Variety (December 1952)

5i NIGHT CLUB REVIEWS Mmsff Wednesday, December 17, 1952 Versailles, N« V. Nick & Arnold present George Hale's “More About Love ” two- act revue staged by Hale; songs and arrangements, Bernie Wayne; book, Norinan Zeno Sc Bill Derman. Fea- tures ( alphabetically) Bobo (Lewis) & Bobby x (Barry), Jean Bradley, Glenn Burris, The Cabots (Mhrianne, Dick & Frank), Ann Cardall, Jim Hawthorne, Aina Shields, The Love Notes ( Chris- tine Mathews, Ellen Martin, Louise McMullen), and Patricia Bright; Salvatore Gioe and Panchito or- chestras; gowns, Florence Lustig; costumes, Billy. Livingston ( exe- cuted by Angie); $5 minimum. Nicholas D. Prounis and Arnold Rossfield, to' give them their square handles, and producer Georgie Hale have done it again. A little more than a year ago they clicked by adventuring with a no- name nitery revue—book, lyrics, songs, plot ’n’ everything—and “All About Love'’ paid . out for many months. The encore is titled “More About Love,” and upsets precedent by clicking twice in the same place. None knew better than they, undoubtedly, that the challenge and the traditional show biz jinx were there, but they’ve met the former and overcome the latter successfully. Whether authors Bernie Wayne (songs), Norman Zeno & Bill Der- man (sketches), producer Hale or publicist John O’Malley thought of the sub-billing, “The sweetest story ever told on a night club floor,” it is that. Ingeniously, they •have furthered • the amour-amour . saga .as ■ Aphrodite and- Apollo sicals, although It probably wont be long now. As for “More About Love” it rates and undoubtedly will do plenty of business at the Versailles. It’s one of the best $57minimum- check’s^ worth anywhere. Abet, Clicz Paree, Montreal Montreal, Dec v 12. Joe■ E. Lei ois (with Austin Mack), Darvas & Julia, .Bob' Har- rington Orch (8); $3 minimum . and. .Glenn ;• F'ja play Yhelr ageless worldly wisdom I v..-fc.<£a 5 xk!ff- 'Bradley ’“a'flfl'j juvenile Jim Hawthorne, with 'comedic interruptions by Patricia Bright (who gets special billing), sophisticated punctuations by Aina Shields, knockabout footnotes by j Bobo & Bobby (Lewis & Barry), j musical footnotes by The Love Notes (Ellen Martin, Louise Mc- Mullen and Christine Mathews), terpsichorean footnotes by The Cabots (3), and expertly batoned by Salvatore Gioe, the new maes- tro ‘ (ex-HildegardeV, . succeeding Emile Petti who has shifted to Florida engagements. There is lots of thought, imag- ination and -good taste to both acts of “More About Love.” It has a plot- of sorts which, taken to its conclusion in the second half (midnight show), is as sturdy as most Broadway musicomedy li- brettos. However, what makes the new Versailles show is its freshness and tempo. It’s a brisk 50 minutes which gathers accumulative pace as it proceeds. It has good songs, talented people, not a- little $.a, (with wholesome overtones) as the boy-girl spurn Apollo and Aphro- dite’s sophistication which they in- terpret m song, “Too Much Talk. Not Enough Action.” To this, Miss Bradley and Hawthorne, as the young lovers, vbcally rebut “More Than I Should” and “I’ll Spend the Rest of My Life Making You Happy.” Interlaced are the terping Cabots with “Brief Interlude” and their highlight dance number, “Vera- radaro,” which songsmith Bernie Wayne wrote for this show but which already has been waxed - and considerably aired. It almost threatened to stop the show. The comedy is well handled by Bobo & Bobby’s “Darling, Aren’t You Bored?” And Patricia Bright, who has been around a little more than the rest of her colleagues in this revue, has a devastating satire on the glamorous. Gabors—the “fourth sister,” in this case, being the slavey (“Messa they call me”) who is left behind while her glam- orous kin pash Up in the .posh joints. The action takes segues from the Bradley-Hawthorne wedding duet, “More Than I Should,” to an ethereal boudoir set as the god and goddess of love decide to steam things up on earth. Aphrodite “Comes to Town” and she (Ann Cardall) and Apollo (Bums) duet . “This Can't Happen to Me.” Miss Bright has a bright taxi scene with the two; Burris has another bary- tone opportunity with “Wild Grapes,” and Miss Cardall engages in a * kaleidoscopic seduction scene with the juve (Hawthorne) which is saved by the bell. Withal, “More About Love” car- ries forward the technique of a new idea in - nitery revue entertain- ment form. It’s the answer to formula shows. It’s the answer also to “new talent,” because un- questionably many of these bright young people will be heard from importantly. It did much for the predecessor revue’s personnel. The observation of a year ago, that the TV production people could learn plenty on how fresh ideas can be made to pay off with- out any Fort Knox deals, still goes. One day TV will “discover” a George Hale, who has been around in Broadway and Hollywood mu- Joe E. Lewis is in Montreal for his first cabaret date and the first time here since he played a vaude stint at the Princess some 20 years ago. With the local factions who have caught this glib comic on the New York-Miami-Chicago circuit he is an established fave, and judging from the reception in current lay- out he has added plenty of depth to his following. Starting in his usual slow, easy- going fashion, Lewis warms up the room spiking his stories with many references to Chez Paree patrons and then wanders into his “Woman in the White House” song for okay mitting. Aided by an almost con- tinuous flow of drinks from ring- siders, .Lewis manages to get through his “Catskills” routine, “Three Beers,” which got lost in the shuffle of Lewis losing interest and a very funny session about American subtitles for English pix. As casual as Lewis is during his session, he is away ahead of any- one >iiv4h*k any to'sckl®:* teas the temerity to open up on the guy, he is quickly flattened by a sharp Lewis . -barb. ,-His ■ -do sing. irnTand “Zipper on. tiis. Vest,” were, .a '-ittie'too. zMisizedi' oh'' to carry the obvious impact, Darvas Sc Julia, also . making their first appearance here, more than live up - to their notices. Acro- batiewise, this is probably the best ever to play this saloon. Julia's trim figure and looks dp much to enhance overall values and her amazing routines on Darvas' out- stretched arm draws solid appre- ciation from patrons. Their clinch- er on a raised platform with femme starting from her partner’s shoulder, going into a somersault and then landing in a full split is a thriller from every angle. Bob Harrington orch shows much improvement since its start several weeks ago and gives all acts fine support. As with several other niteries in town, Chez Paree will close over the holiday season because of the Quebec laws which forbid the sale of liquor after 10 p.m. on Christmas Eve and after 11 p.m. on New Year’s Eve. Newt. Flamingo, Las Las Vegas, Dec. U. “Flamingo Cavalcade of 1952, with Georgie Price, Maxine Lewis, Mitchell & Petrillo, Don Corey, Herb Flemington, Lucille' Vanelli, Bobby Page Orch (4), Flamingo Starlets (8), Torris Brand Orch (10): produced by Sid Silvers; no cover of minimum. Special contrivance to showcase several moderately-priced actr, “Flamingo Cavalcade” is a light, bright 75 minutes, with Georgie Price skippering the entourage. Biz will not- .overload tables for next two weeks, but attendees are in for an agreeable .surprise as the revue unfolds. Sid Silvers has stamped the production with his touch, with result that everything moves along at good clip. Price receives his intro'follow- ing a Flamingo Starlet prance and special song couplet by Maxine Lewis. Takes over guidance after “Smile, Dam You, Smile,” and gab about “big time.” Each act then takes on carbon of various top names—Lucille Vanelli as Kay Starr; Don Corey as Danny Thomas; Mitchell & Petrillo as Martin & Lewis; Bobby Page as Harry James; Maxine Lewis as Ethel Merman and her vis-a-vis Herb Flemington as Russell Nype. Closing spot helmed by Price is a nostalgic meander through by- gone days of Gus Edwards, A1 Jol- son, Eddie Cantor, George M. C6 ft&V Whs* bn' 'the oldtime . slate. Melodizes such well-trained outfit organized along conventional lines with five reeds, three oh rhythm^ and eight brass, including the maestro’s horn.. As usual. with. Spivak, this orch .is tailored along tasteful lines with the accent on sweet music and a good danceable beat. Other bands may be getting better promotional breaks on disks, but this one’s sound ranks with the top name crews. This is a listenable dance band and, in this era of mediocrity, few other orchs can boast of any- thing more. Spivak is one of the few leaders now around ■ who still actively fronts his band with his instru- ment. Spivak’s clear high-toned trumpet is showcased in virtually every number with the rest of the band backing up in neatly styled and varied arrangements. The band’s book covers an extensive library of standards, showtunes with a smattering of current pops: Spivak’s organization has a plus in its two vocalists. Eileen Rod- gers parlays her attractive phy- sique with strong pipes which hit effectively both on ballads and rhythm numbers. Crooner Joe Tucker, formerly with Gene Krupa’s band, also registers with an impressive attack that’s some- what reminiscent, without being imitative, of Billy Eckstine. Herm. I Algiers, Miami Beach Miami Beach, Dec, 15. Doretta Morrow, Tony Sc Renea, Mai Malkin Orch; $2.50 minimum. Newest plushery to open along the oceanfront hotel line is, this lush idea of what an Arabian Nights story might unfold if trans- formed to modern ideas. It’s a solid entry for patronage among the pub-crawlers looking for a smart spot to visit, with the Alad- din Room the main attraction. Intimate layout holds 200 per- sons and makes for 'good viewing for acts, what with no posts and most of the tables practically ring- side, thanks to clever arrange- ments. First of the lineup of acts to be presented through the season is. Metro and musicomedy songstress Doretta Morrow. This is her first hotel date here and from, .manner in which -she set up her song-styl- ings, she’s more than ready for. the class hotel-cafe circuit. She has looks, savvy aud approach, smooth delivery and top gowning. The one fault a minor ohfe that's easily cor- rected—is overdoing of eye make- up. Potent factor in overali^click is warmth and charm that gets ringsiders on her side from teeoff. Miss Morrow resprises her song- alog from “King and I” to follow opening number ‘ done opposite Mario Lanza in “Because You’re Mine.” Initial arrangement is a surprise and effective, what with most expecting the tune to be pur- veyed lated in the stint. Interpre- tation of ‘Test Si Bon,” in English and French, is handled well, with lead-in to medley of Parisienne favorites for additional build. Mitt builder is version of “They Can’t Take That Away From Me.” Adds “Whistle A Happy . Tune” for change of pace, and comes back for another “King and ' I”" topper in “Hello, Young Lovers” for a wrap- up. House, dance team, Tpny Sc Re- nea, offer fair versions of a tango and a mambo. Local disk jockey Hal Murray was brought in for'the emceeing chore bn opening week- end and handled the job in straight fashion. Mai Malkin orch is • a small unit (6>, but okay on show- backs and for dansapation. Lary. I faves as “Rpbkabye. My B.aby,” “If ! Yeu Knew, Susde;.;V‘Car<>:U»C in the • c-, ,v MornmgV' “taugh, Clown, Laugh.” I CohaES’i -smi'g’khd'dahce * " - ’ receives whopping mitts. Brace , of tunes identified with birds closes price segment * with “Hello My Bluebird,” “Red Red Robin” and applause-grabbing “Bye Bye Black- bird” for rousing exit. Maxine Lewis, who aids in book- ing talent and supervising produc- tion for the Flamingo, makes one of her rare- jaiunts onstage with this fortnight revue. She looks terrif, with special gowns, blonde tresses colffed becomingly. - What is more, she sells her Merman “Call Me Madam” period with Flemington the Nype foil. Miss Lewis may have lost some of the former voice quality through lack of constant work, but she’s in full possession of footlight know-how. Flemington acquits himself very well as the underplaying or under- singing attache. • Mitchell Sc Petrillo hit big dur- ing opening moments, then begin to lose grip as they flounder in wads of poor material. Sammy Petrillo brings gasps with his posi- tive aping of Jerry Lewis, but without strong partner to "bat screwball gags back and forth, re- sorts to flip antics for attention. Duke Mitchell hasn’t the hang of forcing his straight lines over, thus plenty of jokes go into oblivion. Lads could use their penchant for M. Sc L. effectively in a brief in- tro* then strike off into fresh fields. Petrillo has a funny mugg, and is a wild man onstage, .yet must latch on to something more stable than his present Lewisian kowtows. Don Corey has an overlong seance with Danny Thomas' ex- cerpts before hitting into some of his own comedies. Brightening up his session would help entire show considerably with chopping of Thomas impression to minimum then ringing in a section of w.k. carbons and closing with funny “Polish Hour.” Lucille Vanelli makes her first nitery bow. in brief songalog. Strong and full pipes catch nuances of Kay Starr phrasings oh “Wheel of Fortune” for sdeko reception. Goodlooking brunet teenager (she’s almost 17) settles into her own style* with “Embarceable You,” and judging from audience reac- tion, could take on more tunes. ' Bobby- - Page brings his clear trumpet notes into, play for a Harry James “Two O’Cloek Jump,” surrounded by his combo of piano, ,.bass, and drums. Gets a driving beat going through for high-note tag and spanking returns. Torris Brand batons his newly organized crew with greater surety this stanza, backing entire revue with conviction. Will. Wonderbar, Montreal Montreal, Dec. 12.- Edith Piaf, Sinclair & Alda, Max Shaffer Orch (9), Denis Droxtin; Slatler Hotel, N* Y. (CAFE ROUGE) Charlie Spivak Orch (16) with Joe Tucker , Eileen Rodgers; $1.50, $2 covers. j-j ) L showcase still operating in New York. This is a four-week booking which will carry Spivak’s crew through the strong Christmas and New Year’s' trade. Spivak is currently fronting a Ignoring the established fact 1*iat the weeks before Christmas are generally the worst in the year for nitery biz, the management of the Wonderbar * brings in Edith Piaf, pays her the highest salary ever shelled out to a cafe per- former in Montreal (a reputed $7,- 000 for seven days) and plays every performance SRO. Even the preamble that went on before she appeared here such as a delegation from New York to see if Hie room was right for this diminutive chirper; the special curtain to background her offer- ings; the demands for certain lights; and four additional musi- cians to the house orch all seemed worth it after the preem returns and subsequent crowds who thronged the room for a glimpse of the chantoosey. No singer, certainly none of the French world, has ever created such as legend about her chanting as Piaf, and in current showing she adds to this rep by doing all her w.k. songs and surrounding them with all the familiar Piaf touches to-set her well above her competitors and imitators. In a songalog of more than eight numbers, Miss Piaf includes “Au- tumn Leaves,” “Padam,” “Jezebel” and the inevitable “La Vie En Rose” to salvos. Her timing is faultless; her showmanship (the plain black dress, the demure bows, the heartbreaking interpre- tations of her sad items) and her waif-like appearance all give her that extra something that never fails to wow the customers. A mixed choir of six is heard occa- sionally behind the curtain to add depth to some of her more drama- tic routines. To keep an impatient house quiet before Miss Piaf goes on, dancers Sinclair Sc Alda do a set to a fair reception' and localite Denis Drou- in intros both acts nicely. Newt. Hotel S t. Regis, N» Y. (MAISONETTE ROOM) Russell Nype, with Kay.Holley; Milt Shaw and Horace Diaz Orchs; $1.50 cover weekdays , $2.50 Saf. * Russell Nype, who made his major nitery bow at the Maison- ette after winning his spurs in Irving Berlin’s “Call Me Madam” on Broadway, returned to the St. Regis-’--... intimate cellar Thursday night (ID. Still resembling a crew-cut collegian with the horn- rimmed specs, .gtc. (although he looks more like a senior now than a freshman), he’s a fave here and should do good biz even in the pre- Christmas lull. While his baritone pipes are smooth enough and he projects well,, his performance is still a little too much on the cute side and,his choice of tunes leaves something to be desired. Chief trouble lies in his special material, which is coy instead of being clever, and since he launches five such tunes in a row after his “Lovely Day Today” theme-open- er, he’s got a steady uphill fight to gain the needed rapport with ring- siders. It’s not until he hits “Over the Rainbow,” to which he gives a fine, sensitive going-over, that he’s really in stride. Then it’s a breeze as he mixes in some other stand- ards with a couple of new tunes. He earns a solid begoff after being lured back for a final number which he claims not even to have x*g hesrsed# Nype still displays the studied relaxed manner* complete to sit- ting on a beat-up old bookkeeper’s stooLfqr couple -tunes': ■ He hlso^strays from * t.he mike . occa- sionally to'pwade around the room and, since his lungs are powerful enough to carry in this compara- tively small boite, it adds up to an okay bi*. He*s still doing his “Madam” click via “You’re Just in Love” (natch), with the orch tak- ing the counterpoint for the sec- ond chorus since he works sans partner. As an expected fillip, it helps him bridge- bis early se- quencing of n:s.g. Specials. Nype is tossing in a lot of up- per-register work, which his ob- viously-trained voice works over well. He’s equally good on the ballads or novelties, doing a par- ticularly fine job on “The Ugly Duckling,” new Frank Loesser tune from the “Hans Christian An- dersen” film, and on “Amy,” also by Loesser out of “Where’s Char- ley?” Kay Holley, an attractive, neatly-gowned blonde, accomps him nicely from the Steinway in the orch shell, with Milt Shaw’s crew also in for some good musi- cal backing: Shaw and his sidemen also do an okay job for the terp-disposed customers, alternating with the equally oke Horace Diaz ensemble. Stal. Carousel, Pilt Pittsburgh, Dec. 11. Earl Wrightson, Jackie Heller , Harrison Sc Patricia, Ralph De- Stephano’s Orch (5); $3-$3.50 minimum. Top’s, San Diego San Diego, Dec. 12. Marty Allen 8c Mitch DeWood, Tommy Marino Orch, Sally Ann Davis, Betti Hall Jones; no cover or minimum. Charlie Spivak’s orch is taking its turn in the Hotel Statler’s _ w Cafe Rouge, the only regular bandlcustomers’ birthdays—despite ol> Comic quality of Allen-DeWood team (New Acts) is .good for re- peat biz despite scarce nitery dough around holidays. Bassman Tommy Marino—despite oddity of leader encumbered by overblown fiddle in front of musickers— leads smart band in difficult comic show and does well for terp- ers. Well-stacked redhead, Sally Ann Davis does okay in brief song- alog. Don Howard, KSDO disk jockey, also boosting biz with new nightly remote platter show and interviews from room. Slam-bang sepia songstress-pian- ist Betty Hall Jones is well into her second year in club's Blackout Room and Is growing into, biggest lure in city's nitery history. Homey gimmicks like remembering steady vious tom—bring in the regulars who also go for Miss Jones’ funny hat routine which is virtually a satire on every band comic who ever used an odd headgear for laughs. Don. j t» > > i (Ol . t J J )< 4 .Mi t> J U A ► i III, f. .* . / 0 i t i' I Jt ;J i J f i n l This room has always been a natural for singing personalities. Kyle MacDonnell and Maureen Cannon proved that, and now Earl Wrightson reaffirms it. He’s not only doing business but hanging out the welcome sign for himself for the future. Wrightson has voice, class and charm, and femmes go overboard for his clean goodlooks. They wouldn’t let the guy get ’ off the floor at show caught. He delivers all the way. The pipes have power and quality, he’s a lyric writer’s delight and his repertoire has a nice consideration for different types of audiences. The guy's a good showman and a crack performer, and should be able to work the top cafes as often as he likes. Because Wrightson’s on for al- most half an hour, Jackie Heller, the room’s boss, host, m.c. and gen- erally featured singer, isn!t vocal- izing this week, just sticking to the straight announcements and the Carousel’s usual personalized greeting services'on anniversaries, birthdays, etc. That’s an important thing here and Heller smartly never overlooks it. Show opens with dance team of Harrison & Patricia, a goodlooking couple and okay tapsters. Their routines are nicely mixed, with some softshoe vaude stuff, Harri- son accompanying himself on the drums while tapping out a number and a couple of snappy musical comedy things. They work hard, perhaps a trifle too hard, and need just a little more polishing to go pl a c e s Small, five-piece Carousel orch, now being batoned by Ralph De- Stephano, trumpet player, since Herman Middleman’s retirement from the music business, does a first-class job for both the acts and the dansapators. Wrightson, by the way, Is giving the room excellent b.o., particularly so during this pre-holiday lull. Cohen. t , 11> i ^ 1 1 t» a i »11 <* * *