Variety (May 1957)

Th* Roxy recreates'a return to the days when the teensters Jumped' out of their collective 6 w.eatera at such idols as Frank Sinatra, and a few of the others who ushered in the aye ,of swoon¬ ing. Op board is Tommy Sands* a lad who has catapulted to the top- time at' the tender ago of 10. The eyent recalls thd era when youngsters' clustered around.the bandstand,, as indeed the teensters do' at the Sands session. The squealing and yelling during Sands” turn is similar tq that which helped build up some of the other idols of. young America into the big- tiihe. Withal, Sands' devotees seem better behaved than those showing up at the ahowings of .his side- burned contemporary, Elvis' Pres¬ ley. Sands doesn't seem .like the type that would incite violence in the kids, More of him under New Acts, Tina Robin, a cute and pert blonde youngster, is a promising P erformer. A Slight gifl with a ig voice and a piledriver style Of singing makes her a good bet on¬ stage. She opens with a set of oldies, does one rock f ii’ roller and thence into impressions of estab¬ lished singers. In this Roxy session, Miss Robin seems to be faking no chances. Whatever she has to offer as an Individual is obscured by her rou¬ tine. She hki presumably been coached by ; oldtimers to sock put the songs not of her generation, thence into a style riding a high vogue and then impressions of others. There Isn’t a single , song expressive of herself. She reveals nothing of her own feelings‘to the audience. She comes but a stran¬ ger and leayes as a stranger, albeit a well-applauded one. Among her impressions she includes Kay Starr, Teresa Brewer ahd- one of Roberta SherWodd, all of them welldone. The Roxy, this week is providing a valuable'function. It’s furnishing a gander at a top current fave at 4 prices the kids can afford in sur¬ roundings that put parents at ease. It’s been the custom of late to bring in. the shows at the $6 level, or else to niteries where kids can¬ not afford the tab. The business being .done at the Roxy also Sug¬ gests that the exhibitors have neglected a market that can be re¬ vived by vaude shows of this calibre. . The Roxy’s managing director Robert Rothafel has had to go into strange (for the Roxy)' fields in or¬ der to stage this soiree. The line, for example, doffed skates for most of their production numbers. Do¬ ing routines on ice while wearing , shoes apparently entails some spe¬ cial -treads which slow up the femmes’ movements. Colorful cus- tumfng and essentially good rou-. tines tailored to meet the handi¬ cap; puts the .'production over. Another aid In the production Is Will Jordan, who acts ‘as emcee, and does his own turn of which Ed Sulliyan’s. impression is still the top. Although; he follows Immedi¬ ately the tum1>y Miss Robin, which also entails impression, he has no trouble getting Started on a very high level. Goes over excellently. The orchestra conducted by Rob¬ ert Boucher is a plus factor in the proceedings, Jose. Empire, Glasgow Glasgow, May 15. - Lonnie Donegan & Skiffle Group (3), Mundy . & Earle, Les Brazili- o nos (3), Des O"Connor, Kazan & Katz, Evers & Toni, Don Smoothey & Tom Layton, Marie De Vere Girls (fl), Bobby Dowds Orch. It’s a field day here for the Lon¬ nie Donegan followers. Skiffle group, recently in from the U; S., livens it up with rhythmic tunes such as. “Puttin’ on the Style,” “Alabamy Bound,” “Rock Island Line” ahd ciirrent hit, “Cumber¬ land Gap,” but main fault is a jangling sameness which could be avoided by more variety, both in presentation and content. Donegan should also contrive to show more personality, thus proving himself kingpin of the foursome. Scores with his familiar “Bring A Little Water, Sylvie,” and exits to good mittlng from younger customers. Mundy 8c Earle, boy-and-girl twosome, brightly garbed in hello suits, win night’s loudest yocks for a slick mime act. Male’s offering of “Sabrina’s.' Nightmare,” With fall¬ ing falsies in his glamor-dame make-up, is a standout. Act scores with “Cdcktails for Two” and PXSsmfr HOUSE REVIEWS 55 “Mule Train/* and if useful bet for the TJV S. market. Des O’Connor is a goodlooking young comedian with friendly style and giggle, but should aim to gain stronger material. Scores . with r’n'r audience, participation rou¬ tines. , Don Smoothey. $ Tom Layton are new comedy pair making un¬ successful try with poor material, although comedy ^member, Don Smoothey, has what it takes in pathos and physical build to work himself up a vaude clown. Kazan 8c Katz, man and woman team, bounce, spin ropes and somersault on the trampoline to good effect, the male winding act with back-somersault while blind¬ folded through .paper hoop. Les Brazilianos (3), jugglers, and Evers & Toni, Continental contortionists, are reviewed In New Acts. The six Marie. De Vere Dancers are so-so in opening dance rou¬ tines, Bobby 'Dowds orch show- hacks, Gord. PAlladiHin, London London, May 14. Frankie Lalne (with Al Lerner), Leo De Lyon, Rudy Cardenas, Joan Turner, Morton Fraser’s Harmoni- da Gang (3), “Gilberts” Raf k Julian JoVer, The Mandos Sisters (2), The George Carden Dancers (16); Cyril Ornfldel’s Oxch. -. Back at this mecca of British vaude after an absence of almost four years, Frankie Laine heads a first class bill that looks set.for a boff season for the next two weeks. Leo De Lyon» held over from the last Palladium layout, win also add. substantially" to the attraction of this bill, Frankie Laine gets nothing like his previous. Palladium receptions, though bis voice ahd delivery have not altered much. His long ab¬ sence appears to have had a damp¬ ening effect on his British follow¬ ing, and the reception he gets for his 12 numbers, many of them old established 'disclicks, is nowhere near the full Palladium treatment usually, meted out to American bill toppers. Among 4 his best render¬ ings are ^Woman In Love," “Moon¬ light Gambler,” • “Sixteen Tons," “Black Gold,” and Ai' Lerner ar¬ rangement entitled ' “Annabelle Lee.” On these numbers the audi¬ ence response is, good and Laine settles down to a pleasantly re¬ laxed pace, although on several oc¬ casions he tries to get the audience a little warmer by stamping his feet and clenching his fists, but without much success. Leo De Lyon, who scored a smash with his.zany comedy on the last Palladium bill, scores heavily again with his non-stop comedy patter and facial contortions. But his revised act is not as good as his first offering. The pace is slower, and some of the material repetitive, but nevertheless, his versatility and timing are in class of their own. A repeat performance of his rendering of “Humoresque” and ‘ 'S wanee River,”—simultaneously whistling and humming the tunes— provides a lot of comedy and gets hefty mitts, . He is now an estab¬ lished Palladium favorite. Best reception of the show goes, to Mexican juggler Rudy Cardenas. He gets through stock routines •with clubs • as his act opener, hut at twice the Usual speed, and pro-' cresses onto more difficult and impressive feats as he goes. on. He has the customers cheering with his unusual spinning balls stint and a routine involving billiard halls, which he throws, high in the air and catches in small pockets tied to bis waist—they miss his head by the narrowest margin. This is his first Palladium appearance, and he steals the Show. Joan Turner, British comedienne and impersonator with a fine voice, gets a firm response with her homely humor and pleasant personality. Morton Fraser’s Har¬ monica Gang couple good instru- mentalization and comedy, mainly j supplied by a diminutive guy. As is usual with animal acts, “Gil-.! bert,” an almost human chimpan¬ zee, gets a good hand for his an¬ tics. Raf & Julian Jover score well with their acrobatic fun as Palladium newcomers. Their gag material is good and acrobatics up to the same standard. Also making their bow at this vaudery, The Mandos Sisters make a good im¬ pression as unusual aeriallsts, and the George Carden Dancers fill their two spots with their usual high .standard of footwork. Cyril Ornadel’s orch provides excellent showcasing with an on-, stage appearance for the second half of the bill. Bari. Judy to Detroit Detroit, May 21. Judy Garland and troupe opens next Thursday (30) at the 2,700- seat Riviera for a week’s engage¬ ment. House is scaled to $6* Friday idl'd' M««l* H*11, N. Y. Russell Markert production of “Musicana,” with Jay Marshall, Clark Terry, Jack Murray, John Alexander, Anthony Makas, Edmee Hess, Grace Davidson, Doris White, 1 Ritta Alecknewith, Laurel Edelson, Music Hall Symphony Orch (Ray¬ mond Paige , director). Corps de Ballet (Margaret Sande, director), Choral Ensemble (Paige, director), Rpckettes (dances by Markert); sets, James Stewart Morcom; cos¬ tumes, Frank- Spencer; lighting, Eugene Braunf “Designing Woman ” (Metro), reviewed in Variety March 13, ’57. Stage shows at the Radio City Music Hall are a can't-miss propo¬ sition. Although the current entry isn’t in the theatre’s' topmost spec¬ tacular groove, it’s still loaded with splendor... The plushness 9 f the showcase and the eye and ear appeal of the various bouse units (the Symphony Orch, Corps de Ballet, Choral Ensemble and Rock- ettejs) are a treat in themselves. As for the added trimmings, there’s not. much in the tyay of super production sets this outing, but decorative backdrops, lavish curtains and colorful costumes, suffice. The only non-musical act on the bill Ijf Jay Marshall, who scores neatly with his three-way parlay of comedy, sleight-of-hand and ventriloquism. The symphony prch gets the show underway with the Tchaikow- sky Piano Concerto. The familiar piece, with Anthony Makas as key¬ board soloist, makes for a pleasing starter* Next the Corps de. Ballet demonstrates nimble footwork in a series of “Mauve Decade” dances. Soloing with the .tqrp unit are Edmee Hess, Grace Davidson, Doris White, Ritta Alecknewith and Laurel Edelson. * The Choral Ensemble follows in a “Music"Hath .Charms” segment, which is kicked off via an effective trumpet solo by Clark Terry. The vocal troupe then moves in for a revival-slanted religioso session, which paves the. way for a few numbers, including “Swing Low Old Time Religion.” Tenor soloist Old Time Relgion.” Tenor soloist John Alexander, and Jack Murray head the sock songstering group. Marshall Is next with his solo stint and then the Rockettes take over the closing slot for their preci¬ sion terp exhibition. The stepping, as usual, is ah arresting rhythmic feat. Giving added punch to the footwork display is a rousing or¬ chestral of “Strike Up the Band,” with male members of the choral group joining in bn the vocal. Jess. j Palace, N. Y. . Russ & Joy Sobey, Celeste Evans, Mark Huling & Sharkey, Lee Sul¬ livan, The Florida Trio, Frederick & Tanya, Marty May, The Virgin¬ ians (2); “Public Pigeon No. 1” (RKO), reviewed by Variety Jan. 16, ’57. Palace fouT-a-day, except for the solid performance of Mark Huling and his “wonder sea,” Sharkey, is shy of Impact. Nonetheless, there are sporadic moments of entertain¬ ment to be found on the rest of the card. Opener by tapsters Russ & Joy Sobey is not one of them. Femme is a lovely, who does a couple of routine spins. Her partner also shows some pepless and uninspired hoofing. Celeste Evans’ sleight-of- hand gets New Acts/ , With Mark Huling leading Ids seal through its paces, the slick- coated performer offers some ex¬ cellent returns to Nstubholders. Though there are few variations if any on the standard bag of seal tricks, the tricks .themselves—play¬ ing the pipes and juggling, etc.— are dandily done, and the hokum between is inspired. Following Sharkey, Irish-tenor Lee Sullivan, doing “Pocketful of Dreams” and a group of “Fair Lady" tunes, is most pleasing, tout he slides greatly^ when he turns to making with meaningless chatter, and he really takes the edge off his stand by doing a poor imitation of a rock ’n’ roller. . The Florida Trio, an Italo troupe, fronts a gollywog. The limber, rag doll is twisted by his partners, man and woman, into a variety of rub¬ bery form?. There are enough laughs and eye-opening contortions. by the gollywog' to sufficiently counterbalance the clumsy visual clowning of the other two. • The Frederick of Frederick 8c Tanya, ballroom dancers, doesn’t manifest much grace'in those fancy lifts he tries. Small part of the act they do when both are in contact With the boards is also rather weak. Marty May took a page from the Jack Benny book of comedy, it aifcears. However, May, a mid¬ dle-age performer, armed with squeeky violin and the slow, casual delivery of Benny, Is lacking in material, causing many of his sev¬ eral minutes , go slower than he in¬ tends, The Virginians, a mixed pair of jugglers, are in New Acts. Art. Apollo, N. Y. Par’s Pattern ■■ Continued from pare 1 ^ higher than a year ago but there has been a sharp cutdown on in* yestment of pictures in process of completion. This item amounted Floyd Ryland, Babe Lawrence, Solitaires (5), Ella Johnson, G Cleffs (5), Jackie Mabley, Clyde McPhatter, Buddy Johnson Band (14); “Big Tipoff” (AA). Layout at current sesh at 125th Street vaude house makes for good entertainment level Ip the rock ’n’ roll groove, despite some weak¬ nesses. All the acts, ranging from r&r groups to comedienne to tap¬ per, have , played the Harlem house before, taking off any sur¬ prise edge. Clyde McPhatter, disk fave, tops the.bill with a songalog, which draws handclapping and squeals from the-teenagers. He’s . got a smooth, voice, a hep stage person¬ ality .and a manner which, gets the most out of the suggestive lyrics. Other highpoints of the layout are Ella Johnson,, a pro vocalist .who does well with rhythm & blues tunes and comedienne Jackie Mab¬ ley. The latter has a lot of blue material and some gags have whisk¬ ers, yet she manages to register, knowing the idiom of her audience and possessing a comic manner which projects. " Floyd Ryland opens the bill with two rock ’n’ roll tunes. He’s a young Negro vocalist who needs more seasoning, better mike tech¬ nique and a greater range. Follow¬ ing is tapper Babe Lawrence, who does what appears to toe a non-stop stint which builds. What he lacks is more individual stylizing. The third and fifth spots are oc¬ cupied by the Solitaires and the •G Cleffs, respectively. They go through their stepping and rocking tunes, interspersed with a calypso number, in polished, fashion. Both groups have been "around quite awhile and have a good deal of stage savvy. Buddy Johnson and his band lend a good assist throughout, with Johnson handling the emcee chores ably. Horo. Unit Review Pat Boone Show (AK-SAR-BEN, OMAHA) Omaha, May 19. . .Pat Boone, Four Lads, Fontane Sisters (3), Richard Hayman Ofch (13), Gary Morton, Bruxcellos (4), Rudenko Bros. (2); $3.50 top. Certainly one of the outstanding musicals to he packaged here, this General Artists Corp. ’ package fig¬ ures to pick up pleqty of shekels with its Pat Boone show, currently on a three-week tour of the mid¬ lands. Boone’s appeal Is evident here, with 8,200 packing Ak-Sar-Ben Coliseum. Star does 35 minutes and while his patter drew little more than titters, the house shrieked when he unloosened his tonsils. Boone starts with a rock ’n’ roll song,, goes Into various medleys of standards, shifts into a Negro spiritual, and closes with his bestselling pops. .. Second-billed . and closing first half of show are Four Lads. They open strong with “Runnin’ Wild,” then moved into “Getting to Know You,” “Not Much,” “River Side,” “Istanbul,” and other faves. Fontane Sisters likewise draw salvos. Attractively gowned, thSy have aUd clapping hands through¬ out and wind up with their new hit, “Which Way to-¥our Heart.” Richard Hayman fronts an ex¬ cellent 12-plece orch long enough for his solo, harmonica stint. “Ruby” and a clever takeoff on tv commercial jingles make him a winner. Another hit of the show is Gary Morton, comic who doubles as em¬ cee. Big guy is weak in the lat¬ ter department, hut clicks well in his own inning with' fresh comedy. He clowns with a trumpet for an excellent finale to an excellent act. Bruxcellos, acro-comics spotted just ahead of Boone, registers with a somersault by one of the two males while holding 10 liquid- filled glasses on a tray. Two femme assistants are lookers with breakaway skirts to display A-l gams. Rudenko Bros., jugglers, open proceedings In routine fashion. They had trouble here with some of their easier stunts. Show was booked in here by Ak-Sar-Ben, with members of the civic org getting tickets on a two- for-one basis. ‘ Trump. to $23,358,000 at the end of the 1955' fiscal year, and was down to $6,599,000 at the end of the 1956, fiscal. The lesser stake in new pictures is taken to mean more freedom to move in any . direction, and less reliance on the market payoff in any one medium. Paramount has no intention of abandoning theat¬ rical production but if; such a dras¬ tic (and now remote) step were to become economically' sound somewhere in the future, Par ap¬ parently * wants to be fleet-footed* and unchained. 'Sobering Effect' In his recent . report to . stock¬ holders, prexy Barney Balaban dropped a line reflecting disap¬ pointment with theatrical market behavior. Certain pictures, which on the basis of long experience looked promising to management, fell short of expectations tind this had a “sobering effect,” comment¬ ed the prez. But while he’s not writing off the theatrical market, Balaban does regard it as “altogether conceiv¬ able” that Par’s revenues from pic¬ tures made for free tv or home-toll will come to equal the theatrical market yield. And the latter in¬ cludes, of course, the all-important foreign field. Par has been going in various directions for some time, of course; Company is now vthe 100% owner of Chromatic Television Labora¬ tories, which claims to have a color tv tube that can be marketed at a considerably lower than present- standard price. Par is the only film corporation active in the home-toll field with its 88 % ownership of International Telemeter.' Dot Records, which has been markedly successful in the last couple of years, was acquired 100% recently. Meanwhile, while Par jockeys around to be In a position of show business where the money is, assets which do not figure to be a part of the strategy, are unnecessary and can provide cash, are being dropped. Sale of the backlog of features to tv interests still pends. Several theatres and the Olympic Lab in London have been peddled for $4,500,000. The “Popeye” car¬ toon series, 230 shorts in all, went for $1,500,000. * , Rainbow. Productions, which owned five features and which in turn was owned by Par via a stock deal of several years ago, was peddled for $500,000. Thirty-five productions made py the Pine- Thomas unit went for $800,000. And Par dropped its newsreel for the reason it simply wasn’t pay¬ ing off, AB-PT’a Exec Group A seven-man executive commit¬ tee with John A. Coleman as chair¬ man was appointed by the 15-man board of American Broadcasting- Paramount Theatres after yester¬ day’s (Tues.) stockholder powwow. Others on the new committee are Leonard H. Goldenson, E. Chester Gersten, Walter P. Mar¬ shall, H. Hugh McConnell, Edward J. Noble and Robert H.' O’Brien. Coleman is a partner in the Adler, Coleman brokerage. Vaude Turns Continued from page 1 —^ trouble, and even a winning team Is no guarantee of top attendance, as is evidenced by the financial sit¬ uation in which the Dodgers find themselves. Thus,, many are seek¬ ing hypos in other directions. Should the alfresco vaude shows help, it’s likely that the gimmick will be tried in many more cities. It may even result Jn the use of names as a diamond draw. The difficulty in which the clubs find theriiselves coincide with the advent of video, which has virtu¬ ally decimated' the minor leagues, and haS provided a topic of dissen- tion among the major-league fran¬ chise holders. If performers can aid them in their dilemma, then it’s likely that the idea will catch on.