Variety (November 1956)

Wednesday, November 7, 1956 P^telETY REVIEWS 55 New Acts VINCE MARtlN AND THE TAR- RIERS (3) Folksongs 30 Mins. Village Vanguard, N.Y. The Tarriers, an instrumental- vocal male trio, and singer Vince Martin have been riding the disk bestseller lists with their Glory la¬ bel recording of “Cindy, Oh Cindy.” At the Vanguard, the trio does a few numbers on its own be¬ fore Martin joins in. The trio, however, was reduced to two late last week when one of the boys broke his leg in an auto accident. The remaining pair, Eric Darling on banjo and Alan Arkin on guitar (the absentee, Bob Carey, also han¬ dles guitar), give neat execution to several folktunes via effective in- strumentalizing and v o c a 1 i n g. They’re also dressed appropriately, sans jackets, and in striped shirts. Martin, similarly garbed, but in a black shirt, joins the duo for some vigorous piping. The group works together smoothly, deliver¬ ing such standards as “Casey Jones” and “So Long, It’s Been Good to Know You” in addition to “Cindy.” They also score with their dramatic handling of “Mid¬ night Special.” Jess . COOPER TWINS Acro-Dance 8 Mins. Empire, Glasgow Fast-paced tap-dancing males are okay as strong support act in vaude layouts. Twins, looking remarkably alike from the front, open with some very fast tap work, and are fasci¬ nating to watch on account of their physical likeness. Segue by chang¬ ing into aero shoes and switching speedily into some lightsome aero routines, best of which is a seesaw motion bit, which gains top palm¬ ing. Intertwine via legs and body in roll-alpng exit to reward of generous hand-to-hand music. Gord. BARBARA LEA Songs 20 Mins. * Village Vanguard, N.Y. Except for a brief Gotham stint at Child’s Paramount Restaurant, N.Y.; Barbara Lea’s songstering has been confined to out-of-town dates and some recordings. Booking her into the Village Vanguard was a smart move. Her warm styling, somewhat reminiscent of Lee Wiley, fits in perfectly with the club’s intime atmosphere. At the show caught. Miss Lea got off to a solid start with “Gypsy in My Soul.” It was sung with a feel¬ ing that wasn’t as penetrating in other tunes delivered. Neverthe¬ less, her songstressing is good and when she really gets into a tune she shines. A couple of moderate¬ ly bouncy numbers are thrown in for an okay change of pace. Miss Lea, in a white off-the- shoulder gown, makes a nice ap- I pearance and looks like a good bet | for more extensive bistro play. Jess . ADELE CASTLE Songs 25 Mins. Hotel Bostonian, Boston Adele Castle, diminutive 5-ft. SUE CLEMENS ■ Songs 14 Mins. Shamrock-Hilton, Houston This young gal (15V6 years) has a lot of voice, good stage presence, and an engaging manner, but in spite of it all, she’s still less then a mature woman and it shows. Fresh off the MGM lot .where she worked under vocal coach Earl Brant, Miss Clemens made her first appearance in a public room to an enthusiastic hometown audience that applauded every smile, and that glossed .over opening night clinkers produced by nervousness. Miss Clemens’ choice of material was poor. Perhaps a European gal of the same age could get by, quite legitimately, with the emotions, ex¬ pressions she attempts. But it just doesn’t work for a soft, cuddly lass who sings of love,, deprivation, and devilment. If her song selections were in keeping with her sedate, sensible 15-year-old gowning, act would be much improved. But instead. Miss Clemens sings, for instance, “Some¬ one to Watch Over Me”—not with the idea of a dad, but instead with an eye on a “sugar daddy.” It just doesn’t go with Jhe bobbysox-look- ing lady. She was understandably nervous opening night, only other public appearances being at private par¬ ties. Occasional vocal flubs can be chalked up only to jitters and not lack of talent—something which the gal has loads of. If only it were employed with more discretion. Fors. MRS. SHUFFLEWSCK Comedy 13 Mins. Empire, Glasgow Although many customers may exit imagining this is really a femme, “Mrs. Shufflewick,” played by male performer, can’t be blamed for misconception. He is billed plainly with the Mrs. Shuffle¬ wick monicker in quotes. Already known via tv programs, he’s very, properly garbed in old fur, floral-spotted dress and flower hat. Characterization thus achieved is of a typically London working- class femme who dresses cheaply, gossips continuously, and whim¬ pers complainingly most of the time. The London character is ex¬ tremely well effected. Main faulting is a tendency to allow the indigo flavor to be sprin¬ kled through his gags. Goes exten¬ sively into patter regarding his own tribulations, and then reads a humorous letter from “his”, son. Act has undoubted flair for femme travesties, but comedy gag-file could be strengthened consider¬ ably. Act is limited by London dialect, but is good proposition for vaude and tv in United Kingdom. It would have only curiosity value in larger U.S. market. Gord. chirp, packs a song wallop that should rapidly bring her to the forefront in the first league, recent recruit from band vocal stints and musical comedy to the nitery circuit, she stinted with Vin¬ cent Lopez and Tony Pastor and sang in “Me And Juliet.” Out for several months, but not yet docu mented in Variety, Miss Castle, striking brunet looker, who puts plenty of personality and knowhow into her vocalizing, delivers socko in voicing style cross of Ethel Mer¬ man and Mary Martin displaying some of the" qualities that have put those two up front. She demos plenty of showman¬ ship savvy in tailored sesh of mood tunes and is nicely showcased in the small Jewel Room of the Hotel Bostonian. Voice is big and she could work without mike. Cap¬ able of working big rooms, she looks a likely bet. The chanteuse impresses with grace of movement in selling her song wares, especi¬ ally in torchy material. A fine mood setter, she is great with fa¬ cial expressions, using eyes for ulti¬ mate. Opening number “Why” comes off in slick fashion and chirp’s enunciation is excellent. She paints a mood picture with “Since My Love Has Gone” and rides “Gypsy In My Soul’’ in boff fashion, Chirper reaches biggest returns with “Over the Rainbow” and vari-tempoed “Minstrel Medley.” She delivers “Mama” in English and Italian for strong finish. Paul Clement Trio backs thrush excel¬ lently. Miss Castle looks* to have boff potential for class rooms. Guy. Feuer & Marlin , Continued from page 2 ; ( 2 ) KIRKINTILLOCH JUNIOR „ CHOIR (45) Songs 30 Mins. St. Andrew’s Hall, Glasgow Group of approximately 45 kilted boys and girls are attractive sing¬ ing ensemble with potential for concert dates and tv and radio YALOVYE BROS. Acrobatic 6 Mins. St. Andrew’s Hall, Glasgow Soviet acrobatic duo show agility and "skill in various routines, and are solid act for most vaude slot¬ tings. Male duo opens with one partner executing a single-handstand on head of t’other. Segue with skillful head-to-head balance without use of hands, the underneath partner slowly dropping to sitting position, then revolving and finally rising again. Throughout this routine the other brother is balanced head-to- head. Trick garners warm palming from outfronters. Pair’s aero chores are executed without use of any special appara¬ tus. and reveal considerable strength in arm and wrists manipu¬ lation. Act is simple and straight¬ forward, and relies more on direct lifting and balancing than on eye¬ catching intricacy. Act is currently with Soviet concert unit touring United Kingdom, Gord. and Krasna discussed the vehicle with Schary and recommended it be done as first planned—as a Broadway musical. Schary then made the deal which was okayed by Loew’s prexy Joseph Vogel, now at the studio, which gives Metro the film rights to* a potential Broadway hit for a maximum of- $400,000 ($250,000 for the book; $100,000 to Krasna for the stage adaptation, and, at most, $50,000 for a musical score from as yet un¬ named songwriters). There will be no sliding scale upwards under the new deal. When the Broadway run is terminated, Feuer and Martin will produce it as a film for Metro at a stipulated fee, with Krasna to screenplay for an additional $100,000: Metro will not receive any of the profits from the legiter, or share in any royal¬ ties accruing to Krasna or the songwriters from the stage presen¬ tation. Feuer and Martin have had five consecutive Broadway hits. Cushman novel deals with con¬ temporary American Indians in a Montana border area. Music Hall, N. Y. Russell Markert, presentation with Danny Carroll, Ann Gilbert, Foursome, Corps de Ballet (Mar¬ garet Sande, choreographer), Glee Club (Raymond Paige, director), Rocket:es (Markert, director); sets, James Stewart Morcom; lighting, Eugene Braun; Music Hall Sym¬ phony directed by Paige; “ Friend¬ ly Persuasion” (AA), reviewed in Variety Sept. 26, ’56. torium from swinging trapeze. Ann & Bobbie Black offer Scot- flavored musical act, distaffer sing¬ ing pop ballads and male partner on accordion. Floyd & B’Nay are adequate dance opener, a Gay ’90s routine being their best. The male Cooper Twins score with fast tap dancing and aero work (New Acts). Showbacking by the Bobby Dowds house orch is good. Gord. Radio City Music Hall is pro¬ viding its usual stageshow, seem¬ ingly just to keep the- franchise. The length of the film, “Friendly Persuasion,” is such that there isn’t too much time allotted to the live proceedings. Virtually every¬ thing is on the production side with even the outside talent neatly segued into the extravaganza, so that the entire show is a neat and smooth-flowing procedure. Russell Markert’s stage blue¬ prints work out exceedingly well. Opener utilizes the Corps de Bal¬ let in a collection of waltzes by Glazounow in which the coryphees make a pretty picture indeed. The lines of Margaret Sande’s chore¬ ography are lively and the bond with the music is strong. The ven¬ ture pays off handsomely. The^sequences with the Glee Club, Rockettes and the outside help are well integrated. The sing¬ er? open with a multi-tempoed version of “I Got Rhythm” and singer Ann Gilbert backed by four boys takes over in a well-sung ver¬ sion of “Shakin’ the Blues” in which she gives good account of herself. Danny Carroll, at this point, does a dance routine in a modern vein which combines tap and bal¬ let plus some inspiration from the Jack Cole school, and impresses as a worthy artisan who needs only further research into himself to dig up something more expressive of his own personality. He’s a fine technician and he goes off to a rewarding palm. The Rockettes conclude the pro¬ ceedings with one of their superior routines. This moving mass of cheesecake provides the maximum response. For the finale, the bal¬ let members double with the Rock¬ ettes to make for an impressive curtain. I Raymond Paige in a salute to the I headlines ' leads the MH Symph through the intricacies of Sara- sate’s “Zigeunerweisen.” The sets by James Stewart Morcom are in keeping with the usual MH opu¬ lence. Jose. KBobino? Paris Paris, Nov. 2. Lucienne Delyle, Jacques Bodoin, Gino Donati (2), Chungos (5), See Hee (4), Michel Gaillard, Sid Plummer, Joan Rhodes, Keols (2)- . $1.50 top. Variety Bills Continued from page 54 Under baton of their longtime conductor, Meta MacPherson, wid¬ ow of choir’s founder, the juves give out in unison with fave Auld Lang Syne songs, opening with the Highland air “Isle of Mull.” Segue with a jaunty “Road to the Isles,” and then strike a more tender and Plaintive note with “Dream An¬ gus.” As encore at show caught, group wound with the psalm tune ■By Cool Siloam’s Shady Rill.” Act, well trained and rehearsed, nas fresh and a young appeal, and combo of the native kilt and tar- l D an, fresh young voices and obvious enthusiasm for Scot songs, makes J, 1 a natural for the concert plat¬ form as well as tv. Would fit neat¬ ly into any" tartan or Highland 6ce nes. Gord.- | DESMOND LANE Instrumental 13 Mins. Empire, Glasgow Here’s a cheerful male perform¬ er with an offbeat act that’s worth developing. Top asset could be that he’s different from more ste¬ reotyped offerings in the vaude field. Slim and energetic, he jumps in lively style across stage playing clarinet, then the tin-whistle. Choice of tunes is aimed at the juve element, ranging from his own “Penny-Whistle Boogie” to “Birth of the Blues” and “Saints Go Marching In.” He sets welcome I note of modern taste, and, at show caught, had the younger members of sparse audience calling contin¬ uously for more. Gimmick is his use of the humble tin-whistle, which he bought for 30c in a nov¬ elty shop* Gets strong audience participation in handclapping for “Alexander’s Ragtime Band.” Once he could devote more space in act to tin-whistle gim¬ mick, act looks set for both tv and vaude bookings in most situations. Gord. The Archers Mai Malkin Ore Chuey Reyes Ore Fontainebleau Jackie Heller Terry Haven T & P Rodriguez A1 Navarro Ore Sacasas Ore Leon & Eddie's Can-Can Girls Toni Rave Terry Rich Denise Atoma Malayan Rivero Quintet Bimini Mama Pierre Duval Lad Richards Band Murray Franklin's Dick Buckley Murray Franklin Cookie Norwood . Nautilus Peter Wood Gil Marr Antone & Ina Syd Stanley Ore Sans Soucl Hotel Joe Carter Betty Barclay Freddy Calo Ore Seville Charlie Farrell Tommy Ryan Johnny Silvers Ore Rey Mambo Ore Saxony Richie Bros. Hal Fisher Holly Warren George Foster Charles & Faye Cartes Ore Roney Plaza Desiree Decelle Sandra Barton Cookie .Norwood Serge Valdez Ore 5 O'clock Flash Laine Siska Tommy Raft Parisian Rev Empire? Glasgow N Glasgow, Nov. 1. Anne Shelton (Johnny Spence, piano), Morecambe & Wise, Dickie Henderson , King Bros. (3), Sky- Ions (2), Ann & Bobbie Black, Cooper Twins , Floyd & B’Nay, Bob¬ by Dowds Orch. HAVANA Sans Soucl Annie Cordy Lonnie Sattin Sonia Calero Victor Alvarez D’Aida Q. Ortega Ore Naclonal Lucy Fabery Mitsouko Martica Rams Ray Carson W. Reyes Ore Tropicana Gloria & Rolando S Suarea Orq A Romeu Orq Benny More Los Ruflnos •■ill's Marvel Miguel Blance Montmartre Katyna Ranieri Fajardo Ore Casino Playa Oro RENO New Golden The Jesters Blue Chloe Mapes Skyroom Jack Carter Vicki Young Skylets Ed Fitzpatrick Or< Riverside Arthur Ellen Boginos Starlets Bill Clifford Ore Anne Shelton, English thrush currently topping the English hit parade with her waxing of “Lay Down- Your Arms,” punches out pop tunes and ballads with as¬ sured style at the top of this fairly strong layout. Gal is now less am¬ ply built, having dieted down from 16 stones to 11, and thus improves her stage appearance from previ¬ ous overweight. (The British stone is 14 pounds—-Ed.) Songalog includes “The Madon¬ na in Blue,” “Who Are We?” and her disk hit, “Lay Down Your Arms,” while for local palates she serves up a well chosen medley of. Auld-Lang Syne tunes, including “The Skye Boat Song.-” Johnny Spence tinkles the ivories with skill. Eric Morecambe & Ernie Wise, north-of-England comedy pair, of¬ fer their amusing travesty of radio commercials. Duo have good grip of timing, and prove themselves one of most consistently success¬ ful acts in English vaude. More comedy from Dickie Hen¬ derson, recently in from a U.S. trip (during which he appeared on the “Hey, Jeannie!” tv show). Al¬ though still in his early 30s, he’s got the benefit of longtime experi¬ ence in show biz. and miming ar¬ tistry is high. His impressions in¬ clude one ‘ of a man riding in a shaky tramway car. He also tilts at the ways various people laugh, and hits current show biz to a nicety with travesty of a disk-proj¬ ected crooner before and after stardom. But his impression of English comedian Norman Wisdom is the standout bit. The King Bros., are a youthful vocal trio on piano, bass and gui¬ tar. Garbed in blue suits, they set a rhythmic mood with current pops. The Skylons, European male duo, swing into thrills on a tra¬ peze, and have the customers gasp¬ ing with pretended leaps into audi- Lucienne Delyle comes back to Paris boards after long months of international trouping and gets mitted welcome from the neigh¬ borhood audiences. Ease and poise, plus soothing pipes and songalog, make this a turn easy on the ears in addition to good sight values. Rest of the show puts emphasis on comedy and acrobatics with a good overall sheen, in spite of a few clinkers, and this augurs well for good crowds until it winds Nov. 15. Jacques Bodoin is a glib, fast- talking comedian with enough good stories and knowing takeoffs on the plague of charm singers here to make this in for heavy laughs. He knows how to “blue r ’ without salaciousness, but in Gal¬ lic even a sewer can manage to be given an acceptable odor. Michel Gaillard is a singing im¬ pressionist limning many types re¬ acting to pretty girls or a typical man and wife in a cabaret. Com¬ edy leans to obvious without get¬ ting the original touch or comment into it. However, he is personable and needs a touch of material to put it into acceptable bigger brack¬ et booking. As is, he is a new¬ comer whose talent still lies ahead of him. Gino Donati (2) comes on as a romantic Italo tenor with forced tones who is interrupted by a stooge who comes onstage to turn this into a hep offbeat act. Fey- type newcomer launches into hand-to-handing and comic repar¬ tee with Donati to end with a very funny bit as Donati sings while going through some complicated hand-to-hand contortions. This looks likely as vaude or video, bit and could be used in stateside boites as well. See Hee (4) is Chinese group of three young men in acrobatics Ind contorto bits under watchful and helpful eye of father. One man twirling plates in each hand bends over backward to lift a cup with teeth, etc. It’s a good filler or opener, but with the real Red Chi¬ nese Peking Circus in town, looks pale alongside the originals. Chungos (5) are a gypsy-Hispano group with each doing a. frenzied dance to flamenco chant and gui- taring. But they lack the fire and d spark and, except for a boy with some class, remain a secondary entry of this type. Keols (2) do some solid acrobatics and then get on a trapeze to do balancing for a fine filler number. England is present with some good, pleasantly cornball entries. Joan Rhodes is muscular looker who bends iron bars, tears tele¬ phone books and keeps four men from opening her clenched fist. This is solid staple stuff and is never vulgar, due to Miss Rhodes’ knowing showmanship. Sid Plum¬ mer holds forth on his eccentric, Rube Goldberg - like xylophone which falls apart, has caterpillars running over it, etc. His jovial presence and timing constitute a pleasant music hall entry and its solid oldhat yock appeal makes it acceptable anywhere. Mosk. Secretive Warners Continued from page 5 totals” for each country where the American firms are operating. The question has been asked whether, if WB persists in its non- cooperative attitude, the other out¬ fits should go ahead anyway. MPEA members are handicapped in all research efforts by the fear of antitrust charges. It’s felt, how¬ ever, that certain information could be obtained without any such concern. Several of the com r panies hold that the MPEA must be serviced by its members with more specific information if it is to be useful as an association. These companies don't see what harm is done by revealing certain pertinent- facts about their busi¬ ness operations and results over¬ seas, providing the information is not made generally available.