Variety (October 1954)

134 REVIEWS PfitRmfr Wednesday, October 20, 1954 Ambassador Hotel, IV. V. ChaunCey Gray and Jani Sar ■ kozi Orchs; $3.50 and $5 minimum. Serge Obolensky,. now prez of the Ambassador Hotel, to Which he has transplanted himself from the. Sherry-Netherland which he formerly headed until its concur- rent program of conversion into one of those “cooperative" deals, will soon put his new Embassy Club on tile map—4f he hasn’t done so already. An innate showman, with vet ex- perience at the St. Regis (he was then married to owner Vincent Astor’s sister), later at the Plaza and then the S-N, Col. Obolensky has gravitated the plush Gotham hostels and perforce picked up beaucoup ideas. He: spent this sum- mer abroad, studying Continental hotel methods with a further eye to pepping up the Ambassador, long a dignified but - not particu- larly spectacular Park Ave. hotel operation; All the Park Ave. glamor seemed focused into the Waldorf- Astoria Obolensky obyiously j>rimed his fall premiere with an'lsye to “the 4,000” who comprise the cream of the international set's nitery rounding, and> decided that even that bunch doesn't like a 20% nitery tab for the privilege of din ing out, thus he staggered his en- tertainment policy to. circumvent that and yet achieve the best all- round results. For the later stayeruppers he snared away Chauncey Gray, long- time danspation fixture at El Mo- rocco; so that he's sure of getting a segment of that crowd. This is when the 20% cabaret tax goes , with dancing. For the dinner Crowd, until 10 p.m., there is the crack Jani Sarkozi ensemble (“arid his Royal Hungarian Orchestra," is the billing) and this dominantly strong septet, with the maestro- -fiddler at the helm, can give the famed army of strolling fiddlers at Paris' . MonseigneUrs plenty of .competition. Maestro Sarkozi is a soothing gypsy violinist who really knows how to make his violin cry, and his seven Romany aides are ultra iri musical Support. Sarkozi is a Cinch for a Strong personal draw, especially for the dinner trade. Gray, of course, is perhaps the best known cafe society bandleader extant. With himself at the ivories, and a six-man team . 'comprising trumpet, three reeds, string bass and traps, he mixes up the current show and pop Crop with the melo- ly foxtrot ballads of the 1920s and 1930s. For some reason these pops and show standards *do have greater perennial substance—and gets ’em out on the floor as if , on cue. That’s always been Gray’s ' metier—anybody who can’t terp to his pert tunestering just ain’t in- terested.’ There’s no couvert, but a $3.50 minimum weekdays and Sunday; $5 on Saturday; Mondays closed, Sarkozi shifts into an hour’s dansa- pation from 10, and at 11 until 3 a.m —in itself an unusual late- hour hotel policy—Gray will hold forth. Incidentally, Sarkozi’s ances- tors helmed the first gypsy orch- estra to play at the court of Em? peror Franz Joseph of Austria- Hungary—it says here in the fac- tual Alexander (Sascha) Tarsaidze’s dope-sheet; he, too, incidentally is another important aide Obolensky took over with him 'from the Sherry-Netherland. In short order, and with a scientific eye to the ultimate (class trade) Consumer, Obolensky and his g.m., William C. Tonetti, have achieved a successful pattern.. They have decored their room in an 18th century salon atmos- phere, credited to Count Edward Bismarck, grandson of Germany’s Iron Chancellor. The Embassy Club is situated in the grill, under the Ambassador’s old Trianon Room, henceforth for banquets, dominantly, with its spacious outer lounge. In the basement location it follows the pattern of the Plaza’s Rendez-Vous and the St. Regis .Maisonette, giving it a sort of class hideaway aura. In design it is said to be a replica of the so-called “Ambassador’s Room," ; -one of the suites of the Schonbrunn palace of the days of Austria’s Empress Maria Theresa. Cuisine is French and Imperial Russian, with accent on the flam- ing-sword viands. Henry (now Gallicized into Henri), is the head- waiter, long a familiar at the Sherr^-Nethcrland's Carnaval Room and has been wisely annexed; by Obolensky to officiate similarly at the door. Henri probably knows the hotelier’s following better than anybody. Abel. serving her apprenticeship abroad, has gained poise andTa sureness in delivery to make her a fitting sta- ple in this U.S.-owned boite, which also features Lil Armstrong in her fine-fingered piano jazz breaks. Kansas Fields fills out well on the drums arid a Gallic quartet, Mar- tial Solal, gives adequate dance and listening music. Mote jazz would help this club’s atmosphere. ^ Miss Rainey is a well-stacked femme who offers selected sophisto rep of proven and little-known bal- lads. She gives these a. throaty and sugggestive going over that the pa- trons want. Though her voice lacks a highpowered range, it more than adequately caresses and dresses her offerings. Drinks are reason- able and club gets a young Gallic and American clientele, plus show biz people in passage. Mosk. 1111 (more Hotel, L. A. Los Angeles, Oct. 12; J£irby Stone Four; Nanci Crompton; Nita & Peppi; Biltmore Starlets (12); Hal Derwih Orch (10); $1 cover. There’s ino great draw i this latest package for the downtown hostelry, but there's enough enters taihm.ent to satisfy the average ringsider, Headli ing is the Kirby Stone Four, a unit 20% weaker in man- power since last Seen here in town but just as strong eritertainrtent- wise; Outfit, formerly, a- quintet, hasn’t, lost any of its zing through the departure of “Cbw-Eyes/’ now a single, and socks over a succes- sion of special material items spiced with an occasional standard like “I Got Rhythm," to which they add their own material. A few of their one-line gags could be dropped, since they’re too sectarian arid riiore in keeping with the heeds of Billy Gray’s (where the quintet was last seen), but there’s little else to complain about. Boys play a variety of instruments, and well, and clown easily- and with no Waste motion. Petite- ballerina Nanci Cromp- tpn is back with her rapid toework that continues to rate 1 as a crowd pleasing routine. Succession of pirouettes and some ballet style terping are good for solid returns and she makes up in showmanship what; she lacks in technique to merit the response. Opening act is a. fast aerbtum, Nita & Peppi They’ve got some excellent stunts that give the act a European flavor arid they get. the show off to a wal- loping start. Moro-Landis gals are seen in three production numbers, well conceived ^and executed and eye fillingly costumed to evoke inter- est. Hal Derwin's orch continues to backstop. > Kap. Sheraton-C/arltoii, Wash. Washington, Oct. 13. Carl Brisson, Joe Ricardel Orch; cover '$2, Saturdays $2.50. They’ve upped the cover charge Jor Carl Brissori’s two-week stand in the Harlequin Room, but the customers get their money’s worth as the durable, blue-eyed Dane turns on'the charm. Although it’s been more than three years since he Was last, here, Brisson has not been' forgotten arid gets a fine Wel- come on his return^. The old master of the supper club circuit dishes up a combina- tion. of romantic and comic songs, jaw breakers, audience participa- tion, romancing the gals and kid- ding the husbands, topped off with a gardenia for each Woman.;in the audience in keeping with his theme song Of “White .Gardenia." For opening night here, Brisson did one long show, instead of the customary two. He tees off with a medley from the film, “Hans Chris- tian Andersen," and then really gets to the -audience with “Ring Around. Rosie’s Finger.” As he sings he walks around edge of the floor, shaking hands with, everyone Within reach and occasionally greeting old friends by name. This is a small room, enabling Brisson to get closer to his audience than otherwise. It is all to the good, since the. entertainer works more intimately with the payees than al- most any other top act in the field. After the warmup there are a group Of songs ranging from the romantic “With These Hands” to the mildly risque “Little Manicur- ist.” Next he interjects a tongue twister song, offering a bottle of champagne for anyone who can re- peat it after him. Brisson hauls a mike oil a long cable out among the tables to all the payees who want to try,, until he finally'hits a winner. This gets beauedups laughs and. lots of applause for the successful man. Entertainer follows up by lead- ing the audience in a chorus of “Let Me Call You Sweetheart" and then swings into a comic Texas number which he sings while on his favorite perch, .the back of a chair. Thence back to the romance mood, and goes off strongly; Lowe. South Seas, Honolulu Honolulu, Oct. 4. Vicki Young, Gil Lamb, A Veveiros, Lindsay Lovelies (4) Wally Ryerson Trio; no cover, no minimum. Desert Inn, Las Vegas Las Vegas. Oct. 12. Betty Hutton with Jerry Antes Jack Regis, Nelson Riddle; Lottie Brunn; Don Arden Dancers (20), with Art Johnson; Carlton. Hayes. Orcli. and “Orange Colored Sky.” „ Miss Hutton gives both Antes, who > sings ~a solo and then duets “You’re Right for Me" With Miss Hutton, and Regis, who indulges, in a softshoe routine, individual opportunities. Antes, who is an- nounced as a Columbia Pictures prospect, : appears to have the brightest future, his applause mov- ing Miss Hutton to say “I feel like Arthur Godfrey—and I hope you have humility.” Up ahead of Miss Hutton’s. hour the show runs 33 minutes and its a lulu production by Don Arden who, between his high score at the Desert Inn and at the L. A. Moulin Rouge, appears destined to be the new Ziegfeld. His ideas, costuming and staging are bigleague, and his opening production, number here, titled “Framed,” a courtroom melange with sex Overtones like no magistrate has ever seen, gets a rousing reception from the audi- ence. Art Johnson is the, judge- singer, and good, too, but better for the libido are the curvy prison- ers, at the dock, all of whom gyrate as though they have ants in their pants. It all evolves in a jailbreak, and any warden whd’d keep so many cuties under lock, and key is selfish. A second Arden number is a holdover gypsy affair to tziganer melodies and it, too, is fine for the eyes. In between' the two Arden routines; and the only other act in the show, is a rarity, a female juggler. And what makes Lottie Brunn even more unusual is that she’s a flrstrate handler Of the clubs, hoops, balls, etc., working very fast and without slipup. The well-gammed novelty act gets ex- cellent audience resporise. • Poney Sheriff arid Phil Moody are billed, for the special music arid lyrics for the Arden numbers; Mme. Berthe for the costumes (and they are excellent), and the Carl- ton Hayes orch plays the-show ex- pertly, but gives up the- baton to Riddle during Miss Hutton’s, tenure on the Stage. Opening night, at the first show, there Were a couple of music miscues, and a stage-wait 'Caused by a mechanical defect iri a curtain, but none of it detracted from the entertainment, nor. did they diminish in any way the certainty that Miss . Hutton is not only a tOpgrade personality' and. entertainer, but also much too ; young to retire. Scho. Ringside, Paris Paris, Oct. 19. Pat Rainey, Lil Armstrong, Martial Solal Quartet; $2 minimum. Pat Rainey,. U.S, dusky chirper, The combination of Vicki Young and Gil Lamb not only Smashed opening-night records at this beach bistro, but on the following evening- set a new Saturday record by crowding in four shows. The perennially funny Lamb had headlined the previous fortnight, but held over three nights to help Miss Young get off to a gala start, Both of them have, proved terrific draws, Miss Young hitting fame in Honolulu by virtue of her “Honey Love" recording, It’s one of the chirp’s few nitery engagements,, but she comes off in socko style. She scores solidly with frenetic songs such as “Cell Block No. 9," then varies the pace with “Stormy Weather” and “Tears on My Pillow ” Her comic takeoff on “I Love Paris," accompanying her; self on banjo, draws heavy laughs. Lamb; doubling as emcee, runs through his versatile array of an- tics and keeps audience howling for more. He “swallows” a har- monica, makes like a frantic be- bopper; does an adagio “team" dance (by himself), and—most ef- fective' of all—sings a nursery rhyme in styles of various com- posers. A1 Veveiros, local baritone, opens the show with sudh songs as “Granada," his best; “Three Coins” and “The Thrill Is Gone," then makes way for the Lindsay Love- lies, whose costumes are more spectacular than their precision dancing. Gals have lots of flash— and lots of -flesh—a surefire for- mula that warms up the Navy trade. Wally Ryerson Trio backs the entire show most capably. . Incidentally, only insiders know that Miss Young is carrying on the “she must go on" adage. Her only child died a few days before she planed iri to keep this date. Walt , This is presumably Betty Hut- ton’s valedictory to show business. If she’s retiring because she’s sick at heart of the arduous life of an entertairier, or because she’s so bloody rich she no longer has to work, or because she has an honest- to-goodness yen for total. domes- ticity, Who can quarrel with her? But if she’s quitting because she thinks she’s “washed up,” she’s suffering from delusions. Opening night here (12) her Swan Song had the melody of Success rather than failure. At the end of her first show—and she’s on the rostrum for a full 60 min- utes—a good portion of the 320 patrons who filled the cabaret gave her a standing ovation. It certain- ly looked mote like a welcome than goodbye. If Miss Hutton needs more of a convinces she got this audience response despite the fact that she was singing with a voice evidently tired from strenuous rehearsals, and in face of the .obvious that her act is not as Well-rounded and routined as last gear’s turn. This time around, Nick Castle is her stager arid; all he put with and behind her are two singer-dancers, Jerry Antes and Jack Regis, whereas last year Miss Hutton had the Stariighters, a mixed singing quintet: They had more versatility to spell the star. Difference now is that she’s on virtually all of the 60 minutes and belting all the way. It’s just too much for her, the audience and her voice. Some of her material is familiar, such as “Little. Rock Rhythm” and “Let’s Go On With the Show,” and she gives credit to Ray Evans and Jay Livingston for her song mate- rial, which also includes a couple of her past record hits, “The Rock- ing Horse Ran Away", and “Doctor, Lawyer, Indian Chief,” As last year, she does a takeoff on Benny Fields and Blossom Seeley, key- noted by “The Lullaby of Old Broadway” arid “Melancholy Baby,” and up pear the finish she again pays tribute to Sophie Tucker by whamming “Some of These Days.” “Sexy Sadie” is an other special song holdover, that pleases, and she scores at the close, when she does an afterpiece in a robe as though she got an audience call from her dressing room, by hopping a piano, tinkled by Nelson Riddle,, to sing “It Had to Be You" Blue Angel, Chi' Chicago, Oct. 11 j “Calypso Festival ,” with. Duke of Iron, Trinidad Joe Dyson, Cal vin Harigan, Mary Ann, Angela, San Juan, Victor .Manuel, A D’Lacy Gypsy Orch (5); $3;50 minimum .weekends, $2.50 week nights. Focus of the present West Indian revue, which will be rooted iri this intimate calypso cavern for . t.h y e next eight weeks, is almost who)' on the lighthearted balladeering of the Duke of. Iron. The giant calyp- sonian, making , his first Chi nitery appearance, has penned, some, of the better-knowri ditties in the idiom, like “Matilda," “Ugly Wom- an" and “Out De Fire,” hone of which he offers here. : The Duke represents the biggest name the Blue Angel has showcased ever since it turned to Calypso some 18 months ago. Strumming a uke, he. opens the show with a humorous trilogy, sung warmly with an appealing lilt that makes audience participation no problem. He wraps up the format the same way with a bluish omnb bus on male-female relations that satisfies the need for both song and mirth. A distinct trial , which he doesn’t surmount, unfortunate- ly, ft how to. .keep all the calypso airs from sounding alike. Never- theless, he shakes a goodly quota of laughs from the. crowd, keeps their ears bent, arid has them blithely shouting choruses of “Rum and Coca Cola.” . Despite an eyecatching costume' splurge, rest of the bill shapes weaker than most of the previous shows here, affording, little in balance or novelty as nearly all the other performers are dancers. The mystic shake dance of Joe Dyson and “Mambolina” of Angela Ban Juan are both torrid tidbits, arid the Island Street Dance executed by Calvin Harigan and Mary: Ann is sensual and properly anxiety- ridden. Terpers, using front stage, back stage and the aisles for their shaker antics, tee, off the spread and join the Duke in a sock bacchanalian finale. Midway in the show, romantic Latin tenor Victor Manuel breaks the dance concentration with.“Piel Cariela” and “Begin the Beguine. He also breaks the festive calypso mood, and the audience buzz throughout his stint testifies he’s out of place on this format. A1 D’Lacy Gypsy orch provides prim itive percussion accompaniment behind the calypsos and plays okay dance and dinner music. Les , Sahara, tag Vegas Las Vegas, Oct. 12. Marlene'Dietrich, Bernard Bros. (2), Mary Raye & Naldi, Saharem Dancers (12), Gee Davidson Orch (15); no cover or minimum. Returning to the scene of her nitery debut, Marlene Dietrich proves again to be a solid attrac- tion if a not so solid singer. Her chore, an unexciting 30 minutes, spans an unusual entrance and exit wherein the; glamorous grand- ma, wearing a strikingly-draped White chiffon gown, is caught in the line of fire from' an offstage wind machiiie and the billowing material makes an effective pic- ture; The gown is fairly revealing in its suggested transparency and in it the blonde-coiffed la Dietrich holds the audience by the Sheer magic of her personality. She is still svelte pf figure and; With her fabulous face to' riigtch is a must- see. Actually, the gown worn this time around is more alluring than the bosomy eye-catcher worn by the star last year. Voicewise; however. Miss Die- trich must be forgiven, for she has been accepted by audiences the world over for her other, more obvious requisites. Her singing voice may be deep, bassy or even brassy, but she still .gets her flirta- tious and romantic messages across despite a soso selection of song& In the space of less than a year, she has established herself as one of the world’s biggest cafe draws with considerable credit' to Jean Louis, who executed her wardrobe. The headliner opens with a throaty “La Vie En Rose” and “See What the BOys In the Back Room Will Have," guaranteed, to: give .music teachers ulcers. “Naughty Lola” and “Look iyte Over Closely” are sprightly and spicy. “Laziest Gal Iri Town” is not delivered like Pearl Bailey, perhaps, but it’s commercial as de- livered by Dietrich. “Go Away From My Window” gives the star the opportunity to cry a liftle. to the 18th-century folk-song; Sh brings back “Jonnie” in Germari lyrics, then does “Lili Marlene” and her inevitable “Falling In Love.” Buddy Cole, renders yeo- man service as the star’s conductor of *the Cee Davidson orch, aug- mented by a quartet of violins. The Bernard Bros., comedy pan- tomimists, are a strong click With their zany antics to recordings of the Andrews Sisters, Kirsten Flag- stad and “Figaro,'.’ Wearing moth- er hubbards and little else, the duo scores with knockabout routines that include a stuttering carbon of Mel Blanc in “K-K-Katy.” High- spot is “You’re In Love,” from “Call Me Madam,” a clever Ethel Merman mime that winds with one brother as a nurse using a butter- fly net to whisk his straitjacketed partner off. Mary Rgye and Naldi return with graceful adagios and waltzes to thrill and please. The dance vets get fine applause response i ’ their two sessions, as they return following their stint in a George Moro production of “The High And the Mighty.” The line back- ing the pair is strikingly costumed arid the number is well staged and deserving of the kudos. Both Le Rikban Bleu, K. Y. Irwin CoreV, Marshall Jzen, Dorothy Loudon, Melitta, Julius Monk, Norman Paris Trio; $4, $5, minimums.. The supper spot operated by the Meles, pere et fils, has a bright display this session With a series of turns that are familiar in the lntimeries. The show is one that packs a lot of entertainment and holds up well. Julius Monk, who. tdnfereri.ciefs and is. in charge of the talent op- ( erations, again shows, a lot of 1 gemiity in contrasting various tex- tures of comedy to produce an'eri-. tertaining blend. Comic Irwin Corey . contrasts with Marshall. Izen, whose puppet manipulations are on the arty side. In the sing- ing line Dorothy Loudon, in the pop and standard Vein; also offers plenty of distinction from the soft- voiced arid easy- flowing. Melitta,: who majors, in Latin tunes. The singularly-named girl is further described under New Acts. Corey’s absent-minded professor routine is standard and yock-pro- ducing. He has a. collection of zanyisms. that the chichi gentry go for. There are ’no gags per se, but his ramblings produce a net effect that brings on a lot of ap- plause. Corey is Wise enough to restrict his appearance in any sec- tor of town, so that he retains his novelty when he returns. Izen’s top numbers are in the arty spectrum. His material seems restricted to. the higher IQ set, since it deals with takeoffs on opera, and other iteriis that deal with longhair music. His big item on show caught was a rib of the (Continued on ifege 135)