Variety (June 1954)

NIGHT CLUB REVIEWS Wednesday, June SO, 1054 Cafe de Paris, London London, .June 23. v • Marlene Dietrich (with Peter Knight), George Smith Otch ; $9 minimum. Joint managing director,' Alan Fairley, has pulled off many scoops in names here, but his biggest catch to date is Marlene Dietrich. Her appearance has created niore interest than any other topliner. Opening night required extra po-' lice to control the hundreds of star- gazers, who swarmed the streets and entrance of this ace West End spot. The place itself, which holds 350, was jammed with over 500 custom- ers, with many hundreds turned away. Place was packed with thea- tre, radio, tv and £lm notables as well as society. Appearance of the most youthful of grandmas, la Dietrich, hushes the entire audience, making it easy for the star to announce her open- ing number, which is the old French classic, "La Vie En Rose," rendered in her own. inimitable style. This sets her off at once with the customers. The rest is easy. She could sing anything, even the Maiden’s Prayer. She does "The Boys in the Back- ground," from her film, "Destry Rides Again," followed by a num- ber, specially dedicated, to young lovers, titled "Lazy Afternoon." Then she offers "Naughty Lola" from her "Blue Angel” film, fol- lowed by a specially-1 written ballad titled "Look Me Over Closely." Sentiment flows, freely with her rendition of one of the late Richard Tauber’s favorites, “Frag Nicht Warum" ("Don’t Ask Why"), in German. Next comes "The Laziest Gal in Town," from Alfred Hitchcock’s "Stage Fright," which was made In England, ^in 1951, and in which she starred. An American 17th- century folksong. "Go Away From My Window," is followed by a Ger- man number, "Johnny." Then she unpacks some of the numbers she made into classics during three years of war, when she went around singing them to the troops in France, Germany and Czechoslovakia, with "Lili Mar- lene" as the topper. Finally she announces her last number. "Falling in Love Again," the “Blue Angel" themer. She stayed on for 35 minutes opening night and could have held them much longer, but begged off with a speech of thanks. Although booked for four weeks with option of another two, she told Variety that she isn’t staying any longer, as she is due to return to Las Vegas Oct. 15 and will need plenty of new clothes. But man- agement is still hoping to prevail on her to exercise a woman’s pre- rogative and change her mind. Rege. sion on "How High the Moon".are actually breathers—at least they're standing still for a moment, ' Skylets work out a new-vs;-the- old songs routine with Miss Kay, which has them all "Ballin’ the Jack" for cute closer. Mark, Desert lut* Lai Vegas Lst Vegas, Juue 22, ^ Jane Powell (loith Earl Brent), Paul Gilbert, tie/ Mattiazzis (2), Art Johnson, Donh Arden Danc- ers (1(f), Carlton Hayes Orch (11); no cover or minimum* Bellevue Casino, Mont’l Montreal, June 23. Roger Ray, Maria Caruso, Vega & Bond, Colleanos (4), Michael Edwards, Line (10), Bix Belair Orch (11), Bill D'eegan, Buddy Clayton Quartet with Shirley Sheldon; staged and produced by Natalie Komarova, music. by George Komaroff; $1 admission. Current Bellevue Casino layout offers solid summer and tourist fare with.the Colleano quartet and Roger Ray taking headline slots. Remainder of show is spotty ac- cording to the usual Casino stand- ards with the exception of the pony line, which continues to be the big attraction payee-wise in this room. Roger Ray, making his annual visit to Montreal, draws plenty of yocks for his zany marimba efforts, but act has developed too many casual spots and lacks the wallop of previous performances. His rou- tine on a tv glp salesman makes a surefire clincher, and general tight- ening of early material with fewer asides to the ringsid^rs would re- store session to its original click. The four youthful Colleanos draw, biggest reception of show with their effortless but precise In- dian club and ring tossing exhibi- tions. The femme duo of team are pert and talented with personali- ties and figures that polish a stand- out offering from every angle. Vaga & Bond (New Acts) do pro- duction dance sequences with dis- taff side of twosome effective dur- ing acro-contortion moiments. Vocal sides are taken in revue by soprano Nina Caruso and bari- tone Michael Edwards, with the former doing a hefty semi-classic set midway through show to fair plaudits. Mike at 'all times is too strong for her piping and overall blasting fails to register on pa- trons, Producer Natalie Komaro- va's lavish "Stranger in Paradise" spectacle gives customers best look at the Casino lovelies Whose color- ful costumes and hoofing combine to highlight this 60-minute pack- age. Emcee Bill Deegan keeps pace without injection of usual jokes and patter, with the Bix Belair orch backing the show, handily spelled by the Clayton combo for dance interludes. Newt. Jane Powell is filling in a dafe for the ailing Jqne Froman and the Metro song lark wil rack yp okay biz in the. two-framer. Not- withstanding the huge, empty, cav- ernous stage behind her, making her appear tinier than ever, Miss Powell undauntedly fills the room with songs that are a delight to the ear. She exhibits a voice that is noticeably maturing, reaching its highest range and easily retaining it in clear, sharply-defined phras- ing. With a vibrant personality to match the dulcet pipes, the star does an all too brief, 25-minute-| chore, with "Most Unusual Day;" "Summertime" "Jewel Song" from “Faust," "Thq Blues" (com- posed by Earl Brent, her able pi- ano accomper), 'Look For the Sil- ver Lining," and "Love Is. Where You Find It." The pert Miss Powell has become an* old hand in niteries and easily plays to all sides of a room, so nobody feels left out of the act—which is solid. Comic Paul Gilbert, whose long stint can do with some pruning, brings back his surgeon’s tv skit for big yocks and is okay in d race- track sequence that winds with a zany song. The clever young comic is an adept jokester and knows how to wait out the laughs. The De Mattiazzis and their life- [jsize dolls offer a clever turn, with the robots singing, playing a squeezebox and dancing to rate a big response. Donn Arden Dancers repeat a pair of sparkling numbers that fea- ture vocalist Art Johnson and some vivid sets and costumes. Carlton Hayes leads his orch in a solid backstopping job. Bob . - Boeuf Sur Le Toif, Paris Paris, June 23. Mary Lou Williams, Maurice Allen, Dave Pochonet, Kansas Fields, Heinz Grah; 75c minimum. with a strong set of pipes dating from before hi-fi, belts out crowd- pleasing vocals with overtones of comedy. She gets particularly strong response from "Everything's Up to Date in, Kansas City," "Black Strap Molasses" (a witty application of the country tune of three years back to nightclub routine) and a sexy ditty, "It’s Not Too Late." The dance team of' Ricardo Sc Norma Is filling in for Cottsnelo & Melba, injured in an auto accident en route to the booking. The Moro- Landis Starlets, eight hoofers and a quartet of show girls, in sharp costumes dress the bilL Emcee is Johnny Martin, from the cast of "Indiscretion of an American Wife" and a former mainstay at the Chez Paris. He ties the show together deftly and contributes a good selection of standard ballads on his owji in a powerful, mellow voices ■ Rafe. freseendo, Hollywood Hollywood, June 19. Earl (Fatha) Hines Orch (7) (with Penny Lynn), Arthur Lee Simpkins (with ^Felix DeCola); $1.50 cover. Mapes Skyroom* Bono Reno, June 24. Beatrice Kay, Charlivel Trio, I Mapes Skylets, Eddie Fitzpatrick Orch; no cover of minimum. The famed Boeuf Sur Le Toit, which was opened in 1920 and re- mained an intellectual fixture un- til 1949, has been in an eclipse for the last few years. Now Henry Henrion is raising it from its cin- ders and turning it into an ex- tremely reasonable windup spot and jazz club. . Cozy room wrap- pings, ordinary fees and the listen- able piano of Mary Lou Williams are making this a nice windup and after-theatre spot, and it should pay off accordingly by word-of- mouth. Miss Williams whips up a select and extremely well-balanced piano stint that displays her relaxed, rhythmic ease as she weaves * . ,, . J . . ' x klJllJJW VU0V U«9 yuv fl VUV VI/ Jazz may make the grade at the through old and new numbers for J • t_ _ • • A. -1 J I 1 t _■ t *« • i • ‘ A , i _ • * * _ ' * The younger generation always encounters Beatrice Kay these days with a chip on its shoulder. And Miss Kay usually wins all the chips before the game has hardly begun. Vibrant, loud and at times (“you’re thinking I’m raucous”) risque, she blasts off with even more fury than the Charlivels, who preceded her. With a voice that sends the vibrato ricocheting off the plate glass, she warns "no- body sleeps while Kay is singing." It’s a sort of elbow-nudge-in-the- ribs of Gay ’90s. The only connec- tion with the "Gilded Cage” era is the singing itself. Otherwise, the gags, the clowning, the exchanges with Sylvan Green — all these things are in the mode of today, even to the McCarthy hearings. Jibes at bop singers, and the French or cafe piano 'lounger- singer, are plain burlesque served for consistent yocks. In ordering the proper spotlight for the "class act" Miss Kaye is cute as she tries out the various colors, and ends up with a tight-fitting baby spot that tickles her as it gathers up around her middle. She can always be counted on for something additional from her predicted performance. In this case, she falls in with the Charli- vels for an aero routine which wraps up the house for good and always. The perpetual-motion Charlivels rip open this show. They come out of the starting gate like three Na- tive Dancers, and run neck and neck to a climax which winds the $ud more than themselves. The closest thing to a quiet mo- ment is during the opening of Gershwin’s Concerto in F, which spots a piano solo. But this blos- soms into a free-for-all of whirling dervishes. A clarinet spree on Shaw’s "Con- certo for Clarinet" plus a jam ses- Crescendo where just about every other policy has failed. Certainly, this layout has the makings of a solid audience lure in the teaming of Earl "Fatha" Hines and singer Arthur Lee Simpkins. Hines has a new combo consist- ing of seven men and they’re play- ing a brand of music that has a steady, engrossing beat. With Hines at the keyboard pointing the way (and introducing each number with an occasional discourse on jazz for the benefit of the tourist who* might wander In), the outfit sells a lot of music. Basic instru- mentation consists of two sax, two brass, a drum and bass, in addition to Hines’ piano, but the reed men double to give a fuller sound. One of ’em fingers the flute with a dexterity and imagination not usually expected from the instru- ment and such items as "Tin Roof Blues" and an original yrfept "The Web" provide a counterpoint for the excellent Hines handling of "Honeysuckle Rose" and more of that genre. Penny Lynn is in for three vocals with the combo. Simpkins, long a fave in these parts, is reunited with Hines for this stint since “Fatha" gave him his first job as a band singer before the war. Ringsiders keep him on for a half-hour that ranges from his by-now trademarked "EilLEili” to “Marie." It'S a solid session that builds to the expected begoff and the promise of more for the second show. The turn is skillfully paced, dinging in such items as “Wee Doch and Dorriss" and the Hit Pa- rade medley of “Walking Behind You,” “Answer Me.’ My Love" and “Vaya Con Dibs." Despite. the re- peated requests, Simpkins might be better advised to shy away from some of the more religioso items: “Eili,” “I Believe," "Trees" and even “Vaya" are a little too much for one-half hour. Between shows, the Hines combo dishes the dance beat .and its as steppable as ^ is listenable. Kap. excellent listening. A trio," com- posed of Kansas Fields on the drums, Heinz Grah on bass and Dave Pochonet on drums,"'makes for nice interim music, and Eng- lish singer-pianist Maurice Allen also shows well in his personalized chanting of wellknown ballads and his nice ivory work. If the rapidly-shiftiiig cafe set puts its endorsement on this spot, it may well regain its old foothold as a “must" spot for the art and show biz set and so bring in -the other cafegoers in their wake. Biz v£as okay when caught, and this summer will tell the story as to whether this club will come back to take an important part once more in the Paris nitery scene. Mosk. Bimbo’s, 365, S. F. San Francisco, June 25. Joey Bishop, Benay Venuta, Ri- cardo & Norman, Johnny Martin, Moro-Landis ■ Starlets (12), Derle Knox Orch (9); $2 min. Lust Frontier, Las Vegas ; Las Vegas, June 21. Patty - Andrews .(with Wally Weschler ), Marquis Family, Hohey Bros, (3),-Irene Knight, Frontier Girls (10), Garwood Van Orch (II) ; no cover or minimum. A heaping dose of special mate- rial gives impetus to Patty Andrews in her first Solo stint, and the bombastic blonde proves she can go it alone. Evidently nervous at her opener, the 40-minute chore is replete with the sort of merchan- dise that can best sell her talents and vivid personality. Once around the bpite^-belt should clinch her as a single. (See New Acts.) The Marquis Family is held 1 over, the quartet of chimps riding bikes, unicycles, tumbling, hand-standing and otherwise leering and sneering at the humans in the audience for yocks in a turn that’s always a treat to watch. The Honey. Bros, are back in this fortnighter—having last appeared with Ronald Reagan—and again their zany acrobatics rate salvos. The Frontier Girls look good in enmasse taps terps, with abbrevi- ated costumes and canes, and with pert Irene Knight on the vocals the production number emerges fairly effective. The Garwood Van Orch registers okay thruout. Bob. Current show at this classic Frisco nitery celebrates the 23d biz anniversary of owner Bimbo Giuntoli and features comic Joey Bishop’s debut in this area and the return to. Frisco, after 21 years/of hometown gal Benay Venuta. Show is in for three weeks. Bishop, a glib talker with a fast line of gags, fresh from the rou- lette and racetrack circuit, found the going a bit tough to start with opening night before this rela- tively. unhep audience of local VIPs and visiting fire laddies, Once he dug that the borscht cir- cuit didn’t reach past the Rockies, he quickly got the house rocking With solid yocks, ahd grabbed a couple of extra mitts for individual gags. His ribbing of “I'm in the Mood for Love," dart-throwing at tv stereotypes and parody of a Ted Lewis imitation go over particu- larly big. He ‘ should build . to a strong draw pt the. club. Mi^s Venuta, a striking blonde. Casino Royal, Wash. Washington, June 26. Anything Goes,” starring Anne Chodoff, Pernell Roberts; Direc- tor, Rudolph Pugliese; producers, Jerome H. Etelson, Martin Green- berg; Paul White, Bob Simpson Orch; $3 minimum, $1 entertain- ment charge. This is believed to be the first time a tabloid version of a Broad- way musical has been offered in a D. C. nitery. The one-hour boil- down of "Anything Goes" does fairly well and generally pleases the payees, despite the fact that the cast consists of few young professionals backed up by a lively group of students and graduates of local universities, who have professional aspirations. What stands out above the pa tent flaws of the company is the sock Cole Porter music—"I Get a Kick Out of You," "All Through the Night," "You’re the Top," "Anything Goes," "Blow, Gabriel, Blow” and the others. These numbers sparkle with a freshness which makes one forget they were launched on Broadway nearly 20 years ago. In the current truncated version, Anne Chodoff, who has been play- ing on and off at Washington’s the- atre-in-the-Round, Arena .Stage, dis plays a nice talent for sexiness and putting across a song with a mini- mum of voice, as she. essays the onetime Ethel Merman lead. Pernell Roberts, as Billy Crock- er, the juvenile lead, is a hand- some youngster who displays, by a very wide margin, the best sing- ing voice in the troupe, and an at- tractive personality along with it The Moonface Morton- role, as essayed by Vernon Russell, is sad for those who remember Victor Moore’s original portrayal. Re mainder of the company makes up in vigor what it lacks in experi- ence and polish, and the half- dozen song and dance girls belie the old stories that the lookers don’t go in for higher education. If "Anything Goes" proves any-^ thing, it is that an ambitious, young stock company with a low nut might get away profitably with a series of such tab revivals, so long as the music still has zing. Paul White, Negro comic siriger and dancer, long with Ted Lewis, has no connection with the show, except that he is tossed spang into the middle of it, to deliver 30 minutes of songs, dance steps and patter of firstclass professional stature. White actually makes them look bad in the-tab show, but does give the floor show, a big pickup. Lowe, Clover CIuVjBflami ‘ "MianaL Jun* 19. Aim Dem, Harris Martin, Ted' Lawrie, Marilyn Hightower, Selma MCTioye Line, ron y Lopez Orch; One of the few of the larger clubs In the area to operate on a year-round , basis, with ■: winter season featuring top * names, the summertime plan of Clover Club owner Jack Goldman calls for a more moderate budget, albeit type of performers booked are in the better category "among the up* comers and standard acts; Current display is illustration pf the policy, adding up as highly pleasant nitery fare.• British songster Alan . Dean im- presses as a warm, winning vocalist with an easy, mobile delivery that makes the most of an intelligently blended selection of tunes. His catalog of eight numbers Is care- fully contrived for pace and tempo- changes to keep, the aud-mood building. Overall impact is aided in eschewing lengthy intros. Has them -all the way, with the tablers pounding for more at windup. Harry Martin holds down the comedy slot in good fashion, mix- ing gab with skillful fingering on electric-uke and later on violin. Guy is an affable^ smooth-working performer, who works in assured manner to hold aud attention. Underplaying sometimes loses him laughs, as, does a' tendency to wander into some too familiar - lines, but steady' play to the risibilities overcomes these easily eliminated weaknesses. Addition of a sock‘ routine tailored to smooth style would add to potentials for the better spots. As is, he's a capable comic who knows his way around a cafe crowd. Production numbers by Selma Marlowe are bright and imag- inative. Brace- of- routines her ensemble works out contains tricky patterns framed around soloists Ted Lawrie and Marilyn High- tower, Lawrie is expert at his song- dance assignments while Miss Hightower sparks matters with bright ballet-toe routines featuring fast spins around stage. Tony Lopez and his crew handle the showbacks solidly and set up invit- ing dansapation. Lary. La Rose Rouge, Paris Paris, June 29. Charles Trenet, Felix Barrel, Helene Martin, Los Guaranis (4), Rose Rouge Orch (5); $2.50 minimum. Before a summer hiatus, Nico has decided to give his cave club a new twist in headlining charm singer Charles -Trenet. This is a far cry fr.om the type of . show , which made this' club renowned, but changing times and tastes have dictated this wise move. Trenet gives out with a 50-minute stint that has this hep crowd asking for more. His clarity and resourceful- ness make him a trouper. Club will close for the summer and then re- open in September, with Trenet staying on until-he takes off for the U. S. again. Nico then plans a return to the more full-scaled cabaret aspect? of the club with a timely review sur- rounded by offbeat acts. Trenel’s appearance has brought back the crowds that let this club languish recently as public tastes changed and the old St. Germain-Des-Pres atmosphere began to go out of fashion. All the old troupers from the club have gone on to impor- tant theatre, musichall and film names, and a new format is in keeping if the club is to stay on. With Trenet, a fresh breath of air is brought into this smoky boite. With his crushed hat, plaid jacket and beaming countenance, he segues into a stint that is com- posed of his early clef attempts, and it makes a well rounded tour- de-force of simple joys and dis- plays his mime, acting and voice range; Trenet’s specialized, clear appeal la, in for a boff welcome here. He is surrounded by a, trio of acts which are fair accompaniment. Helene Martin is a young girl with a guitar who rests in the old cave traditions with her clear renditions of offbeat ballads, but gal is not too discernible from other purvey- ors of this type of song stint and remains V good Opener and noth- ing more, Felix Barrel portrays a neat sense of caricature and spoof- ing in an offbeat takeoff on various types of folk - singers. He manu- factures his own instruments nut of balloons and lengths of pipe and makes for a neat number, ex- cept for a tendency to stretch points apid stay on too long. How- ever, this Is a fine, unusual entry and fits here.' Los. Oqaranis (4) are a staple colorful carioca outfit who I essay various South American folk ditties for strong returns.. Authen- ticity- and fine, string accomp make | this a good number. Mosk.