Variety (March 1953)

Wednesday? March * 25, 1953 PfinrjEifr Village Barn, N. Y. jrmest Sarracino, Clara Cedrone, rwT Peak , Mavis Mims, Mattie At Forman, Zippy & Lee, Dan 'Hardin, Ted Huston Orch; $2.50-3 minimum. The Meyer Horowitz operation is dipping into a newer type of policy, one which had a. long run L the upper eastside, and it al- SSvs offers a lot of entertainment. This excursion into the gay ’90s Seller with hiss-the-villain-cheer- +he-hero approach has a good po- tential in this spot. It’s a format that soon bripgs its own customers with it and it's generally good for a j?s g virt1ially axiomatic that the backbone of this ^type of showing ic the hiring of Ernest Sarracino and Clara Cedrone, vets of the‘Old Knick, who give solidity to a per- formance of this .kind. Sarracino directs and enacts the villain rple in a meller that deals with dastard- ly deeds and widow’s mite. Miss Cedrone, who plays the protecting mother of the heroine, gives a fine serio-comic touch to the proceed- ings. * The others in the cast are Mattie Sondi, a sultry saloon proprietress; Russ Peak, the hero, and Mavis Mims, the heroine. TPs good fdn with a hep audience that will pitch in with the spirit of the occasion. It's a bit difficult to stage this type show in a spot with no stage, but this handicap has been over- come by a set of footlights on the floor, which gives the* necessary atmosphere. The principals then go into their olios. Miss Cedrone and Russ Peak hit a good stride with vocal take- offs on the old vaude teams. Miss Mims does a sprightly bit of tap- ping for. good results, and Miss Sondi indicates that she can get on in most situations as far as song projection is concerned. One of the experienced dance hands is Al Norman, who acts as heckler during the drayma. Nor- man, an eccentric terper, has some clever steps. Routines are inter- spersed with some excellent com- edy and he gives the display a high degree of solidity. On top of the regular show is Zippy & Lee, a chimp act, that’s been seen on the “Howdy Doody” tele show. More of him under New Acts, the Ted Huston orch does the showbacking and lull en- tertainment is by Dan Hardin at the piano. ' Jose. Sans SoucK Miami B’ch Miami Beach,* March 21. Alan King, Jana Jones, Sacasas Orch; $2.50 beverage, minimum.' scores as a surprisingly relaxed funnyman with an odd kind of charm that registers strongly. In smartly-paced stint, Colonna uses props sparingly this time out, f thus adding to effectiveness of oc- casional twirl on mustachio, eye- rolling and songs starting in whisper with roaring crescendo. Even trombone is employed only once, in ripsnortin’ ride on Burke- X 11 ? Heusen tune * “Chicago Style. -Freight-payers respond* to solo with heavy mitt, realizing trombone is no prop a la Jack Benny »violin and sensing Colon- na’s sound musicianship. “Chicago Style’’ is such a smash, in fact, that comic might use it as opener instead of “You Can’t Take It With You,’’ in com- pany with Taylor Sisters, vocal trio. Revamped “Wish You Were Here” draws boffs that build for “Caroline,” “Oh Marie” and “Ja Da.” Italian-style reminiscences of life with grandfather also socks across. Only lukewarm response is to several gags on dated bopster and 3-D themes, likely pencilled out by now; Otherwise,. Colonna’s new stint is surefire. Also armed with new material (by Ben Oakland), Guy Cherney has some standout bits in songa- log. First is tribute to Caruso, Crosby, Richman, Jolson in which handsome singer offers impreshes of styles and different moods without outright carbons. Begoff closer starts with “Sound Off” in GI gag theme, then builds skill- fully into patriotic rouser motif. Latter has sentiment and trade might label it cornball, but audi- ence here loved it as most audi- ences save * ultra - sophisticates should everywhere. Cherney, knocking around San Francisco several years, may make it this tirtie with impetus of ex- pert material. Padding out bill, Taylor Sisters turn in okay but overlong seg in undistinguished vocals. Don How- ard, KSDO disk jock with remote from this nitery, is effective em- cee and Tommy Marino’s orch does well for terpers and in. showback- ing. Don. Carousel, Pitt Pittsburgh, March 19. Frances Faye, Walter Long, Luke Riley Orch (5); $3.50 mini- mum. « Two returnees to the smart Blue Sails Room in this oceanfront hotel make for a likely pair of young- sters who are. on their way up in the cafe circuit and are prospects for video. Alan King comes back a much more assured comedian, with his material tightened to make for steady build. Sparks the giggles - from walkon with well-knit series of one-liners and short yarns that take in topical matters. He works , in theme on children with sum- mer-camp sequence a howler that hits home with'-ringsiders. Effect of TV on moppets is another boffo with the lines on the original side. Zinger is the Hollywood run- around with link to the Jelke trial. Winds with “Babalu” done serio- comedy style to wrap up. King never lets up pace and keeps play- ln A b * s tempo to jiud’s moods to add to overall impact. In tough opening spot, Jana Jones stamps herself again as an npcomer in the songstress ranks. Took a number to warm them up, then had them throughout short (four-number) stint. Lass is an eye- catcher, with vocal ability to match. Handles herself in show- manly manner and displays warm pipes with Lena Horne overtones m delivery. ,.® e st of her array is “Scratchin* My Back,” an Irving Fields origi- +?/r » n( * soc k version of “Lover JjJ*?* , Came back to encore with Cheatin’,” raising demands for E? re * Could have stayed on. thrush needs only a click record to bounce her into top brackets, S oacasas orch is expert, per usual, n showbacks and keeps the oor filled for the dansapation. iiati.n Pianist batoiieer has himself * bl ? r ? p in arek and adds plenty impetus to draw of the t00m - _____ Lary. " Top’s, San Diego , T . Sa*i Liego, March 21. Colonna, Guy Cherney, (3), Don Howard, {S mv M anno Orch, Sally Ann avis, Betty Hall Jones; no cover or minimum. C°Jonna is „ socko all the ay, breaking in new'material at f r a JS Kahl j s class nitery. Consid- hatai a i? 3rt froxn ’ W.k. Props — evlf e ° ar mustache, acrobatic , screeching voice -— Colonna It’s been a ‘ few years since Frances Faye wa;s last around here and town may have forgotten what a load of dynamite she is on a cafe floor. Za-zu-zaz gal reminds them of it in a hurry, however. From the moment she sits down at the piano and tosses her first gag, Miss Faye is in command. They don’t come any better at palming a crowd right off and keeping it there. The more than half hour she’s on seems like half that. Keyboardology is hot and solid; she sizzles her songs over on a barbecue pit and then kicks in with some jazz fireworks, showing off individual members of the Luke Riley band in the process that would slip a bop emporium wide open. New status as a Capitol waxer is no doubt some help, but it’s just added professional heft since Miss Faye was crocking ’em in spots like these long before the dee jays were spinning her platters all over the place. She rocks ’em and socks’ em. For a finish, she brings on Walter Long, who emcees and opens the show with some of the most skillful hoofing they get iri niteries these days. The .two of them put on an ad lib afterpiece that’s solid and ties a little show up in a big way. Cohen. Adolphus Hotel, Dallas (CENTURY ROOM) Dallas, March 20. ^ Jayne Manners, Herman Wald- man Orch (9^; $1 cover. Local debut of Jayne Manners, six-foot-two blonde looker, at sup- per shows only, is an innovation here. Dot Franey’s longtime ice show fills the luncheon and din- ner sessions nicely as the elong- ated thrush gets off an impressive song and quip stint that amply pleases the late crowds. Come- dienne’s 40-minute sesh combines parodies, on “South Pacific” faves, a zesty “Wake Up and Live” and “Adelaide’s Lament*” Fine bit is straight ballading of the oldie, “Fools Rush In.” Tipping her upcoming Lorelei Lee role in a London staging of “Gentlemen Prefer Blondes,” canary gets off sock versions of “Little Girl from Little Rock” and the “Diamonds” hit. Encore brings risque lyrics’ to “Bad Little Girls Do So Good.” Though Miss Man- ners’ vocal efforts are rewarding, it’s the comedic Vein of her mate- rial that wins the stay-up-laters, such as “It’s only fair to tell you I’m the Republican replace- ment for Margaret Truman,” and . her challenge, “Don’t you dare call rme. Christine!** t , The Stork, London . London, March 17. Jack Hilliard, Pat Morrissey, Danny Termer Orch; $2.80 cover. Since his recent visit to Ameri- ca, A1 Burnett, longtime operator of the Stork Room, seems to have acquired a taste for U,S. cabaret performers. On his return he was accompanied by Jack Hilliard, who made a socko impact with the late night clientele, and now he has added Pat Morrissey to the cur- rent lineup. The combination spells boffo biz in any language. Performers of the calibre of Miss Morrissey are quite unique locally; This attractive blonde, with a curvaceous chassis, gives the impression of a single-track mind when it comes to selling a song. It is sex all the way, un- ashamed and unabashed. Nature provided her with curves and she uses that natural asset to exploit every number. She does more than half-a-dozen songs but the custom- ers are not so interested in what she does as in the way she does it. She had the room worked up to a state of fenzy by the time she 1 did her bowoff. It’s tough sledding for a mere male vocalist to follow, but Jack Hilliard, already firmly established, soon has the ringsiders around to his way of thinking. He gives them the complete box of tricks, wham- ming home each tune with. his winning personality. The standard of his vocals is way above average for this type. of stint and it is a tribute to his skill that he could give 2 a.m. customers an excerpt from “Pagliacci” and have them yelling for more. With this array of talent, oper- ator and emcee Al Burnett takes less of the limelight than usual but introduces acts effectively. Danny Termer’s orch accompanies both artists with style and pro- vides the terping rhythm. Myro\ Latin Quarter, Boston • Boston, March 21.' Miguelito Valdez Orch (13), Ken Remo, Shanghai Twins, Bob Conrad Line ,, Charlie Wolke Orch (8); $2 beverage minimum. While current lineup at Latin Quarter cannot be dlassed as tops of the season, the Afro-Cuban rhythms and tootlings of the Mi- guelito Valdez crew certainly tab it as the most frantic. Maestro sets the pace fon_band, which consists of four saxes, four trumpets, and bongo included in rhythm section, steering them through a raucous sesh of Latin rhythms, changing pace midway to insert a subtle medley of Kern and Gershwin tunes. Valdez works hard throughout to sock across the sesh, which in- cludes his vocalizing of the usual “Babalu,” a subdued “Rhumba Rhapsody,” lifted from a Hebrew chant, energetic pounding of bongo drums and winding garbed in an outlandish pink sports jacket, prancing through an upbeat samba joined by Bob Conrad and his line girls. . Balance of layout is incongruous for this type production,'although Ken Remo, riding the crest of his M-G-M platter, “Mexico,” registers nicely with half a dozen songs. Guy has nifty pipes and. savvy to war- rant buildup. Bill'tees off with Shanghai Twins, Chinese mixed duo, with a standard sesh of aero tricks and handstands. Bob Conrad an<T his newly in- stalled line are also on hand with three production numbers that suf- fer from overproduction. Charlie Wolke batons show and splits cus- tomer terpology with Valdez band. Elie. Continental, Montreal Montreal, March 20.' Lily Fayol (with Jo Montet), Francis Brunn, Leon Lachance, The Lucky Girls (8), Johnny Di Mario Orch (6); 85c admission. Since Lily Fayol’s appearance in Montreal four years ago at the Cafe de ,1’Est, the breezy Gallic chirper has enhanced rep consid- erably with numerous boite en- gagements in Paris; the’ lead in the French version of “Annie Get Your Gun,” through a stack of platters and a couple of'films. Miss Fayol is a ranking fave here due mainly to her disking, and current stand should boost appeal "judging from opening night biz. Backed by the superb pianoisms of Jo Montet (who also cuts a hefty accordion side prior to her performance), Miss Fayol whams over her satire with the accent heavy throughout on broad com- edy arid plenty of hoked-up rou- tines. Gal is of medium* height, blonde and at show caught? wore a neat, gray afternoon dress devoid of the usual plunging neckline, . et al., which made a good back- (fpf p)any..#n?jmfiked costume items. Material is entirely in French but gal uses some Eng- lish ,intros to make it easier for the Anglo-Anlericans and is best when kidding a typical Hxisten- tionalist singer or parodying a Spanish bullfighter, Midway through offering she does “Can’t Get a Man” from “Annie,” but the sudden switch from her regular comedies fails to register song with patrons. Miss Fayol works entire show without a mike because of active style- which requires plenty of room • and she makes herself heard in all corners without forcing. ShQw< opener, Francis Brunn, is little short of sensational with his juggling, which > he offers at an exhausting pace for a socko 15- minute session. Brunn has patrons on the edge of their chairs and plaudits build to a big climax as guy balances several rubber balls, spins a few rings and juggles all in unison. A natural for quick re- turns in this room. Emcee Leon Lachance spots a couple of songs during show and the eight Lucky Girls dd three production -numbers that exhibit their hoofing and aero abilities, to best advantage. * Newt. Bflinstrub’s, Boston Boston, March 20. Four Lads (5), The Langs • (5), Cabot & Dresden, Edna Sc Leon, Ted Cole, Michael Gaylord Orch (8), Rosanna Latin Orch (5), Lou Weir; $2 minimum. Although the Four Lads were part of the Johnnie Ray package that played the Metropolitan last summer, this is the group’s initial top-billed local nitery stint and the boys acquit themselves nicely, especially with the younger ele- ment. Packing plenty of movement, guys warble a variety of styff, in- cluding uptempoed numbers, pop ballads, a spiritual, “Ezekiel in the Valley,” clinching with disclick, “Mocking Bird,” aided by rhythmic^ handclapping of ringsiders. Insertion of a production num- ber, “Swixie Bop,” permitting the boys to trace music trends via vocalizing a few bars, received nice reaction. While at times diction is not too clear, possibly due to use of but one mike, group’s harmonies plus (youthful) effervescence and spirit score down the line. Following the usual custom here, supporting layout is staunch, un- doubtedly a major reason why spot has become such a local fave. Bill tees off with Edna & Leon, a clever aero duo with a solid array of tricks, hand balancing and lifts. While femme member is a shapely looker, guy's outmoded gay *90s hairdo tends to detract, walkon impresh pointing to comic routine which doesn’t develop. In the terp department, Cabot & Dresden show to slick advantage stepping through lively and grace- ful routines winding with exhaust-* ing conception of perpetual motion danced to “Prelude in C^harp Minor.” Rounding out bill are the Langs, three guys and two femmes, whose teeterboard antics generate gasps. Elie. Ankara, Pitt Pittsburgh, March 20. Redheads (3), Randolph & Co., Martinet Sc Andre, Bob Rhodes, Walter Gatye Orch; no cover or minimum. Ankara has reopened with a sock show after shutdown of more than two months./ Room has been re- modled extensively to increase the seating capacity, and can mow ac- commodate around 500. It’s one of the most attractive spots around these parts in the new dress, with loads of genuine class. They’ve installed a permanent ice rink, cov- ered by a dance floor that slides underneath the bandstand while the shows are on, and that's going to be a real novelty when finally unveiled. The icers don’t resume until April 6 but meantime, Ankara hasn’t anything to worry about. The Redheads are in until then, and these boys carry the ball, First time for them around here but it won’t be the last. They’re on for nearly three-quarters of an hour and not one dull spot all the way. Their instrumental work (piano, bass, guitar) is tops, but it’s in the special material song field, all with a sharp comic edge, that they mop up. Easily the best new act town has seen in years, and a sure shot to wind up big in tne 1953 cafe Sweepstakes. Martinet Sc Andre have put to- gether a breakneck apache that’s plenty flashy, with a lot of muscu- lar mayhem tossed in, and Ran- dolph, assisted by his wife, is a goodlooking magico (with a strong resemblance to screen star Joseph Cotten) who rates with the top- drawer sleight-of-handers. His tricks are headily deceptive and they’re razor-edge in execution. , Cf>hen-i • Hotel Jefferson, St. L (BOULEVARD ROOM) - St, Louis, March 20. Louise Hoff, Stan Fisher, The Rudells (3), Hal Havrid Orch (7); $1-1.50 cover. Out-of-towners in large numbers attending a, convention in this plush downtown spot received a sample of* top entertainment in the current layout, 0 with some new faces and a returnee grabbing hefty yoeks. and solid palm-pound- ing. Louise Hoff, a curvaceous blonde cdhiedienne wearing a tight- fitting, eye-filling off-the-shoulder gold lame creation, cops solid okays for her nifty chatter and thrushing in her debut this room. She’s the headliner but finds her tootsies trampled by Stan Fisher, a harmonica virtuoso making his second p.a. in this room since last December and probably will be back again. Miss Hoff, kidding herself about her weight, tees off her chore with a neat switch on “Shine On Har- vest Moon,” does a talk-singtfof the trials and tribulations of an Arthur Murray dance instructress with a bit of torso-wriggling to emphasize, continues with a zany bit of a femme witness decked out in mink before an investigating committee, thrills “Marriage Is a Wonderful Thing” and then, switching to a Dixie dialect, wins more heavy yocks with her interp of-a southern belle imbibing too many mint juleps. A cartwheel exit is her novel way of winding her stint. Fisher, exuding personality, has a repertoire ranging from pop tunes to symph stuff and the mob couldn’t get enough of him. His heavy stuff is ditto sock. In the lighter vein, a medley of ‘‘Sugar Roll Blues,” “Wish You Were Here” and “Tiger Rag” wins an equally solid mitt. Request brought almost a score of songs for more salvos. The Rudells, two males and a shapely blonde looker, is the sec- ond trampoline act to appear in this room during' the current sea- son but this trio includes a nifty c<pmedian who pulls big laughs with his zany stuff. Triple twists, etc., seem secondary to one of the lads* forward and backward jumps through a small hoop while in mid- air, for a solid register. Hal Havrid's boys have plenty to do backing up the acts, but they acquit themselves with eclat. Sahu. TR0A-AGVA Continued from page 60 TROA said thaf the AGVA night could conceivably result in $500,- 000. He then told the TROA dele- gation that if TROA revealed its membership roster to'AGVA and put up $100,000 in escrow against the $500,000 that could result, AGVA would then go in for creat- ing its own insurance fund for the membership. However, he said the entire proposition would hinge on TROA providing AGVA with a roster of its members and putting up the escrow .coin. ‘Broken Promises* Indications point to both organi- zations hitting a belligerent mood. There have already been charges of broken promises. The Western New York Cafe Operator Assn., a TROA subsidiary, has joined with the Chicago Cafe Owners Assn, on a National Labor Relations Board action in Chicago,. determination of whether cafes , come under the jurisdiction of ‘ the Taft-Hartley Act. No determination was made by the boSVd. AGVA, however, stated that the cafemen showed “bad faith” in joining recalcitrant Chi ops in the NLRB action. TROA flenied such intention, declaring it was of utmost necessity to get a determination in order to know where they stand. Some elements in AGVA want the union to pull unfair actions on some of the top cafes on the TROA rgster on the basis that they are not living up to their agreements by refusing to pay the weekly $2.50 welfare levy. As support of that contention, they say that the cafemen feel that it’s illegal under Taft-Hartley to pay $2.60, but per- fectly legal for the cafes to pay $250 annually for all. employees. Apparently the administration wants to explore all avenues before unfair actions are taken. On the other hand, TROA feels that its members fnust protect themselves in any contingency, whether it’s from disobeying the T-H law or from excessive Union welfare taxes. Attending the meeting for TROA were Harry Altman, Town Casino, Buffalo; Lenny Litman, Copa, Pittsburgh; Col. Maurice Lutwack, TROA counsel, and Herman Com- jroe, -Powplton. Cafe, Philadelphia.