Variety (January 12, 1955)

VAUDEVILLE Wednesday, January 12, 1955 Personal Representative: M.C.A. ARTISTS, LTD. TON ARDEN Night Club Reviews Latin Ounrlor, \.Y. Lou Walters presentation o "Paris a la Mode," with Johnnie Ray, Chiquita & Johnson, Wiere Bros. <3> with Mildred Seymour, Bas Sheva, Seven Ashtons, Melo- dears, Harmoneers, Jessica Haist, Clarissa, Line. Staged by Natalie Kamarova; costumes, Ottmar Gaul ; arrangements, George Kamaroff. Art Waner & Buddy Harlowe Orchs; $6 minimum. Lou Walters has started off the new year with a burst of splendor, both in name value and budget-be- hanged attitude in relation to cos- tumes and production trappings. The Ziegfeldian extravagance, as usual, is expected to add up to the kingsized grosses that have become customary at this Broadway show- spot. Walters is in a position virtually unique in cafe annals. His Latin Quarter is able to garner a lot of business, being virtually without competition in the Broad- way area. Yet, he invests upwards of 50Gs in a new show every so often, and with a new layout, puts in a ranking name. Walters is wise enough to realize that despite his comparatively secure situation, he must create interest in the cafe field in general and the Latin Quarter in particular. This kind of show’ will do both. For headliner value, Johnnie Ray is sufficient to add extra polish to the boxoffice. Ray, mak- ing his first N.Y. cafe stand away from the east side, is a performer WEEK VIRGINIA PARKER The Neptune Room WASHINGTON, D. C. who is assured, and can whip up a lot of audience frenzy. Ray has in- creased his stature with his ap- pearance in 20th-Fox’s “There’s No Business Like Show Business,” which is concurrent with his LQ run. He is an unusual performer, as he doles out gaiety in his revi- valist way. He sings as if it’s his mission in life. It’s a dedicated kind of song that now transcends the weeping style that catapulted him to bigtime. Of course, he reprises tjie early disclicks, "Cry” and "Little White Cloud,” and has added a retinue of tunes that keep him, as well as the joint, in a jumping mood. Even when his songs express a happy thought, the intensity of his ex- pression leads observers to be- lieve that he’s weeping through. Nevertheless, his 30-minute stint is greeted with top hands. The ap- plause is loud after numbers and especially after his routine. The other top acts are also of headliner status. The Wiere Bros. (3), assisted by Mildred Seymour at the piano, have an entertaining turn. As chat, they seem to have slowed up because of a certain looseness in their performance. Despite this, they entertain all the way. Their comedy fiddling and Assorted antics are productive of excellent results. Another top turn is Chiquita & Johnson, with a terrific blend of aero and terps. They display some of the most dazzling tricks in the ballroom lexicon. The male handles the well-built femme in a manner that brings out heavy salvos. The lifts and spins are enough to keep audience attention at fever pitch. Bas Sheva, an Israeli chirper, has a flair for drama, but she fre- quently lets the histrionics lead her to melodramatic depths. Ren- ditions of "Caravan” and "Man that Got Away” are in that idiom. The Seven Ashtons continue , here. They were out for a while but a member of the substituting act got hurt and they resumed at their old stand. It’s one of the more thrilling turns in the busi- ness, and the best risley act seen anywhere. Clarissa does the production dancing in a charming manner. The major production number de- pict a style show of the future and a colorful Rumanian number, with Bas Sheva and Jessica Haist in the vocal spots. The costuming in both numbers is extremely lush. More production singing is the femmes tagged as the Melo- dears. They show a rich blend of ' harmonics. Jose. CAB CALLOWAY Currently GOLDEN HOTEL RENO, NEVADA Mgt. BILL MITTLER, 1619 Broadway, Now York Uhez Part*e, Chi Chicago. Jan. 4. George Jessel, Joyce Bryant, Terry Sisters (3), Brian Farnon Orch; $1.50 cover, $3.75 minimum. Playing his first Chi nitery date in some 21 years—and then only to sub for his ailing chum, Joe E. Lewis—George Jessel should have this room packed to the rafters night after night during his three- framer. He’s not only bringing in the regulars and the younger cabaret contingent, but some of the oldtimers as well, who appar- ently have given up such nighttime diets. It’s understood the Chez management has asked Jessel to return for another date in 1955. i What this "old trouper” does onstage, by his own argument, is not an act but a kind of random raconteuring such as he’s been known tor in his frequent speech- making chores. By any name his stint is choice entertainment for this room, executed with a casual j building to punchlines and a con- j genial warmth that make the yocks flow thick and fast with nary a letdown. His humor lies largely in the J telling of little tales, and he tells I them exceedingly well, with some i good-natured chauvinism and | plenty of Yiddish dialect. In the course he reflects on his lengthy showbiz career in capsule, dares to get openly political, and pays sentimental tribute in song to such vaude kingpins as A1 Jolson and Eddie Cantor. By the end of 35 minutes it’s evident that he has hours of bellylaugh material to spare, but he begs off in a clatter of applause. Joyce Bryant, also a pinchhitter (for Peggy Lee, sidelined by surgery) wows ’em with a pliant and vibrant voice in her Windy City cafe debut. Sepia singer makes the utmost of a ballad, fluc- tuating from tremolo to whisper tones whenever apropos and belt- ing for punctuation. When she takes an uptune, everything on her frame that isn’t nailed down goes into rhythmic action which, con- sidering that she’s nothing lacking for sex appeal, isn’t hard for the j eyes to digest against her slinky gown. Terry Sisters, a threesome of muscular but attractive acro-danc- ers, dish up a series of unison cartwheels and backflips to music for good returns in the opening slot. Brian Farnon orch cuts a nice show, per usual, and draws the couples onto the floor for the dance sets. Les. Sahara, Las Yogas Las Vegas, Jan. 6. Fred Waring Show, with Penn- sylvanians and Glee Club (34); no cover or minimum. Fred Waring presents his own revue in a sparkling 75-minute show that must rate as a musical high for a nitery. Whether this uplifting type of show will draw' satisfactorily is a moot point and whether those attending are casino habitues also leaves a question in mind. But standing on its own, the four-week presentation is as worthy show-wise as anything ever presented on the Strip. This would have been a natural for the Xmas holidays, give and take a few carols. Between a revival ses- sion, a patriotic rally and minstrel offerings. Waring, a master show- man, isn’t stingy with dispensing I the talents of the 34 members of ; his company that includes the 18- ► man orch that doubles in brass on vocals with the glee club. The Pennsylvanians, with plenty of strings to augment the braas, play for Waring as did the Pennsylvan- ians of two decades ago. In fact, still along to entertain is percus- sionist Polie McClintick, one of the organizers of the group. The show opens with full-scale j vocals in American folk songs fea- turing "Across the Wide Missouri” and "Barefoot,” with the bucolic costumes in proper character. A group of sacred songs segue to Negro spirituals and features Frank Davis, who steals honors for the show in a moving musical sermon and who then leads the company in "Deep River” and “Give Me That Old Time Religion.” Lagging is discernible in a few' spots as the sacred and spiritual j songs emerge in succession as deeper studies than the rest of j the program. But the minstrel | show picks things up considerably as the interlocutor introes various ; solo members in song spots with the flamboyantly typical costumes of the minstrels providing a nice nostalgic touch. There’s a lullaby department as the six femme sing- ers surround the harpist in a nice rendition of “Sail, Baby, Sail.” Waring exhibits a nice touch of comedy as he leads an assault on the opera that features the “Swanee River Quartet From Rigo- letto.” Bass player Lumpy Bran- nan narrates an alcoholic expedi- tion and sounds like George Gobels, as he earns yocks galore. "Dry Bones” calls for plenty of odd sound effects and at the fin- ish of the opus the audience joins Waring in "Battle Hymn Of the Republic,” in a manner that leaves no doubt the show is a winner, for all that the selection may be more fitting in a Salvation Army Mission rather than a nitery finale. The whole package adds up to solid show business. Bob. Flamingo, La* Yoga* Las Vegas. Jan. 2. -Tony Martin (With Hal Borne), Goofers (5), Costello Twins, Inter- ludes (5), Ron Fletcher Dancers & Flamingo Starlets (12), Teddy Phillips Orch (15>; no cover or minimum. In a battle with dat old debbil flu Tony Martin must, perforce, save his voice from over-exertion and in the first shows of his month- long stand the star, as a result not as vibrant as in previous en- gagements, is nonetheless as mag- the pipes do not ring out except on a couple of occasions, such as in "There’s No Tomorrow” and "Brigadoon.” It’s a mellow' Martin who caresses a note or a phrase in superb show’man fashion arid succeeds in bringing down the house during his 40-minute stint. Hal Borne is hisf longtime efficient piano accomper. Martin appears in the finale with his tv singing quintet, the Inter-' ludes, and the Flamingo Starlets for a song and terp version of the score of "Brigadoon,”/ that’s a sparkling finish. The Goofers, a daffy quintet of acrobatic musi- cians and singers, play instruments from a swinging trapeze and other- i wise garner laughs with stunts and numbers that leave the audience yelling for more. The Costello Twins are blonde spinning lovelies in a brief turn that pleases, as fast routines are climaxed by splits and leaps. The girls are easy on the eyes, too. Bob. DiLido ll.« Miami llVIi Miami Beach, Jan. 8. Cross & Dunn, Tad Lawrie, Wally Wanger Line (7), Barbara Ann Sharma, Martin & Maio, Fausto Curbello Orch; $3 food or bev. minimum. Reunited after several years’ separation, Cross & Dunn top a lively two-week bill in the Moulin Rouge of this big downtow'nery, working in the smooth manner that always stamped their work. Special material dominates their act, the lyric ideas cleverly worded and delivered in effortless style, j Blending is intelligent, w’ith mix- ture containing a sound takeoff on $ (Continued on page 62) COMEDY MATERIAL For All Branches of Theatricals FUN-MASTER THE ORIGINAL SHOW-BIZ GAG FILE (The Service of the STARS) First 13 Files $7.00-AII 35 issues $25 Singly; S1.0S per script. • 3 Bits. PARODIES, per book $10 • • MINSTREL BUDGET $25 • • 4 BLACKOUT BKS., ea. bk. $25 • • BLUE BOOK (Gags for Stags) $50 • HOW TO MASTER THE CEREMONIES $3.00 GIANT CLASSIFIED ENCYCLOPEDIA OF GAGS, $300. Worth over a thousand No C.O.D.'a BILLY GLASON 200 W. 54th St., New York 10—Dept. V l Circle 7-1130 Young man, 27, single, good show- bis head, press agent background, now seeking position with personal mgr. or allied fields. Resume. Write Box 360, Variety, 154 W. 46th St., N.Y. 36.N.Y. SIBYL BOWAN SEVILLE THEATRE — Montreal, Canada January 13 Management: MATTY ROSEN ERICA’S DRAMATIC SONG STYLIST HEADLINING 4 WEEKS AT DESERT INN Las Vegas, Nevada OPENING JANUARY 18 th