Variety (September 1952)

September 24<, 1952 NIGHT CLUB BEVILWS 57 Hotel Plikxa? (PERSIAN ROOM) Kay Thompson A Williams Bros. ( 4 )* Dick LaSalle and Mark Monte orchestras; $2 and $2.50 convert. The Persian Hoorn is jumpin' again—Kay Thompson and the Williams Bros, are back. The re- union of the energetic songstress and her four personable aides uoints up anevf the show biz axiom J-don't fool around with a hit. Somehow the chemistry of the team was surefire when together; the moment the freres decided to split up into sub-units it didn’t im- prove them nor Miss Thompson. Miss Thompson has no illusion about herself or anything except- ing the basic talent. They’ve got to be socko and different in every- thing they do, anji.they achieve it. The lyrics are literate but not too subtle; the vignettes vivid and betimes devastating. Most of their stuff is new save for the now-standard but sturdy “Pauvre Suzette.” Their keynote “Quelle” keys them into satires on TV, modem art and a classic pro- duction all its own on the “Holly- wood Party.” Miss Williams opens with a characteristic “jubilee” number and zings ’em with a “Caribbean Cruise’' number which Is saucy and in the accepted “sophisticated” standard. The pre- cise production values extract the maximum from her “vocal chore- ography” presentations. Dick LaSalle, piano-conductor, Is back for his third year and projects a slick brand of “society” dansapation, and Mark Monte's Continentals (4) likewise produce a fancy brand of specialized terp tunestering in quality far in excess of their meagre numbers. Maltre d’ Fred is the slick major domo at the door, and a return tp the Per- sian Room for another season once again points up the suave manner in which the old-guard waitering- catering staff differs from some of the younger waiters in most niter- ies. It’s a rather glum com- mentary of the times that the changing eras has altered service standards so sharply. The in- creased postwar tourism abroad also has pointed up that shortcom- ing in the forel^ lands and on foreign ships (with the striking ex- ception of the British) that certain political accents have militated against the suavity and good serv- ice usually identified with Euro- peans. Even the French, tradi- tional perfectionists in cuisine and service, seem to have encountered that new hazard. (Which is a slight segue, of course, from the fact that there are only a few spots like the Plaza or.the St. Regis that main- tain that certain standard). PS— Kay Thompson & Williams Bros, are still socko. Abel. Chez Paree, Chi Chicago, Sept. 21. Jack Carter. Betty^ Reilly (Bill Russell and Roy McNair). Grace & iVicco, Johnny Martin. Chez Ador- Farnon Ofeh; ?3.50 minimum, $1 cover, two-week bills that Chez Paree has been bookmg for its greatest season in Its zO-year history. Danny Thomas in Oct. 14 for a month and then Sophie Tucker for four or six weeks, Nov.. 14. While this was somewhat of a quiclde booking, bill stacks up with most of the previous shows. There’s improve- ment in each act since last jseen jiere and while there are minor adjustments necessary, it's a smooth revue. Accent, of course, comedy and the laughs are plenty throughout. This should be an excellent word-of-mouth show. Jack Carter hasn’t been at a major nightclub here in several years,, meantime playing-legit, the- atres and TV. Comic has improved immensely, especially in his tim- He still has a tendency to ride on his quips with the audi- .Set^g some of the ® ^ut evidently Jn f customers want judging from the yocks he gamers. i..?onie of Carter’s material is a iittle too rough and he could slice vulgarisims here and there. enough, his biggest aughs are not from the tinged hnes but from his takeoffs on mreign characters and his aping -carbon of Billy X Old Black Magic” is ex- follows with his punchy standard on types of screen ^iistead of closing with his ^fwsreel bit, he stays on ^ strong piece whiil other comics did to him fl hVJ video. Carter gets mg mitt for his begoff speech. ,?OQors with Carter is making her annual However, blonde ® dropped practically every old act ahd has herself, with aid of Jeff tpnf ^ singer even more po- t than before. While previously she relied strongly on her ability to chirp in several languages, she now has made a production out of her act. She’s more than capably supported at the piano by Bill Russell and also added is a bongo player. Songstress starts ‘out with a fiashy treatment of “Kerry Danc- ers” and then goes into a solid bit about songs from the dreary ’30s in which she sells a group of the lesSer-khown pic tunes-from the/first talkers. Her one conces- sion to the Latin library, outside of her closer, is a Cuban ballad which goes over well. But it’s “Molasses” done, a la .Sarah Vaughan, Margaret' Truman, Bette Davis and Johnnie Ray that is a real pleaser. She switches to the ballad side to score with “More Than You Know” ahd then takes up the beat with “Begat.” A bit of her new material, which falls in the Dorothy Shay category, is a special about a miss that goes from the mountains to Paris, and the group singing on “La Vie En Rose,” replete with jug, is hilari- ous. Gal heats up the bistro with with her spirited rendition of “Cumbottchero” taking over the hand drums for several moments too. Chanteuse also has to beg off. Grace & Nicco, while continuing to commit mayhem on each other, seem to have speeded up their comedy dance act. They have also added a “Kiss of Fire” number which leads to eye-gouging and a few more pleasant sports which the audience finds such clean fun. Johnny Martin deserves a bow for his emcee work and production vocals, with the line carrying over two numbers from previous revue. Brian Farnon Is excellent both on the dance and backing chores, Zabe. Versailles^ N. Edith Piaf fc Co. (9)* Emde Petti and Panchito orchs; $5 mini- mum. Riverside9 Reno Reno, Sept. 18. Billy Gray, Patti Moore & B^n Lossy, Cheerleaders (5), Lariy Green, Riverside Starlets (8), Mary Marshall, Bill Clifford Orch; no cover or minimum. This comedy offensive led by Billy Gray lasts an hour and 25 minutes, and consiejering the color of material begins to grow a little tiresome. The only relief from the comedoldrums is a brief breeze by the Cheerleaders quintet near the beginning and a quick little gust of music near the end, plus an open- ing chorus number and a brief by them for windup. Gray himself accounts for over half an hour of monolog which has high periods of good humor, low periods of innuendo that some- times don’t even wear the sheer cover of clever wording and might better be said in plain language. Patti Moore & Ben Lessy take up most of what’s left of the time with parody after parody. Har- mony on “Sweet Violets” and “I Wish I Wuz” are best. Vivacious Miss Moore encourages the com- edy of Lessy who keeps at his very funny, senseless action. He tosses popcorn out of his pocket with one hand, for a tricky grab with the other and never connects. No sense, but hilarious. When ’ she breaks off in the middle of song to say “dance for mummy,” he bounces around like an unbalanced puppet. Again senseless but like- wise funny. In a jam session with orch, Les-j sy plays piano In the high regis- ter, stopping to cavort and gener- ally creating big yocks. The Moore & Lessy duets are sold with plenty of vigor in the w.k. strawhat-and- cane style for top reception. Billy Gray and the duo merge for an opening bit in a French cafe without ever really beginning to register. Their finale is a lesson in ballet In which the three cavort with chatter and lyrics. A takeoff dn the ' Jack Cole 'daricers get'k ridiculous, over accented oriental motions, eventually winding up with everybody aboard for Cole in- terpretation that’s charged with visual humor. Gray’s package can turn out to be a good unit with some remodelling here and there. Perhaps shorter periods of comedy scattered throughout would be better than the two particularly long sessions. Cheerleaders never really get a chance to show their wares. “Back in Your Own Backyard” has plenty of action for their Initial shot, v A carefully balanced “Be Anything” without accompaniment rates nice attention. Done in small spot, the three guys and two gals huddle on a piano bench and concentrate on intricate phrasing. “Sugar Blues” is closer. Cheerleaders are also used to in- tro ballet sequence after Starlets have danced a serious toe number with four dancers in white and four in red. The line open this show with “Golden Earrings” in Gypsy costume with tamborines. A graceful tempo to vocal by Mai’y Marshall opens up midway Into an exciting high-kicking terp. Mark. On her fifth return to Nick & Arnold’s click East 50th St. nitery —^her first date in two seasons be- cause of an ABC (Paris) legit re- vue—^Edith Piaf has gone from about $1,750 to over $6,000 a week. Her pyramiding Impact warrants It. Vet bonifaces that Nick Prounis and Arnold Hossfield are, and fur- ther attested to by the vet maitre d’ Robert, the lodestone in a per- sonality like “la petite mome”— the little waif, or the little spar- row as she has been sentimentally Gallic-aggrandized— is money in the bank. - Whatever "the chemistry of her appeal, it is apparently interna- tional and transcends language boundaries. She proved it when (the late) Clifford C. Fischer first brought her over, when she didn’t parle any Anglais at all, and in- sured that with the succeeding years as she rehearsed her little English speechlets which set the themes and motifs for her charac- teristic songs. (Opening night wit- nessed a pleasant little Franco-An- glais debacle, as she forgot the re- hearsed English ad libs, and mumbled the French original in or- der to orient her thinking; an in- cident that might stay in the book because any national appreciates an effort to try and speak a foreign tongue, no matter how distorted). Miss Piaf could sing in Braille, apparently, because her is an ar- resting style as she chirps her stuff In that wide-eyed, plain black- dressed style. She is a shade less severe, with a lighter auburn, hair but the style is the same and, in truth, seemingly more palatable to the Francophile American clientele than on her own home-grounds. (Caught early this season at Le Drap d’Or, plus Champs-Elysees ■nitery, here b.o. was by no means as boffo there as in Gotham.) Backed by a femme choral octet, and ^ with Robert Chavignay as special accompanist, her repertoire comprises “La Fete Continuee,” “Hate Sundays,” “Jezebel” (an American pop for some reason very popular in Gallic chantoosie circles), the now standard “Pa- dam,” “L’Accordioniste,” “St. Peter,” and inevitably her trade- mark song, and “La Vie en Rose,” and others. Miss Piaf is canny in her selec- tions which are melodic and have basic aural appeal which, not even lack of lyric savvy can defeat. This factor, coupled with her neo-tragic romantic song techniques. Interpret into big audience values. Otherwise, Emile Petti, past master in the nitery league among maestros, does his stuff to good re- sults alternating with Panchito’s Rhumba, equally tiptop for the terps. It should be added that the cur- rent engagement is not without its romantic fillip because of the star’s marriage on Saturday (20) to French songwriter-singer Jacques Peals, ne Plls (& Tabet) who is chirping at the competitive La Vie en Rose nitery. A morning mar- riage and a noon reception at the Versailles, where best man-boni- face Nicholas D. Prounis (Nick & Arnold) hosted along with Marlene Dietrich, who was the bridesmaid. Miss Piaf and her groom will probably spend their honeymoon shuttling between the Versailles and La Vie. ^ Abel, of Dewey Barto (& Mann), who formerly topped the American Gull d; of Variety Artists, and she’s a sister of Nancy Walker, musicomedy comedienne. Miss Barto is a durable type of perform- er who can go over with any audi- ence. She’s a diminutive singer with a comparatively large voice. She’s well schooled in performing techniques and has sufficient per- sonality to have audiences stay with her. Miss Barto works mainly with standards and she goes over well. Her major opus, however, was in bad taste. The number, entitled “Models,” treats of girls who came into prominence in the Jelke case. It’s libelous on that profession, but more important, isn’t too enter- taining inasmuch as it’s not in keeping with Miss Barto’s essential freshness, and it’s a humorless treatment of that subject. A new lull entertainer is Erskine Butterfield who wraps up his audi- ence both at the ivories and vocal- ly. The George James orch show- backs efficiently. Jose. €oiitiiLoiital9 Montreal Montreal, Sept. 20. Josephine Premice, Sis & Sonny Arthurs, Carmencita Garcia, Leon Lachance, Laurel D'Arce Dancers (7), Johnny Di Mario Orch (5); 85c admission. The Josephine Premice cur- rently on view at the Continental Cafe is a far cry from the gal who appeared here several years ago as a hoofer with the Josh White revue. Since that time, this tal- ented Haitian has switched to sing- ing, assembled a socko collections of Parisian gowns, groomed a neat songalog, and with the backing of drummer Luis Martinez offers a package that means sure returns to any cafe operator. Miss Premice Is playing the Con tinental for the first time and tiiis move out of the uptown show belt has done little to affect her popu larity. On night caught, she drew a mixed audience giving her a chance to exploit both her French and English numbers to best ad vantage. Much of material offered has been heard on previous visits to other boites, but gal has trimmed and sharpened most items. Pres ent show is more professional and chantootsie wisely avoids the per- sonal asides to ringsiders that did nothing but prolong and break pac- ing of other appearances. Surrounding the Premice stint is a varied collection of acts that do little more than fill in time. Best of the group are Sis & Sonny Arthurs whose rough and tumble ballroom terping picks up a good reception. Carmencita Garcia wig- gles through a set of Spanish- Mexican routines that are active and noisy but hardly out of the average groove. A rather dis- traught pony line manages to get Hotel Flcrre9 N* Y* (COTILLION ROOM) Morton Downey with Carmen Mastren 3; Stanley Melba and Chico Relli orchs; $1.50 ond $* cover. Morton Downey gives the Cotil- lion Room of the Hotel Pierre quite a bounce. The hep Hibernian knows how to leaven the tradi- Uonal “Irish tenor” stuff with a zingy change of pacing in his pacing of pops past and present and the end-result is a highly pleasing planology songalog. Downey is no come-lately but he maintains the effervescence of youth and excitement at the Stein- way that is a far cry from his Paul Whiteman S.S. Leviathan Orches- tra days when he sat in with the band as a pseudo-banjoist and proved a “surprise” top tenor. Downey has traversed* a full and rich road that is bi^ n^ means lim- ited to his more obvious profes- sional pursuits. He has parlayed his' Coca-Cola holdings into per- sonal financial independence, and he also has a few things running for him, with his Stork Club bud- dies Sherman Billingsley, Steve Hannagan and Arthur Godfrey, such as Sortilege, that insures the groceries. But Downey has been unique as a singing commercial of special calibre, both for personal profes- sional pursuits, and as a living trailer for Coke. He manages to keep the trademark and, more often, the actual commodity in the spotlight, be it in-person, on AM or on TV, and probably Inspired another colleague, Phil Regan, to ditto for Anheuser-Busch beer brand. Downey has pyramided his per- sonality following for good b.o, re- sults in the slick saloons, and trilled himself into an effective single in almost any medium, Stanley Melba, maestro-entre- preneur of the Pierre, has succeed- ed in swaying the balance in favor of more robust (meaning larger budgeted) names for the Cotillion Room, and has been succeeding the past two or three seasons with Hildegarde, the DeMarcos, MimL Benzell, Yma Sumac and the like. Besides emceeing the proceedings, Melba’s band is the No. 1 dansapa- tion outfit, with Chico Relli back for the relief Latin tunestering. Abel, Biltmore Hoiol., L. A* (BILTMORE BOWL) Los Angeles, Sept. 16. Noonan & Marshall, The Rudells (3), Bill Finch, Dorothy Dorben Adorables (10) with Marjorie Baker and Jack Tygett; Hal Der^ win Orch (12); $1, $1.50 cover. Cafe Sociefy9 N# Y- Bob Savage, Betty Lou Barto, Erskine Butterfield, George James Orch; $3.50 minimum. The new administration at Cafe Society Downtown is going after new sounds In a big way. It’s at- tempting to make this spot one that will launch the customers on the thrill of discovery. With Bob Savage there’s a tre- mendous chance that discophiles may beat a path to that place. He cuts a figure that will appeal to women and his pipes are such that he can arouse a top reaction from customers. At his opening night, he enticed Sophie Tucker to come to the spot. She has taken an in- terest in this chap for some time. Savage is a towering citizen who makes a deep physical impact in the room and he sings well. How- ever, this Capitol recorder must [ learn to change his pace if he’s to hit his maximum. He treats every number with extreme dramatics. A few lighter numbers to brighten up his vocal landscape would make for a more interesting floor ses- sion. Withal, he holds the customers with a voice that shows Johnme Ray and Billy Eckstine influences. He’s taken the most thesplc fea- tures of each and combined them. 'The results are highly effective, but efficacy can be Increased with the right touch of levity. Other major performer on this bill is Betty Lou Barto, daughter With the summer tourists head- ing for home, boniface Joe Faber is again concentrating on laugh- and-action-packed layouts that will through its dances and Leon La- regulars chance, the perennial emcee, re- season ^oks like a winner tains his usual enthusiasm. Johnny Di Mario’s orch does show and dance music ably. Newt, 60-minute bill a fun finale. Boys have been getting better TV V e^^ch time they’ve returned home Jimm« Domy Orch (16) 'with ?SftS;1sTo“«clptioT''S'ey've sVm Chef iSSemi biffo? $1.50, $2 covers. the closer, but it’s been sharpened, as has the nitery Heejay routine, and some of the newer material evokes constant guffaws, notably the British film-making skit. They work with ease and polish to earn Reopening for the fall-winter season, the Statler Hotel is again resuming its top name band policy for the Cafe Rouge, which draws fairly consistent business from the thVi? begoff transient clientele stopping at this hostelry. Kickoff spot this year has been given to Jimmy Dorsey who capably handles this assignment fixture of ?ag and iSuacroanto JSd'vocalLT® musicians SS^^susUin? peak Dorsev^ orch has the richt kind long been the standard uorsey s oren nas tne ngnt Kina of beat and style for hotel rooms. f/> Comprising a standard aggregation of six reed, seven brass and three 111 on rhythm, this band plays a straight and solid brand of dance music that’s varied enough without getting too tricky for the one-step ping customers. It’s a melodic com- bination with Dorsey’s sax and clarinet showcased in reedy ar- rangements on the ballads and a good brass section for the rh'Vthm numbers. The band’s book is wide, cover- ing the current topsellers and the standard library. For the dinner sets, Dorsey mutes the sound vol- ume in sweet style but opens up with hep swing stuff in the late hours. Dorsey features a small 9 Dixieland combo, recruited from Hampton S Seattle 3 the sldemen, which generates a Oonffio ciont considerable amount of-‘excitement , cjeauie, &epi. zd. in the standard two-beat groove. The Palomar, Sterling circuits Among the chief assets of the off-and-on vaudfilmer here, has set current Dorsey organization are Lionel Hampton’s orch fo^ three** his two vocalists, Sandy Evans and day stand, Oct. 3-5. Split weehi is Eleanor RusselL Evans has^-a first- experiment, with belief that band rate crooning style and handles will puU better at the b.o. than in the ballads for the most part. Miss si full-week stint. Russell, a pert looker, has a sharp ward somersault through a hoop while rope-jumping. Opener is Bill Finch, a dexter- ous young man with a baton who adds some dance stuff to his twirl- ing to heighten the effect. It’s good, particularly the use of lighted batons on a darkened stage, but a little too repetitious. Dorothy Dorben Adorables have two good routines and one that’s below standard in this layout. The Hal Derwin orch continues to pro- vide effective backing and terp music. Kap. set of pipes and projects ballads, rhythm numbers and novelties with a bright bounce attack. Herm, Following, house has set Royal Hawaiian Serenaders and Merry Macs to headline bill for week be* ginning Oct. 6.