Variety (March 1955)

NIGHT CLUB REVIEWS Wednesday, March 30, Hotel Static*, BT. Y. Les' Elgatt Orch t bith Larry JEJ- gart, Don Forbes; $1.50, $2 Covers. Les Elgart’s young crew, which had its New York bow at the N.Y. Hotel Astor Roof last summer, is now making a regular stand at the Cafe tRouge of the Hotel Statler, Gotham’s last remaining hotel showcase for touring bands. The Elgart band is strictly de- signed for dancing and there’s no attempt to create any big noise' by any offbeat musical .ideas. Playing it safe may be sound commercial sense, but it definitely, won’t bring' the band biz back either. This crew hews to the tried and. true dance-hand sound. The me- lodic line is clear, the beat is sim- ple and the sidemen play with the necessary degree of precision. On occasion, the band manages to swing, but for the most part the arrangements are •- on the sweet side, without much excitement generated. That, of course,’ may be fitting the bill exactly for this room, which no longer is drawing the younger set as it did back in the heyday of the band bis, when this hostelry was known as the Pennsylvania Hotel. The band has a good book of oldies and novelties to provide the change of pace. In the vocal de- partment, Hon Forbes impresses with a fine voice on all types of songs, although the Sinatra influ- ence is so strong at times that it sounds like a takeoff. Les Elgart fronts the band un- obtrusively, while helping out the brass section. His brother Larry is featured on sax. Herm. ThunderlilrtB, Las Vegas Las Vegas, March 18. Winged Victory Chorus (14), Irene Ryan, Jaye Bros. (2), Thunderbird Dancers (8), Al Johns Orch (11); no cover or mini- mum. This unpretentious three-framer nears the status of being a sleeper, due mainly to the creative work o* choreographer Gail Robbins Who dreamed up a colorful version of “Oklahoma,” in which the voices of the Winged Victory Chorus and the line girls are effectively used. Ostensibly the big finale, it rates the major kudoes for the show. Irene Ryah brings her special brand of humor to co-star with the chorus. ✓ The 14 male' singers in the Winged Victory entourage, in col- orful cowtboy attire, a spectacular display of stage maneuvers'while belting out a Well-rounded reper- toire of classics, military, pop songs and ballads. Miss Ryan, as ’always, pleases in Her songs and chatter anent the old, old days when “falsies were teeth.” Pathos and whimsy are-her greatest weapons as she does a lusty “Don’t Change Your Old Wife For A New One,” and a laugh-compelling recitative in “My Heart Cries For You.’* The Jaye Bros. %re a song-and- dance duo, newcomers to the local scene who make a neat impression with carbons of the top singers of the day.- A Liberace piano bit is a better-than-average takeoff of the much-copied star. Their topper is twin impressions of Jimmy Dur- ante sans the rubber nose and gravel throat, the very novelty of which makes the 'act differently pleasing. Al Jalins Orch does a commend- able job. Bob. Hotel Statler, Wash. Washington, March 24. Betty Madigan, Bill Finch, Steve Kisley Orch with Dee Drummond, Ted Alexander Quartet; cover, Fri- days, Saturdays $1.50, holidays $2. It’s the old success story—local gal makes good. Betty Madigan, the kid-from up near Chevy Chase Circle, who learned her trade as an apprentice singer at E>. C. bis- tros and then went out of town to ring the" bell with recordings and supper club appearances, is back, home headlining at the Statler’s plush Embassy Room. And show- ing the hometown folks she’s learned a lot and come a long way in the song-selling business. Miss Madigan, still a youngster in years, has a nice way with a song and an audience. She shows plenty of ease and confidence, whether working before a fixed mike, strolling around the ringside with the mike on a cable, or kid- ding with those at the tables. And when,she finds a child at a front table, as she did at show caught, she’s smart enough to play to him in a pleasant manner. Essentially a swingey singer with an animated personality, she also shows considerable adeptness as a shouter, belting .out the tunes. Her repertoire is smartly chosen to put ’her best foot forward in a change of ..pace which ranges from" the oldie, “Yo(i Made Me Love You!’ and her • record hit, “Joey/’ tn the modified hillbilly of. her newest recording, “The Wheel of Love Keeps Turning,” Her lekst successful effort is a calypso. This girl seems to have consid- erable to offer for n Broadway revue or even a filmusical. Opening half--of the bill is Bill Finch, a very clever and graceful baton twirler tfho livens his work With a series of dance steps. This is a flashy opening act whose finale has Finch twirling two elec- trically-lighted batons in the other- wise darkened Embassy Room. He draws a nice hand. ■ Steve Kisley orch, with thrush Dee Drummond as soloist, plays for the dansapation and show, The Ted Alexander Quartet,, a. very smooth little, unit, spells it for dancing. Lowe. Flanfingo, Las Vegas Las Vegas, March 17. Keefe Brasselle, DeMarco Sis- ters (5), Slate Bros. (3L), Ron Fletcher Dancers (12), Teddy Phillips Orch <12); no cover and no minimum. The Keefe. Brasselle show, a (bright, swift-paced revue albeit not a large one,, offers good enter- tainment before running out its 85-minute span. The Five DeMarco Sisters and the Three Slate Bros, complete the tight package. The promise shown by young Brasselle his first time around is becoming fulfilled. An exciting personality, he has acquired sure- ness .and poise with experience. Brasselle’s claim to- fame was his star role in “The Cantor Story” but he’s come along enough since then that he can assuredly rely on him- self. He’s a definite throwback to entertainers and singers, of the old Tin Pan Alley days. There’s al- ways room in boites for the bounc- ing, raucous personalities of those early days. “Show .. Business— That’s It For Me,” provides a fast opener' for the young dynamo who bounces off “Hello* My Baby” in breezy fashion apd segues to “I’m Sorry I Made You Cry.” His hits with “You Don’t Need A Voice You Need A Gimmick,” as he docs tongue-in-cheek carbons of Frankie Laine,. Billy Daniels, Billy Edk- stine and Johnnie Ray, “I’ve Got A Crush On You,” is a nice change- of-pace ballad before the star bleats his topper “Up . Stage, Down Stage, On Stage.” As usual, he winds with “Al Jolson, Eddie Can- tor And Me,” for a solid bowoff. The DeMarco Sisters have a flare at harmony that’s strictly superior. They give the, show class, Cheese-, cake and tone-blends,' that are strictly okay. “I’m Late” is a bouncy prelude to “Teach Me To- night” and “Sisters,” Which gives the members of the young quintet a chance to solo. It’s the best of a clicko repertoire. Back to the nitery fray have come the Slate Bros. The vet trio do waltz clogs and softshoe terps that score and also bring back their fave baseball skit that’s also good for laughs. Foil Fay Carroll (Mrs. Henry Slate) is cute in comic byplays and on a vocal, The Ron. Fletcher Dancers exe- cute a pair of nice routines with the able backing of the Teddy Phil- lips orch. Jack Elton is Brasselle’s pianist-conductor who performs in standout manner. The show plays here three weeks. Bob. Sms SoucX, Miami B’ch Miami Beaich, March 26. Denise Darce l, Paco Michele, Sa- casas Orch; $3.5Q; minimum. The French ehantoosey is back for her annual date -at. an ocean- front hotel and doing right well draw-wise. The Blue Bails Room in this swankery is made to order for Denise Darcel, who takes full advantage of the intime layout to sell her sometimes vocally obscure, but always sexily projected lyrics, to the nightly assemblage. The Gallic exuberance Miss Darcel possesses in such abundance overcomes: the lack of tonal equip- ment, the gowning accenting her figure via a sheathlike white gown. Working at stand mike, or with stroller for engagements with ringsiders, she sells her fetching, albeit at times rambling, compote of tunes that stress the Parisian. Despite the fact that the auditors aren’t familiar with the lingo, the songstress overcomes that problem with her ingratiating manner and tongue-in-cheek approach. What aids in the overall impact is the enthusiasm with which she attacks her work., Highlight is, per usual, the badinage with an oldster lured onto the floor. The night caught she picked a. yock-maker who deadpanned a hilarious, series of lines to her “flirtation” biz. Paco Michele is a young Latin songster; who,* with more experi- ence, ' should start hitting. As currently set up, his act contains too much talk. Tightening is in- dicated, with concentration on those full vocalistics in the south- of-the-border idiom he handles adeptly. He’s a personable- lad who sells strongly with the stage deportment On the plus side. Lary. t Gatineau, Ottawa Ottawa, March 25. Gaylords (3), Mia & Matti, Mar- gee MbGlory, Frederick & Tanya, Harry Pozy Orch (8); $1 admis- sion. 4 Hotel Muehlebach, K. C. Kansas City, March 25. Dr. Johri-Giovannia, Voca-Lovlies (6), Tommy Reed Orch (8); $1 cover. The Terrace Grill of the Muhle- back. has a somewhat offbeat line- up this season, and one sure to build as word of the pickpocket gets around. This is Dr. John Gio- vanni, long a standard turn and one of the tops, lias never played a K.C. night spot. With songs and dancing by the girl sixsome, Voca-Lovlies, a pleasant 35 minutes is rounded out. Six femmes concentrate on Vocalling to' get things under way, reeling off a trio of song montages in amiable fashion. They make a production’ of, their fourth se- quence, a round'of Parisian songs, and toss in some line work and bit of the cancan to wind with a lively response. Giovanni is' a veteran of pick- pocket work and in easy fashion demonstrates his handiness on a quintet of audience male “volun- teers.” Work'is particularly effec- tive in a intimate room of this type, where he. works in the audi- ence. He mixes in some sleight-of- hand work, a few card tricks, and generally keeps , up interest. He also circulates ip the room between sHbws. " • -' ^ ‘ Quin.' v The venerable Gatineau Country Club preemed its spring season (24)" to top business in spite of the season’s .worst blizzard. With minor redecoration, Gatineau’s = proprie- tor Joe Saxe has added even more warmth to the already cozy room, and of course the presence of al- most capacity mob helped with the comfort. Saxe has a clicko show on the floor for the club’s initial week. Topped by the Gaylords, the unit works and balances smoothly. Gaylords chant, to begoffs every show in a fast-paced, quality stanza. Disclicks are balanced neatly by a comic session midway in the act using parodies and brief gabbing between Burt Bdnaldi, the lead man, bassist Billy Crist and 88er Don'Rea. Trio collects heaVy, con- sistent mitting with nice arrange- ments of tunes like “Ramona,” “Strings of My .Heart,” “No More” (with a hillbilly tinge) and “Shoe- maker,” all given expert handling. Okay adagio terping of Fred- erick & Tanya includes samples of effective lifts and twirls but needs more variety in routines. Pair clicks with a class job on “Anni- versary Waltz.” Canary Margee Me* Glory is a crowd-pleaser with a brassy approach to w.k. pop tunes, plus a series of impressions of Kay Starr, Lena Horne, Pearl Bailey, even Satchmo. Mia & Matti have an impressive session of unusually graceful aero work. Stanza shows thoughtful preparation and routin- ing and muscled male and femme get across a lot of difficult bends, lifts and balances without looking as though they were working at it. Harry Pozy band seems to have improved from last season, provid- ing boffo music for shows and danc- ing. Al Cost! is^again in the loUnge on the chant-88 Shores. Gorm, Last Frontier, Las Vegas Las Vegas, March 21. Jack Carson (with Connie Tow- ers), Gypsy Rose Lee (with Royal American Beauties (4), Deep River Boys C4), Frontier Girls (10), Garwood Van Orch (11); no cover or minimum. The curtain drops in the Ramona Room, with its final layout a bright revue that leans sparklingly on the girls. Henceforth the shows will be viewed in the new Venus Room. Jack Carson and Gypsy Rose Lee divide marquee honors in this three-weeker, and solid biz has been scored, since it opened. Carson, for the most part, brings back the material he displayed on the Strip his last time at the post. He’s a big, lovable guy who’s stand- up, physical manner of tossing off jokes in typical of-old vaude days. Carson as a film thesp overshadows the comedian as a nitery performer, although his personality is indis- putably t a rqggjedly pleasing 4 one. Each time he g on-stage, the star overstays in the overlong (95 min.) show, as he keeps tossing off joke after joke. Lopping off the older material would be a big help .in sharpening the amiable guy’s act. Connie Towers, back as his foil, is a singing hit with “Perfectly Wonderful" and her capsu'e score from “Porgy And Bess,” She makes a nice impression in. her work with Carson and serves him well, too, as the star teams with her for his best ‘ work, especially in his burlesque translation of her French lyrics in “Cherie,”' 4 Gypsy Rose Lee is a vibrant per- sonality in a teasing, satirical strip routine. She cuts a handsome figure aS she presents her four femme aides, billed as the Royal Ameri- can Beauties, who admittedly, can’t sing or dance or cook, But they mete out plenty, of pleasures in being just looked at, and they 1 serve as enticing mannequins in Gypsy’s big drape scene. Miss Lee’s biggest, yocks come behind a shadow screen onstage when she dresses, the intimate touches she applies carrying the laughs over as a greeting as she steps out in full .gaze to begin instantly doffing again. The Deep River Boys offer a nice repertoire of ditties including “When Your Smiling.” “Count Your Blessings” and “Mr. Sand- man,” and rate a big hand for their close harmonies; The Last Frontier Girls are eye- pleasing in a pair of production numbers backed by the able Gar- wood Van orch. Bob. o * . . • Seven Seas, Omaha Omaha, March 19. Wilder Bros., Al Lamm Trio; no cover or minimum. If hard work, good^musicianship and excellent vocalistics count, the Wilder Bros, have it. Warner Wilder is the. leader with lookalikes George and Walt handling the end assignments. At show caught, boys started slow, with straightaway “Old Man River” and “High and Mighty” before showing their ver- satility. On a Texas medley, boys brought out guitars, which have • dummy faces op the backs with movable- mouths for a clever ventro bit. Then trio changes to sax version of “Holiday for Strings” in which each winds up playing a brother’s instrument. “Little Bit of Monkey in Us” is a clever novelty, followed by a “Melody of Love” sax turn and a “Nobody Knows” spiritual. For first encore, they do “Bottom of the Well” and on second callback the boys do a takeoff on the. Rhythm Boys singing “Mississippi Mud,” complete with dance shuffle. .Trump. Lake Cluli 9 Springf’d, 111. Springfield, 111., March 26 Mills Bros, with Norman Brown, guitar; Jimmy Palmer Orch (11); $1.50 cover. Three Mills Bros, with two strikes against them — blizzard weather and the absence of its fourth member—are scoring the biggest hit of the capital city ‘’sea- son in their eight-day Lake Club engagement. Despite an icebound opening weekend, the melodic freres drew capacity crowds and ^appear on their way to topping their own house record of two years ago. On the strength of their first tw»* nights, (total five shows), the cur- rent boxoffice week should surpass recent winter smash engagements of the Nelson Eddy-Gale Sherwood duo and Frances Langford-Fellas ensemble. Minus the venerable and talented “Skipper,” father of the Mills freres, who is seriously ill, the vocal trio, assisted by guitarist Norman Brown, competently fill the melodic gap. Encbre demands Stretched their half-hour layout to 52 minutes and they exited to Comeback cheers. Opening with one of their re- cording smashes — “Glowworm,” . “Jones Boy,” or “Paper Doll,”— it’s memory time from there on out. Impromptu requests from at- tentive fans are fulfilled. Midway the boys, backed by Jimmy Palmer’s Dancing Shoes band, sans Jimmy, get equally favorable reception from their in- strumental interpretations of jazz classics, “Basin Street Blues” and “Caravan.” With this bit, mus- tachioed Donald takes the spot- light with vocal trombone simula- tions. Heretofore, happy Harry, lead baritone, is front and center. Rotund Herb, a carbon of Harry, has no solo mike stint, but he’£ in there with the harmony. Following the vocal, impressions, the brothers swing back to their sock repertoire, winning added ovations with everything fronvtheir initial 1929 recording. “Tfger Rag.” 61 Kramer Thesis iiMB— Continued from page 3 may avail themselves of a guaran- tee of 10% of the gross as a profit if they show bona fide house ex- penses, Kramer revealed. Concerning any hypothetical film distributed by UA. Kramer empha- sized: “No longer must the state- ment be made that it had a won- derful gross \ but. ^wouldn't Metro or 20th-Fox have done a few mil- lion,, dollars more?” The filmmaker stated that UA has the domestic and foreign sales power and “we’re going after this one (‘Stranger’) for top drawer.” He underlined that' the original, book has had 28,000,000 to 30,000,- 000 readers, according to estimates by Scribner’s, the publishers. The film “sell” will be unusually heavy, with an, ad-pyb budget of $1,200,- 000. “It has an all star cast and, I think, it’s a good picture,” com- mented Kramer. UA’s top grosser of all time is “Moulin Rouge,” 1953 release which brought in $5,000,000 from the domestic market. Thus the company and. Kramer have their sights on double the present rec- ord. The producer stressed the long- term buildup for ’ “Stranger.” He did a country-wide tour ballying the book at first and is following this with similar work in advance of the film’s opening, including more road work,. a couple of ap- pearances on Ed Sullivan’s “Toast of the Town” tv’er, slotting, of specially made pix for tv aiid early ad insertions, including a full pager in the N. Y. Times in April. “Stranger’’ is to preem in July. All of this, opines Kramer, is giv- ing the pic a “base,” from which the big exhib and public money is . to build, according to the blue* prints, Kramer both produced and di- rected “Stranger,” as he will his next, “Pride and Passion.”; Latter, which rolls in Spain next Decem- ber or January, likely will be done in the Paramount-fostered Vista- Vision process, which Kramer be- lieves to be the best technique of them all because of its versatil- ity. “Stranger” was brought in at a negative cost of “a little under, $2,000,000,” UA provided the cap- ital and no one is in on a partici- pation, Kramer reported. Omaha Junket — Continued from page 4 Steinberg, Bob Montgomery, Burt Champion and Gabe Sumner. Also in from Gotham was Lt. Coi: Hugh Day, who was “project officer,” that is, in charge of ar- rangements and execution for the SAC, and who’s, staying in close tie with Par to facilitate promo?, tional coordination with the dis- tributor during subsequent han- dling of “SAC.” Coincidentally, Day, shortly after World War II, when he was making like a civilian, had a job with George Weltner’s Par International Dep’t., operating, in Singapore, India and other global points. Remittances got tough so lie rejoined the service. Planes from both Coasts hit SAC’s Offutt base here Friday (25). The journalists (meaning those who tote typewriters) and less im- pressive newspapermen thereupon launched a full-programmed week- end, including receptions, pic preem, inspection of planes and “briefings” by general officers at Offutt. Asides to the junket included a tour of a couple of Omaha spots for a party of H’wood and Gotham tourists, conducted by Variety and World-Herald rep Glenn Trump, and some local newspaper stories which a few callers from the two Coasts thought worth a conversa- tional play. On the day of arrival, the Omaha headlines concerned closing of local houses of flowers, and on day of departure the news concerned a prison riot in nearby Lincoln. to their newest Decca offering “Paper Valentine.” Opening night ringsiders included Gov. and Mrs. William G. Stratton. Show openers on the Mills bill are violinist Franz Bentler and pianist Carl Zimmerman, both brought into the nitery’s main room from 'their “Little Room” podium* Introing with their own arrangement of “Gypsy Airs,” the duo winds to heavy applause wttfc “Jazz Pizzicato.” Ale*. /