Variety (August 1955)

Wednesday, August 24, 1955 p$mm Palladium, Eon cion . London, Aug. 19. Val Parnell and Bernard Delfoht presentation of . “Painting the Town ” revue in two acts . Staging, Dick H u rr a n; choreography, George ' Carden; music, 'Edward Horan, Eric Rogers; lyrics, Phil Park, costumes, St: John Roper. With Norman Wisdom, Ruby. Mur ray, Nanci Crompton, Jerry Des- monde Douglas, The George Mit- chell singers, The Skylons (2), Pamela Chamberlain,' Darvas & Julia, June Ellis, Gputier’s Excess Baggage ; The Chiristianis (5); $240 top. ^Norman Wisdom has proven himself to he one of the few Brit- ish artists capable of keeping the ^London Palladium boxoffice at full pressure, but this latest Val Par- nell-Bernard Delfont revue intro- duces a new personality who looks like qualifying for that Status. Ruby Murray, a 20-year old col- leen from Belfast With less than one year experience in show biz, gets star billing for her first West End engagement and was a firm favorite by the J;ime her first per- formance was Over. The new revue, again staged by Dick Hurran, is given the familiar lush treatment. It has been dressed brightly, has a lineup of attrac- tive girls who appear in an array of expensive costumes and the star performers are backed by highgrade specialty acts. There is no doubt about the b.o potential- ities; the show will, run right: through the year and will assured- ly remain a prosperous proposition Until the new vaude season is due to begin. . Norman Wisdom, in a number of ‘sketches and in one solo spot, is still the Under dog, clowning with full share of pathos. He's a per- former of ^considerable talent and can mime "with the best of them. With these exceptional qualities, it is a pity he consistently plays down to the lowest common denomin- ator. Not once does his script rise above the itrundane. His ability to clown, however, is particularly evident in his solo scene and by- play with the pit orch is good for laughs. A selection of pops, nota- bly from his recent films, sends his fans and leads to a begoff. Jerry Desmonde, once more playing -the straight man, has to share most of the inane situations. His perform- ance, however, is always of an im- maculate standard. Miss Murray is one of the .-odd- ities of show business. Her looks are quite ordinary, she lacks de- portment, and frequently slouches over the mike, and her speaking voice is bad. Her style in selling a dramatic ballad is quite impres- sive; she virtually changes person- ality whilst her vocal chords are at work. Her opening night num bers include “Let Me Go Lover,” “Softly Softly” and a lively Irish frolic, “Dear Old Donegal.” The Darvas & Julia dance spe cialty, established in London be- fore the duo made the grade throughout the U. S., gets a sur- prise opening. Instead of going straight into their act, the femme partner takes the mike solo and displays a new talent as a vocalist. Her unusual and interesting style provides the necessary warm over- tones for her only number, “Love is Like a Cigaret.” Then into their boff routine, basically the same as previously seen here, but tight- ened up to speed the audience re- action. It remains a'top class at- traction. - This Palladium lineup is, in fact, exceptionally strong in its special- ty attractions. Nanci Crompton an- other established fave here, has a big ballet production sequence and her easy dancing movements delight the eye/She also has a bit in one on the Wisdom sequences, which she fills with a pert charm. Another smash entry is Gautier’s Excess Baggage, ope of the best drilled canine acts in the business. The Skylons . have an impressive * trapeze act and the Christlanis are a liyely vigorous and skillful quin- tet on the teeterboard. Apart from the mixed line and corps de ballet, the layout includes the George Mitchell Singers, who are neatly dovetailed Into a num- ber of sequences. Ormonde Doug- las fills two small spots admirably and June Ellis is literally the heavy in a Wisdom-Desmonde sketch. Eric Rogers leads his new Palladi- um orch vigorously if a little pver- powerfully. Myro. and scores solidly with customers. U.S. singer has probably the most faithful clientele, among teenagers of arty American visitor, and he doesn’t disappoint ’em. - Backed by four male and three femme singers of the George Mitchell English choral group, he gives. out lustily, all the time bouncing and dashing across stage, handling a walking cane or twirl- ing a straw hat,' and at one time donning the'typical English bow-' ler headgear to create yocks. Opens with his w.k. “Truly Fair,” then into “Look at That Girl” and “My Heart . Cries for You.” Segues with “Red Feath- ers,”' “Jenny Kissed Me,” “Pawn- shop on the Corner” and the Gracie Fields oldie, “Let Us Be Sweet- hearts All Over -Again.” He clicks with “I Want No More A Bachelor’s Life,” and brings on a guitar to sing “Too Late.” His “Chick-A- Boom” also brings socko response. Mitchell is currently playing to upped prices and two extra mati- nees. added. He has all his old form but lacks .some new tunes, which he should be seeking prontp if he’s tq hypo his already-strong fan following. Three Nissens, two males and one femme, add American polish to Support layout with their well- rehearsed trampoline . antics and aerial twists. Horizontal bounce of one male marks act as a standout early in its offering, as also do their twists, somersaults and dou- ble-skipping chores. One male winds with a back double-somer- sault done with double, twist, which brings hefty palming. Jimmy Neil,.youngish but round- ing Scot patter comedian, has un- inhibited approach, and scores with the local Glasgow touch in gait and speech. He depicts varying styles* of drunks being tossed out of a bar, sings “Anyone. Can Be A Million- aire” and .“You Are Everywhere.” Bert & Bob Mallin are a male two- some -who open , the bill with a. perky sailor dance and some back- to-back hoofing, and exit to good mitting. Cherry Wainer, more glamorous this time around, is a South Afri- can rhythm organist who should drop the little-girlish “May I play this, please” gabbing. She offers entertaining tunalog of “Un- chained Melody,” “Tuxedo Junc- tion,” “Sabre Dance” and a med- ley of pops. Light foot-base gives the stubholders a view of her nim- ble footwork and slender gams.' Jose Moreno, with two .assi- stants, juggles with footballs. Hackford & Doyle, musical com- edians, are in New Acts. Show- backing by the Bobby Dowds orch is okay. Gord, Palace, IV* V. Three Dancing Jets, Martin & Florenz, Clara Cidrone & Damian Mitchell, Stan Fisher, Three Re- nowns, The Three Galanes, Mr. Ballaniine, The Texans (2), Jo Lombardi’s. Orch; “Female On the Beach ” (Uf), reviewed in Variety July 13, ’55. Empire, Glasgow Glasgow; Aug. 19. Gvy Mitchell (with George Mitchell Singers ), Three Nissens, Cherry Wainer, Hackford & Doyle, Jimmy Neil, Jose Moreno ,. Bert & Bob Mallin, Bobby Dowds Orch. Guy Mitchell brings a breezy boyish personality to hhfigongalog, After turning over its entire vaudeshow to Phil Spitalny and his all-girl orch, the Palace this week returned to its standard eight-act offering. After the solid click of the Spitalny aggregation, a let down might have been expected. However, on the basis of the cur- rent show, the Palace appears to be following a more hep booking policy iii the selection of its acts and the result is definitely on the credit side this session.. There are three outstanding turns, four good., ones, and only one so-so act, .a top percentage for any vaude house. In the upper bracket are Stan Fisher, The Three Galanes, and Mr. Ballantine, the latter in the. next to closing spot. Fisher, in the top echelon of har- monica virtuosos, again demon- strates his ability with the instru- ment, via his classics to blues ren- ditions, beginning with the Ru- manian Rhapsody, moving to “Sugar Blues” . and “Tiger Rag, and finishing with a mitt-respond- ing “Slaughter on 10th Ave.” The Three Galanes, Latino lads, are in the mambo groove with their chirping and terplng. Hand- some, well - groomed boys’ are pleasers and rate as good bets for the nitery circuit. Ballantine can be loosely described as a Comedy magician. He’s a versatile comic and displays excellent timing in ridiculing the trick that never comes off. His patter is fast and funny and rates solid audience re- sponse. Three Dancing Jets, tap trio who appeared in the original Broadway production of “Kiss Me Kate,” get the show off to a fast start with their slick combo and individua routines. Puppeteers Martin & Florenz, in the deuce spot, bring show biz- personalities to life Via marionettes, displaying at show caught Jimmy Durante and Dag- taar. A sad sack GI' rotitint jilted clicks. Stringhahdlers also show ability in-their impressions. Clara * Cidrone & 'Damian Mitchell supper club (Le Ruban Blue) comics, also go over at the Palace, Miss Cidrpne carries the comedy, with Mitchell as the straight man. Both display good voices and score in their carbons of, oldtimers, including Ted Lewis, Elsie Jahis, Helen. Kane, and Burns & Allen. Their material, while not in guffaw category, is neverthless easy to take. The Three Renowns are comedy ballroom team. They start off with legit dancing before moving into the awkward positions and acro- batic bits. Falls and torn OlOthes are part of the act. For the most part, the stubholders seemed to enjoy it, but the act is a little too long and repetitious. Only clinker In the eight-act bill are The Texans, rope and bullwhip experts.. Although the man-and- wife team, wield 4 and twirl the ropes with proficiency, the pew- holders seemed to -be unimpressed. Male’s use of the bull whip, knock- ing bits of paper out of his wife’s hand and mouth, also left the aud cold despite the menacing sound of the whip. As per usual, Jo Lombardi and his crew backed the turns to per- fection. * Holl,. Chicago, ~CJii Chicago, Aug. 19. Howard Miller , Pat Boone, Fe- licia Sanders, Lenny Dee , Y onely, The Hi-Lo’s (4), Della Reese, Lou Basil Orch; “You’re Never Too Young” (Par). Current package at. Chi’s only vaudfilmery was put together and is helmed, by the Windy City’s most influential dee jay, Howard Miller. His teenage following thronged this 3.900-seater opening day and blocked the stage-door al- ley after the show. The display itself, billed as a record star revue, showcased only one name current- ly on the charts.' But the kids eat it up anyway. ■ Felicia Sanders, sharing top bill- ing with Pat BOone, holds the clos- ing spot, a thankless -task when the teensters head for the stagedoor. This chirper has the looks and the pipes to hold an audience and in this instance she did a pro job of holding those who weren’t headed for the alley. Gal has warmth^ vi- brance and power in her larynx, all effectively used in her song- selling; her “All of Me” and her Columbia side, “Blue Star,” were particular effective in garnering a big mitt. Pat Boone, whose Dot disking of “Ain't.That A Shame” is currently way Up on the charts, gets, fre- quent, loud and long squeals from the post-moppet group with his vibrantly. lively delivery, Boone, has the looks, the charm and the voice, in proportions especially ap- pealing to the teensters. He ■makes big noise with “Shame,” “Unchained Melody” and other current pops. Howard Miller gets him off in Davy Crockett rig, on the theory that it takes at least a Crockett to get rid of a Boone. Lei>ny Dee show's versatility in his organ turn, blending musician- ship with humor. Dee does his re- cent Decca disk, “Plantation Boo- gie,” for hefty returns and wraps up with a novelty railroad routine sing the organ for sound effects, to garner loud plaudits. In between, Dee does “St. Louis Blues” straight and as a rhythm tune as well as uncanny musical carbons on his versatile organ. Turn is well re- ceived. Yonely, the comic musical gadg- eteer, docs his usual deadpan spoofing with the aid of miniature fiddles, trumpets, tambourines and a full size piano (with candelabra). His turn is most effective in an intimery and no tailoring was dope for this stage appearance. Conse- quently, he loses effectiveness al though the teen audience learns to appreciate him before the wrap- up and sends him off to good palms. The Hl-Lo’s, a male pop quartet, disappoint with their offbeat, over- arranged offerings. In what is. ob- viously an attempt to achieve rec- ognition by being different, they only succeed in straining. Group gets mild reaction. The show opens with Della Reese, sepia thrush with looks but not too much power in her pipes. Gal’s styling is rather affected, particularly sudden shifting from loud to soft delivery; she does her attention-winning Jubilee- disking of “In the Still of the Night” and goes off to a good mitt. Miller ties the package together adeptly, interjecting a few mild jokes, and demonstrating tremen- dous drawing power among the teenage group. Lou Basil is back from vacation to handle the backing chores with the house “orchestra in his u«ual fffWttft‘ 1 jftyfr. 1 ‘ ; 1 H CM*. : HOUSE REVIEWS 65 at The Apollo this week is remi- niscent of the Paramount Theatre circa 1936 when there was dancing in the aisles, lotsa music op stage, lines outside the house and ca- pacity business with extra shows being done daily. It’s the kind of business often dreamed of by the theatre operator and the perform- ers, and a fitting reward for oper- ation during many fallow Weeks. The reason for this infrequent phenomenon is rock V roll or rhythm & blues, a movement which has swept the younger set, being as potent as the swing of ..the Goodman-Shaw era. In this instance, it’s Dr. Jive, a disk jock from WWRL, Woodside, N. Y., Who has given the impetus to this tremendous business at this Harlem * flagship. He’s brought along with him a batch of enter- tainers whose nuances and pecu- Apollo. X. Y. Dr. Jive’s Rhythm & Blues Show with Griffin Bros. Band with Clau- dia; Dolores Ware, .Spaniels (5), Hearts (5), Charlie & Ray, Joe Turner, Five Keys, Bo Diddley ;. “Captain Lightfoot” ( UI ). liarities are known quite w'ell to even the youngest of the followers of this form of music, who are whipped into frenzy by even the slightest motion. For example, Bo Diddley, who closes the show', ex- cites a community sing without asking for it. The youngsters in the audience provide the chorus between Diddley's verses, and dur- ing another tune, they clap their hands in a picturesque pattern which calls for three handclaps at normal levels and two overhead/) Meanwhile, the kids bounce unre- strainedly in their seats. Not even the -ample form of Diddley himself sitting on them could hold them down. There is little doubt that this kind of entertainment isn’t the healthiest for the youngsters. Yet there's the possibility that the es- sential good in the kids themselves will come to the fore. The kids who jumped out of their sweaters in '36 are probably no\y cluck- clucking at rock ’n’ roll. Swing,, however, never had the moral thfeat of rock ’n’ roll which is founded on an unabashed pitch for sex. Every ’ note and vocal nuance is aimed in that direction and, according to the makeup of the present bill, should normal ap- proaches fail ,to entice boxoffice in the future, there’s the AC-DC set to fall back on. On the bill is Charlie & Bay who unabashedly camp out on stage. At one point, one shrieks “I’m so sorry you girls came for nothing.” They blow kisses, and pose against the pros- cenium arch in the manner of a femme fatale. As a closing gesture one throws his hanky to the audi- ence. The adolescents in the audi- ence Wave .a whale of a time. The audience provides more fun than the performers. The reaction is where the real enjoyment is. The bulk of the audience seem to be girls under 16 years of age. They shrieked at, virtually any- thing as though everything that transpires has hidden meanings that they alone understand, arid from the squeals that go on, it’s pretty evident In what direction they lie. The entertainers on this bill are all competent. Opens with Dolores Ware, who delivers the blues win- ningly. The Spaniels, a male quar- tet, delivers a pair of tunes. The bass provides , a lot of tones that f*et ah'” erotic response. The Hearts, a good-looking femme ouintet, indicate that they could go in most-snots even without rock ’n’ roll influences.' Joe Turner punches out a trio of numbers with * a heavy accent on rhythm, and the Five Keys, dressed in flaming red suits, even top their costumes with their three numbers. However* it’s Diddley who closes the show that they seemingly wait for. Sexiest note js by the Griffin Bros, band vocalist, Claudia, who wears a pa jama-bottomed evening gown. Her song is about demanding pay- , ment in return for favors. Like in the old days, the kids wait in line starting at 3 a.m. m order to get the choice pews down in front, j They stay throughout most of the dayr~But after the first day. Dr. Jive announced that auto- graphs would be passed out back- stage in an attempt to get some of the permanent residents out of the house. Jose. New Acts DES O’CONNOR HELEN MERRILL Songs 15 Mins. , Birdland, N. Y. 4 Helen Merrill, who has been working as vocalist with some small combos, is a talented jazz chanteuse. * That is, her intricate styling has specialized appeal for the hipsters and very little for the squares, Her phrasing and rhythm accents are distinctive and some- times even difficult to follow. But she’s part of the cool school, where the “message” is not always de- livered in the clearest terms. Miss Merrill’s mike manner! could be considerably improved. She sings mostly with her eyesj closed and that doesn’t help to establish contact with the audi- ence. Her selections are excellent, including such numbers, as “Lover Come Back To Me,” “Falling In Love with Love,” “I Should Care,” and a superb rendition of “Don’t Explain.” Also on the Birdland bill are two fine jazz combos, the J. J. Johnson-Kai Winding Quintet and the Johnny Smith Quartet, both of which are established faves in this spot. , Herm. RONNIE HILTON Songs 27 Mins. Empire, Glasgow Ronnie Hilton, young English lad with a pleasant straightforward style, is another in the long line of recording singers now ort the Brit- ish vaude loop. He makes a good personal appearance and scores strongly by reason of singing tal- ent and youthful appeal. Opener Is the bright “Venl, Vidi, Vici,” followed by a palm-rousing “I Wonder.” Then into “Mambo Italiano,” and, for the older cus- tomers, a tender “Bless This House.” Gabs re his pianist and the Will Fyffe tradition as prelim to rendition of late comedian’s song, “I Belong to Glasgow,” then Into a breezy new tune, “We’ll Go a Long Long Way Together,” with more following. Singer is no mere gi'mmlck-mer- ; chant and knows how to sell a song 'with 'linearity ;‘ ' Gbrd: Comedy 3 Mins. Empire, Glasgow Des O’Connor, a personable youngster now gaining experience^ via the national vaude loop, seems a strong proposition with advant- age of youth, good looks, a happy personality and an obvious striving after new material. Opens with a lie-down center- stage, Danny Kaye fashion, which runs danger of being marked imita- tive, and begins to set the relaxed mood. Even with gags that garner only mild reaction, youngster re- tains his easy carefree style. His best slant is in form of impressions of current singing stars if they were to put over their acts with comedy in place of tunes.. Comedian is likely proposition for star slottings In tv, cabaret and vaude, and has good visual appeal. Television potential is strong. . Gord. FAITII WINTHROP Songs 20 Mins. The Other Room, San Francisco Miss Winthrop is a product of Boston, newly arrived in San N Francisco and specializing in the nostalgic and bitter-sweet show tune songs that have been such successful vehicles for Lee Wiley, Mabel Mercer and others on the eastern littoral. Tastefully gowned and possessed of an easy, intimate manner, she scores effectively with an unusual selection of tunes that includes “George,” "Will You Still Be Mine,” “Blame it On My Youth,” and “It Never Entered Mv Mind.” Her occasional chatter fits well with the material she sings, and her voice has the necessary blend of jazz feeling and poignancy nec- essary to put across this particular category of show-style tunes. Per- haps her most effective bits are the reviving, and presenting in this unusual atmosphere, the ex-juke box hits, “George” and “Baby, Baby All the Time.” This ability to reach out for new material is a big asset, and besides this gal can sing. A good bet for the (Brooks Bros, -sf.vl* bistros. Rdfet,.. * <