oscar Cartier Geri Gallon Ore Blltmoro Hotol Mae Williams Consolo A Melba Bobby Sargent Rudenko Bros (2) Hal Derwin Ore Ciro's Johnnie Ray Rudy Horn Dick Stablie Ore Bobby Ramos Ore Crescendo Perez Prado Ore Mocambo Stewart Rose Wanda Smith A Cover Girls (5) Paul Hebert Ore. Joe Castro Ore Moulin Rouge Frank Llbuse Margot Brander Four Bogdodis Miss Malta A Co Doubledaters (4) Mme Ardelty Jery LaZarre Ffolliot Charlton Tony Gentry Gaby Wooldridge Luis Urbina Eileen Christy Bob Snyder Ore Statler Hotel George Gobel Skinnay Ennis Ore J Renard Strings Leen A Eddie * Lois De Fee Toni Rave Rose Ann Rita Marlow Charlotte Watera Nautilus HOttl Jack Carter MIAMI-MIAMI BEACH Clover Club Lili Christine Luis Torrens Baron Buika Betty Ford Tony Lopez Ore Selma Marlowe Line Woody Woodbury Latin Quarter Joe E Lewis Yvonne Menard Stuart Morgan 3 Kathy Barr Ray A Gomez Renita Kramer Lucien A Ashour "Excess Baggage’* Rarph Young Arne Barnett Ore Mandy Campo Ore Black Orchid Jo Thompson Richard Cannon Count Smith Sans Souct Hotel Myron Cohen Sacasas Ore Ann Herman Dors Saxony Hotel XSvier Cugat A Co. Abbe Lane Nirva Freddy Cato Ore Johnny Silvers Ore Frank Stanley Ore Bombay Hotel Phil Brito Nelida Peter Mack Sandra Barton Johnina Hotel Judy Tremaine Sam Bari Jack Mitchell Bobbie Lynn DiLldo Hotel Bea Kalmus Maxie Rosenbloom Holly Warren Bobby Shields Mambo Jets La Playa Sextet Emilio Reyes Ore Vanity Fair Pat Morrisey Havana Cuban Boys 3 Tones Jerry Brandow Bar of Music Bill Jordan Arne Sultan Beth Challis Harvey Bell Fred Thompson Isle Oe Capri Gene Baylos Ruth Wallis Las Malangans Wally Hankin Ore Copa City J Durante A C Will Mast in 3 Sammy Davis. Jr. Eileen O’Dare Stuart Harris Hal Loman Peter Gladke June Taylor Line Red Caps David Tyler Ore Fontainebleau Tony Martin Alan King Cabot A Dresderf Val Olman Ore Beachcomber Sophie Tucker Billy Eckstine Sam Levenson Len Dawson Ore Casablanca Billy Daniels Phil Foster Condos A Brandow Jacques Donnet Ore Balmoral Hotel Emil Coleman Ore The Spa Preacher Kollo 5 Ciro's Jimmie Rogers Co Tommy Nunez Ore The Treniers Lee Sharon Sammy W’alsh Vagabonds Club Vagabonds 4 Marion Power# The Dunhills Martha Bentley Charlie Farrell Frank Linale Ore Airliner Harry The Hipster Pearl Williams Billy Lee Larry Gerard Don Baker Ore Sahara Vaughn Monro* Kirby Stone 4 J Conrad Dcrs Golden Nugget Hilo Hattie Bl Cortez Four Tunes Showboat Minsky Follies of 1955 Silver Slipper Nite of Fun Revue RENO Mapes Skyroom Sue Carson Kurtis Marionettes D’Amores Skylets Eddie Fitzpatrick Ore New Golden Four Freshmen Jack Wakefield Buddy King A His Ladies (5) Will Osborne Ore Riverside Cross A Dunn Dave Apollon Starlets Bill Clifford Ore HAVANA Tropican* Darvas A Julia D’Aida Q Mercedes Valdes D’Ruff Q O de la Rosa Leonela Gonzalez Raul Diaz Gladys Robau Tropicana Ballfct S de Espana Orq S Suarez Orq A Romeu Orq San Soucl Carmen Amaya Olga Chaviano Chas Chase Aurora Roche Rivero Singers Juana Bacallao Ray Carson R Ortega Orq C Rodriguez Orq Montmartre Alba Marina L Dulzaides Q Nancy A Rolando Ivette de la Fuente Zenia Martha Veliz Monseigneur Orq Montmartre Ballet Casino Pla.va Orq Fajardo Orq NEWPORT, KY. Beverly Hills Ethel Smith Sonny Howard Ricardo A Norman E Lindsay Dncrs Larry Vincent Dick Hyde G Benedict Ore Jimmy Wilbur Trio LAS VEGAS Flamingo Marie Wilson Archie Robbins Goofers Sands Nat (King) Cole Last Frontier Ben Blue Blossom Seeley Sc . .fluppg .Fiblda. . . Desert Inn Toni Arden Jack Durant The Szonys Thunderbird Norman Brooks Holly Rolls El Rancho Vegas George White’s J. .Sca*4aJcite* . . • Dun for Dues Continued from page 2 financing efforts for indie produc- tion, their b.o. better stay good—or else. There’s a feeling among exhibs that it’ll be more and more diffi- cult. as time goes by, to rouse the theatres sufficiently to contribute to these various projects. Leaders of Allied and TOA, for instance know that they’ll have a job to col- lect $15^.000 worth of checks pledged by the Joint Committee on Toll-tv to fight the “propaganda” put out by the subscription-tv in- terests. In general, it’s going to be diffi- cult to convince a man in the hin- terlands to open his poeketbook to underwrite a fight against some- thing that he is only dimly aware of as a story in a newspaper. The problem is a similar one when it comes to COMPO, which appears to be the yardstick for any theatre assessment. Under the proposed draft of an arbitration system, exhibs would raise $75.- 000 annually (to be matched by distribution), the assessments to be figured on the basis of annual COMPO fees. COMPO scale runs to $7.50 a year for theatres of 500 seats and less; $11.25 a year for houses up to 750 seats; $18.75 tip to 1,000 seats; $37.50 up to 2.500 seats, and $75 oyer 2,500 seats. As for the drive- ins, they pay $7.50 for installa- tions with a capacity of up to 300 cars; $11.25 to 500 cars; $18.75 up to 600 cars, and $37.50 in excess of 600 cars. UA Tags Continued from page 7 no minimum guarantees were in- volved. Max Youngstein, UA v.p., esti- mated the company’s overall in- vestment in production in 1955 at between $35,000,000 and $40,000,- 000. UA will be instrumental in arranging for this amount of financing via bank loans to indies. The company expects to release about 40 to 45 films during 1955. Youngstein estimated. Smadja confirmed that the Italian nix on color print imports now included Cinemascope films. Picker, elaborating on that point, said all companies—Including UA —were likely to conduct experi- ments with tint printing in Rome. He called the Italo move “a per- emptory decision.” Fear among the companies is that the Italian pol- icy on color prints may spread to other countries. Smadja said the French turnover tax situation was status quo but that the French within recent months had allowed compensation deals using U. S. film coin blocked since June, 1953. No capital ac- count deals have been authorized since then. Czechs are anxious for American films, Smadja reported. UA and other companies are continually getting nibbles for films from vari- ous Iron Curtain countries but. said Smadja, “we refuse to sell them. It’s against our policy.” He said he knew of some Italian, French and British pix going into Russia. No B.O. Ceiling Continued from page 4 “Seven Nights in Paris,” on which Robinson and Jule Styne are col- laborating on the screenplay and which will go on location in the French capital, and “Maracaibo,” an oil drilling yarn laid against a Venezuelan background. Friedlob emphasized producers’ current casting problems. For “News Is Made at Night” he in- tends to recruit-a newcomer for one ot, the female leads. If he finds her. he said he intended to put her under contract to his new company. There vK?re casting problems in “Untamed,” too. the film being cast only two weeks before going before the cameras at the 20th lot. Fried- lob paid high tribute to director Henry King for his skillful job in integrating, the South Africail and the studio sequences. He also thought Richard Egan was an im- portant new star and would prove that in “Untamed.” House Reviews Apollo, >. V. Illinois Jacquet Band, (11), Clay Tyson, Lavern Baker, Rivalecrs (4), Jan Strickland, Jellyroll & Zuzu; “The Miami Story” (Col). Apollo audiences are bound to tire when four out of six acts on any bill do the same kind of en- tertaining. Current sesh is bound by an overabundance of rhythm & blues, some of it tops, the rest of it so-so. Lavern Baker, w'ho closes the card with a click cata- log. has the edge dulled by prede- cessors who are (1) a male solo; (2) male quartet, and (3) the Illi- nois Jacquet band. Moreover, of the three only the latter is in the better entertainment bracket. Attractive Miss Baker is punchy in “Woke Up This Morning.” Then she slithers vocally through a sexy blues bit, “Tomorrow Night.” She gains maximum support for clever lyrics of “You Better Stop” and for her big number, “Tweedle Dee.” Jacquet is lauded for each stay at the Harlem flag. His sidemen are. by Apollo standards, among the best in the r&b field. He opens with a variation on “Birth of the Blues” and then, on the tenor sax and with his trumpeter, alto and soprano saxophonists, alternates in the lead of an original wailing- blues composition. Later in show, Jacquet returns with a frantic num- ber. Then he breaks into a five- man combo (himself, alto, slide trombone, bass, drums) for a brace. Alto work draws particular re- sponse. Clay Tyson and the team, Jelly- roll & Zuzu, offer only relief on the bill. Both are comedy turns, but they’re separated by at least an hour and vastly differed styles. Tyson reveals nice terp ability and a unique line of patter. He closes his share with a boffo panto im- pression of a fellow taking his gal out for a drive. J&Z does a lot of originally lyricked thrushing. Jellyroll, heavy, nondescript male, and Zuzu, stringy femme, other- wise use standard Apollo comedies. New' Acts has rundown on The Rivaleers and Jan Strickland. Art. I/Olyinpia. Paris Paris, Feb. 8. Edith Piaf, Craddocks <3), Jean Poirct & Michel Serrault, Claire Feldern, Steckel Bros. <2> Pierre Lunel, Three Milsons, Kach-Malh, Trio Ariston, Yvonne Solal; $1.25 top. For its first anni, this top music hall has brought Edith Piaf back to the boards for her first appear- ance in over two years, and it emerges a triumph in all phases. Turn shows a sensitive artist at the height of her powers. Miss Piaf’s discourses on love and hope sweep over a rapt aud, with her savvy orch and choral backing making this an entry of formida- ble proportions. Rest of the show is geared for laughs, with a somewhat repeti- tious route in some aspects, but with enough outstanding acts and interludes to make this a standout offering. Craddocks (3) restage (heir already w\k. slapstick act that is still a rousing ribtickler in its perfect clowning, mayhem and bombastic brilliance. Boys are in top form and make for laughter. Pierre Lunel is another boy with a guitar singing offbeat songs. Too much like the others, he lacks the spark to be anything but a filler. Jean Poiret & Michel Serrault made it in the nitery circuit and their devastating takeoff on lit- erary prizes and interviews still abounds with yocks in this big hall. But it is more for intimate surroundings and act has too many subtle nuances to make for top house appeal. Claire Feldern is a diminutive Danish keyboard clown whose prosaic exterior belies a neat notion of parody. Her bouts with her piano, plus an inspired takeoff on how Chaplin would play the Hungarian Rhapsody, come in for big aud appeal.' The Three Milsons show what can be done with noise, and essay a dial-twiddling session on the radio, supplying the sounds for everything from bagpipes to a jet piano. Well organized and clever, this rates high. Aero aspects are given by Steckel Bros. (2 >. Trio Ariston and Kack-Math. Steckel Bros, have a breezy flip session and then go into the key of the number with one hanging from a trapeze, with a belt in hand, with which he snares the other by the feet as he goes into a back somer- ! sault. A good bit. Trio Ariston ! are a breezy girl and two men who I do some .b rath clowning, aud aewt*’« acroing for nice mitts. Kach-Math adds a fast-paced juggling turn to the proceedings for a nice round- out of the program. Mask. I'alaeo, A. Y. Virginians (2), Ted Lester, Ben Dova, Tommy Hanlon Jr., Bob Howard, Bev & Jack Palmer, Jack- ie Bright, Yokoi Ttoupe (5), Jo Lombardi Orch; “Women’s Prison’* (Colt reviewed in Variety Jan, 26, ’55. Fresh bill at the Palace this week comprises a layout of familiar turns with sole exception of the aero - terp team of Bev and Jack Palmer (New Acts). Due to the previous vaudfilm show holding over an extra five days, the house opened the new sesh Wednesday (2) instead of Friday. Ben Dova, a Palace regular w’hose bookings date back to when the house was two-a-day, scores handily with his pantomime drunk bit, which has him swaying against a prop lamp post. More recently he’s been working ice shows, but even on a dry surface his comedy easily slips across. Opener is The Virginians, a man- and-wife juggling team who ma- nipulate balls to boxes with equal dexterity. Ted Lester, who has obviously been on display for a long time, follows with a musical novelty. Attired in tails and a cape, he shows his versatility in playing a flock of instruments for a so-so reception. Jackie Bright, spotted in next- to-closing, relies on the same basic routines he’s long used. Several male audience volunteers garner laughs in a “diaper-the-baby” con- test. The hat-switching bit is dusted off again, with Bright ac- comping with a rapid-fire commen- tary. It wins fair returns. Tommy Hanlon Jr., assisted by an unbilled femme, opens with some tepid gags. However, his piece-de-resistance is use of a prop guillotine in which an aud volun- teer consents to be “beheaded.” It reaps okay returns. Bob Howard, a vet at the piano, pounds out some nostalgic airs to register nicely with the predominantly middleaged seatholders at show caught. . Yokoi Troupe, a cycling family of father and four daughters, shape up as a flashy closer. Femmes are adept in riding the bikes, whether unicycles or conventional two- wheelers. They're colorfully garbed and score solidly with a neat ex- hibition. Jo Lombardi, per usual, backs the show nicely. Cilb. Roitfeld SSS Continue# from pare 7 color in their films was a better b.o. draw than black-and-white. “Actually it isn’t,” he observed. “If you want to get a break in the commercial houses your print cost alone is apt to wipe out all your profits.” Roitfeld said his outfit was mull- ing a production of “Follies Ber- gere” and was looking around for someone to come in as coproducer. The company has two pix poised for the U. S. market. One is Zola’s “Nana,” made at a cost of $900,000 and starring Charles Boyer and Marline Carol. The other is “Ador- able Creatures” with Danielle Dar- rieux, Martine Carol, Edwige Feuil- lere and Daniel Gelin. “Like everyone else. France is switching to bigger pictures cost- ing more money,” Roitfeld said, noting that a budget of close to $1,000,000 for a French film was very considerable. “Logically, all of us are becoming more aware of the need to obtain better reve- nues from the U. S.,” he added. Asked whether French producers were bitter over their inability to make a sizable dent in the com- mercial U. S. market, Roitfeld opined that there was some resent- ment but not a lot since the French, from the start, were con- ditioned not to expect too much. Roitfeld stressed the difficulties faced by French producers in mak- ing the proper release deals for their pix in the American market. “We are caught between the devil and the deep blue sea.” he held. “If we go through a major, there’ll be those who’11 say that a big com- pany isn’t set up properly to han- dle foreign films. If, on the other hand, we deal with an independent, we aren’t sure that can give us the kind of ’release in depth’ that we reed.’. -