Variety (March 1957)

Four Colleanos, Derby Wilson, Richard Hayman, DeJohn Sifters (2), Archie Robbins, Al Martino, Myron Roman House Orch; "A Woman's Devotion" (Rep), rer viewed in Variety Nov. 28, ’56. :House's new crush on disk names is in evidence. this frame with Richard Hayman (Mercury), DeJohn Sisters (Columbia) and Al Martino (Capitol) topping the bill. It’S still no test, ^ though, whether the new policy will bring in the teenage set 'because none of the aforementioned has a displick working currently. They do-, how¬ ever, serve as the backbone for a substantial vaude layout. .Show opens in orthodox manner with the Four Colleanos (two men and two women). Their juggling feats are neat end sharp and their way with the hoops and the dumb¬ bells is hard to beat. Derby Wilson is up in the deuce with his familiar but always like¬ able tap turn. It’s smooth and ef¬ fortless and he has a surefire clincher as he taps a la Bill. Robin¬ son. Hayman comes to bat next with a harmofiica solo. He’s got a stage savvy and a mastery of the instru¬ ment that put him over big. Open¬ ing medley of ‘T Could Have Danced All Night,” “True Love” and ‘’Round and Round” sets him u^ strong.. He follows in top form \vith “Ruby,” “Overture to Or¬ pheus” and “Alexahder’s Ragtime Band.” His medley of tv commer¬ cial jingles is pleasant fun. The two DeJohn gals get going fast with “Get Happy” and sustain a rollicking^ and peppy pace through the songalog which in¬ cludes “No More,” .“-Efe Loves Me” and “Jubilee,” a rousing gospel item. Their pipes are rhythm- packed and they know just what to do to get the songs across. Archie Robbins, next-to-closing, supplies a happy-breather from the musical turns. His standup come¬ dies draw the yocks easily. He works in a cool and collected man¬ ner that’s easy to take. His deliv¬ ery .helps the material build a good laugh quotient. Martino wraps it up in the clos¬ ing spot with a reprise of, his shellac clicks of several years b^ck, “Here in My Arms” and “Take My Heart,” He’s In the'big-voiced ballad groove that seems to have lost out to the rockin’ style, but he can also handle the beat well as evidenced with “Can I Steal a Lit¬ tle Love,” His opening number, “Let’s Face the Music and Dance,” also shows off an appealing-rhyth¬ mic flair. MMway in the turn, he goes Gallic for ah en francais workover of “C’est Magnifique.” It’s not needed.' The Myron Roman orch -has been moved from the pit to the stage but the beat is still sure and helpful. , Gros. Prince.,.of Wales. LonUtm .. jCori^n, March 19. Ted Heath & "Hfe Music, Lita Rozq, (with Les Sands), Albert & Les Ward, Johnny Stewart, The 5 Katyanas, Billy Dainty, Pierre Bel, Billy Baxter, Les Mallini (2), Har¬ old Collins Orch. , This IS the final bill in the Prince of Wales vaude season and, after a three-week Shutdown, the theatre will house the new edition of Folies Bergere. The current lay¬ out (in for a fortnight) is head¬ lined by Ted Heath’and his combo who have just jl'C turned from their second exchange tour of America. Although best known and re¬ spected for the strict tempo qual¬ ity of their playing, the band pro¬ vides a varied entertainment suit¬ able for a vaude audience. They start off in straight style but with¬ in half-hour span include a ca- lypsOj rock ’n’ roll, a Chopin piano solo and a speciality number for drums. One of their neatest gim¬ micks is an EdWardian-type ver¬ sion of “Singing the Blues”, and from that staid openii^ segue into a lusty r&r production, with one of the two vocalists doing a boff impression of Tommy Steele. Lita, Roza, an ex-Heath vocalist, has second billing, to close first half of show with a pleasantly con¬ trasting songalog. She has a par¬ ticularly appealing way of dealing with ballads and puts plenty of zing into such numbers as “Lucky. Lips” , and “Heyt Jealous Lover.” She has. a clear and distinct-TSing- Ing style and an easy manner, which projects for warm audience returns. Lee^ Sahds, her‘regular accompanist^ gives her sound back*^ mg; . Albert &: 'Les Ward,-a versatile pairrof . comedy magicians who use time come up with a one-man skif¬ fle unit for stout results. One of the best items in their act is a highly ■ perceptive takeoff on the Beverly Sisters. Johnny Stewart (New Acts) is a newcomer from Wales. The Five Katyanas are young girls from the Continent whose aerial act concentrates more on style and form than high-speed thrills. Evert so, they give their performance a solid finish when they all go into a fast spin. Billy Dainty, a young comedian of promise, has some original ideas and. a vigorous approach. His material needs touching up for West End acceptance. Pierre Bel once again impresses with his jug¬ gling skill. Billy Baxter misses with his cavalcade of humor, which starts from the days of the silent screen. Les Mallini offer some mildly amusing comedy knock¬ about. The Harold Collins . resi¬ dent orch give the show quality backgrounding. Myro. Colonial, Boston Boston, March 22, Danny Kaye all-star show with Senor Wences, Roberto Tglesias & Ballet Espanol 112), Marquis Fam¬ ily, Jo Lombardi Orch, Sammy Prager, accompanist for Kaye; $5.50 and $6 top. '■ . Danny Kaye’s All-Star Interna¬ tional Show is giving a big lift to the Colonial'atrthis point in a bad¬ ly thinned-down show season. He has smashed boxoffice records for the house since he opened' March 11 , and the engagement, originally for four weeks, has been extended two more, to April 20. This the comic has accomplished with a $6 top Fridays and Saturdays, and $5.50 weekdays. Be it noted for the record this is the only show to light a legit house at the moment. The All-Star International Show is playing a straight legit policy of eight performances a week. It has been altered somewhat since Chi¬ cago and Washington, with Roberto Iglesias and his Spanish Ballet re¬ placing, for the first time in years, The Dunhills. With the flamenco troupe is girl „ singer, Maria Mer-' ida, Senor Wences and the Mar¬ quis Family of chimps continue, as portion of first act introduction to Kaye’s humor. ’Wences’ fabulous ventriloquism and the Marquis’ antics—brighter than • most animal acts—go over big. Iglesias and his Ballet furnish spectacle and motion as show’s opener, but none of.the dancers is individually firstrate. Miss^ Merida sings, with punch,' flamenco-style, Second act, which runs nearly twice the time of the first, is all- Kaye. Backed by Jb Lombardi and his orchestra, and accompanied by Sammy , Prager, Danny clowns, hoofs, quips, conducts everything and everybody in sight, sits below the mike for a rest and borrows cigaret and a match, talks, sings a flock of his standards, like “Ana- tole,” “Tchaikovsky,” '“Dena”. and so on, and keeps'the customers hys¬ terical for about 90' minutes. It’.s all typical Kaye — natural, sharp, fast funnymaking,- and not a whit of dirt in an evening. Durg. ? Pavilion^ Glasgow Glasgow, March 2i. Bob & Alf Pearson, Dark Knights (4), Gitsom Sisters (4), Dennis Spicer, Edorics (3), Jimmy Wal¬ lace, O'Duffy Bros. (2), Johnny Beattie, Lynnette Rae, Richard Har- die, Rae Gordon, 10 Davis Girls. Bob & Alf Pearson, longtime harmony duo, still score with songs and comedy at piano and micro¬ phone.' Smaller brother, Alf, jumps like .a frog about the stage, and raises jocks \Yith this activity dur¬ ing “Phil the Fluter’s Ball.” Bob Pearson still holds Interest in his little-girl Jennifer, voice character done regularly in a radio series some years ago. Four Gitsom Sisters,' singing accordionists, are best • in the ballad “Who Are We?”, and wind with a lively “Rockin’ Through the Rye.” Act can still be sharpened in showmanship, as also can the Four Dark Knights, colored singers from Georgetown, British .Guiana, who show promise in songalog that includes “Autumh* Concerto,” “1 Saw Esau’’ and “Jumping for Joy.” 'Act’s lighting was n.s.g. Three Edorics show nifty leg work in brief but slick dancing 'act. Dave & Joe O’Duffy are lively Irish comedy- pair who use aud participation to fullest, and are ■Worthy - of booking on .general vaude circuit. Jimmy Wallace and Johnnie Beattie, both local come¬ dians, -are sweak in jiative. comedy, but Wallace scores in travesty of an enieriaining ventriloquist reviewed in New Acts. The ten Davis Girls are a smart- stepping line. Gord. Eiii|iii*C9 Giasgow Glasgow, March 19. Max By graves (with Bob Dixon), Kaye Sisters (3), Stan White & Partner, Kendor Bros. (2), Rusty, Die Naukos (2), Ann & Val Shel¬ ley, Bobby Dowds Orch. Slim, and dapper Max Bygrave.s. London comedian, exits to ‘ solid mitting and repeated calls for more after a 14-minute act. as headliner .here. He has easy, relaxed style and probably the most expressive hands and gestures in British show biz. On this showing, he turns in a solo performance that can be compared with that of Danny Kaye, and is an assured bet for U. S vaude, video and niteries. For greater part of his stint, comedian gags, happily in song and rhyme, covering a wide range of topics from Liberace to the Btit- ish dumb-blonde Sabrina. He mimes various songs with a sim¬ ple handkerchief, scores with a travesty of “With These Hands,’? ^ock ’n’ roll twist to Old Shanty. Town.” Bygf-aves has the customers, young and oldsters, joining pier- rily in “Davy Crockett.” Ha re¬ laxes .himself and. the audience by doffing his jacket and working in white shirt. Also scores with tunes asso.ciated with himself, such as JDiit of Towih” “Meet Me on the Corner” and “Cowpuncher’s Can¬ tata.” Links up in comedy with his deadpan pianist Bob Dixon, who gives top support at the ivories. The three Kaye.Sisters (who join Bj^graves for one number) are bright easy-onreye-and-ear har- mbny threesome (see New Acts). Stan White, whitefaced comedj'- musician, wiqs yocks via routine ou trumpet, violin , and cornet, playing the Jast-mentioned while doing one-hand balance atop steel contrivance. . Dizzy femme part¬ ner adds to fun playing hand-bells, horns, etc., strung on .quaint frames. KendOr Bros, combine musician- skill. .Ann & yal Shelley, gaily garbed, are use¬ ful dance openers. Rusty, a per¬ forming collie pooch, and Die Naukos, novelty unicycle duo, are both in Ne'w Acts. Gord. Apollo, iV. Y. Andre Williavis, Phyllis Branch, LMrry Birdson, Claudia Swann, Cardinals (4), Screaming Jay Hawkins, Bo Diddley (3), Reuben Phillips Orch; "Stormy Weather" (20th), —^— ■ Rock ’n’ roll isn’t the big noise it used to be. Without the tremen¬ dous hypo by .several disk jockeys, irs probable that a .considetable amount of its present kid support wouW soon disappear. This con¬ tention is being borne out by the fact that during the periods when schools are in session, houses are meagre, as was evidenced recently at the Paramount, and at the pres¬ ent Apollo show, seen at a time when moppets are otherwise occu¬ pied. 'The Apollo show presents- a study in contradictions. A mere handful of youngsters in the first few rows were Whoopingjt up, and the more mature customers jusjt sat. The performers worked with their usual zest in a representative r’nir layout, Jiut the applause was meagre even when ' exhortations were made by emcee Bud Bowser. Whether other forms such as calypso^ have been making inroads into this audience isn’t known, or whether more than acts are need- ed to get the- heavy boxoffice is still a matter of conjecture. However, at this point, it seems evident that some enlargement of audiences are necessary if r’n’r is to remain on the boards profitably for long. The Apollo bill has good performers worthy of headline sta¬ tus in this medium^ There’s the Cardinals, Screaming'Jay Hawkins and Bo Diddley. Latter has a way of providing tremendous excite- nien_t,.yet the receipts were sparse. Such a. state would have been un¬ likely a year ago. It could be that rock ’n’ roll’s uniformity is taking its toll. Per¬ haps the lack of change in- its for¬ mat and concept is . responsible, and maybe failure to develop a rock ’n* roll dance form acceptable to the ballroom trade might be the reason. ’ ’ Rut whatever -the reason, rock ’n’ roll has defied acceptiince into the mainstream of 'American music. Maybe the representative orches- (Continued on page 64) . KOVACH & RABOVSKI Dancers 12 Mins. Hotel Pierre, N.Y. Kovach & Rabovski don’t need the saga of their Iron Curtain escape from their native Hungary three years ago—it only adds an anecdote to their professional script because, fundamentally they are competent unto themselves. So much so that they were aiTout¬ standing hit in their metropolitan nitery debut in the Cotillion Room of the Hotel Pierre. Actually this is not their Gotham debut. They showed with the Judy Garland vauder at the Palace th's past winter but not to best ad¬ vantage. So much so that their turn, as a New Act, was in sharp contrast to their present entry. A team whom the fates seemingly destined for the dramatic, Kovach &• Rabovski. were among the SS Andrea Doria survivors and their Palace bow saw them in obviously lujnerved condition — the male especially—^not to mention their makeshift wardrobe. Here are the posh Pierre they are a pirouetting pair of terpsicho- rean pros in the best tradition. Her entrance, from the side rostrum, in arresting purple and tourquoise attire, on the plastic toes, is show- manly and dramatic. She’s a looker and he’s a handsome vis-a-vis in their flirtation double, built around a stepladder prop. } Her. sense of diumor anent the Gabors—“who don’t have to work so hard”—is manifested in a brief monolog while he makes a change, but not before . her “Lullaby of Birdland”' toe jazz. They wind up to a strong hand-to-hand acclaim, a surefire nitery turn as they have been in the orthodox tour-jete circles. They can play anywhere— video, vaude, saloons, the politer rostrums; in short, where a per¬ sonable pair of legit terpsters enjoy the best market. They were a resounding click at the Cotillion. Abel. GINA GLAZER Folk Songs 15 Mins. Gate of Horn, Chicago Young folk singer with an in¬ tense and austere presentation keeps her audience listening. Standards, including mountain bal¬ lads and Bahaman tunes, are pitched softly in a slightly lisped accent with guitar accompaniment. Nothing cute about this. Gina Glazer offers a genuine musical feeling, gets good response on group songs and works close to her material. She could probably handle a talky croivd for 15 min¬ utes in any intimate spot. Leva. PABLO PALITOS Comedy 15 Mins. Chateaq Madrid, N.Y. Comedian Pablo Palitos, accord¬ ing to'his Chateau Madi'id billing, is appearing there “direct from the Argentine.” His rtint at the club took in one routine, a takeoff on the handling of “Granada” by singers of different nationalities. The act had some funny moments, but, in the overall, wasn’t too strong. Palitos’ impersonations took in an effeminate Spanish singer, a -Cuban, an Italian, a German and a Frenchman, a la Chevalier, His bowoff impression, of a stereotyped Jewish rendition of the number might rub some the wrong way, especially the intro that he’s going to do the number “in Jew,” 'ssop DIE NAUKOS Cycling Novelty 8 Mins. Empire, Glasgow Unicyclist and partner offer nov¬ elty act with unicycle. On offbeat value alone it looms as good bet for vaude. Riding the one-wheeled machine, male* manipulates , it in hopping style up the 17 steps of an ascend¬ ing ladder, then descends in simi¬ lar hops to win solid palming. Se¬ gues by working rope-skipping routine while astride uni-cycle on trestle. , Act’s gilnmick is a ‘^bridge” of musical pads, on to which he hops his unicycle. By jumping from one to t’other,, he plays out semblance of a tune. This gets good aud re- .sponse. Is supported in act by femme partner. Gord. MICHELE MARCONI Dance 15 Mins. Cirque, Medrano, Paris Racy, offbeat, elegant terp entry looks to be something that could easily fit into U. S. show needs, Michele Marconi, an cx-Opera Ballet dancer, has studied and gotten down pat the rhythmic, agitated, showy gaits of the horse. Dressed . in a .catching Hispano bolero, and hat, with sheer black tights, she conies. out and essays her equine poise and prancing. After tliis thoroughbred display she brings out a real horse, rid¬ den by Andre Raney, with a bull- fiphtifig cape. Then she falls in with the horse for a series of dance-like duetting. It is a neat, unusual bit and she looks like a- good entry with or without the horse. Mosk. DENNIS SPICER Ventriloquism 9 Mins. Pavilion, Glasgow '* Young ventriloquist, already pop¬ ular via tv and summer revue, is a polished artist with lotsa confi¬ dence and goodly quota of talent. Displays deft manipulation of his dumn-iJ^ and throws his voice .skil¬ fully. Use of latter in an echoes routine is particularly good. Strong¬ est palming when Snicer, as vent, turns himself into his dummy and gives the latter his own speaking voice. This is surefire routine as voices are cleverly switched, "Winds act'Avith subtle characterisation of the dummy, weeping oh his mas¬ ter’s shoulder as he brays in the song. “At Ehd of the Day.” ’ Okay act for^atide and fv. I ■ • • Gord, KAYE SI’STERS (3) Songs 12 Mins. Emmre, Glasgow Trio of smartly-garbed, girls shapes up as close-harmony act with lotsa promise for future clicks in vaude, video and on disks. Threesome have well-blending pipes, and punch home current pops with much sho\manship. Act is obvious resuR of much re¬ hearsal, and distaffers pay coftsid- erable attention to wardrobe and coiffures, latter being a fringe style for each. A recent teaming on the Briti.sh vaude stage and on Iv, act has youthful and fresh approach. Songalog includes the calypso “Money Tree,” “First Row BM- cony”'and “Singing’ the Blues,”' A good bet for most show biz media. ' Gord. RUSTY Canine 12 Mins. Empire, Glasgow Cute pooch act has the riglit quota of puzzlement for the out- fronters. Directed by male trainer, collie opens.by standard jumps tlirough hoops,-then picks out assorted col¬ ors such as blues, red and gi’eens at word of command. Trick win-^ nlng most applause is when the' pooch, a rusty-colored beast, tilts up the correct figures after audi¬ ence has been asked to give addi¬ tion and substraction sums, using numerals below eight. Pooch also selects flags of different nations,, including U. S. A., at word from its master,'and winds a-ct by un-drap- Ing its favorite banner, that (for local patriotism) o'f the U.K. Okay for general run of vau- deries. 'C^fd.°*‘. SICKI .Tuggling 15 Mins. Cirque Medrano, Paris Youthful juggler goes through a smartly paged series of farniliar workouts with hats, cigarboxes, etc,, for a good warmup. Then he ups on a large ball and foots a saucer onto his head. He follows this by . five cups and .saucers, a teanot, a covering, a lump of sugar and a spoon. Act has a proper growing inter- [^est and gasp anpeal and looks a fine entry for U. S. usage. Mosk. .lOHNNY STEWART Soners, Comedy 12 Mins. Prince of Wales, London Making his West End bow at the Prince of Wales, Johnny Stewart impre.c.ses as a comedian of prom¬ ise, -He has style, ideas and the inherent Welsh quality of a fine voice'. He’s also fashioned an act which has out-of-the-rut qualities. In the main, be tries to crowd too much into his restricted 12- minute stint, but his talents emerge in' his one-man impression of a seaside concert party, in which he interprets all the roles from emcee to can-can dancer. That’s a fine instrument for displaying his versatility. He has a smooth delivery, good comic expressions, hut som^ palter.,the flimsy side,''^ ' Mi/ro.