Word: gaxton
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Dates: during 1940-1949
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Nellie Bly (book by Joseph Quillan; music by James Van Heusen; lyrics by Johnny Burke; produced by Nat Karson & Eddie Cantor) is the eighth musical in which breezy William Gaxton and quavery, befuddled Victor Moore (Of Thee I Sing, Louisiana Purchase) have been starred together. It may also be the last: they are considering turning over their respective talents to Hollywood. As a farewell party, Nellie Bly proves a pretty dismal frost; it even casts something of a blight on the guests of honor...
...rather a pity that such a pathetic exhibit provides a vehicle for Victor Moore. The drab mediocrity of his role which calls for eternal petulance and peevishness makes even Moore become tiring. In the romantic lead, despite his age and figure, is that gay Casanova, William Gaxton; the obvious farce of love scenes between Gaxton and Marilyn Maxwell is sheer hypocrisy. To complete the scene Miss Maxwell hasn't the voice to sustain her in a long role and although she is one of the loveliest women alive today her costumes and heavy makeup never betray the secret...
...heels of Memphis Bound (TIME, June 4), which throws a monkey wrench into the music of H.M.S. Pinafore, conies Hollywood Pinafore, which runs a saw through the libretto. Sir Joseph Porter, K.C.B., is now a timid tyrant of a producer (Victor Moore); Dick Deadeye is Dick Live-Eye (William Gaxton), a rapacious agent. Ralph Rackstraw (Gilbert Russell) is a lowlier writer than he was a tar; and Little Buttercup is Little ButterUp, a gurgling columnist named Louhedda Hopsons (Shirley Booth...
...falls in love with young Dr. Dick Haymes, and demonstrates the fact that motherhood's extra pound or so of flesh can improve even the screen's most unimprovable body. Radio's wry, rough Beatrice Kay and bland, smooth Phil Silvers contribute some likable comedy; William Gaxton's performance, as Dr. Haymes's worried father, is a fine, quiet piece of backstage sentimentalism. The big production numbers (hung mainly on the idea that Gaxton, as Ze Chef, marshalls forth young women dressed to represent condiments and fancy desserts) are heavy, garish, good-humored and preposterous...
...Victor Moore to shortchange the customers is almost as if Tiffany's were to fake a hallmark; but by digging up a wormy act he appeared in 40 years ago, Moore has managed to do it. Billy Gaxton has a better skit, which is still not good enough. Hildegarde, the darling of the supper clubs, sings songs that badly need highballs and dim lights, and for a fully grown girl acts entirely too cute. Only headliners who deserve to be headlined are the Hartmans, whose take-offs on ball room dancing are familiar to many, but still funny...