Variety (October 1952)

October 8, 1952 P'AHIETY' NIGHT CLUB REVIEWS 69 Reno, Oct. 3. "Diamond Jim Brady Revue, • t ij Edward Arnold, Buddy Les- ulth fi r tic Tulara Lee, Sid Marion ^ Riverside Starlets (8), Bill Clifford Orch; no cover or minimum. The name of this show is a little mil lading and would be better c< ued “Edward Arnold Revue/ CcUltu t n ns Al*- There s n. hpr£ v not even a diamond, as Ar- T ih himself points out, to account J d f rX Regardless. It’s fine cntertainnient for the 85 minutes it’s on deck. " . Arnold, making his second cafe appearance, having only begun the tour in Las Vegas a few weeks ago, seems perfectly at ease m his ad- ministrative duties. A Starlets opener in colorful parasols and bonnets to a melange of old tunes brings on Arnold in tails. His presence is given .proper acknowl- edgement and he stays only a mo- ment with a few jokes before in- troducing Tulara Lee. Miss Lee, after a few bars of a song, whips off her skirt and goes male-hunting in the aud. She finds a likely participant, and m a hilari- ous schooling sequence attempts to teach the shy little man acrobatics. She balances him awkwardly as she lies on the floor, and he man- ages to look pitiful and freightened during a very convincing role as an actual member of the ringside. Not until he bows off with Tulara does the audience suspect. It’s wonder- ful comedy and very unusual. Joy Lane is a willowy redhead with a little-girl voice who has an- other gimmick for the show. After an opening song, “You Could Be Here As Easily as Me,” she gets in- to an argument with her conscience —on a tape recording. Perfect syn- chronization and quality create rare effect as she sings and talks to herself. Best bit is “Good Morn in’ Mr. Echo” in which she harmonizes with herself in mul- tiple recording style as the echo trails off. “Conscience” also sings “When You And I Were Young, Maggie” while the flesh Lane bounces it up with the old-fash- ioned melody gimmick, “Maggie Blues.” “Conscience” even walks on stage—recorded footsteps—to join her. Arnold has a brief solo bit talk- ing about the way different people laugh and is interrupted midway by an obnoxious waiter. Sid Marion heckles Arnold for good yocks and finally, joins him on the stage. Ar- nold then slips into an intro to his dramology from “The Devil and Daniel Webster.” Payees are re spectfully silent for his fine thesp- ing and he gets top plaudits. Al- though the bit is well done, Arnold could make a bigger impresh by choosing something perhaps a little more w.k. for this unusual nitery act. And Webster’s plea to the jury does not give Arnold enough op- portunity to get his teeth into something powerful; too short and without enough guts. Highpoint of show is Buddy Lester’s comedy. Although on the heels of drama, he has the room back in laughs in a few minutes. Unceasing chatter punctuated by his trademarks keep the’ air crackling with humor. In one strange bit, Lester drags out a box of odds and ends and an- nounces he will imitate Harry Richman. Before he ever finds the right props, however, he has romped through the .whole box to extract every possible chuckle. A trumpet exchange with a member of ihe orch, an operatic demonstra- tion and a striptease give an idea of the gamut which this comic runs. Starlets start the finale in sexy pink and black lace and are joined by the cast for a “Diamond Jim} For President” chorus. Mark. tention throughout. In addition, comic emcees layout in okay fashion. Ted Cole, longtime fave here- abouts, always sells nicely, han- dling such pops as “Somewhere Along the Way,* “Wish You Were Here,” “You Belong to Me” and “I Went to Your Wedding.” He’s one of the better baritones and with aid of a disclick could easily hit top coin. Balance of show is standard Blinstrub fare, getting off to fast start with Roby & Dells, mixed aero duo clicking neatly with series of lifts and handstands. Femme partner is a slick chick .which adds to overall impact of tricks. Ru- denko Bros, also hit the applause meter with sesh of juggling hats, balls, rings, Indian clubs, etc., winding by exchanging flaming torches. Closing spot is grabbed by the Oliveras, another mixed pair with femme cavorting through aero tricks from partner’s shoulder perch. Backgrounding by Michael Gaylord's crew is on the beam hroughout. Elie. Last Frontier 9 Las Vegas Las Vegas* Oct. 3. Carmen Cavallaro, Willie Shore, Dolores Frazzini, Eddie Gallagher, Devlyn Girls (11), Jerry Vaughn , Garwood Van Orch (10); no cover or minimum. Hotel Railisson, Mpls. (FLAME ROOM) Minneapolis, Oct. 3. Tony & Sally DeMarco, Don McGrane Orch (8); $2.50 mini- mum. Dancing takes over here to pro- vide the sole floor entertainment for the season’s preem. As pre- sented by the DeMarcos, the terp display proves more than equal to the occasion, leaving the customers with a pleasant feeling of complete satisfaction. This is the couple’s first local nitery appearance and they put on their ballroom artistry and boff charm in a manner which enhances the prestige of this smart supper club. The pair did seven numbers during their 20 or so minutes at show caught and each scored an applause touchdown. Offerings ran the gamut from waltz to rhumba, with some novelty, smooth gliding, a bit of aero and tapping tossed in. Routined to accomplish a degree of variety and diversity through change of pace, the demonstration of numerous types of steps with an icing of humor never falters. Dis- tinctive treatments, solid musical accompaniments, and the duo’s arresting personalities create an impression of importance and magnitude. DeMarco prefaces each set with apt intros, enlightening the ring- siders, affording breathing spells and preventing terp tedium. Lovely Sally DeMarco’s vibrancy, sparkle and animation are winning embel- lishments. Her own composition, “The Likes of You,” is the inspira- tion for a new number. The Don McGrane band does a slick background job for the per- formers and customer dancing, and one of its members, pianist Charles Wullen, hits the jackpot soloing for the DeMarco’s Levitsky waltz contribution. Rees. Berkeley, London London, Sept. 30. Fredd Wayne, Ian Stewart Orch Tommy Rogan Rhumba Band; $4.50 minimum. Extra-length exhibit of co-toppers Carmen Cavallaro and Willie Shore runs this casement into 90 minutes —long for a two-act bill. However, ablers seem to be satisfied and pack room to capacity. Casino might forego the usual one-hour time limit placed on shows, if biz keeps up to tumaway point. Cavallaro’s florid keyboard style is exemplified in his concert open- er, “Jalousie.” From this he weaves soft spell with “Amour,” a French-Canadian tune. Novelty de- partment reveals his humorous Chopsticks” and .a spanking boogie windup. Another multi- faceted reading comes up in “Be- guine,” showing the Cavallaro deft- ness in all tempi. Takes paraphrase of “Rhapsody in Blue” for well- received highlight, before ventur- ing into request sesh. Runs over the 88s in “Malaguena,” “Blue Tango,” and his usual finis, “Pol- onaise.’* Willie Shore, with his darting, light-footed capers, his nimble wit and spontaneity, turns the forepart of the show into a circus. He takes 45 minutes to put forth everything in his book, from “Donegal” and song sketches, terp display leading into fast .rounds of soft-shoe, and his w.k. pinball routine. Requests for legmania are an- swered with a triple-fast “Charles ton,” a funny Apache, and ever- lovin’ Joe Frisco. Calls for femme from ringside to pound floor in rhumba and to engage in amusing back-and-forth hip-tossing; steps out in completely ad lib soft-shoe to “Blue Danube,” and caps with Pat Rooney. Devlyn Girls completely fill stage and all are lookers. Take it away with whirls of blue bouffant while patterning “In Old Manhattan.” Dolores Frazzini steps into the sur prise pink spot after chirping duet with Eddie Gallagher for pleasing solo. Finale is a corker, with Shore taking turns with femmes in romp- ing some folk dances. Garwood Van batons his orch with authority, stepping off the podium for Jerry Vaughn’s decisive guidance through Cavallaro’s ses- sion. Will. a cutaway coat over her gown to do an impresh of Bert Williams and his famous “Nobody” are sock. Sandwiched in are “You Belong To Me,” “What Good Is A Gal,” ‘Getting To Know You,” and* “I've Got A Crush^n You.” Her pacing made the 25 minutes fly. Mario & gloria, preceding Miss Cars0n;*'are agile ballroomologists who in addition to the twists and spins win the customers with their interp of the Turkey Trot. Charles- ton, Tango and “Merry Widow” waltz. For good measure they toss in a neat soft-shoe routine. The gal, in a pastel, vari-colored billow- ing gown enhances the rapid-fire act. > f, Johnny Long and his footers not only back the show in fine style but seize the opportunity at open- ing of the gridiron season to play alma mater songs, for which they are generously rewarded. Sahu. Macayo^ Santa Mouica Santa Monica, Cal., Oct. 1. The Leonards (2), Stuart Rose, Marcia Busson, Macayoettes <4), Chuy Hernandez Orch (5); $2.50 minimum weekends. Joe Laurie, Jr. Continued from page 66 Eddys% K. €. Kansas City, Oct. 3. Beachcombers (4), Robert Max- well, Tony DiPardo Orch (8); $1 cover. Blinstrub^, Boston Boston, Oct. 4. Alan Carney , Ted Cole, Roby & Dells, Rudenko Bros. (2), Oliveras >2) Michael Gaylord O^ch (7); ^1.50 minimum weekdays, $2.50 Following several medium line- n? s boniface Stanley "Unstrub is again veering toward me name policy tested so succcss- miiy late last spring when spot was "W to accommodate nearly p?»f ’ ,T coin e that policy was , lRe wll ° scored tremen- oously, but since her stint, shows nave reverted to sight acts, which il. e . xcc Ption of vocalist Ted Cole, <ive been normal fare here over me years. ToPPtoK current bill is Alan Car- mch marks the first time a J 1 , !'‘ ls been headlined in this eiv.ci, “li'* 1 ’ 0 - Guy works hard to t‘If* 1 ll ^ough with his best ma- noint K *^ om a ud reaction stand- ^ s soa Pbox oratory in lornlol l ln ? os A Koom tough for visi al Vt !^ f Ca ^P ey adds en °Ugh * l al J tuff to his gab to hold at- With this cabaret engagement Fredd Wayne?/ who fills the top comedy role in the London edition of “South Pacific,” enters a new realm. It is virtually his first time on an intimate nitery floor and there is every indication that he has spent considerable time and energy in studying the technique required. Wayne likewise has taken the trouble to prep an original act. VoeaHzfng may- not—be -bis-strong-j point, but his lyrics have a sophis- ticated polish designed to extract the laughs from cafe customers. He is a versatile youngster, with an assured, easygoing presence. He’s an expert raconteur with a happy knack of emulating local dialects. And he throws in a few quick-fire impressions for extra weight. Sporting a smart Bond St. tux- edo and a frilly dreSs shirt, the American comic also wears a black derby and carries a cane to give special effect to one.of his num- bers. Apart from a song from “Texas Li’l Darlin’” in which he appeared in the U. S., the artist has all new material. By.a long way the best Is a parody on a song in “Call Me Madam” called “The Guest Boy Who’s the Best Boy at the Ball.” All his stuff 1 is in strong comedy vein and he was called back for a couple of en- cores at show caught before finally checking out. Ian Stewart’s orch docs a nifty job of backgrounding, with Wayne’s own accompanist, Cyril Baker, at the keyboard. Alternate rhythm terplng music is by Tommy Rogan’s rhumband. Myro. Inevitably, the packages built for this Santa Monica food and fun spot lean heavily on dance and song offerings. Boniface Ramon Reaclii, a former ballroom dancer himself, produces the shows, which occasionally travel to other niteries in the western area and do well despite the lack of comedy elements. Current layout, tagged “Mardi Gras Revue,” follows the usual Reachi formula. Toppers are the Leonards, whose “poetry in mo- tion” is capable dance stuff al- though at least one of their rou- tines is overly familiar. They open with a polka that gets immediate attention and have a good audi- ence gimmick in bringing ring- siders into the act to provide ac- companiment via a spoon-against- glass meter setting. Song chores mostly devolve up- on Stuart Rose,, whose easy singing is best demonstrated on such num- bers as “Daybreak” and “Here in ,My Heart.” Chuy Hernandez orch, j however, has a tendency to drown him out on occasion. Rose also feams-with—Marcia - Busson •’tm-one-}- number and the gal, who also doubles as one of the four Macayo- ettest, has one solo spot which could be expanded. She’s a sultry- voiced chanter but she's wasted as a pony. Kap. Entertainment for the current session represents a new lineup for this downtown spot, a first time here for both acts. They bring off a moderately good show that’s suit- able enough, with biz at a pleasant rate for the fortnight. Orch leader Tony DiPardo han- dles the m c. assignment in his customary lively style, and turns floor over to harpist Robert Max- well. He dishes up a varied reper- tory swinging through a Gershwin medley, plunks out a nifty “St. Louis Blues” and fingers “Spaghet- ti Rag” in a pianola arrangement, all for big mitts. Gets into more complicated work with “Mala- guena,” but handles it for dramatic punch and had to beg off. Foursome of three men and gal make up the Beachcombers, one of the several musicomedy groups which have proved apropos for this de luxe cafe. They give the spot- light pretty much to diminutive Natalie Shepherd, and back her strongly throughout with a varied vocal presentation. Bill Shepherd, Don MacCloud and Jerry Graff round out the crew. Beachcombers display their ver- satility in a.roundup of tunes which include a parody on “Million Dol- lar Baby” introducing Natalie, switching to “Maui Chant” remin- iscent of her Hawaiian descent, and go dramatic in “That Lucky Old Sun,” giving play to moving voices, strong choral effects and [^extensive choreography. They ca- vort in “Too Fat Polka,” seque to lively “Hallelujah,” and soften up in “Hello Young Lover.” Pull'all stops for rousing version of “Hawaiian War Chant,” with hearty response from the customers. Quin. leen Clifford, Agnes Mahr Uhe “American Tommy Atkins”), Eva Mudge (the “Military Maid”), Jean Southern, Florence Tempest, Hetty Urma, Tillie Santoy, Hetty King, Toma Hanlon, Lucile Tilton, Marie Empress and Florrie La Vere* who may be the only one in America today still doing male impersonation in an act with her husband, composer Lou Handman. Claire Romaine (“London’s Pet Boy”) Was a sort of an American relation because she was the step- sister of Dorothy Russell; her father, Ted Solomon, was Lillian Russell’s first husband. Few know that Fanny Brice did a male imp act, doing a number .in white tie, tails and high hat. Mae West did a “boy” in her act at one time— if you can imagine her as a boy? She didn’t do it very long, thank goodness! We had mixed teams where the female member did a male imp, such as Roy Cummings & Helen Gladding (she did the male) Jack Donahue & Stewart, his wife dressed in eccentric male attire; Ed Fennel & Lena Tyson (she did college boy). Sister d'ets, where one played the male, were Temp- est & Sunshine, Adele Ferguson & Edna Northlane, Mollie & Nellie King, and the Armstrong Sisters. In the Moore & Young act they both changed to male clothes for a finish. In the last 20 years of Big Time in America, without a doubt the “American Vesta Tilley” was Kitty Doner. She retired and is now a dance stager. v The art of male Impersonation ceased to be a novelty when all kinds of silly-shaped dames started walking around in slacks. On the stage you knew it was a gal doing a male impersonation; on the streets you never really knew. When Vesta Tilley retired in 1920 she was presented with a testimonial signed by hundreds of thousands in England. As I have said so many times, “Actors never die, they just get booked out of town.” Saranac Lake By Happy Ben way Saranac Lake, N. Y., Oct.7, Variety Clubs hospital flashed one of the grandest floral displays on the lawns this season. A bow to Ted Brenner, N. Y. radio and TV actor, who spent most of his al- lotted time doing the landscape work. Birthday greetings to Bob (IATSE) Hall, Jesus Gracia Dom- inguez, George (Elephants) Powers and Ted Brenner. Juna J.,Payne shot in from Lou- mum> Chase Club. St* Leo ’ St. Louis, Oct. 3. Mindy Carson, Mario & Floria, Johnny Long ..Orch (14); $1-$1.50 cover, no minimum. >- 1 ■■ Smart booking brings back Mindy Carson to this swank west end spot to tee off the new season. The singer, who scored solidly in her local debut in this room last January, is 'not only repeating with gusto but is proving a sock draw. In ah eye-filling off-the-shoulder gown, the blonde chirper has the room on her side from the start. She amply deserves the palm- pounding with a repertoire that ranges from “Once In A Lifetime” to “It’s De-lovely,” the windup dit- ty. Her interp of “Bouttonniere" tiiemums to the crowd, persuading during which she tosses chrysan- a male at the ringside to waltz with her and then donning a tophat and Cuckoo Cluli. San Diego San Diego, Oct. 2. Harry the Hipster Trio, Eddie ... - , . . Shu Quartet; no cover or mini- \ isville to bedside her daughter, 'Patricia (Switow circuit), and help celebrate the operation recently • mastered by her. Dr. Edgar Mayer, the first medi- cal director of the ,old NVA sana- torium during the early ’20s until 1933 was here for the medicos’ symposium and has a new hobby—' • collecting antique soda fountains.' He recently bought one here that was patented in 1885. Mary Colenian, former cashier of Lyric Theatre, N. Y., and a new guest here, is elated over her first good report that upped her for one daily meal in main hall. Max Rosenthal. (Randforce The- atres, N. Y.) rated an ace clinic, hfs-fift5tr fdnet-lie's been-en-obsorya— ion, upping him for pictures twice weekly and an occasional down- town pass. John (IATSE) Streeper off to Atlantic City for a 10-day furlough, his first trip out of the san in a year. Looked like old times ^at Camp Intermission last week. Sitting around the table for a snack were Dr. and Mrs, Edgar Mayer, Dr. Homer McCreary, Eddie Vogt. Mr. and * Mrs. William White (Ruth Morris), Mrs. Wrfi. “Motner” Mor- ris, Aunt Ella and Uncle Henry Berlin ghoff. Bob Cosgroves of Columbia Pic- tures back to his N, Y. desk after a two-month vacation here. He car- ries added poundage and an Ad- irondack tan. Thanks to the many who sent in telegrams, letters and cards ex- pressing good wishes on this mugg’s 67th birthday—especially to Sam Roberts, Jack Frazer, Joe Laurie, Jr., Mr. Ballantine and Kathleen Carson. Write to those who are ill. In a return to name and semi- name policy in jazz, local hot spot has snared a curious attraction in Harry Gibson, known as the Hip- ster. Piano thumper proves major surprise to local unhepsters who expect Gibson to be sepia instead of a blond, mustached ofay. Glib pianist talk-sings in low- down jargon with constant refer- ence to various forms of narcotics, particularly marijuana. Strangely, his patter doesn’t offend customers although it has definite shock qual- ity in subject matter. Piano stint is run-of-mill jazz, backed by Dave Bryant,' "bass, and"JImmy' Valen- tine, drums. Whether chatter is funny de- pends on reaction to narcotics as basis for humor. Some of Hipster’s material can be regarded as satire, even though unintentional and as such is slyly humorous. Occasional- ly, however, he crosses border in- to bad*taste. But freight-payers here liked him all the way at show caught. . A good jazz group on bill com- prises Eddie Shu, trumpet and sax; Ted Wald, bass; Bruce Paulson, piano, and Paul Valerina, drums and vocals. Outfit blows in the modern -idiom, with accent on sax solos. Don. Herth Trio to Pk. Sheraton After a 10-month stay at the Piccadilly Hotel, N. Y„ the Milt Herth Trio winds Oct. 11 to prep for a Dec. 1 preem at the Mer- maid Room of the Park Sheraton Hotel, N. Y. He’s booked into lat- ter spot for an indefinite engage- ment. Herth expects to take his crew out on a six-week tour before the Park Sheraton date. Sophie Tucker has been signed for Ciro’s, Hollywood, starting i Jan. 16.