Variety (November 1950)

50 VAUDEVIIXB P^RIETY Wednesday^ November 1, 1950 N^t Qub Reviews Persian Room, X. Y« (HOTEL PLAiA) Elsa Lanchest^r, Alan & Blanche Eund; Dick LaSalle and Mark Monte orchs; $2 and $2.50 convert. Elsa Lanchester is a comedi- enne of considerable prowess but still a little shy for the big league nitery circuits. She has lots to Offer for the class hotel rooms but requires a change of pace. Her stuff is too much in the same idiom. It’s one thing to. achieve a toiir-de-force at her Turnabout Theatre, ah intimate freak house ih Hollywood, with its reversible seats a la railroad coach trains (hence the Turnabout Theatre cognomen), but to an al frescq, dine-drink-dance audience, be it class or mass, her repertoire re- quires the addition , of something more compelling. She is a comedienne with a fine sense of values wh’ch are, only cir- cumscribed by the sameness of the routines which Foreman Glark first fashioned for her at the little Hollywood playhouse he operates. Even when she essays an intimate number such as ‘‘My New York Slip’/ it belabors a good potential w.th a onerjoke premise. The same is true with “Catalog 'Woman,’’ “On My Piazza’’ and “Janitor’s Boy,’’ which incidentally is done as she sprawls oh the baby grand which Ray Henderson (not thd tuhesrnith) handles well. The utilization of ribbon strands for her red hair achieves'some very effective characterizations on oc- casion. Alan and Blanche Lund are a per.'^onable and. compelling terp pair. Their dance repertoire is SINGING AND TALKING WITH SEVEN VOICES! VENTRILOQUISTS LEONARDO and ANITA Just Concluded the PALACE NEW YORK topped by such standout routines as a variation on the square-dance and an impression of an old-school vaudeville dancing pair, Dick LaSalle holds over with his expert 10-man band* which is in the accepted “society’’ style that goes well at the Persian Room, and Mark Monte with his Con- tinentals—all four of them—de- liver a fine brand of Latin and Other terp tiinestering as the relief combo. The jury is still out on the new . Henry Dreyfus decOr for the Per- sian Room which, despite its elec- trically spangled curtains, some- how has lost its glamor. The dwindling traditional spots left among the distinguished Manhat- tan niteries and hostelries makes it the more noticeable when an- other landmark is threatened with extinction or, at least, qualifica- tion with the changing times. Not that the redecorated PR isn’t among the topflight class dine- and- daheeries in New York, which just about makes it standard for the entire country, but any en- croachment on tradition looms large when a time-honored spot has so long enjoyed such public affection. Traditionally, too, maitre d’ Fred at the rope inaestros the room and its clientele with impec- cable discqrnnieht. Abel. Rval Room, Rositon (COPLEY PLAZA HOTEL) Boston, Oct. 27. , Rosita Serranoi . Harrison & Fish- ier, Raniiy Weeks Orch (lO), Bob ' ! Taylor Trio; coucr. $2-$2.50. j Rosita Serrano, Chilean songs- • tress, is currently making her nit- ; ery debut in this swank room, and although short on English, she’s certainly long on talent and enter- tainment savvy. A tall, regal appearing red-head, ; Miss Serrano displays sock sales- manship, for majority of son,gs in repertoire are sung in Spanish, ! French or Portuguese, which in less capable hands would have meant little to ringsiders. However, her vocalizing of a Chilean folk- , song, “(3ue Estoy,’’ an Indian chant, accompanying herself on guitar, and “Place Pigalle” gets neat response with her dramatic treatment of “La Vie en Rose’’ top applause getter. Soprano also includes a nifty “Bab- alu’’ and a light ditty,“I Love Men’’ . in her stint, begging off with “En-, ‘ joy Yourself.’’ Openers, Harrison & Fisher, ca- vort through three satirical dance routine.s, displaying a solid sense of the ridiculous that gets hefty response. Biz should hold fairly strong with this package. Ranny Weeks orch showbacks neatly and alternates with Bob Taylor Trio for ' dance sets. Elie. Laliii Quarter, X* ¥• Lou Walters presents **Vive Les Femmes/’ revue staged by Natasha Kamerova; features Jean Carroll, Senor Wences, Mile. Nirska, Mila Raymon, Gali GalL Les Zoris, Christianis, plus S!ara Ann Mc- Cabe, Ben Yost’s Vikings, Show Girls, Line, Art Waner’s Orch ( with Dolly Mitchell), Buddy Har- loiee’s Orch; $1 50 minimum. One of these days someone will get a bright idea and suggest Lou Walters as a delegate to the United Nations, It would be unimportant as to whom he wbuid represent; the fact remains that he can juggle a potpourri of nationalities in a pat- tern of divertissement, and inevita- bly he comes up with a united format that might well be an object lesson in entertainment diplomacy. Not even the Soviet delegate Would walk out on this one. There’s Walters’ newest show, for example. He bills it with a French title, “Vive Les Femmes.” He starts off with an Arabian fan- tasy, with background and cos- tumes to match. There’s a conces- sion to the title with the introduc- tion of Les Zoris, in their leopard dance. Then the Italian Christian! troupe, with their expert tumbling and teeterboard stuff. Gali Gali is the Egyptian represehtative, fol- lowed by Mila Raymon, violinist, who is billed simply as a “continen- tal virtuosa.” There are the Viennese waltz melodies of Johann Strauss, with a production to match, followed by Mile. Nirska, in her standard but- terfly dance (with both nationality of Nirska and the butterfly un- known). Senor Wences is Spanish. Topping the bill is somewhat of an anomaly—Jean Carroll, who is Lindy’s delegate. It all adds up to a production of good taste, entertainment and the sort of stuff that ought to be an object lesson for the boys at Lake Success. Seldom have so many dif- ferent nationalist groups gotten to- gether in the same room—and got- ten along, too. There are kinks in this, show, but! there’s nothing wrong with it that cutting a half hour won’t cure. It ran an hour and 45 minutes at the first show opening night (Sunday), but it hardly seemed that as the Latin Quarter paraded lavish cos- tumes. imaginative production numbers and a galaxy, of perform- ances that rank with some of the top shows put on by Walters. Miss Carroll builds slowly with . her gags, stories and all-around versatility. Some of her stuff can /be a little too swift for the yokels who frequent this spot, but there’s I no doubt that as a woman monolo- gist, she is one of the few around ; today who can command attention. I She works much in the forthright 1 and punchy style of the topflight i male comics, thus pointing up at the Same time how depleted have DRAMA! MUSICALS! NIGHT CLUBS! n w Thonky®" Ruth WEBB (CURRENTLY 7TH WEEK) FANCHOK & ARNOLD'S PARK AVENUE REStAURANT ‘'niith Webb is a standout with her Sony deliveries. .There's a fine con- centration on melody even with the stres.s on interpi*etation and styling. One of her better eiforts is “Be- witched.'' during .which she segues from the torehy content to some saucy comedy. Since her other numbers arc in .straight hallad vein, the inclusion of the comedic note gives a nice ; roundness to her performance. Miss Wchh. who has. appeared ih legit mu- sicals. indicates that she’s ready for. virtually every type of cafe. Clas.sy . '■'•i.ssi.s «nd excellent stage presence arc additional assets.” Sosa —Variety. ‘A type entertainer, not heard here- abouts in a long time ^ a genuine torch singer—is gorgeous Ruth Webb,, at the. Park Avenue. Her ballads of unrequiteci love an(J unfaithful men delivered with a sock reminiscent of Ruth Etting and Helen Morgan. Miss Webb has been singing .Julie in ‘Show Boat* in Summer theatres," Lee Mortimer—Mirror, N. Y. “The Mystery Room has much gla- mour, Which is neatly played up in the lighting, which does right for Ruth Webb, the musical comedy singer . ^ . .Miss Webb, a fine looker on the tall side, is at her best." Robert Dana-^N.V. World-Telegram. "Miss Webb, who’s beer^ in several Broadway hits, is a stunmng brunette with a nice, personal,, warm style who uses imagination in her choice of songs." Robert Sylvester, Daily• News; N.Y, , . That very luscious musical com- edy ■ star Ruth Webb. Miss Webb' will be remembered for her stirring por- trayal of J\ilie in Show Boat. We re- member seeing her in ‘Marinka’ on Broadway when she pinch-hitted for Luba Malina and' drew raves frotti the critics foi’ marvelous performance . . . Her throaty quality is perfectly at- tuned for the Park Avenue atmos- phere. We prediot a long hnd suc- ces.sful engagement. for Ruth Webb." The Baron-—Journal-Amcrican, N.Y, “Capsule description-of. the tall and attractive Park Avenue song stax-, Ruth Webb: ‘The Eyeful Tower^" : Hy Gai'dner, N.Y.' Hei-ald Tribune. “Park Avenue audiences loVc Ruth Webb. She is vivacious, beautiful and has a thrilling voice." Alfred Mernlt—N.Y. Enquireri “Take a look at Ruth Webb, at the Park Avenue . . . the gal is a bru- nette — sings fine — looks great — and would be sensational on TV — in pic- tures—or. in musicals. Don't say 1 didn't tell you.” Jack Eigen. N.Y. Enquirer. “Ruth Webb's professional song' sclL ing at the Park Aveniue registers as an af^r midniglit high spot," Metropolitan Host, N.Y. “Fanchon-and Arnold are excited over the way Ruth Webb is clicking at the Pai’k Avenue Rcstauraiil! Nick Kenny, N.Y. Mirror. Personal Mgt.: JEAN RPSE, 48 West 48th Street. NeW York PLaza 7-3380 become the ranks of the top femme single. She still uses some of her oldies, but also some newies. Her- timing is split-second, she can do a song well enough to he billed as a singer, and, above all, she works in good taste, She doesn’t: need the excuse of working in a nitery to use off-eolor jokesi Wences, as usual, is smash with | his ventriloquialism, juggling, et al. His material is sharp, his man- ner suave (he’s in tails); he has trouble getting away. He’s still do- ing the bit of carmining his fore- finger and thumb, to fashion the face of a little boy, with the ventro result a keenly projected bit of hi- larity. This, along with Pedro, the head in the box, serves to point up his phenom ability at the voice- throwing, followed by the bit with the assorted platter balancing on ■stick. •. Mile. Nirska is effective With the butterfly dance, while Mila Ray- mon seems a little out of place with a violin bit, since much of her violining is drowned out by the music. Gali Gali is clieko. as always, with his. magical, manipulation of the little chicks, with two custom- ers, as usual, serving as foils. The crowd went big for him, Les Zoris feature a gal, with a icopard skin covering her tiny chassis, and they go throu^ one of those standard impressionistic dances that are always good for the few moments they are allowed. The male is stripped to the waist, of course, and the way he tosses her aroutid affords some excite- ment. The Christianis go through their whirlwind tumbling and teeter- boarding with marked audience ef- fect. Another factor in their click is their fresh appearances, ’They are three boys and two girls. Otherwise this is a heavily peo- pled show of singers, dancers, showgirls, and chorines, suggest- ing a heavy_.nut for the nitery. Art Waner’s orch neatly .handles the show, while 'Dolly Mitchell is bet- ter than average as the band singer during the non-show portion. Buddy ; Harlowe handles the music for the customer dancing. Kahn. \ - — ■ ■ - . ■ ■■■ I El Caslmli, K. r. (HOTEL BELLERIVE) Kansas City, Oct. 24. . Carl Brisson, Joe Vera Orch \ (6); $1, $1.50 cover. El Casbah has one of its best attractions in ' Carl Brisson. . He I offers a tour de force of songs, done with, a continental flavor and I given some neat production values, j He’s a handsome figure in top hat 1 and tails, considerably embellish- I ing the songs with personable^ presentation and romantic baritone style. He romps through a raft of his old fa,vorites, moving about the tables with roving mike and infecting the house with his “I’m an Optimistic Guy” and similar cheerful songs. Brisson goes dramatic for a change of pace on numbers such as hiS: widely known “Angelus,” and for Variety switches to more intimate song such as “Lillette” ! or “Dashing Texan.” In this stand ! he’s also throwing in a couple of I new ones. But it matters little I what he does, as the patrons show 1 hearty approval all the way. It I sums as a generous, pleasing 45 minutes, with the Joe Vera Orch liicely backing Brisson. Quin. The Paradise, X. W •(The J^ Train/* a revue feature trig- Leslie Scott, Rose Hardaway The Chocolateers, Irene Willianw Harry Belfonte, Ann Lewis, Fletch- er Hendersor Orch; written and directed by Metvyn Nelson; oriqi- nal music, Henderson; choreoq. raphy, Herbert Harper; Ned Gar- vey Orch; $2 50 minimum. . Furling the Bop City banner after 18 months of trying, to gen- erate a hot boxoffice with cool jazz, this Broadway spot hOw turns up 'vifith its original name and thus draws this nitery’s transformations to a complete circle. It was under the Paradise name, back in the early 1930’s, that this club had its heyday before depression revenues forced a series of ownership switches and name changes to the Hurricane, Zanzibar, Vanity Fair; Harem and, most recently. Bop City. Where the Paradise, of the Volstead era, was a plush ofay spot, the current show continues its black-and-tan policy. Redecorated with conventional drapery and mirrors, spot has abolished the general admissions bleacher section fOr the juve jazz fans and is reverting to a standard nitery format with three: shows nightly and between-show cus- tomer hoofing added. In a bid for the mass trade, this large room is operating under a “restaurant theatre” policy with low minl- mums and attractive cuisine. Opening show is a holdover of the final Bop City layout which tipped off that a change was in the works. A series of song and dance sketches tied together by a loose historical s:ommentary, “'The Jazz Train*’ has been tightened up since its original presentation for a marked improvement: Some Of the routines have been eliminated but all of the cooch qualities haye (Continued on page 52) MILBOURNE CHRISTOPHER “Magicians’ Magician af fh« Year” —Time Magaxine. Currently HIPPODROME BALTIMORE I Ciro^s, Hollywood ! Hollywood, Oct 25. 1 Hazel Scott wtih J. C. Heard; ; Matty Mahieck Orch (9), Geri Ga- i lian Orch (6) ; cover $1.50-$2. Wildly rhythmic session, with Hazel Scott at the keyboard and yet skinbeater J. C. Heard accom- panying her on drunri, is an ace offering at this Strip spot. Pianist’s warm personality and torrid 88ing win her udierice completely at the outset. Her hold on the cus- tomers is less assured when she sings, although she put the blame squarely on a “psychosomatic throat” at her opener. Pallid pipes or no, the dramatic postur- ings with which she showcases her piano and vocal pyrotechnics con- stitute a textbook in tune-selling. Bleacherites get a break, via mirror over : the keys, after the star’s teeoff at the mike, backed by Matty Malneck and sidemen, oh “The Gentleman Is a Dope.” She announces an intention of “inter- fering”' with Chopin and gives out with her perennial “Minute Waltz,” straight first; then in boogie. _Miss Scott steamrollers the ring- sidei’s with her slambang key- boarding of an original, “Chicago Fire,” in the. style of the late Al- beit; Ammons> and cools off by .singing “Something I Dreamed Last Night.” Her piano variations on “Tea for Two” climax her solid turn, and spotlighting of the art- ist’s prodigious left hand in this number rates an ovation. , Mike. HAL pane®*’* GEORGIA HELD OVER BILTMORE HOTEL Los Angeles Wally Overman - NOW ^ TOURING THEATRES IN EAST Mgt.—MATTY ROSEN, New York SAM ROBERTS—Chicago DON COSTELLO SINGS Yankee Doodle Samba ON L'ECHO Record e13io WITH RICKY. GARDEL ORCH Thanks: Disc Jockeys Milt Francis, B. Atwood E. B. Marks, Music Publishers ' L_