Variety (September 1952)

Wednesday, September 17, 1952 P^iSff NIGHT CLIJIt KEVIEWS 65 h&s Vegas, Sept. 9. Kau Starr, Lancers (4), Ken Tn^r Herb Flemington, Flamingo ^furlets (8), Ike Carpenter Orch ilOK Ken Lane; no cover or min- iiiiiiin. Kay Starr is the Flamingo’s (]reaniboat twice a year. The top- riidit thrush is always good for vm)cs-up biz during her entire trome and for terrif action m casino as a result. Miss Starr has emerged from a <;tiV‘tly barrelhouse and blues ex- Donent into the commercial pot-o’- eolcl class without losing her hold Spun the hep sect. Such a span is of major importance toysuccess of her Capitol disks, which currently sell over counters not like hotcakes but like records. She is one of the few who live up to and far beyond expectancies of pluggers because of lier great in-person appeal. She looks gorgeous on the floor, pert and vivacious, and caparisoned with all the creations fresh from the most expensive salons. First appearance is accompanied by tumult into which she drives With a solid beat the evergreen, ‘•Them There Eyes.” Excellent taste in selection of her tunes shows the Starr pipes up to perfec- tion with "You’ll Be There,” “Mama Goes Where Papa Goes,” "Good Man to Have Around” and "Lonesomest Gal in Town.” Foursome, the Lancers, slide in to provide vocal backgrounds for the moodsome "Two Brothers,” the bright "Nobody’s Business,” bluesy "Kay’s Lament,” and rocking "Tell l\Ie How Long the Train’s BCen Gone.” Upon Lancer’s exit, she singles out "Wheel of Fortune,” for cheers and whistles, and the amus- ing "Wabash Cannonball,” with Ike Carpenter blowing the old whistle and bringing in audience for par- ticipation ginamick. Has to beg off. Lancers precede Miss Starr with a very pleasing array of tunes. Male quartet has improved in many ways since previous stand here. They look better, show more con- fidence, and as a consequence re- ceive top mittlng for their brace of tunes. Begin with racy "Gypsy in My Soul,” "Two Little Kisses,” then slide into frame of impres- sions calling on Ink Spots, Mills Bros,, for inspiration. Top with laugh-roping four Johnnie Rays in "Tell Me Why.” Quickie "Muskrat Ramble” forms exit chant, with tablers' response enthusiastic. Flamingo Starlets spring a flashy "Backboat Boogie” to up the cur- tain, and return before Starr spot with a romping Mambo, both good for heavy palm-poundings. Herb Flemington warbles qpening meas- ures of second terp routine, other- wise acts as emcee throughout the show. Ike Carpenter’s orch is nitieslroed by Ken Lane during Miss Starr’s stanza, and is author- lUUively. conducted. Will. 4'»i«oiisol. l*iU Pittsburgh, Sept. 9. Jmimi/ Nelson, Jackie Heller, Billie Mahoney, Herman Middle- man Orch 1 5); $3-$3.50 minimum. 'Tackie Heller has reopened his Carousel with a bang after a two- month summer shutdown, and Jimmy Nelson should put the room in clover for a starter. Big week- <‘nd crowds testified to ventrilo- quist’s teoyce reputation, and went away realizing they really hadn’t seen Nelson until this in-person Session. No doubt about the young man being one of the best nitery acts u) conic along in years. He’s sock irom beginning to end and after ^ half an hour, crowds were still clamoring for more. Nelson . P/’‘‘'C. personality, an in- giatialing manner and surefire material His timing \vith the ^ooden-hoads, the impertinent •iiinny Q Day and the snooty Hum- pnrey Big.sbee is smasho, and lien Nelson and the two of them Ml into “Hag Mop.” the house comes down. Byplay of the dum- with the ring.sidors keeps up •' Carousel. VM. 'i” Nelson tops an al- f.n'ii'' b.'uled session by bringing V.,., '? '‘^H'st addition to the family, in li, ’ ?‘'^l('cst'looking pooch • ie w(„-id. Tne Danny O’Dny F ih! } crossfire with sc*>ui'ii ' loose and i the turn off .Mcam-rollcring. Nelson, in other Ti'n , /'••‘‘nor shows, when there lii« children in the aud, ns asio ,s immaculate. Late at I'in ''iUiout missing out on inni'o'i' f either, the humor’s of strength Tv nnrrcoiiie buck any time IT ‘ 5 ^ • ‘ y b 1 e n t s permit. bn.i'Kim ,.■'^1 m.c.-host- siiil* in 7 ^erth at his own spot and or Me puts plenty the mitts of u.stomcrs. Heller bangs over a session of old pops that’s a stand- out and also always manages to come up with one or two new clicks that fit him like a glove. This time it’s "Wish You Were Here” and he sells it solidly. Billie Mahoney .sends the .show olT to a fast start with some flash i terp stuff, but it isn’t until she ' picks up a couple of batons and shows the stuff champ drum major- etes are made of that the gal real- ly scores. Her twirling’s boffo. i Herman Middleman is back at the ■piano again, leading five-piece house band once more after being in Florida for nearly a year. Neither the acts nor the dance crowd will find anything to com- plain about from this nifty outfit. Cohen, Cafe Paris Paris, Sept. 9. Muriel Gaines, Gordon Heath, Cafe Society Orch (3); $1 cover. Ri&liy Montreal Montreal, Sept. 13. Dornan Bros. <2), Joska de‘Bar- bary, Len Berger, Fred Toldy; no cover or minimum. Ever since the Dornan Bros, scored a hit several years ago with their off-the-cob h u m o r in the now defunct Normandie Roof, duo have been consistent returnees arouhd town and their principle .showcase in recent appearances has been in Henry Manilla’s swank Starlight Room atop Ruby Foo’s eatery. Ag before, Charlie & Leo Dor- nan sell their particular brand of comedy at a tremendous pace with everything broad and^glib but sel- dom off-color. Main cut of the comedies goes to Charlie, who cools out the hecklers with fast ad libs, strums a uke during some of their songfests and generally keeps tempo on a high key. Team intro with a tour around the room in song which warms up the aud-actor relationship they need for their comedy style. They then go into an impresh set best of which is Leo doing an interp of Eddie Fisher while partner backgrounds with Charles Laugh- ton recitation. Miming is socko on this and team would do well with a couple of other similar items in their catalog for a cincheroo switch from the usual impression stuff now on view'. Windup wdth five guys from the audience on stage and dressed in assorted wigs wdiile the Dornan combo do various voicings behind them is still boffo. To make sure of the best in extroverts for this num- ber, they distribute maracas, smdll bongos, et al., to the five chosen and then lure them to the stage for the clincher. Trick seldom fails. Betw'een the Dornan antics, Jos- ka de Barbary (Who also emcees the show') and Len Berger join up for some entertaining violin and piano offerings and relief 88’er Fred Toldy reprises the pop clas- sics w'ith taste to good reception. Newt. Cafe Society i.s second nitery Lo open in Montparnasse in the last four months. Since the war, Mont- narnasse has been a deserted and obsolete district with Montmarte, Champs Elysecs, the Boulevards and Saint-Germain-des-Pres get- ting both the late cafe and nitery trade. Only Jimmy’s Club, late dance spot with speakeasy flavor, has functioned successfully. Last June, Henri Rigal together with manager of Chez Florence, plush Montmartre supper club, opened L’Elephant Blanc in Mont- parnasse and lassoed sw'ankest crowd in Paris. "Elephant” has no floor-show or acts but employs two top dance bands and has done turnaw,^y biz since preem Cafe Society is now aiding in effort to put Mofitparnasse back on nitery map Muriel Gaines, dusky songbird who has chanted at numerous N.Y! cafes and who began Paris career at Spivy’s East Side in Champs Elysees neighborhood last summer, is main draw. Hostess and star en- tertainer, she takes the floor three or four times each evening, her principal numbers being sophisti- cated specialities such as "What Every Young Girl Should Know,” "Nothing to Sing the Blues-About Blues,” "I Wonder Who’s Keeping Him’ Now,” with an occasional bal- lad to vary program. Her delivery, like her voice, is easy and pleasant and she has built up a following in Paris that has tailed her from Spivy’s to Mont- parnasse (a long and expensive taxi ride). Gordon Heath, remembered for his Broadway performance in "Deep Are the Roots,” is the other attraction with repertory of guitar and songs that has won him fans in his own club. Bar I’Abbaye in Saint-Germain-des-Pres. Expert folk singer, he now doubles each evening between Bar I’Abbaye and Cafe Society. Trio dance band is only so-so, but piano accomp of singers is okay. Presentation of entertain- ment is infonnal with Miss Gaines and Heath performing first at mid- nite and then at approximate hour intervals thereafter. There is a table service with cover ($1) but show can be seen from bar sans convert. Spot is doing w'ell and is helping to rebuild Montparnasse as a Paris cabaret centre. Curt. ages to tap dance, sing, play a sax, banjo, guitar and clarinet when he isn’t pulling the shy-young-guy stuff with some just over average material. Morley is determined and personable, but covild easily cut his time and be just as ef- fective. The Three Jesters rely for the most part on broad impression bits and plenty of unrestrained, indigo yacking for attention. Trio is more frantic than funny and its youthful, untrained energy needs grooming and control. The Max Schaeffer combo does show ,''.nd patron music with Peter Barry’s group (late of Chez Paree) coming in from the elegant Bon Soil' Room to cut the mambo- samba sides with authority. Newt. Roller Skating Revue Sk.yrooiii9 Itono Reno, Sept. 11. Mary Kay Trio, Romanes Bros. I (3), Datw Barry, Mapes Skylettes (7), Eddie Fitzpatrick Orch; no cover or minimum. Etlilys’. K. r. Kan.sas City, Sept. 12. Nino Nanni, Miss Loni, Tony DiPardo Orch (8); $1 cover. Back for his third time in this downtown club. Nino Nanni is veer- ing into the role of an old favorite on the premises. There is no doubt that he has a K. C. following as per rones up at the opening show', and Eddy’s appears ti be in for a hefty two weeks. Nrinni lives up to expectations with more than 50 minutes of song, satire and piano. With his story skill, pianology and generally pol- i.shcd performance, his natural j medium is the nitery, and this plush, intime atmosphere makes a happy setting. Customers were with him from start to finish at .‘^linw caught, T. ny DiPardo on the m.c. chores gels things rolling via Miss Loni, Scandinavian foot juggler, for an opening interlude. With her toot- .‘^ics in the air, blonde tosses a huge ball, cylinder. |)icture and frame, dumbell, table ar.d other items about in clever fasiiion. Hers is a brief stint, and DiParlo quickly ! gets Nanni on the floor and at i the 88, ! Nanni mixes .seme standard songs with a number of special songs and f inciful arrangements, starting oa.sily with "Nuthiiig Like a Dame.” I Ho essays the double entendre with i “It lakes a Good Man” and “The I Fahulous Mr. Jones” recited in March of Time s(.\lo. "I Told You 1 Loved You” IcacD into a montage of standard -ind original material which is a virtual travelog of New Orleans. "Captain Ki^’d” is a satire on the e.xploits of the bully pirate. "The Ba‘^eball Story” is another straight recitation, an.i "Mo-Motel” is a sly enuy, this one in ealyi^so jrhythm. Nanni keep.s interest mounting to this point and closes with "Man- hattan Tower,” doing the Gordon Jenkins composition in its entirety ;md holding the aud easily through the 10 minutes of the number. Quin. Woiidf^rliar^ >fonlreal Montreal, Sept. 9. Mar jane (with Walter Eiger), Cozy Morley, 3 Jesters, Max Schaeffer Orch (5), Peter Barry Quartet; $2.50 minimum. Following several weeks‘‘of a no- dancing, continuous show policy, owners Norm Silvers and Jack Blatt have reversed their plans to skedded show times and dancing with okay results. This handsome, refurbished room has long been a nitery landmark in Montreal. Started in 1928 by Phil Maurice (now general manager for Consoli- dated Theatres in Montreal) and tagged Chez Maurice, it played some ^of the big,gest names on the cafe circuit and even weathered the depre.ssion years to finally fold in 1936, Since that time its career has been varied. After a period as a dance joint, it was taken over by a syndicate and renamed Chez Maurice, but failed because of a so-so show policy. Room was in turn taken over by a restaurant outfit and called Leonie’s with the emphasis on food and incidental music, Thi.s- was a floperoo and the place was dark until the pres- ent management took over. If current policy is continued, the Wonderbar should click with the saloon trade. ' Headliner in layout now on view is Marjane and her husky warbling. Mixing her tunes neatly in both French and English, chirper does a hefty 35 minutes on each show and imprc.sscs from her opening "Heart of Paris” lo her final med- ley of solid French faves. Sport- ing an eye-catching collection of gowns and backed occasionally by a male vocal trio, Marjane does upward of 12 numbers including such standards as "Autumn Leaves,” "Le Seine.” "Mom Vil- lage,” and a .surefire intci’p of "Kiss Me,” done M'ith a mike as chantootsie circles ringsiders. Little of material offered is any different from previous Montreal showings, but all choices are okay for this room and her added Eng- lish lyrics make her a cinch for any American boite. Kudos go to Walter Eiger for his pianoisms and orch direction during the Marjane stint. Comedian Cozy Morley stays on for an exhausting session and man- The Skyroom has turned up with one of its best shows. The show moves at a fast clip for an hour with all three acts pulling lofty kudos. Mary Kay Trio which includes husband Frank Ross and brother Norman Kay, splashes in all kinds of music with fine results. "I’ve Got You Under My Skin” is a quick preview of things to come,‘ with Miss Kay’s solo vocal, har- mony, and plenty of .flash and ac- tion with the guitar, bass and kettledrum. A "Here in My Heart” duet charms customers. Both Ka.vs essay the current stand-back-and- .yell-st.yle for this. "Lonesome Road” is powerhouse j rhythm number with a Billy Dan- •iels touch. Ross provides the extra- curricular sounds and noises. "Monkey in a Tree” is cute nov- elty with Ross doing an Oscar job as the simian. Norman Kay follows with a Danny Kayish "Begin the Beguine,” a clever off-key number that drives Ross and femme mad. Payees demand and get a straight presentation of "Beguine” from Norman, who gets top response. He sometimes distracts with pair of confused hands which he never quite ties down. Other novelty is Ross again as Johnnie Ray in "Cry.” "Lazy River” gets electric guitar treatment by Miss Kay and varied version by trio in vocal. "Ain’t She Pretty” is another good rhythm ! number. Closer is "Old Black j Magic” with* Norman on lyrics and a groan or two while Boss goes through the Daniels frenzy in back- ground. Ross carries out most of intros in a Jerry Lewis manner. Although his clowning is okay, it seems .superfluous in a team al- ready crammed with talent. Dave Barry is a suave comedian with fresh material. Impressions ot an aircraft worker get yocks. His politico characters are deft bits vividly portrayed. A panto as an Italian sculptor closes Barry’s stanza. In a realistic flailing of air, he constructs a fem- ! me nude (there’s no doubt of the j subject). Romanos Bros, are mad gym dandies who combine comedy with some amazing aero. All little, the three are fast and frantic, filling 1 up the stage with, flips and twirls. Thrown in are quickie comedy stunts. Sk.ylettes open 'the show with a Calypso and run in a Ha- waiian number between Dave Barry and the Mary Kay Trio. Mark. (COTILLION ROOM) New Orleans. Sept. 9. Nick Lucas, Prof. Backwards, Phyllis Ponns, Jane Swayze, Denny Beckner Orch (11); no cover or minimum. J & Johnson and Vaniiflos (FORUM, MONTREAL) Montreal, Sept. 13. Harold Steinman production staged by Gac Foster; musical di- rector, Benjamin Schwartz; cos- tumes, Joan Personettc; choreog- raphy, Flo Kelly,yAnolyn Arden, Kenny Springer. With Olsen & Johnson, Marty May, June Jolui- son, Peggy Wallace, Nancy Lee Parker, Lon Hall, Lothar Mueller, J. C. Olsen, Jeanne Olsen, Norma AHllcr dancers (10) Chickie John- son, Vanity Fairs (20), Escorts (20), The Roulettes, Tony Mire Hi, Georgia Day, Frank Foster, Billie Scott, Billy Kay, Maurice Millard, Tlie Konyots, Dick Finney, Greta Wolff. At Forum, Montreal, Sept. 9-14; $3 top. Despite every possible mechani- cal Innovation, trick lighting, ex- pensive sets and costumes, skating, whether roller or ice Inevitably be- come monotonous and hackneyed. To offset this, "Skating Vanities” producer Harold Steinman hypos his latest and 11th roller show with headliners Olsen & Johnson and their mad, if corny, comedy. The injection of two such com- edians with their flair for the broad, visual type of humor so ne- cessary in this kind cf show has done wonders, and on night caught the plaudits were loudest when these zanies held the floor. That all such units need this shot in the arm does not necessarily* follow. The customers still come to see the lavish production num- bers and never seem to tire of the same old thing as long as it is well costumed and the floor is loaded with performers with plenty of femme highlights. But for diver- sity, comics like Ole Olsen and Chic Johnson make an unbeatable combo. Using many of their gags and routines from "Hellzapoppin’,” O&J keep the pace fast and loud with the usual number of mad characters wandering through the audience; gun shots to accent an entrance or point up a situation; midgets running across the stage at odd moments and hurley skits toned down to suit this "all-family” type of entertainment. Everything, including a giveaway gimmick, is tried and all draw yocks. On the skating side, Peggy Wal- lace continues to dominate the skatertainment with her socko .solos as evidenced in the "Kiss of Fire” number and the opener, a dude ranch roundup. Demure Nancy Lee Parker, former amateur champ, shows much promise in the prpfessional arena and with the necessary experience this 17-year- old should soon be tops in her field. For obvious reasons, skating comedians ar,e eliminated in this show and the emphasis is on the spectacular Gae Foster produc- tions featuring the Vanity Fairs and Escorts with various combos such as the Roulettes, etc., spark- ing the in-between moments with their fancy roller work. Besides the non-skating perform- ers such as Marty May, June John- .son et al., the Norma Miller group of 10 colored dancers add zest and spirit to the show with their Dun- hamesque terping and showman- ship. Music for the "Vanities” is under the capable baton of Ben Schwartz, with Dick Finney emcee- ing and splitting vocal chores with Greta Wolff, Newt. •h The diversity of talent in tlie Cotillion Room’s current sesh makes for a highly entertaining session. Offering draws plenty of response from tableholder.s. Topping is vet troubador Nick Lucas, who takes customex's clown memory lane with such all-time pop favorites as "Painting The Clouds With Sunshine,” "Side By Side,” "Bye Bye BiackbirdsJL.;Tip- toe Through the Tulips,'^ten Ho brought many a wistfui Hbok jLo first-nighter eyes, Luc^ slWns gags, novelty numbers ancr-e^bo- rate arrangements to put acrosVliis .songology. He just sings in clear tenor, accompanying himseil with solid strokes of the guitar. Lucas was called back for several encores and had to beg. Laugh portion of bill i.s in ca- pable hands of Prof, Backwards, one of the best funsters ever to appear here. No stranger locally, he is larding some of his pr*ovod routines with new sequences and it all makes for an enjoyable stint. He has an easygoing, almost con- versational start to his turn, but in no lime he has the yocks coming fast and furious. The Georgia comic’s real talent is in his ciuick and pointed wit, heightened . by his professorial garb, a sky blue mortar board cap and gown. He continues to amaze auclierfees with his upside-down and backward-foi-ward talk and spelling on a blackboard. He keeps the comedy pror-cedings at a litgh pitch throughout. Plij^lis Ponns, a looker 'vith a nice chassis, has adapted her bal- let training to very pleasing sup- per club entertainment. Fine- gammed brunet torps gracefully lO "Wuncierbar” and other tunes, and encores with a samba ballet to the music of "Tico Tico” that brings plenty of palin-pounding. on the ears and eyes is Swayze, blonde song.stress. ght is "That Old Feeling,” delivered with spark. Gal nets ijice mitt, Denny Beckner orch backs show nicely and keeps the floor crowded during the ankle-bending sessions. Crew purveys a brand of tick-tock rhythm that’s both sweet and bouncy. Maestro also emcees bill capably. Liuz.