Variety (September 1952)

^^ctlnesday, ScplcmLcr 10 , 1952 PSsmff NIGHT CLUB llEVIEWS 55 pailmoi* Boui«e, Clil (EMPIRE ROOM) Chicago, Sept. 4. Los Chavales de Espana (11), Trini Reyes, Eddie O’Neal Orch ( 14 )* $3.50 minimum, $1 cover. There isn’t the Continental or finatins population here that there is in Gotham and essentially the hotel must draw from the estah-. lished room trade, perhaps pick- ing up a table or two from the Spanish-speaking citizens. Open- ing was hypoed by a strong ad and publicity campaign and the Thurs- day night (4) debut was jam- packed. , , , ^ Frankly, the crowd feels that there are no language barriers, get- ting the nuances from the qrch members and the music, and cer- tainly there Is no music barrier. However, it wouldn’t be amiss if Los Chavales de Espana presented one number in English and gave it a bi-lingual treatment. With the two French numbers, one Russian, one Hungarian, and a Scotch-type tune, a modest salute to the United States, even accented, would give the act more potent impact for midwesterners. What amazes the scatholders is not only the show- manship of the group (there's a minor bow to the light man) but the versatility of the sidemen. Not only are they accomplished on one or two Instruments but double on at least two more, and all are ex- cellent singers. While they use the bandstand chairs, the stands are only em- ployed as a starting point for the fine formation and solo work of the musicians. In the main, the men are on their feet more than 75% of the time. Of course, the book is heavy with Iberian songs and the band be- gins its stint with a lively “El Reli- carlo’’ and then calms down a bit as handsome baritone Louis To- mayo takes over the spot with his crooning of a French pop. Singer could give a few lessons in projection to many of top Ameri- can male vocalists with his ease of style. After a medley of Span- ish tunes, heightened by the antics of Luis Bona, billed as the Latin Danny Kaye, the lads take to the floor and with six violins, aided by the rest of the group, do a socko imitation of the Scottish bagpipes. Tenor Pepe Laura gets a big rise for an amazing demonstration of breath control, holding the high notes for several moments. Three of the boys turn to the terp de- partment for a bit of byplay with some toreador capes which is good for some laughs. The most popular number, and the one closest to the American music publishers’ output, is “April In Portugal,” which with some English Ij'rics could be one of the top tunes in this country. It gets lush treatment by Tomayo and a background of"strings. Group then races through some allegro-paced pieces from Russia, Hungary and other countries for a flashy ending. Trini Reyes, costumed in a tight toreador jacket and pants, is more than just a contrast for the Latins. Slight miss just about digs holes in the floor with her fiery heel work in her,brace of flamenco dances. There is barely a letup as she clicks her heels and claps her hands, con- stantly egged on by the sidemen who decry her efforts. Dancer gets * hefty mitt for her stint. Eddie O’Neal returns to the bandstand after the floorshow to jam the dance space with terpers. Incidentally, O’Neal leaves the . room after-a three-year stay for * nine-month tour, after which he takes over the baton again here. Zabe, El Rancho9 Vega* .Las Vegas, Sept. 3. Ritz Bros. (3), Pat Morrissey, Joy Walker, Fluff Charlton, El Rancho Girls (8), Hal Hyde, Ted Fio Rito Orch (10); no cover or minimum. The brothers Ritz began bom- basting this target prior to Labor Day weekend, making the reseiwa- tion list grow into about the same size as a telephone directory. As harried maitre d’ess Dorothy puts it, “How SRO can a place be?”, ap- gics to biz brought in by freres Harrjs A1 and Jimmy on and bes'ond'the holiday smash. Harmonica Rascals finished out their contact to midweek as supple- mentary act, then chantoosie Pat l\Iorrissey was brought in for a cou- ple of frames. As is. Show ^acks lip as a Ritz vehicle in the main with the lads causing 45-minute panics every session, but Miss Mor- rissey an eyebrow-lifter because of her loaded sexiness. Ritz impact is greater than ever, "ilh trio working at top form for yocks that never stop rolling in. Riot begins with “Happy Go Lucky” lampoon on the w.k. ciggie coinmercial, spiced with Harry’s articulate mugging. Break off comedies momentarily for the ex- • ■ ' , i I I. >, li » * VJ j. cellent three-way terps of “Col- legiate,” grabbing salvos. Back into the incessant slam-bang format, Harry leads “Continental Gentle- men” with his little Gypsy teaball and Jimmy’s and Al’s hokum mid- audience shouts. Payoff is “Guy in the Middle” with its yackpot tag, Harry’s puss in the creafnpuff pie. Ovations bring another setup of terpology, Ritz style, on “Tiger Rag,” for pandemonium. Miss Morrissey, in attempting to put over her peculiar “house of blue lights” songspiel, cannot carry into far corners of this room. She needs intime surroundings, and perhaps most of all, a hep crowd at all times. Audiences vary from family trade to sophisticates along the green belt Vegas Strip, making the Morrissey style difficult to sell. She overloads every tunc with too much sex; and actions which are familiar to hashish addicts. All the while, the platinium blonde volupti rubs her derriere against the curve of the Steinway plus accenting below-na^'fil maneuvers with cir- cular hand motions. Gimmick is raw sex sold with actions which leave little to the imagination. Vocalistically, Miss Morrissey follows through with the pattern of hyper-sensuality. Tunes, “Baby, It Must Be Love,” “Lover Man,” “Get Happy,” and “Just You, Just Me,” all contain, similar raw pash nodule tricks and body motions. Should break up the string by chirping a couple of straight ditties, sans sug- gestive business. Will. Bel roroiinfl<» 9 -Cal» (CIRCUS ROOM) Coronado, Cal., Sept. 7. Mickey Rooney Revue with Dick Winslow, Alice Tyrell, Ukie Sherin; Howard Everett Orch; no cover or minimum. Mickey Rooney, in a return to niteries, has put together an en- gaging and brisk act that skill- fully clears many pitfalls in its break-in at this swank Hotel del Coronado room. For one thing, only one line could be considered off-color and that only by blue- noses—a refreshing departure for niteries. This cold room, a retreat for the i wealthy older vacationer, respond-* ed surprisingly, indicating Rooney may have a potent cafe bet as well as a good Korea touring unit, which is first on the agenda. At 69 min- utes, act could stand sharp paring but time doesn’t drag and Rooney gets strong mitt in begoff. Turn comprises Rooney, Dick Winslow, Alice Tyrell and Ukie Sherin and is less a revue than musicomedy turn. Pianist-comic Winslow backs the star in opening greeting of “It All Depends on You,” a breezy bit interrupted by Sherin in autograph-seeking gim- mick. Rodhey gives worn carbons of Edw'ard G. Robinson, Jimmy Stewart and Lionel Barrymore, scoring with offbeat job on Jean Arthur. A blonde, sleekly gowned looker. Miss Tyrell also goes into impresh routine doing-well with Judy Gar- land, Lena Horne and Lily Pons. Genuine showstopper follows with her “Papa, Don’t Preach to Me” aided by cross-patter with Win- slow. Easily the act’s highlight is a video parody which carves such staples t as convention politicos, cooMhg schools, “Candid Camera,” “Dragnet” complete with low-key emoting, and Johnnie Ray, a Roon- ey carbon which for all its accuracy gets embarrassed response and should be dropped. Stint closes with Rooney doing memory-lane type vocal turn dedicated to Eddie (jantor, Ted Lewis, A1 Jolson and Judy (garland. In act’s favor are many factors. Well-paced seg Is not geared for hep nitery fans but has enough hu- mor and warmth to satisfy. There is some lunacy humor, and funny lines and byplay bring laughs from an early, light-drinking crowd—a good sign. In brief, the act walks a difficult tightrope between so- phistication and simplicity. It tries to please most everybody, a diffi- cult task, and comes close to suc- ceeding. Rooney emerges 'to advantage, without brashness while still pro- jecting his aggressive kind of tal- ent. Fortunately, he never hogs limelight and displays remarkable good taste throughout. Long a tar- get celeb, Rooney receives no heck- ling and, in fact, is well-liked per- sonally by the audience for what appears to be a complete lack of smart-aleck quality. Winslow and Sherin are highly capable in the stooge tradition. A handsome, square-jaw hero type, Winslow provides dignity while Sherin—cut from the Maxie Rosen- bloom pattern—counterbalances with pug-ugly absurdity. Both are effective foils for Rooney. Overall, it’s an unpretentious act that has unlimited possibilities, particularly if Rooney lets out the stops on his remarkably varied talents. . J V » i Giro’s, Hollywood Hollywood, Sept. 5. Will Mastin Trio with Sammy Davis, Jr.; Teddy & Phyllis Rod- riguez, Dick Stabile Orch (8), He has a good set of pipes and uses them on such big ballads as “I m Yours,” “Alone,” “Here in My Heart” and “Sorrento.” He also .shows good form on the Bobby Ramos Rhumband (5); $2 j ijythm numbers, giving “I Can’t cover. Give You Anything But Love” a .snappy ride. He’s a crowd pleaser. Return of the Will MasHn Trio to Giro's after a nine-month ab- sence should spell good business for H. D. Hover’s emporium. True, he’ll bo paying more for this fort- night than he did when he last played the act, but the b.o. should more than warrant the boost. Trio, sparked by Sammy Davis, Jr„ has just returned from another national tour that has added new lustre and material to a turn long a fave in these parts. It’s a song- dance and impression turn that evokes constant salvoes as it spans a rapid 35 minutes of entertain- ment. Jr.’s carbonings, of course, provide the backbone of the turn. To his standard Cagney, Stewart, Robinson, Eckstine, Lajne and Sinatra impressions he has added a new one—Johnnie Ray. Others are astonishingly faithful copies, particularly the takeoffs on singing styles. The Ray bit, however, is a scalping satire that builds to a beg- off. In addition, he displays his usual nimble footwork and his ef -1 forts are framed by the fine soft- | shoe work of Will Mastin, his uncle, and the graceful clogs of his dad, third member of the unit. Show opener is the team of Teddy & Phyllis Rodriguez, a young, graceful and talented ball- room duo that slickly sells a series of routines ranging from waltz to paso doble. Well-executed spins and lifts punctuate the offerings and they gain additional stature through canny use of occasionally muted orchestral accompaniment. Backing is by* the Dick Stabile .band with Bobby Ramos alternat- ing for the relief chores. Kap. Village Vanguard, N. Y* Robert Clary, Orson Bean, Sylvia Syms, Clarence Williams Trio; $3.50 minimum. Max Gordon’s Village haunt, after a short vacation, reopened Friday (5) with a show that should continue the good biz this spot’s been hitting during the summer. It’s a well-playing and likeable lay- out comprising performers who have made good not only in this sector but in the uptown spots as well, Orson Bean has played the Blue Angel, and Robert Clary, also a vet of the eastsideries, is now doubling from the' Leonard Sill- man legiter, “New Faces.” Other act, Sylvia Syms, is w.k. around the jazz joints as well as in the more polished circles. Together these turns add up to fine diversion. The pint-sized Clary is a per- sonable lad who used his French accent to good advantage. He’s okay in the chatter as well as the vocal departments. He hasn’t changed his routine to any great extent since he appeared at La Vie en Rose last season. The Gallic translation of “Shrimp Boats” and Anglo-French version of “La Seine” provide the backbone of his turn. “Fleur Bleu” is another potent item in his catalog. He comes out well ahead on this venture. Bean’s college boy countenance helps set him off nicely. He starts out mildly but builds to the point where virtually everything he throws the mob is accepted. Major opus oh this show is his disserta- tion on the trial of an Australian accused of being intimate with an ostrich. It's a sock Interlude. The oversized Miss Syms is an expressive stylist. A good basic voice, she can evoke a variety of moods, can express herself well in the jazz idiom and individualize her tune treatment to hit hot mitts. Her blues finale and “Mad About the Boy“ are her big numbers. , The Clarence Williams Trio is back in its accustomed spot as showbackers and dance dispensers, chores that they do well. Jose. Leonardo & Zola, a Cuban dance duo, have a fair Latin hoofing rou- tine. Team is okay for the genre but lacks sufficient distinction at this stage for any important spot. It’s a short turn, however, and adds variety to the Meadowbrook show. Lenny Dee, at the organ, handles his assignment in sock style. Dee is a comedy instru- mentalist and generates “new .sounds” out of the organ. Dee also handles the relief assignment for customer dansapation neatly. Sonny Dunham’s orch is a well- balanced aggregation of fiv'e brass, four saxes and three rhythm. Crew features a strong dance beat in its swing-styled music with Dunham out front via his doubling on trom- bone and trumpet. Band’s book contains the standards and current pops for full coverage. Rita Hayes, band vocalist, is a looker who shows good form on the rhythm numbers. She also handles bal- lads competently. Hertn. Meadowlirook (CEDAR GROVE, N. J.) AI Martino, Sonny Dunham Orch (12) with Rita Hayes; Leon- ardo ic Zola, Lenny Dee; $2, $2.50 minimums. Bon Soir, N. Y. Mae Barnes, 3 Riffs, Norene Tate, Hamish Menzies, Garland Wilson, Three Flames; $2.50, $3.50 minimum. Bon Soir, which shuttered for a two-week respite, resumed with virtually the same show, with which it clo.sed. Boniface-singer Jimmie Daniels has, during the operation of this spot, selected a batch of performers who have come to be virtually a Bon Soir stock com- pany. Mae Barnes, Norene Tate, Hamish Menzies, Three Flames and a few others are regulars here who can be depended upon to give good performances and keep the customers happy. Menzies is the lone ofay turn. Sd far, it seems that Daniels’ policy is working out advantageously inasmuch as Bon Soir is considered a prosperous en- terprise. Miss Barnes is the topper on this opening session. Her robust dead- pan tune delivery makes for an ex- cellent comedy sessiom Zany qual- ity has catapulted such special material as “I Won’t Play Topsy,” a fave during her long occupancy of the top comedy spot at this cafe. She has a good line of asides and chatter that enhances her turn. Norene Tate is of opposite calibre. She’s a quiet torch type whose voice and delivery go good in the subdued lighting of this room. She essays “Tenderly” and “One for the Road” for her top tunes. The Three Riffs have a brand of comedy that does well in the in- timeries. They’ve done time at Le Ruban Bleu and they’re effective in this spot. They have a choice comedy selection in their version of “Ghost Riders,” and various im- pre.ssions. There’s a heap of sophistication in their efforts. Their suave brand of comedy does more than bring intellectual smiles. Some of the response is along lines of a boffola. Menzies similarly has a good line of song and pianistics. He knocks off a series of tunes he’s written, rtiuch of them being in a comedic vein and others that have the sound of hit parade potency. He’s well liked here. Jose. C’lmrley Eoy’s, L. A. Sherman Oaks, Cal., Sept. 3. Buster SShaver Ir Olive, Stuffy Bryant, Jimmy Ames, Charley Foy, Margaret Padula, Sammy Wolfe, Abbey Brown Orch (3); $2-$2.5() minimum. nine Aiijgcl, N* Y* Alice Ghostley xoith G. Wood, Odette Myrtil with Roger Adams, Golden Gate Quartet, Anita Ellis, Ellis Larkin Trio; $4.50 minimum. The song department is getting a solid going-over at the fall open- ing of this east side drink-and-dine station. But as per the canny showmanship of bonifaces Max Gordon and Herbert Jacoby, each of the four singing acts is in a groove by itself. Thus the total effect is one that lends a variety aura to proceedings that yield sure- fire entertainment. In her debut at the Blue Angel, Alice Ghostley demonstrates why she’s clicko on Broadway in “New Faces.” In a stanza running some 20 minutes, the well-groomed look- er rides thorugh a flock of mostly saucy ditties which, with the pi- anology and chiming in of veteran partner G. Wood, rouse the table- holders. Whether it’s from her file of old Queen Elizabeth or da Vinci and his Mona Lisa, it comes out larded with spice. She even does things to “When Johnny Gomes Marching Home” that’s off the beat. Preceding her, the ageless Odette Myrtil raises the laughs immediately with “Paris Isn’t Paris Any More” and goes on to a series of boffo satires, a good deal of them in the raucous vein and bear- ing the almost vanishing art of skillful mugging. She betweens cleverly with patter and anecdotes, ribs bcr.^elf on her long musicom- edy career and with biting bits takes a multiplicity of roles in legituners of yore. On the Gallic side, the cantatrice works “Nice to Have a Man Around the House,” in French, plus special Yankified lyrics, that wins her an early score. In the closing area, she wraps up with the fiddle in her w.k. “Play, Gypsy,” from her way- back show, “Countess Marltza,” and draws some more Interest via intro of her arranger, accomp' and act- deviser, Roger Adams, her son. Miss Myrtil’s exit item, “Bali Hal,” is somewhat of a letdown, the song fitting neither her demeanor nor her pipes, though she did the tune as Bloody Mary in “South Pacific.” Golden Gate Quartet belts out “spirituals” In a class rhythm beat that really rocks the imbibers. Seplan foursome moves into and around the mike with crafty knowledge of the technicals and is bigleague in every song es- sayed, Teeing off with a fast “Telephone Upstairs,” they counter with a sock “Whiffenpoof” and are way up there with their trade- marked “Joshua.” Others in Uieir log are “Swing Down, Sweet Chariot,” “Out of the Blue” and closing “Dry Bones.” They don’t come any better than this group. Anita Ellis is the opener here in some pleasant vocalistics that can stand less styling in parts. Nevertheless, she’s a charming gal who ean peddle. “Down With Love” is an okay teeoffer, but her September Song” Is off the course. She improves with fol- lowup in the cynical trough and shows her real talent in a Spanish gypsy number (done in that tongue) and, as encore, “I Love You” from Porgy and Bess.” Ellis Lankin Trio takes up the lulls with'soft music and showbacks neatly. Trau. Mt. Royal Uotel, Mont’l Montreal, Sept. 6. Charles Carts, Hope Zee, Max Chamitov Orch (8) with Norma Hutton, Bill Moody Trio; $1.50 cover Sat. only. Frank Dailey, Meadowbrook op- erator, is experimenting a new policy in presenting disk vocalist personalities together with a band and an additional act or two to hypo biz. Previously, Dailey had been booking the vocalists on a weekend policy, but Martino tees off for a full week with Lily Ann Carol and Alan Dean^' to follow., Biz was strong for Martino’s open- i Bryant, ^ a ing Friday night <5). Martino, one of the younger crop of vocalists who have broken through via their disclicks, im- pres.ses strongly in person. He’s a per.sonable lad with a strong de- livery which is definitely of the contemporary “belting” variety. This northwest section of L.A. called “the valley” is perhaps the fastest growing suburb in the coun- try. Population now stands around 750,000 and most of the nitery play finds its way to Foy’s. Within another year two breweries fSchlitz and Budweiser) will put up plants each costing around $25,000 and the pioneering Foy will have plenty of competish to worry about. With the valleyites, heavily residenced by show people, “it’s Foy’s for laughs” and he rarely lets them down. Only act on this bill that hasn't been around before Buster Shavfer Sc Olive, who IS played probably every class nitery in town. It’s still the same routine, with Shaver handling the dimin- utive Olive with grace and dex teritv. Best of the repeat is Stuffy fast foot-worker who rates with the hoofing elite. For a fini.sli he leaps^off a platform to the floor in a split"that has the sit- ters pounding the tables. Jimmy Returning to the old formula of two act'' instead of a single as per the summer months, the Mount Royal Hotel’s Normandie Room offers Charles Carts and his card magic with the comedy of Hope Zee for typical hotel fare. Carts, a tall, slim magico frcun France, has a glib tongue and just enough of an accent to intrigue as he works the ringsiders for a smash collection of card manipu- lations. Starting off at a fast pace with a few warmup numbers, he continue.^ in the same easy style building his tricks with .savvy and managing to keep attention in all corners, a rare thing in a room this size and with this type act. The Carts patter is never over- bearing and his audience-partici- pation bits are smooth and kept to a minimum. Act Is based almost entirely on Carts’ terrific memory and he didn’t miss a trick at show caught. Windup, consists of fan- ning the deck into various patterns which, slick as it is, has a tendency to flatten previous display. Comedienne Zee is an • unin- hibited blonde with a lively style but lack of material, particularly when she goes into her special J / c i i i '1 I Amos spins his monology with a ' stuff, is biggest handicap. Per- gamey flavoring of entendre and ' sonality and vivacity are there but uncorks a voice that could break a ' these fail to project with present glass goblet.' Helm. ' songalog. Newt. . ( . i J ; , ' . J / • . 1 * .,J ■' « 1 i .