Variety (April 1953)

M VAUDEVILLE yARlETY Wednesday, April 29, 1953 Night Club Reviews Continued from page 62 Palmira* House*, Chi course, gets a big mitt for his “Saints." Johnny Bachemin is a frantic youngster who has a tremendous surplus of nervous energy which he switches from dancing to playing piano, the latter rather creditably. He opens with some jivy dance steps, with a twist of acroterping, and then takes over at the 88 for a flashy “Slaughter on 10th Ave.” He slaps out a Latin rhythm and then gets back into the jive slot with a fast treatment of “St. Louis Blues which earns him a hefty palm. Miss Loni is a pretty miss who uses her feet more than her hands as she tosses, from a prone posi- tion. balls, sticks, wands, and lamps aloft at a rapid pace. Her feet twirl 'macLy as if she were a marathon bike racer and she gets a neat burst of applause. Eddie*0’Neal is returning to this room, where he had a three-year stay, after an absence of eight months. Despite the other attrac- tions, the first night was definitely a “welcome home" party with the mob mitting hfm as he entered'the room and moaning as he topk a break now' and then. He does a fine job as emcee and cuts the show in top fashion. He added a pop singer, Lee Leonard, who gets across okay. Merriel Abbott line has two new BILLY GILBERT CwrrMtly FORD'S SUFFER CLUB Kokomo, Indiana Personal Management DAVID L. SHAPIRO AL 4-1077 For Night Club* — Mercury Artists THE CHORDS Instrumentalists without Instruments Dir.: GENERAL ARTISTS CORP. C/ub Data Bookings by HARRY GREBEN 203 N. Wabash Ava. Chleai*. 111. NAT DUNN 1650 B'way Nbw Yarfc Grant’s Riviera .RESTAURANT AND BAR 158 W. 44 St.. New York LU 2-4488 WHEKE SHOWBUSINESS MEETS * TALENT CONTEST * MONDAY NIGHTS Prize: Professional Engagement Oupllcat* Prim Awards# In ttio Casa at Tie* Latest Comedy Material numbers, one in keeping with the upcoming coronation and the other in cue with the show, a jazz thing, done to the Dixieland band and both well received. Zabe. Sands, Las Vegas Las Vegas, April 24. Van Johnson, Connie Moore, DiGatanos (2)^ Buddy Bregman, Morty Jacobs, Jack Berger, Bob Travis, Joy Healy, Dick Beavers, Copa Girls (10), Ray Sinatra Orch (12); no cover or minimum. fer MC’b, Mailciant. Enter* talnera, etc. Send fer aur <| latest price list ef treat ORIGINAL gagflles, mono* legs, dialogs, parodies, skits, eto. Written by ehow I biz top gagmen. Or send |l 0 for $50 Wsrth of above. Money back If not satisfied. f.AMGHS UNLIMITED 104 W. 45 St., N. Y., N. Y. JU 2-0373 Another Hollywood personality and nitery fledgling hits the Vegas glam, and with terrif results. Van Johnson’s first round comes as* a surprise to checkholders, but to maitro£>d’ Joaquin and host Nick Kelly, it’s a continuing scrap with lines of people to get a foot inside the room, much less obtain a table. This Johnson fortnight may well set a Sands record. In his new medium, Johnson shows class and enough savvy to put him in winner’s circle eventu- ally, and name is socko on the marquee. (See New Acts). Connie Moore always looks breatbtakingly gorgeous, display- ing expensive creations, and hav- ing a statuesque beauty for hold- ing orbs. Her thrashing is okay; she’s improved considerably since ast viewing in Vegas. * Although on a trifle long, she still manages to keep interest going and mitts warm. Fills her repertoire with sophisticated songs, but adds a dif ferent number, a new song by Earl Brent set to Edna St. = Vincent Millay's poem, “The Penitent.” It’s smart contrast to other brassy tunes in her songalog. Jane & Anthony DiGatano glide effortlessly through display of ballrooming. Lifts receive big plaudits, and sensuous beguine adds-good touch, while closing soft- shoe, a la oldtime, vaude team, re- ceives deserving encomiums. Copa Girls parade some eye- grabbing costumes in “Widow From Amarillo,” fronting tap solos by Joy Healy and warbling by Bob Travis. “Carnival” holdover is goon for big hands. Ray Sinatra orch backstops the best, aided by Buddy Bregman’s maestroing at show caught. Morty Jacobs gives Van Johnson expert accomps on the 88, sided by Jack Berger’s tim- bali thumping. Will. Hotel. Roosevelt, IV. O. New Orleans, April 23. Wayne King Revue, with Harry Hall, Barbara Becker, Singing & Dancing Ensemble (8), Wayne King Orch (15); $2.5Q minimum. Wayne King and his troupe of young and talented' entertainers are whammin’ and jammin’ the customers into Seymour Weiss’ plush Blue Room. King received an SRO welcome. The “Waltz King” came and the customers, like the Pharisees, bowed down and worshipped. Although King is no stranger hero, this is his first nitery ‘job in this city on the Mis- sissippi’s levees, and . his music fits the room like a glove. A medley of Strauss Waltzes in his familiar style as curtain-raiser starts the customer phlm-pounding that is continuous throughout the hour-long offering at opening show. The personable maestro unveils a talented group or musicians, solo- ists, dancers and choral ensemble. He’s knit his crew together with an eye and ear to musical blending and in-person showmanship values. End result is dividends in pleasure. The 15-man *orch features. the familiar musical styling that has won it a top rating for years through broadcasting, disks and p.a.’s appearances. It’s not meat for the hepsters but it’s surefire dancing lure and that’s where the payoff 'is.'' Band’delivers with a continuous, easygoing lilt etched for listening or ankle-bending. Four violins have rich, colorful sound. In /the floorshow, King “spot- lights a number of socko young warblers-, notably Harry Hall, a rich, full-voiced baritone, and Bar- bara Becker, a redhead with per- sonality plus. Hall gamers en- thusiastic response for “In the Still of the Night,” with choral ensem- ble assist; “I Apologize” and the hardy perennial, "OT Man River.” Pert, dimpled Miss Becker chips in a group of tunes including “Joan - of Arkansas,” “A. Guy Is a Guy” and “Blue Skies” to win plenty of mitt action. The mixed eight-member chorus and dance group—young, bright- faced and enthusiastic—make sev- eral appearances in the revue, some- times singing, sometimes dancing and sometimes both. They perform both in a lively square dance sequence in blue jeans and in a western session in cowboy costume and twirling ropes in which they terp and chirp through a medley of “Don’t Fence Me In” and “Deep in the Heart of Texas,” etc. King cops some hefty applause for himself when, on his sax, he enchants tableholders with his in- terpretations of “Stardust" and “Make Believe.” He also wins rapt attention with his mellow crooning of “I Wonder Who’s Kissing Her Now?” and “If You Were the Only Girl.” A , Strong appeal is present in everything the band does. And when they sandwich in a bunch of oldies with modern pops and Xatin rhythms, the patrons make a beeline for the dance floor. hiuz. Cliez Parce 5 Oil Chicago, April 24. Jan Murray, Rose Marie, Blair & Dean, Johnny Martin, Chez Adorables (8), Brian Farnon Orch (9); $3.50 minimum, $1.10 cover. This is a pleasant fortnight fill- in which should have the custom- ers leaving in a ditto frame of mind. There’s comedy in Rose Marie’s stint, but it doesn’t con- flict with headliner Jan Murray, and the sprightly terp opening of Blair & Dean seems to be in keep- ing with “tlie spring season. Murray starts off with a special hello which leads into a spiel about different types of cafe pa- trons, especially the women. Since there are always prototypes in the audience, this gives rise to good- natured ribbing. He warns about the ' evil influence of nursery rhymes, but neglects to notice the kids in the room. However, the slightly tinged stuff goes over their heads. He makes a mistake later in the show, however, after he notices the jiives, of trying to ex- plain the quips. That just brings the jokes out more prominently and* slows down his stint. In his “Laugh, Clown, Laugh" soliloquy Murray carps at. the high cost of Jiving, kids with the ring- siders—and It's here he’s at his best—and finishes with a very funny piece on the foibles of sub- urban life. Rose'Marie not only'has grown up but has discarded much of her old material with the new special songs adding to her new stature. She has a cute opener,that laments the fact that a singer has no tricks that can automatically get ap- plause, and then proceeds to de- molish that premise. She tells of the woes of an Army private and tries to promote a new state song for Colorado with the seatholders laughing at her attempts at spell- ing. .The “new” Rose Marie depicts hoW various singers would treat “My Blue Heaven,” gathering yocks, and gets off in fine style with her trademark, “Butcher Boy,” a. base for tossing around some oldies, but which get by through her delivery. Blair & Dean, youthful dance team, gather applause with their graceful routines done to some old standards. Couple seem to have a gay time of it which they manage to project to the aud. It’s all light and airy and very pleasing. Line numbers from the last show are vocally backed by Johnny Martin. Brian Farnon *s a busy and adept maestro with all the musical cues in the revue. Zabe. N.Y., her current stint should be a mere Bagatelle. Not that she took her success for granted; on the contrary, there is every evidence of care in preparation, more than ade- quate rehearsing and the usual ac- companiment of preem jitters. As she took the floor, for example, she admitted frankly “I’m scared” and at once had the audience rooting for her. There was ample sincerity in the remark, but little justifica- tion for it. The songalog prepared by the chirper strikes a nappy balance of light tunes blended with ballads, and pops with originals. Not a few of her numbers are a reprise of her Copa routine. But thei act has been adroitly adapted to make it 100% palatable for British tastes. Her vocal prowess, which is beyond question, reveals an expert know- how in selling a number. She gets a boffo reaction for her impressive rendition of “Don’t Leave Me Now” (subsequently repeated by request of Johnnie Ray, who was in the audience, and for the way she han- dles “Tenement Symphony.” As a contraster there is a nice variation of “Come On-A My House” which, after an opening with the conven- tional lyrics, receives adaptations in the Scottish, Lancashire and Cockney dialects. After the spotlight had been focussed on Johnnie Ray, he joined Miss Shelton at the mike and re- called that they had worked to- gether in 1951 B.C. (Before “Cry"). He then asked for the reprise of the ballad and the inclusion of “Black Magic’"*into the routine. It made the act somewhat overlong but was obviously a first-night ex- ception. Although the opening attracted a VIP audience, attendance was dis- appointing and there were quite a few available covers. This, of course, is a reflection of the de- pression currently hitting the Lon- don entertainment scene. Miss Shelton is given first-class assist by her regular accompanist, Johnny Franz, at the keyboard, with the Arnold Bailey combo pro- viding the general backgrounding. The Santiago Lopez outfit dis- penses the rhythm music with its usual polish. Myro. Bandbox, N. Y. Bill Kenny Sc Ink Spots, Nicho- las Bros., George. Kirby, Lester Young Quintet f Joe Loco and Marty Napoleon Orchs; $3.50 mini- mum. Mapes Skyroom, iteno Reno, April 22 Beatrice Kay, Jackie Kami™ Mapes Skylettes, Eddie FitzpaS Orch; no cover or minimum. Beatrice Kay is right at home here, literally. Ten minutes avvav is her guest ranch (rates on re, quest), so she and her accompan- ist-husband, Sylvan Green, hai* more than the usual fun. The wicked laugh, the red hair, the boisterous songp will keep the Skv- croom filled for two weeks. She growls, shouts and icky-goos her lyrics at random. “Good Man Hard To Find”* and “Piano Roll Blues” are in the honky-tonk vein and though “Melancholy Baby” ?<! described as “straight,” she even manages to injec* this with a modified “nasty” interpretation Exchanges with Green are simple and clear jabs at each other for good yocks. Miss Kay leads Skylettes in a rip- roaring finale, with the whole team in flapper dresses of the late '20s and the singer herself doing socko Charleston. Jackie Kannon is a smooth young comic in his Reno debut His reception even prompts him to re- mark, “And you told me this bunch would be tough!" He’s at his best when rambling; routines come second and songs third. Topping his hits is magic act with a broken egg in sack which ends up, after magico words, a broken egg in a sack. Marc. t The Billboard “LUCILLE and EDDIE ROBERTS are exciting enough to top any bill**’ a "Th* Roberts.art easily one of the best mindreading acts around today with considerable comedy material at the Hotel Pierre." BILL SMITH. April 25th, 1953. MCA 0 Bagatelle, London London, April 21. Anne Shelton (accompanied by Johnny Franz), Arnold Bailey Swingtet, Santiago Lopez Latin Band; $5.50 minimum. lYith this ' booking, the new cabaret season gets underway and from 'now through the coronatioii and into the summer the West End niteries will be hotly competing for available talent. This engage- ment, however, means a little more than the beginning of the bigleague scramble. For British songstress Anne Shelton, long a fave with local audiences in vaudeville and radio, this represents her British nitery debut. Miss Shelton made her first ven- ture into the cafe field a year or so ago in the U.S. If she could make a standout hit at the Copacabaha, The Bandb r ox has veered away from its usual jazz format with a show that runs off more like a straight niteiry layout with a va- riety of turns. It’s a strong bill with three^ solid name acts. For the hipsters, this spot is agdin fea- turing the Lester Young Quintet *for the - between-show musical In- terludes. Bill Kenny is an effective head- linei*. Working with the Ink Spots trio, Kenny belts across a brace of his disclicks with his trademarked falsetto pipes and gesticulations. Kenny' occasionally pours on too many trills but he’s a dramatic stylist who ; consistently focuses attention. Kenny’s book includes such standards as “Into Each Life Some Rain Music Fall,” “When You’re Smiling ” • “If I Didn't Care" and his lastest Decca re- lease, “Who’s To' Blame.” His sup- porting trio gives able backing with individual members also get- ting a crack at solos. The Nicholas Bros, are standout. This team has evolved a surefire routine for any' nitery or TV sit- uation and they hit with special impact here because of this spot’s large dance floor area. Their hoof- ing is still among the classiest in the business. The younger brother adds a strong fillip with his ex- cellent warbling of “Lady Be "Goods”. ‘-‘What Is This Thing Called .Love” and* ^, Spanish tune. It’s tops all the way.* ‘ George Kirby, in the opening slot, gets the show away fast with his clever mimicry." .He has an ex- tensive library of carbons to choose from and his execution is generally flawless on such person- alities as Gary Cooper, Joe Louis, ’Pearl - Bailey, Arthur Godfrey, et al. -Lester Youttgls combo dishes up listenable music in the modern vein and Jo Loco’s quintet fills in with smooth Latin tempos. Marty Napoleon’s.band cuts the show In okay style. Herm. . N.Y. Incorporations ’ Albany, April 28. Ding Ngal Corp., amusement business in New York; capital | stock Of $20,000, $100 par value. Directors are . Richard W. Chan, Dong Y. Chee and Yuen H. Lee with George Green filing attorney. Gaby's V/T Studio, Inc., amuse- ment enterprise in' New York; capital stpek Is 200 shares, no par value, Joseph Neumann is a direc- tor and filing attorney. 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