Variety (October 1952)

Octoher 8, 1952 r c T c "»*” a ’^ “ Mack). To™£™%%nsuelo | Melba n\rh V Michael Durso, and c °P a P r Marti orchs; staged by frank r> n udv' songs , Joan Ed - Douglas C ff* J ’ Dud dy; costumes , Si S UmwJt or>; $5 minimum. Amstcin, the texieftb ty _ » a “ h A o supervised the “Burma sSppiy lines ’ trafflc Qgl $ oad World War II in the CBI frhina-Burma-India) belt fittingly (Cb “Si w*is at Joe E. Lewis second ^ nou li h n? ,a Thursday night and '°« e another “Burma Road” doing fit of traffic. That’s the far- 8 IL of the Copacabasement, as calls it, which is really JSfield and divided by a scrim iuioff which is only opened to* ac- C or«Tnndate the turnaway »trade, nn the second four weeks of his fwo-month stay the waiters attest to the comedian s boff Burma ^Tony Bennett’s nitery debut, succeeding Gloria DeHaven in the substarred singing spot, was the occasion of the second premiere. There are other new furbelows, all adding up to Jules Podell’s de- sire to keep the Copa the high spot that it is in the nitery circuit. This has been successfully achieved for over a decade by a combina- tion of excellent taste,, top stand- ards and surefire talent. Lewis’ nth repeat is part of the same pat- tern as the Martin & Lewis, Jimmy Durante. Lena Horne, Danny Thomas and kindred outstanders of standard quality, along with the surprise clicks that come with a Johnnie Ray and, for that mat- ter, also Martin & Lewis who were showcased here. There are ag^tin new customers and the girls look even more beau- tiful. Producer Doug Coudy knows what to do with them, and Joan Edwards & Lyn Duddy always manage to whip up sprightly shew tunes that bespeak of vaster po- tentials, such as the “Carnival In Rio” and “Widow From Amarillo” numbers. Bennett made It a tour de force and obviously accounted for some of the draw. His Columbia Records appeal was evidenced by audience knowledgeability of his repertoire. “Taking a Chance on Love,” “Have a Good Time,’* “Since My Love Has Gone,” “Sing You Sin- ners,” ‘I Won’t Cry Anymore,” “Blues In the Night” and “Because of You” made for generous sam- pling. Bennett has achieved poise and authority to match his disk rep; he’s OK for the boite belt as on the rostrum. An unbilled cute terp specialist, Carol Lee, almost silently stole much of the proceedings. An ador- able sprite, in her early teens, the's a cutie who holds her own albeit surrounded by that bevy of boffo beauts that comprise the Copa line. Ray Steele continues ex- tending his scope ag juve vocal lead, and a new terp team, Con- suelo & Melba, with a startling soap bubble effect for one of their numbers, give Lewis a good laugh situation later on. Their samba, foxtrot and polka pyramid, to the unique “Forever Blowing Bubbles” climax. Joe E. continues the zany mad- cap with the pixie personality which permits him alone to get away with those good-humored jeers and sometimes not too subtle T-n? s an( * as ides. As with Beatrice Lillie, who is always a lady while singing her ribaldry, so goes it for Lewis, Eli Basse, his lyrical Boswell, keeps him fortified with ribald parodies like “Three Lousy Beers,” “The Mink Coat’s Becomin’,” and the like, and his other special repertoire remains in high. v 7 ^ World Series only aggra- vated the capacity problems of the Lopa s solid business. Abel. man’s tunes, pair work out light terps within warbles for neat segment. Parks moves over to the 88 for accomping of her folk-styled “Foggy Foggy Dew,” and hokum based on some so-so standard jokes. More folkway is woven in when pair duet “Wish I Was.” Re- turn is sight stuff “Temperance,” when Miss Garrett dons funny hat and he bongs cymbals for street corner bawling. “Side by Side” is brief duet with soft-shoe terping to take them off for rousing mitts. JoCl Grey, the young fireball, will be a comedy fixture for one month here. That he’ll become the talk of the resort belt can easfly be predicted. Fresh, prep school appearance, coupled with good ma- terial and terrif vitality smacks fablers from the start. Tears into “Zip Doo Da” to get underway, then socks over best routine of his yock-loaded term. Based on “Do You Remember,” he chants a teen- ager’s hunk of nostalgia about the “good old days,” inserting his clever mimicry on “that grand old man of comedy,”—Jerry Lewis; Frankie Laine, Johnnie Ray, and switch of theme into Cantor. In Honeybun,” trots out more im- pressions to include Billy Daniels, Durante, and Bette Davis. Taking in scope of “What is Show Biz?”, Grey kids TV’s “Drag- net,” calling it “Hairnet”; treads legit boards with lampoon on Noel Coward; terps old vaude styles and winds up in serioso vein. Latter doesn’t become the young comic, however, being too schmaltzy and out of character somewhat. With each setup out of the way, Grey whips around in lightning terps— altogether a highly versatile display. El Rancho Girls come on with “King Porter Stomp” swing-ding starter, and return at the half with hip-switching tango. Gals are used mostly for background effects while cute Joy Walker bounces her solos over. Ted Fio Rito orch makes standout backgrounding. WilL Coconut Grove, London London, Sept. 23. Lou Jacobi, Jack Nathan Orch, Edmundo Ros Rhumba Band; $2.80 cover . El Honcho, Las Vegas Las A-Vegas, Oct. .1. r n 7^ Parks & Betty Garrett, rS G ,l c , y > J °y Walker, El Rancho Gvrls (8), Ted Fio Rito Orch (10); 710 (-'over or minimum. solidly on top entertain- f. values, this frame of new cellpn? 1 !? *J anch0 will bring in ex- aui« w blz for . the fortnight. Mar- ParVc i 0 « n l W] ith names of Larry Betty Garrett, both fine clearfv'Vou qua i ity of the P^r Is they cav °rt through firsf S Su terps. Parks swings on what’^uS- switch . patter about buildim^°- ln 5 ' on * n the casino, Parks k irdo en trance for Mrs. «nV R io t rih U i Sba i nd "^ lfe i° usts back co riini \ leads lnt0 flashback of for a’s*!p^f 7 , and /:Can I Come in Segue + whlch scores well, queijce ^ au tograph book se- 0n "Down brings with e'jiiv 5 fL£ be ^ d Stream,” ery, a y ~ d f^, gestures and deliv- m a medley of Vincent You- The Coconut Grove is one of the West End’s ultra late night spots which usually comes to life around midnight and stays open until 4. Under the rigid British licensing laws, the sale of liquor ceases two hours before the closure, but the service of soft drinks as well as food continues without restriction. About two years ago, the club was taken over by bandleader Ed- mundo Ros and more recently he put a second combo of his own on the stand. He wields the baton there after he has finished his nightly stint at the Bagatelle where he is still under contract. The current feature is Lou Ja- cobi, a Canadian comic who has spent the last year or so in Europe. He is a smooth ’ raconteur whose fund of yarns has a pronounced indigo streak well suited to the dimly lit, decorative atmosphere of this room. His patter rolls smooth- ly and gets plenty yocks. He is also a competent vocalist and does two or three numbers well rigged to his exuberant personality. Act demands a minimum of back- grounding and this is admirably done by Jack Nathan’s combo. The Ros aggregation provides the al- ternate rhythm music for the terp- ersu Myro. Angelo’s, Omaha Omaha, Oct. 2. Page Cavanaugh :& Trio (4); no cover or minimum. Only Omaha nitery regularly booking name attractions has an- other winner in Page Cavanaugh Trio. Fresh-appearing kids feature their diskings, a fine hillbilly piece and hit high spots with “Pennies from Heaven” and “Maybe.” Husky-voiced Cavanaugh does most of the ball-carrying, of course, with his chanting, terrif 88ing and chatter. Also handles the clever lighting system boni- face Angelo has rigged for the small stage. Dave Povaro, guitar; Jack Smal- ley, bass, and thrush Rona Rae round out group. Gal switches gowns for each of four half-hour ,ghows nightly. At show caught Cl), Cavanaugh bucked fight TV (Wil- lie Pep vs. Armand Savoie) at back bar. But he turned this into an asset by leaving customers turn around and watch the fracas while the trio sang “You Belong to Me.” Tempo was switched to same speed pugs were travelling and gimmick drew plenty of guffaws. ’ Angelo (DiGiacomo), hosting again after breakdown last sum- mer, has set the Weavers (Oct. 24), Rose Murphy (31). Milt Herth Trio (Nov. 7) and Ella Fitz"'~ald (Dec. 9). Trump. PStSIETf NIGHT CLUB REVIEWS 67 Pierre Hotel, N. Y. (COTILLION ROOM) Doretta Morrow, Pierre D’Angelo 8c Ana, Stanley Melba and Chico- Relli orchs; $1.50-$2 cover. Stanley Melba, in the supervi- sion of the Cotillion Room, is some- times forced to make fast decisions. With Morton Downey asking out after two weeks as the preem at- traction, Melba has lined up a two-act bill which should excite the carriage trade. The Pierre’s entertainment di- rector checked in Doretta Morrow and Pierre D’Angelo & Ana. The former, in her preem at this hos- pice indicated that she should be a name for the smart rooms. This is Miss Morrow’s second .cafe en- gagement, first having been a short time ago at the Thunderbird, Las Vegas, where she is scheduled to return shortly. Whfen she gets the feel of the smart spots, she’ll bo one of the more solid entertainers for this medium. Miss Morrow is current on the Radio City Music Hall screen op- posite Mario Lanzas in “Because You’re Mine,” a fact which should give her name wide circulation. Again, she’s no stranger to upper- crust audiences. She played Tuo- tim in “The* King and I,” was in “Where’s Charley?” and o t h e r Broadway musicals. Miss Morrow’s preem stint indi- cated her staying powers on the floor. She had the foresight to equip herself with some of the top songs of the era. Aside from a “King & I” medley, she negotiates a tuneful French series, an Irving Berlin group and “Can’t Take That Away from Me.” Her sole deoar- ture from the evergreens, “Give The Oo La La,” doesn’t measure up to the standard of the other numbers. During this recital. Miss Morrow evidences ease and charm and radi- ates a wholesome personality. The audience had no difficult in dis- cerning these values. Miss Mor- row could Tiave done more time than she did. Pierre D’Ansrelo and any part- ner he brings in have been staples on the east side. His current vis- a-vis, Ana, is not only a. looker with charm but a capable dancer. She’s been around with him in New York previously. Their hoof- ing has variety, pace and elegance. Their tricks are used merely as a hypo. Duo’s concentration on danc- ing rather than acrobatics pays off handsomely. ’ * Melba’s orch gives a lift to the proceedings, while Chico-Relli’s Latins provide a hip-swinging in- centive. Jose. Continental, Montreal Montreal, Oct. 4. Irene Hilda (with Roger Joub- ert), Ross Wyse, Jr., & June Mann, Lee Marx 8c Co., Latin Lovelies (7) t< Leon Lachance, Johnny Di Mario Orch (6); 85c admission. Starting her eighth appearance in Montreal, Irene Hilda shows greatest potentialities to date. Blonde chantootsie from the cafes of Paris and London brings a much more finished product to the local boites than ever before. This time she has a guy (Roger Joubert) to back her songs as part of the showcase; a better songalog (all her French numbers carry an Eng- lish translation) an much evidence of the heavy variety and saloon schedule she has been working in the last 18 months. A new hairdo and an appealing collection of gowns also boost Miss Hilda for the better intimeries. A breezy opener in French gets Miss Hilda off to a good start followed by a hoked-up, rhumba- rigged “Comme Cici Comme Caca” which draws hefty mitting. instead of the mirror number she used for quite a while, she has switched to a flashlight in a darkened room to r pick out various males and warble a special ditty to them. Number is a novelty, as is her satire on an Egyptian theme, and both score. Breaking into English, she does an item called “Nothing” which is special enough to please but not too safe a tune when the ring- siders are on the vino side. A bit of business tried out successfully in London, that of recruiting three men from the aud and getting them to participate in a diaper-making contest with three model babies, seems out of line despite the hefty yocking it produces. A performer of this calibre hardly needs this sort of gimmick to boost overall impact and this, together with the hand-clapping number, could easily be dropped without impairing gal’s socko showmanship. Lee Marx juggles the Indian clubs with class and speed and gets biggest ovation for his bal- ancing stint on the large rubber hall. A trim-looking helper adds visual moments to his solid offer- ing Ross Wyse, Jr., & June Mann reprise a straight burley routine that picks up a fair reception even though most of their better bits are lost in their efforts to get laughs at the expense of their talent. The Latin Lovelies show great improvement since last view- ing. Johnny Di Mario’s orch gives Miss Hilda special attention and does well during dance sets. Newt. Mocambo, Il’wood Hollywood, Oct. 1. Jackie Miles, Chuy Reyes Orch (5); $2 cover. After a five-year absence, Jackie Miles is back on the Coast’s bistro circuit and the stint is a cinch to win back old customers and de- velop new ones. One of the better comedians now operating out of the nation’s plushy saloons, Miles should provide the lure boniface Charlie Morrison needs to offset the Coast bow of son-in-law John- nie Ray down the street at Ciro’s. Miles, an animated beanpole, has - a droll sense of humor that provides a constant stream of chuckles. Some of his stuff rises above mere comedy to qualify as genuine humor, and -whether he’s explaining the economic realities of Miami or the gastronomic formu- lae in the Catskills, he’s a very funny gent. There are only a few bellylaughs in the routine. Miles preferring to maintain a steady pace rather than reach an occa- sional peak and fall off. Slick tim- ing, relaxed delivery and mild manner all ‘ combine to make the most of the material. Chuy Reyes has taken over dance and showbacking chores for the va- cationing Eddie Oliver and does a good job. Kap. Tliiintlerhird, Las Vegas Las Vegas, Oct. 2. Henny Youngman, Harry Bela - fonte, Les Dassie (2), Millard Thomas, Johnny O’Brien, Christina Carson , Normandie Boys (3), Kathryn Duffy Dansations (7), Al Jahns Orch (11); no cover or min- imum. Henny Youngman’s room in Vegas has been established at the Thunderbird. After hitting several other niteries, the vet comedian finds h i s greatest appreciation comes from within this Navajo. Current two frames is his second booking here this year, and should equal his earlier capacity biz mark. The Youngman style of Jbouncing over one-linefs intersliced with well-framed batches of story-jokes, and heightened by his deadpanning, captures yocks throughout. He has refurbished many of his w.k. gags, and strikes into new paths -with some fresh material. One of these is a Jolson-mannered parody of “Rosie’s Nose,” using many tunes to quicken the effect. Chucks his fiddle under chin for sawing “Smoke Gets in Your Eyes,” while weaving in some sharp quips. “My Life Story” contains his “Sally” with rib-tickling terps and plentiful ad libbing. As a quickie tag, brings back warbler Harry Belafonte and guitarist Millard Thomas, and as Belafonte essays “The Fox,” clowns story line for laughs. Belafonte takes the room by storm, turning out his folktunes for sock salvos. The Dave Kapp discovery and RCA Victor piper should hit top brackets before too long, judging by reception accorded here. Style is hi''dy kinetic as he weaves strong • ->cll with keen perception of d»’a.ma within _ his songs. Simple fo v : items trans- formed into artful vighettps—and all are from the hearCCj Vocally, Belafonte has tftfe baunt-' ing quality, the ebb volQme-, plus 0- humor necessary fbjf the depicting".' of such wares. Ffom^itilly noduled' “Jerry” to begin his setup, Bela*? fonte turns to softer measures for “Shenandoah.” Explanation of Mississippi lore is woven into a highly visual “Mark Twain.” Car- bon of his big platter, the Calypso “Woman is Smarter,” pulls peak mitts, and followup in lullaby form, “Scarlet Ribbons,” is another whammo. Saga of “John Henry” picks up mood into lusty interpre- tation, and Calypso, “Hold ’im Joe,” is a fine foot-tapper for bowoff. Les Dassie prime with razzle- dazzle flash act. Gallic due, garbed as gobs, whip through applause- tickling, expert timing of best tricks, and comedy spice. Pair never let up an instant, to retire with heavy palms. Kathryn Duffy Dansations hold over “Lucky Pierre;” and ‘jBlueg,” from “American in^Paris.” Johnny O’Brien with Normandie Boys trio furnish vocalistics, O’Brien making his mark as “Pierre.” Christina Carson ropes orbs and mitts with her toeterps. The Al Jahns orch backstops smoothly, aided during the Belafonte section Vy close accomping on guitar by Millard Thomas. Will. Waldorf-Astoria, IV. (EMPIRE ROOM) Les Compagnons de la Chanson (9), Alex Alstone Orch (12), Mischa Borr Orch; $2 cover after 9:30. The French nine-man singing troupe, Les Compagnons“ de la Chanson (The Companions of Song), are back at the Waldorf as the lone divertissement (aside from the orchs), and they still supply a good measure of entertainment in the Gallic vein. Attired uniformly in blue trousers and white open-at- the-neck shirts, the group is doing more English than before as it goes through a routine that is mostly in its native idiom. While Les Compagnons still lack that single sock that can classify them as exciting entertainment,' they have style, have been nicely staged and their Gallic numbers have an undeniable authenticity.. Originally the singing background for Edith P«?.f when she made her American debut some years a^o, Compagnons ‘could be a more ex- citing act with a take-charge per- sonality such as that of Miss Piaf. There is no one in the current troupe who fits that category. They open with “Dreams Never Grow Old,” in English and French, followed by an assortment of bal- lads and novelties. The sailors’ song, “The Eyes of My Mother,” doesn’t have the distinction that Miss Piaf gives it, while the come-* dy operatic piece is much too broad and not so funny. Alex Alstone, the composer, is doing a neat job playing pop and Continental melodies with his new 12-piece orch. With the maestro at the piano, it’s inevitable that the unit stress what is probably his best-known composition, “Sym- phonic.” And whether it’s for the straight dansapation or just listen- ing, the group is clicko. Mischa Borr's orch is the alter- nate combo, a longtime standly here and still sock for the Latin terps. Kahn. FlnmingflN Wr'as Las Vegas, Oct. 2. Jack Smith, Smith & Dale, Herb Flemington, Flamingo Starlets (8), Ike Carpenter . Orch (10); no cover or minimum^ Jack Smith leaves off his kilo- cycling for a fortnight of warbling in the vast Flamingo room, with moderate biz resulting. Ebullient style gets okay nod from tablers, as Smith makes his initial stand in Vegas. He is placed in position of hav- ing to lift audience out of a long, plodding production prance by Fla- mingo Starlets. With characteristic grin and smile in his voice, Smith accomplishes the job during his first tune, “I Want to Be Happy."’ Ballads “Auf Wiedersehn,” then rollicks a special “Check Your Coat and Check Your Hat,” using toppers and songstylings of Lauder, Chevalier, Gaelic piper, and Mir- anda. Bright “Just One of Those Things,” is sequeled by “I’ll Walk Alone.” Best novelty warble is clever switch of the ubiquitous Johnnie Ray parody, with Smith burbling a typical Ray weep, and vice versa. Gallic quickie yields “Ca Va,” before period of requests. Gracious handling o.C dialog be- tween tunes, plus routining of songware brings good harvest of applause throughout. He has the excellent accomping and conduct- ing of Buddy Pepper for vital sup- port. Smith & Dale attempt to toss over a special sketch used in re- cent video appearance, but room is against them.* Premise of both go- ing to heaven «md becoming angels might, pboject^along the cathodes, but mteises -fire here. Result is long, talky 'session, with few laughs. Wipd up* by. gabbing about their tenure in. showbiz, which brings a big mitt. — - Flamingo Starlets drop their modern terps in opener for a jiggly swing fling of “Sweet Geor- gia Brown.” Midway “Deep Pur- ple” is a yawn. Ike Carpenter orch keeps steadfast temps all the way. Will. Cafe Society, X- Y- Arthur Blake, Lois Andrews, Erskine Butterfield, Georgia James Orch (4); $3.50, $4 minimum? Cafe Society Downtown has set a couple of names that should spell boxoffice. It’s remembered that Arthur Blake in his previous ap- pearance at this spot was a jack- pot booking, while Lois Andrews is best remembered as George Jessel’s child bride. Since appear- ing here some years ago, she’s be- come a big girl who Ijps to make good on her own (see New Acts). Blake is one of the most talented mimicsffcround. He can show deli- cacy that belies his large frame, and can be impudent or reverent as befits the character at hand. Probably his most important esset (Continued on page 68)