Variety (November 1950)

60 TAUUCTILUR Vednesdayi November 15, 1950 Night Cluh Reviews Coiitliiued from page 58 ^ Bar of Bfusie^ L.A* accompaniment, he also mops up with his orchestral impressions in the traveling number; humthing and whistling, simultaneously, of an excerpt from Bizet’s Arlesienne Suite and ‘-Baby It’s Cold Out- side,” a calliope takeoff, and Glenn Miller's arrangement of •'Little Brown Jiig.” be Lyoii’s iraazingly- apt inter- pretations of the sound and tone of each instrument while he 88s “bon’t Blame Me ’’ humming both melody and counter-melody at the same time, oiace his act in a cate- gory all its Own. It’s one of the most unique in the business. It’s as though he has two Sets of vocal chords, no mean achievement. Mike, €afe Society' - Doiratown (NEW YORK) Josh Whiter Beatrice Howell Leonard Conner, . Joe Marsala Orch, Cliff Jackson; minimum $2.50-$4. Cafe Society Downtown gener- ally finds it has to depend upon headliners who have made good there previously. Once the toplin- er is set, it can experiment with new talent. It’s a formula that works out nicely in most spots/ except that in the case of this nitery, there generally has to be. strong assurance that the clientele knows and likes the attraction offered them. Currently it has for b,o, insur- ance Josh White, the Negro bal- ladeer, who generally does- well here. White knows the i clientele here and gives them what they clamor for. * White’s repertoire hasn’t changed much since his previous appearance here., He still relies on his familiar numbers, but also allows the patrons to dictate his catalog. It’s good showman- ship. The one hew tune, “The House of the . Rising Sun,” how- ever, is probably the strongest of the lot. He exits to maximum applause. At show caught, there was con- siderable confusion because of an MBS remote emanating from the spot. Proceedings had to be cut short, arid consequently Leonard Conner had to forego his turn at the mike. Other turn, Beatrice Howell has an excellent assort- ment of impressions which are spiced with satire. Material is generally good and stage deport- ment is okay. 0 The Joe Marsala Orch (7) hits his stride in a good swingfest. He's versed in Dixieland and other phases of the musical idiom that are currently in vogue and makes a solid impression. His clarineting provides a good peg for the or- chestral harmonics. Jose, Tops In Thrill-A-BatrickS •k ir ic Ifepresentatives HARRY GREBEN MILES INGALLS Chicago New York Empires Room, €lil (PALMER HOUSE) Chicago, Nov. 8. i .Laurette & Clymasi Martha Wright; Liberdci , Merriel Abbott Dancers (10) , Eddie O’Neal Ordi (14); minimum $3.50,.cover $1. Merriel Abbott, room producer, has switched from her summer emphasis on new faces and has brought back Liberace, a , standard fixture in this supper spot for the last four years. However, her. other two turns are new to the patrons and help brighten up the proceedings. ’ Liberace, while retaining ^.some of his stock piano tricks, including his three minute version of “14th Hungarian Rhapsody” and a solid boogie beat on “12th Street Rag,” he has added some melodies from “South Pacific” which get a good hand. For slower pace, he offers, “September Song,” also doing the vocal, and a medley of “La Vie en Rose” and “Clair de Lune.” Liberace displays some fine chord- ing in “Slaughter on 10th Ave.” For a clever finale he gives an old nickleodeon treatment to “Piano Roll Blues.” Martha Wright is an unusual and refreshing songstress, veering away from the stylized approach of contemporary femme chirpers. Nifty blonde, wearing a semi- plunging gown, gets attention with her light operatic vocaling on “I’m Old Fashioned,” 'and then swings into a novelty tune, which clicks. I “Kiss Me” is an abrupt switch and her arrangement of “New York is . a Lonely Town” is sOcko. For encore she gets into the more familiar standards with an Irving Berlin medley. Laurette and Clymas score with . their satirical terps, especially with : the gay blade of the 1900’s and I the takeoff of the East Indian ; dances. However, duo gets best ; applause with straight ‘Merry • Widow” waltz. ' Line has two numbers from pre- vious show, which they do capably. Eddie O'Neal orchestra does a com- petent job especially in the backing of Liberace. George Liberace con- ducts for his brother. Zetbe. WANDA & AMAND AND THEIR MUSICAL MARIONETTE^^^^^^ Excellent Puppet Act Shows Much Qn^inality . Something special in the way of puppet acts is . to be found at the [' Gayqty this week in the marionettes, of Wanda and Amand. Not only do they show originality in the pres* j entation but the dolls themselves are . dillei'cnt and 'inclu^le a pair of tap dancers, two bell-ringing dolls, a xylophonist and female South Amer- i ican dancer, and a marvellous old m,nn who "plays’* the concertina, a delightful bit. The puppets are beautifully costumed and the entire act is first rate. Montreal Daily Star, Aug. 29, 1950. Wanda and Ainand, European Vai’jiciy artists# have a top hoteVi puppet act, working, with an array of brightly garbed "performers’* who dance ninibly, and qlown, aVid one iinally plays an accordion atid an- other a xylophone. In its field the act is - a winner. Auburn Press.. ■ V-r , WEEK NOVEMBER 16-22, 1950 NEW YC)RK BOOKING: HANS LEDEREft j LEW & LESLIE GRADE, LTD., INC. 57#k ; T *.'•• • ■ ,T i.* . • In Longnms for Vet Acts at N.Y. Metropole The Gay ’90s cafes have long been a coirifortable pasturage for acts that played the various vauders when variety was at its peak. New York with its Bill's Gay ’90’s and Sammy’s Bowery Follies and the Metropole is probably the most prolific center of employment for such acts; The Metropole opened recently on a new site a few doors doWn from its original location. Opera- tor Ben Harriman moved when he was induced, fori a healthy consid-* eration, reportedly $90,000, to give Up his former site to a restaurant chain. The new setup looms as a better break for the talent and provides a much better showcasing. Setting is such that a turn can work with a degree of dignity. The dime- museum atmosphere is missing arid an act can get full apprecia- tion for its efforts. The current lineup at the Harri- man spot reveals a large roster of talent that ’ has worked on bills with some of the top performers of their era. For example, George Burns’ (& Allen) first partner Bill Lorraine is on the bill. Pianist Frank Ross was with Ted Lewis for 14 year$, played the Palace, N. Y., in the old days and appeared in displays such as “The Passing Show,” “Ziegfeld’s Midnight Frolics” and “Greenwich Village Follies.” Jimmy Somerville’s Ohio Trio has been in vaude since 1922 and have been at the Metropole since 1943. There’s currently a retinue of 13 acts at this spot, working on an elevated platform behind the bar- tenders. A miniature piano pro- vides the accompaniment. Of course, it’s no longer two-a-day or anything approaching it. For a I bottle of beer a customer, if he jean hold out long enough, can get ' a three-hour session of entertain- i ment by these oldtimers, many of j Whom are hardy enough to deliver as though they were still working the Keith-Albee circuit. While it’s not the most propiti- lous type of showcasing, there’s a semblance of dignity. It’s not like Sammy’s Bowery Follies where up- I town parties Come to scoff, nor is it like a multitude of spots where a kitty is passed around. The acts stand or fall on their own. It's , true all the entertainers have seen better days. Malvin Franklin is an ASCAPer, still in good standing. Who has credits on many iriusicals in which the P Lew Fields appeared, and fi quently appeared as accompanist for some of the top stars in vaude- ville. Ann Crews is a showbiz vet of nearly a quarter century. Oscar Stang worked with Pat Rooney and Billy Hamilton. Joe Pergola was with the late Ben Bernie’s band and Helen McArdle, “The Strawberry Blonde,” has built up a sizable following during her seven-year engagement here. Other circuit vets include Joan RUcy, Charles Potter, Carl Byal, who worked with 'Texas Guinan and George Evans’ Minstrels, and Irish i tenor Tim O’Malley. Today vaudeville is where you find it. There’s more vaude on video than in theatres. Vaude turns are an important item in cafes, fairs, circuses, etc. The Gay 90 spots provide a classification all their ownl They are havens for many performers selling one of the most stable eritei-tainment ingre- dients, nostalgia. The vets on this bill haven’t inserted an ad “have ; tuX will travel” in the at-liberty i columns in many years. It’s steady j Work in the same spot—generally ; an almost impossible item for perr j formers still in the profession after I many years, Jose. was considerable noise at the |)ack bar and gal stopped dead, said she’d enjoy singing for them all night if they’d Only listen and it worked. Usually in this kind of a room that’s pretty fatal. Millie (Whacky) • Wayne, one of the Copa’s perennial house acts, serves as mistress of ceremonies and wallops over a couple of slightly blue songs on her own. But gal’s so accepted, here and such an unabashed clown that there’s no offense. For an Opener, there’s Christy Dee, a chunky little gal who does some sock acro- batic, hand-balancing stuff and a flock of whizzing turns. Dame needs a little more showmanship, however, since flock of similar acts with even less than she has on the ball get over betteri. Hi Edwards’ band plays a lot of good show music for only five men and they’re also top-drawer for dansapation, too. Cohen, Oval R0011I9 Boston (COPLEY PLAZA HOTEL) Boston, Nov. 10, Lisa Kirk (2) , Harrison Fish* er, ' Harry Mar shard Orch (lO), Bob Taylor Trio; coucr $2-$2.50. Undoubtedly, Lisa Kirk, current- ly at the svelte Oval Room will become one of the nitery belts best bets if she continues at her present pace. She handles a song With plenty of knowhow and al- though she’s not too well known in this area, she gives out with a solid stanza that leaves the cus- tomers begging for more. Impec- cably gowned and displaying _ a husky, sexy voice / combined with nifty histrionic ability, gal shapes a8 a natural for Sophisticates Stint included, “If You Feel Like Singing” with gal urging diners to join her in songfest, the lovely “Best Thing for You is Me” which she handles with neat restraint and a couple of cuties, “Song to a Bed” and an exhortation to her several boy friends to “Stop and Go.” She includes a nifty bit of table-hopping while chirping “S’Wonderful’’ and “Too Marvelous for Words” siriiulating a phone conversation with ringsiders. Stunt scores nicely. Inclusion of a bit of community singing via “Any- thing But Love” warmed the lis- teners and introing her trademarks, “Gentleman Is a Dope” and “Al- ways True in My Fashion” results in a begoff. Thrush purveys sock stage savvy with stint building to hefty climax. Held over from previous bill are Harrison and Fisher, zany terp duo whose satirical routines draw neat yocks. Harry Marshard orch back- grounds capably, alternating with Bob Taylor Trio for. dansapation. Biz oke. Elie, Ciro’Sg London London, Nov. 7. < Cecil Landeau’s **Winter Nights” with Marcel le Bon, George Card* en, Anne Lascelles, Harry Locke, Audrey Hepburn, Mystica, Maurice Winnick’s Orch, Conde^Tyree Latin Orch; cover $1.50. vine Garden*, CSil Tj J B • ‘ Nov. 9. Lind Bros. (3), Bobby Joyce & Ginger. Mel Cole Orch \4 ); min^ imum $3.50; cover 50c, - ^ Lind Bros, are In for six-week re- turn engagement after 2Q-week stay a year and .half ago at this small bistro. While surprisingly enough , the main portion of their more than half hour stint is de- voted to old fayes, they have added at least a dozen new tunes, with just one or two pops. They offer vocal treatments to such piano standards as ‘Malaguena” and “Misirlou,” and delve into the spiritual field. Finely trained voices begin with a special patter song, swing into “Misirlou,” and then sock oyer “Tzena, Tzena, Tzena.” After sev- eral other tunes, trio does “Eili, Eili” for tremendous applause. For a quick switch they don kilts and do a novelty Sect song. Their “Beloved, Be FaithfuT’ is weak and could be easily dropped. The “South Pacific” medley gets a big hand but again it's“Ave Maria” which scores heavily. Attempt of cortimurtity sing with “Goodnight Irene” doesn’t click and is anti- climactic. B 9 bby Joyce and Ginger are a spirited dance team, with both dis- playing some fine aero terp work in running splits and twists. Youth- ful duo work hard, not relaxing for a moment in jive, soft shoe, and aero taps. Mel Cole’s orches- tra, with only four pieces, gives strong support. . . Zabe. • ^ Fairmont Hotel, S. P., Revising Talent Policy San Francisco, Nov. 14. The Fairmont hotel, San Fran- cisco, is slated to drop name talent following the three-week run of Billy . Eckstine opening tonight (14). Singer is in for $2,500 plus 50% of all covers over $2,750. New policy for the Fairmont hasn’t been set yet. Pittsburgh, Nov. iQ. Clair Hogan, Millie Wayne, Christy Dee, Hi Edwards. Orch ( 5); $1.75-$2.50 mimmum. Second time around fpr Clair Hogan at Lenny Litman's Copa in just a few months, and the gal’s coming along fast. There should be big things in store for the ex- Jimmy Dorsey vocalist, because she’s got plenty on the ball. It’s, not just that she’s a sexy- I looking dame either, who looks like a million bucks, pre-inflation variety, on the floor, but she has a sexy voice, too, that can be legitimate when she wants it to be or tricky as we’ll. That the guys’ll go for is a pushover, but some- thing else was indicative here at the .show caught. There were sev- eral tables peopled entirely by women, and they were at rapt at- tention right through Miss Hogan’s showy repertoire. What she does with “Kiss Me,” of course, is ter- ril:’'* whistle'bait and “Mississippi” rocks ’em. She’s smart, too. There The third of Cecil Landeau’s productions at this classy night I spot is titled “Winter Nights.” But despite the, change in name, it bears a resemblance to earlier ver- sions. Nonetheless, it’s still good entertainment and opened to capacity biz. The most important newcomer to: what is virtually a resident troupe is Mystica, a Spanish con- jurer with a slick sleight-of-hand act. It’s all action and no patter and he is equally adroit with dis- appearing tricks as he is in card manipulations, Harry Locke has a new ringle on his how popular impressions of coritinental filmsters. Anne Las- celles and George Carden have developed some new sorig arid dance routine.s which they do with the show girls. Audrey Hepburn and Marcel le Bon are twice teamed, once repeating “(/J’est si Bon” also with the line and “Hoop Dee Doo” for neat returns. It’s time however, that Larideau found a new finale. The composite number “If I Were Not Upori the Stage,” now being done in the third successive Giro’s show, has outworn its Welcome and should be replaced. Maurice Winnick’S orch gives okay musical background to the shovv, while ' Conde - Tyree latin combo provides the dance music for the diners. Myro. • SAMMY SHORE: "YOUNG AND FUNNY" ★ . Held Over third Week CHASE HOTEL St. Louis, Mo. Dircctfon: 51D HARRIS. W , Mutual Entertainment Agency, Inc. 203 N. Wabash Ave., Chicago 1, III. Randolph 6-6990 DICK GENIE "Courtship in Song-' Currently NORTHWESf ''.'Idaho^FALLS’:: Thanks to JOE DANIELS Placed by EDDIE SMITH OFFICES tALklNG toucan Wanted — Trained Toucan in Fuir Plumage. Prefer talker. Write or wire Box 498, Variety# 612 North Michigan , Ave.# Chicago li# HL » . Currehtly ^ SRT-TV THE "AMUSING MENTALISTS” to .Dec, 7 st £uai/e I Follov/ed by Mi. Royal Hotel, Montreol ^ Schroodfr Hotel, Milwoukee, Opening Dec. 27 , ^ ^ ' Radio club. Fort Lauderdtoio, Fla., to Feb. 15, 1951 ^ I I I