Variety (March 1954)

Wednesday^ March 10, 1954 pegert Inn? JLas Veg«s / Las Vegas, March 2, * Carmen Miranda, {with Banda da Luo BoyiV (4)T Billy Vine, Le- brac Sc Bernice h Art Johnson, Donn Arden Dancers (16), Carlton Hayes Qrch (11) ; no cover or minimum f A sparkling musical revue star- ring Carmen Miranda gives prom- ise of SRO biz here for a pair of stanzas. Comic Biljy Vine adds pleasantly to the doings, a unicycle act has the novelty ingredients, and the Donn Arden Dancers come up with dazzling new production num- bers that vie in popularity with the star. As expected, Miss. Miranda is gowned flamboyantly to include a headdress of plastic fruit and she’s mounted on her huge plat- form shoes that still fail to lift her above the average man’s shoul- der. This time around, the Brazil- ian bombshell kids herself by doff- ing shoes and head adornment and the elfin stature makes the star cuter than ever, especially when she releases a luxurious abundance of titian, shoulder-length hair. Miss Miranda opens her 35-min- ute chore With "Carnival of Joy,” which indicates the pipes can still belt numbers with the old gusto. Then she socks "Jve’ll Run Away,” "Happy Tme” arid' "Juiiibalaya.” Spanish lyrics are dispensed with in "Cumina” for Portuguese, and it’s well done. Star exercises face, body and tonsils in “El Baton," and her two alltimers,. "Chic A- Boom Chic” and “Ma Ma Caro.” Backing the star are the talented Banda da Luo Boys, a quartet of Latin > instrumentalists. The Huckleberry Finn of the saloons, Billy Vine, is back to ladle laughs through jokes and Impres- sions. As an inebriated swain wait- ing on the corndr for his date, comic delivers a Skit strictly tail- ored, for laughs, while a Jimmy Durante takeoff is. a clever bit. Lebrac & Bernice are featured In a unicycle act that offers a meas- ure of thrills. Topper is 60 hoops on various parts of the male’s an- atomy, spinning in different direc- tions while he balances himself high on the golden wheel, using orie foot to keep it on an even keel. The Donn Arden Dancers, as usual, contribute full-bodied pro- duction numbers. Showboat pre- sentation finds authentic levee set- ting around an actual showboat that moves with steaming funnels onto revolving stage and thence keeps circling while dancers move to garner warm audience reaction. Joy Skylar as Topsy; and Flo Walters as Eva, are featured . in scintillating terps and vocals. Sec- ond, a mood number, uses full stage for thrilling lighting effects on dancers and rates salvos. Art Johnson is a fine vocalist in pro- ductions, and the Carlton Haves orch rates bows for an outstanding musical chore. Bob. rasnlilancA. Miami BVIi _ . Miami Beach, March 5. Christine Jorgensen (toith, Miles •Bell), Nicholas Bros,, Dick Kall- man, Doug Evans, June Tai/lor Line, Dave Tyler Orch; $6.50 food or bev. minimum. Booking of Christine Jorgensen In this jaded area is a riskv one for the owners of this north Beach swankery, since cafegoers here want more than a novelty attrac- tion. Wisely, a strong supporting hiow was also booked to buttress iiie feature, with overall results on the pleasant side and chance for biz build once word gets around. The Jorgensen stint is a well- staged . one done in good taste, with no trace of striving for a Bar- num effect. Handsomely gowned and coiffed, she handles the mate- rial written for her effectively enough; opening special “Happy rtr Know You” leads into dialog with partner, Miles Bell, anent the lamed changeover; it’s mildly hu- morous. Comes another special, Keep It Bright,” a bit of ierping around the floor, then serious ..fwwuit of Happiness” talk on early life and confusion, for lead- m to straight ‘'You’ll Never Walk Alone vocally, it’s low-keyed, almost straight talk. What keeps jne aud Interested is the disarm- ing manner and tight,, brief tenure onstage. Bell, on his own, is a vet per- former who works in the Irish story-song idiom for okay recep- r. ,on ‘j ?°? le °f his stuff has been ncard before, but his easy, assured manner and delivery win him sttong aud acceptance. The Nicho- highlight the proceedings with their nimble hoofery. They’re cii^ agl ‘ e as . ever, with thelong split slides .sparking the heavy palming. Jtbey inject songs to break the tap- Pattern, with big finish their join- 10 rv. ir l ^ latino tune-terp routine. Dick Kallman is a likely young- p,.. 1 ’’ ue *i equipped on the pipes. ® ll sk, zesty approach to his blend °f Pops Is effective; he’s a person- able lad who, with more experi- ence, should soon 'hit the upper ranks. The June Taylor eyefuls ed by Doug Evans hold over with their precision dances. Dave Ttyler and his orch showback adeptly. . • Lary. Concho Room, Phoenix . Phoenix, March 2. Sue Carson, Pat Moreno, John - Jilnm V Wilcox Orch (9); $1,50 cover, $1,75 Saturdays. Making her first appearance in Phoenix, Sue Carson is rocking the habitues of this plush room with her tailored special material and elfin personality. . She’s several cuts above the norm for this spot, which needs a talent hypo to level up to tlje recent Jtelst in cover charge. Miss Carson doesn’t have the name appeal to stretch the vel- vet ropes but she’s a welcome addi- tion to the local talent roster, which needs bolstering. Comedienne gets things under way with a coy version of “The Smartest People in the World Are Men,”, then gets , off some expert mimicry of Lena Horne, Judy Holi- day, Judy Garland, ct al. Impres- sions are virtually dupes of the originals with the added impact of broad humgr. She shifts gears to wham across a hillbilly number and hits the top rung 'with, a long musical dissertation on “The Seven Lively Arts,’-’ a clicko specialty that sets up the payees for the kill. She’s On for 27 minutes and spell- binds all the way. Pat Moreno, who emcees the show and holds down a 30-minute vocal stretch, confines himself mainly to weak comedy material &nd some dubious vocal takeoffs on Crosby, Vallee, the Ink Spots and sundry other headliners. Act would be considerably improved if Moreno laid off reaching for laughs and concentrated on selling his robust tenor pipes. That over- long routine doesn’t help any, either. v The Johnstories open the show with a pseudo magico turn that’s geared for laughs rather than legerdemain, Femme member serves as prop while partner opens bag of tricks and makes with the prestidigitation; Members nf the audience get into the act and serve as patsies for sleight-of-hand ma- nipulations. Turn is briskly paced and gets off to a good hand. Jona. Bill more Hotel. L. A. Los Angeles, March 4. Connie Haines , Gil Lamb, Wayne-Marlin Trio, Morro-Landis Starlets (12), Hal Derwin’s Orch (12), Bill Black; $1.50-$2 cover. Living proof of television’s im- pact on a performer s career will either be proved or disproved within the next six weeks at the Biltmore Bowl, where Connie Haines is on view, as the bill-top- per. The subject of “This Is Your Life,” vastly popular with home setsiders, it should redound both to her personal popularity and the room’s revenue, How niuch of an impression will be left by the time- ly promotion will be the indicator of video’s effect on another enter- tainment medium. More publicity-helped than / pub- licity-made, Miss Haines has been bouncing around the musical scale for some time and must be rated with the best of the straight pop canaries. Se has a buoyant per- sonality, a good set of pipes and can wrap up a number with sell all over it. She’s a little girl with a big voice that falls on the ears pleasantly without any individual styling. The tempo is varied and the transition from a fast, boppy number to a calm ballad is accom- plished with studied artistry, The restless urge to flip her trim figure around keeps her on the move, and in one number she takes mike in hand and saunters past the ring- side tables. She’s a showmanly miss and that’s a big plus for a cafe singer, The comedy chore falls to Gil Lamb, a rubbery buffoon with a good flair for pantomime and a bag o.l tricks that takes in monology, harmonica playing, song parodies and physical gyrations. Anything for a laugh. He comes off well de- spite an overlong theatre bit in which he grimaces and squirms through a picture and some weak material on caricaturing “Little Jack Horner.” His act ca'n stand tightening. Wayne-Marlin trio specializes in hand balancing, with the femme member an eye popper in any position.' The room’s continuing attrac- tions, Hal Derwin’s music and the Morro-Landis starlets, fronted by Bill Black’s warbling, lend an air of carnival spirit to the revusical. Line of 12 girls is gaily caparisoned aud iwell drilled. Derwin’s dance sets keep the floor in a 1*- !M " of leather. . Heim. BeaeheoMtaiY MI»miI B. (FOLLOWUP) Miami Beach. March 6. Only* club this season with fre- quent change in lineups is this tog- gery. with Sophie Tucker and Harry Richnian the contracted holdovers for 14 weeks. Policy has paid off for owner Norman Schuy- ler and company, the operation un- doubtedly the biggest moneymaker for the ’53-’54 run, Curren| layout includes the Will Mastin Trio with Sammy Davis Jr., in the co-starring slot, Myron Cohen back for a repeat date and Georgie Tapps with his new quartet of dancers. The.compound is a bargain package at the newly- established tariff of $5.50 for din- ner-show-cpcktail, with no mini-, mum or cover; second show calls for like price for food or beverage . ) The Will Mastin Trio label is a misnomer, what with Dayis’ dad and uncle serving as dance warmer- uppers, then as background frame for the 50-minute stint the tireless youngster purveys to steadily build- ing aud payoffs. From sock tap takeoff on Bill Robinson, through long fange of startling vocal-mimi- cry that embraces a Sinatra carbon as easily and incisively as a Lanza, the book includes virtually every known male song-topper with their mannerisms and delivery sharply drawn; injection of tongue-in- cheek spoofing adds to values as does the light, tight patter. There’s plenty, savvy. and polish, in the usually long 55 minutes here. Sjnooth backing of Tony DiPardo and orch helps to make a particu- larly well - paced, entertaining show. In the opening spot Marshall holds tight rein on customers’ at- tention while he dabbles in magic and turns biting humor on him- self and tricks via a clipped Eng- lish accent lor continuous flow of chuckles. Then he takes a turn at ventriloquism with gloved lett hand mouthing the words of song and chatter. It's well done and funny throughout. Ravazza repeats nicely as ek-' ponent of suave vocalling, with romantic music done to finesse. He relies largely on special songs which provide a variety of rhythms, moods and comedy, but always back to the romanlia as his long suit. An earmark of his work is song recitations done without the orch, or with but slight assists, to relate comedy material . leaning blit slightly on toe sly and risque. This is h large helping of enter- tainment for the customers andis, generously received all the way. | Quin. Ron Soli A. V. . (FOLLOWUP) There are. a few Gotham niteries that manage to jam the customers in most every night and the down- town Bon Soir is one of them. Pol- Mt. Royal Hotel* Mont’l Montreal, March 2. Vic Hyde, Roger Coleman, Nor - mandic Dancers (6), Mere Chnml: Iron Orch (8), Bill Moodie Trio; $I-$2 cower. . icy of booking in acts to augment ■ - - . a stock company setup has paid off Davis performance, his hold on the < for this Greenwich Village bistro, tabiers being strong all the way. j due to the generally steady stream Myron Cohen, always a prime ; of entertaining shows offered. Cur- favorite with Miami area cafe- j rent Mil falls into that vein. goers, keeps them yocking steadily with his dialect characterization. He’s come up with some howl-rais- ing newies to add to his parcel of Standards the patrons call for. The delineator of the garment industry -—vacation resort types is develop- ing, incidentally, into a* firstrale Talent lineup comprises Kaye Ballard; Oliver Wakefield, The Three Riffs and room’s regulars, Jimmie Dame's, Norene Tate and the Three Flames. Mae Barnes, With male performers dominant, in the current layout, the pert Nor- mandie dancers In two, brisk rou- tines add a solid femme touch to the Normandie Room’s show. Top- liner Is Vic Hyde, vet returnee to this hotel, whose brisk patter and wild collection of hoked-up musi- cal instruments make for plenty of sound and an almost circus-like at- mosphere in this plush room. With the hotel carrying Us usual heavy quota of conventioneers, Hyde’s uninhibited offering seems grooved right down their alley. From his opener with an old cor- net, Ilyde builds the comcdic angle neatly, using a . brace of his own inventions for some effective music and then clinches with his four- trumpet combination. Sheer vol- ume and tempo keep interest throughout. Baritone Roger Coleman, doing his first appearance in this lofty room/scores handily on a solid song session. Coleman tees off in a brisk manner with “Stranger in Paradise,” and then clicks with a rather over-arranged grouping of songs about Paris winding up with the inevitable “Can-Can” hit, “I Love Paris.” . Plugging his Decca waxings with reasonable restraint, he reprises his latest. “Everything I Have,” for an okay begoff, StroDg piping and pleasant \vay of work- ing makes Coleman a good thing in the vocal slot of most hotels and cafes. More individuality and less song styling after the estab- lished recording faves, however, would boost his overall value: Muric for entire showcase is by the Max Chamitov orch. with usually listed in tlie. latter cate- gory, is missing from the card, hav- , ‘Og gone into the musical, “By the (drummer Morrie Struzer directing actor, the facial expressions adding ! Beautiful Sea.” • In the absence of Chamitov,who is to the laugh qnotient. ] Trio of non-regulars performs in hospitalized because of surgery. Georgie Tapps, with two males j the comedy idiom, with pleasant Norma Hutton does the thrashing and two femme assistants, tees off ] results in all instances. Wakefield’s and femcee chores and the Bill matters with a colorful set off trail | British approach to humor comes Moodie trio cuts the interlude routines. It’s in the modern-ballet-j off nicely. Material, mostly of the sides. Newt. tap idea with eyecatching knee-1 double entendre school, is good for slides added. Bizarre costuming a steady stream of chuckles and and tap-network that calls for in-j an occasional guffaw. The Three 7 m Veea* March 1 tncate interweavings in the overall 1 Riffs hit home with several yock ‘ Bela Luoo^Rctnic wiih Luoo^i pattern, rouse aud reactions for bits, including a takeoff on The j BHl' hefty response. Jink Spots, an impresh of Billv \„. 0 ,, , ,. r - v ' ®! u Miss Tucker, per usual, is a sock Daniels singing “That Old 'Black ^ 01 ' • T * showman, playing everj' nuance of ; Magic” and carbonings of Nat i 7. 7 , 7im , Joan „ tr ’ her specially - written material tKing) Cole, Rose Murphy and \ Sheehan, George R'-nman Orch, from the comic to the nostalgic, j Billie Holiday. Their version of . produced by Eddie Fox. .Vo Limiting herself to 30 minutes, i “Fugue for Tin Horns” from “Guys ! cover or minimum. the condensed catalog retains the . and Dolls” is a neat entry. Guys better items in. the lineage on \ wind up with a rockin’ revival males foibles, badinage with vet: number, accompanist-maestro Ted Shapiro- Miss Ballard also gets some and the reconstruction of the 50 : funny material across. Femme, years in show biz. They eat it up j who. makes her entrance with a and ask for more, although a good , vocal specialty, displays a strong portion of the patrons have seen J set of pipes. Potent laugh-getters her several times this winter. Har-; include her interpretation of a ry Richman is the suave, smooth j femme vocalist singing “Where or, master of ceremonies, keeping the When” while suffering from hie- j show moving at even flow. Len.; cups, impresh of Bette Davis per-; Dawson and his orch are highly forming in an Anna Magnani-tvpe j hilarious “Dragnet” skit that in- capable at the showbackings. role, bit about a gal’s reaction to a volves a cellar scene in which Lary. I $47,000,000 inheritance and a take-j Slipper comic Hank Henry all but : off on a vain actress. - wraos up honors for himself. RlilgCiidfV Paris 1 Miss Ballard, who’s opening to- Two V or k Well together to dis- Paris, March 1. j morrow iThurs.) at the Phoenix | hilariously^eerie doings in a Dracula is burlesqued in a series of skits for big jocks as Bela Lu- gosi scores with patrons no matter what he does*- In famillrr horror makeup, Lugosi uses a big cape * around his dress suit to elicit screams in a vampire skit with Joan White, who plays a hypno- tized femme in sheer nightdress. This sets th^ stage—for Dracula’s next appearance as a butler in a Pot Rainey, Jean Marcadier , Bill 'Theatre, N. Y., in “The Golden Ap Tamper, Kansas Fields. Jean Com -1 pie.” is taking a two-week recess bey, Al (Fats) Edwards; $2 mini .'from the Bon Soir until Tuesday mum. ■ <16i. Patricia Bright has taken over . for that period. 60-minute revue. Lugosi is no mean ac libber, along with Ht nry. and there is no doubt he has the af- fection of the audience, which is aware that the 72-year-o’d actor still has plentj’ of that old spark Small American-owned jazz boite Vocaling by Daniels and Miss was lull for Pat Rainey’s opening. Tate continues in a solid groove.-1 ,c ‘v;' , ... ,. For her first European stint, the while the Three Flames back the i , cn Jo . 1 f. a comedian Boston chirp shapes as a looker ! show in topnotch fashion and a'so > " ,10 . abl 'Y. ,cs show together, as with a nice way with a ballad. < take over the spotlight for some usu ^ J Cavanaugh is^ a fun- thougli she can use a more varied ; neat solo stints. Jess. rep for better results. Backed bv a ! jazz combo and the added vocalist- j Amato's* Portland. «ro. ics of Al (Fats) Edwards, club is i Portland Ore March t doing SRO biz to the U. S. jazz 1 ^oitianu, uie.. March l. ny Sgt. Friday, and with Sparky Kave puts over a hospital scene that gets big laughs.. Kaye is good ; ^ a maid in tlie "bi-aciW skit. Bill Wizard., co-author of the piece crowd and the younger Gallic set. i ,n Ma £!i l\V' 1 Producer Fox. is Miss Rainey slithers to mike for I * <l '' * . an adept straight'man. who spends husky opening on “From This Mo- 1 J* • Waller Orch (5> iritli j most of the stint on a bed as a ment On” and then Alternates ; ^ene \\ cis; No mm., $1.50 cover • ment On” and then. alternates, with standards and the blues, all given neat rendering, but still calling for a more individual stamp before she can really get off to top appeal here. -She uses hands and body well and can gracefully gab with the aud without any arch effects. A good jaz.z combo plays interim music for dancing on the tiny floor, and Kansas Fields’ rocking drums. Bill Tamper’s trombone. Joan Marcadier’s piano and Jean Combey’s guitar are okay for jazz rhythms. Edwards gives out With boom-voiced blues and rocking numbers that register. Club tab is reasonable in mis category and, with its steady clientele, looks to keep oil with good biz. Mosk. K. c. Kansas City. March 5. Carl Ravazza, Jay Marshall, Tony DiPardo Orch <8>; $1 cover. The plush . room of the three Eddys has a bill much in keeping with its mood for this fortnight with a return date by Carl Rava/za and newcomei-lo-thes^rD«rls, Jay Marshall. They add polished Sing- ing to coniedy magic for an un- corpse, with Henry regularly tes.t- Sat. $2.50. ] ing him to see if h<*’s fallen asleep. {Virginia Dew and Joan Mann are George Amato has booked a ! t co °d supporting roles, with Miss solid, well-rounded show into his ! Dew also exhibiting a fine voice in deluxe showcase. The Royal Guards ! 3 P 3 »r of Mues numbers, have been making an annual ap-i . Terre Sheehan is a b’onde strip dancer who emerges from a large champagne glass of hubbies in a specialty a la Lili St. Cyr. Divcri- pearance at an Amato Supper Club for many years, starting at the bon- ilace’s spot in Astoria. Ore., during j . . the war. The Ben Yost outfit is i merit routine is more elemental always popular here. Eddie Hoff-! 1,13,3 sexv. as members of both sexes in the audience are equr! y man is tlie only singer who Iras re- turned/the other three being neiv- abtorbed with the id v \*i of iu.si what Comers. Well-disciplined lads put ‘ S 1 all about. Femn'e slu'd* out plenty of harmony and display ; ^ then dons (hem to per; m-\ some nifty showmanship. j bulate through audience to give Howard & Wanda Bell slop the ! »• of h0, " M < h; "" show in the deuce spot with their easygoing Acrobatics and balancing stuff. Average-sized guy handles his well-stacked femme partner with ease. The, five Sparklets open, and close the show With some fancy terpjng. Longstemmed, well-en- paene. She returns, ships, re- turns to glass, reclines in it. and curtain. • F'oh. Re-Elect Bennv as Abbott Hollywood, Mrrch P. Jack Benny was re-elected Ah-' Dr^rSfiVi^R , - nly ° f ?laSS W i^ 0 e £ Burns l!j as Proctor, I^ou Holtz as Prior and the current layout. Wyn Walker and his orchestra do their usual topdruwer job of backing tlie show and petite Rene Weiss pleases with some chirping during the dancing seshes. Tony Martin as Herald. Ronald Reagan was named chair- man of the board of directors and George Jessel chairman of the Fevi. ’ | board of governors.