Variety (October 1955)

68 NIGHT CLUB REVIEWS VmiETY Wednesday, October 12, 1955 La Vic, N. Y. Dick Haymes (with Ian Ber¬ nard), Billy Vine, Gina & Gerardo, Van Smith Orch, Damlron Orch (with Sylvia & Chapuseaux); min¬ imum $5. A couple of firsts transpired Thursday (6) with Dick Haymes’ opening at Monte Proser’s La Vie. Haymes hasn’t been in New York nitery since 1942 when he came into bigtime at La Martinique fol¬ lowing a long apprenticeship in the band-vocalist ranks with Harry James, among others. The other item of major interest lies in the fact that La Vie can do terrific business with a headliner. Thurs¬ day’s (6) assemblage was the first capacity house since the cafe’s opening night. Here’s further proof that a N. Y. room is as hot as its headliner and as warm as its show. Haymes comes in at a time when he’s particularly hot. Presently, he’s a lure because of his marital difficulties, and for the past year or so. his difficulties with alimony payments, immigration authorities, revenooers, have made him a con¬ stant source of newscopy. Appar¬ ently. of late, he means to settle down to serious work. The youthful pash and sincerity that he had w'hen first starting out — as a single is showing. Whether" it’s accidental or deliberate, isn’t readily evident, but the ringsiders seemingly prefer to associate the tunes he’s doing with his currently romantic plight. It certainly helps the boxoffice, and it probably helps his ultimate reception, although the audience sooner or later starts applauding him solely on his own merit. Haymes holds forth with a series that includes “Something’s Gotta Give,” “Love Me or Leave Me,” a Gershw'in medley, “Can’t Take That Away From Me,” “Let There Be You,” “Might as Well Be Spring” and “Little White Lies.” It's his hit parade of former years mainly, and it serves him well in this tour, which might be de¬ scribed as a comeback event. He’s accomped at the piano by a satyr- like, goateed Ian Bernard. The preceding Billy Vine and Gina & Gerado acts help clear the way for Haymes. Vine, like Haymes, is almost a new r face on the upper eastside, and this helps his material off to a fresh impact. Vine is an accomplished comic ■with a pliable kisser and a strong delivery. Vine’s new bit. a bur¬ lesque. of record singers, is a po¬ tent bit of business and among his standards, the crying drunk and the Zero Mostel impersonation give him important status on this show. Gina & Gerado, no strangers to this part of town because of a previous tenancy at the Hotel Pierre, are smooth and picturesque dancers. Their top number is a baion, a sexy Brazilian dance of the samba family. In this routine both seem to achieve a highly ecstatic state which is climaxed by the femme being carried off stage most willingly. In that condition neither of them should have come back for even as much as a bow. The audience would understand and they might have gotten even a stronger mitt. It’s Proser’s best show to date and has sufficient boxoffice values to make up for a lot of minus weeks. Van Smith’s orch does the showbacking capably a n d the Damiron Latin outfit reliefs with Sylvia & Chapuseaux doing inci¬ dental terping and Latin tunester- ing. Jose. Ciro r s, Hollywood Hollywood, Oct. 5. Maria Cole, Amin Bros., Ricky Layne & Velvet, Maria Neglia, Dick Stabile Orch (8), Geri Galian Rhumband (5); Cover, $2, $2.50. There’s plenty of entertainment packed into the new two-weelc Ciro’s revue and despite some headline shortcomings, it’s a good bistro buy. Boniface H. D. Hover has cannily surrounded his fledg¬ ling star, Mario Cole, with a show that keeps interest high. Opener was overlong at 72 minutes but there are obvious places to cut. Mrs. Cole, wife of Nat (King) Cole, has aimed too high in this re¬ turn to show biz for the first time s “?ce . her marriage. She was, and still is, a band singer, and even allowing for opening nervousness, is a long way from the stature needed to headline one of the top spots in the country. She’s offer¬ ing a 30-minute act that consists largely of encomiums to her hus¬ band and to Ethel Waters, utilizing material that each has made fa¬ mous. The former is sometimes embarrassing and she’s improperly equipped for the latter. In the straight tune department, she of¬ fers “Then I’ll Be Happy” and “Sophisticated Lady” in pleasant but undistinguished style., jtf ; this return to show biz is more than a passing fancy, she’ll need to devel¬ op a definite style and should be bulwarked by slick special mate¬ rial. Remainder of the show moves rapidly and with good results. Ventriloquist Ricky Layne, with his Jewish dummy Velvel, has some material for this outing and most of it is good. The exchange of barbs between boss and dummy cues constant chuckles and the act builds well. Layne is still using the “accident” conclusion to Vel¬ vet's “Old Man River” solo and it gives the turn a solid exit. Violinist Maria Cole provides an effective change of pace with some excellent bow work. An im¬ pish personality, she mingles some comedies with her music, particu¬ larly during some fine finger- plucking bits. A new arrangement of “Lover” and “Hot Canary” are best in the pop vein. Show opener is the Amin Bros., one of the best aero acts extant to¬ day. They get the layout off to a fast start, evoking gasps and con¬ stant applause. Peak effort, of course, is the foot-held head stand, one of the most difficult tricks ever used by an act of this kind. Ciro’s girls are on for two num¬ bers, one a carryover from the pre¬ vious show which gives saxy Dick.. 'Stabile' a solo spot, and the opener which combines a rehearsal idea with a “Dragnet” theme. Hal Loman, who choreographed, is fea¬ tured. Stabile crew backstops and the dance beat is shared by the band with the Geri Galian Latune outfit. Kap. Club Crescendo, Houston Houston, Sept. 28. Jane Morgan (with Ernest Bragg), Jose Ortiz Orch; no cover; $3 minimum. Club Crescendo continues to bid for a key spot in the local enter¬ tainment parade. Bistro is private, members being only “bottle club,” a Texas-type institution serving joinees their own liquor kept in lockers, since state law nixes open bars. Spot has been booking acts on more or less continuous basis since spring, dipping into MCA and GAC stables, with accent on quality. Acts usually stay two weeks. Booking of thrush Jane Morgan points up fact that club means ausiness in its quest for quality. Femme is a looker with added benefits of great vitality and im¬ peccable showmanship, plus a voice* that can cut through even routine material—of which she had a mod¬ icum—and give it lustre. A wholesome clear-eyed type, gal seems a little wasted on some of her French-based material (“Fancy Living,” about Kentucky gal who went wrong in Paris, for example), which tends to be stale, routinely- risque as well as to need pruning. However, when statuesque war¬ bler turns substantial and savvy pipes to “Love Me Or Leave Me,” she’s tops. She belts with terrific impact, leaves impression, she’s still got plenty of reserve steam. Lass’s songasbord is heavy on the Gallic, as per her billing “The American Girl From Paris.” Per¬ haps tastiest Parisian bit is how American songs sound in French— “No Beeness Like, etc . . . Mon¬ sieur Sandman.” Sparking the performance is the crisp, modern touch of accompan¬ ist Ernest Bragg, recent import from London who played for the headliner in Europe. House band of Jose Ortiz, who’s also in charge of club, keeps terpers swaying to a rich assortment of Latin beats. Bode. Hotel Radisson, Mpls. Minneapolis, Oct. 1. Felix Knight, Don McGrane Orch (8); $2.50 minimum. . Former Met Opera tenor Felix Knight doesn’t put on any vocal or other airs. Instead, he gives a down-to-earth singing session with surefire numbers that hold every conceivable appeal. The aforegoing, plus his consid¬ erable talent both as a singer and agreeable entertainer, may help to account for his being back in the Flame Room for the fifth succes¬ sive year. It also explains his rating here as one of the bistro’s regular male warbler visitors. On this occasion Knight again shrewdly tosses into the vocal pot¬ pourri surefire novelty songs, bal¬ lads, show tunes and pop numbers. A dash of grand opera might not have been amiss, but he eschews it. What’s more, Knight goes for laughs, too, and gets them with witty intros and some well-told gags, jokes and amusing stories that interland the vocalistics. Knight receives flawless back¬ grounding from Don McGrane and Sahara, Las Vegas Las Vegas, Oct. 4. Marlene Dietrich, Jean Carroll, Marcellis (2), SaHaremaids (16), Cee Davirson Orch (16); $2 ?ninf- mum. With biz along the Vegas rialto at present spread mighty thin, it isn’t odd that from his long cara¬ van of Sahara regulars producer Bill Miller should choose Marlene Dietrich to topline the Congo room during this four-frame segment of the post holiday season. For there are few entertainers who, upon a return engagement to this blase circuit, can lure the attention of the news media and the coin of the diamond stickpin and necklace society like la Dietrich. Opening night (4) was themed by popping flashglobes and newsreel kliegs and the long, loud applause of a packed house. And if this can be used as a gauge, then the sexiest grandma of them all will probably have the ropes high during her third trek to this hospice. Perhaps her formula for creat¬ ing repeat excitement is the well- drummed mystery as to what she'll wear or do onstage. For the most part, Miss Dietrich’s per¬ formances in Vegas, unlike many other headliners, are rewritten for ^each-trip. - She 'is one of the~real troupers of the day, and notably during her present fling at cafe, she projects more into the audience via a casual mannered spiel anent her film career which leads to up¬ coming songology. Miss Dietrich points up her show* knowhow at the outset when she takes the spotlight in a white transparent net gown, appliqued from the waist down with rhine¬ stones and feathers, while allowing the few strategically set rhine¬ stones from the waist up to evoke the -whistles. A white feathered boa trails over her shoulder which she toys as she unfolds her song- fest of “I Love the Man I’m Near,” “You’re the Cream In My Coffee” and a blue-lighted “My Blue Heav¬ en” for a starter. She tongue-in¬ cheeks both the lyrics and the husky larynx she applies to “What Am I Bid For My Apple,” “The Boys In The Back Room" and “The Laziest Gal In Town.” Star repeats her histrionic “Johnny” in German, and from her upcoming MGM-Joe Pasternak pic, “Meet Me In Las Vegas,” she selects a swingy “I Refuse To Rock And Roll.” Solid as ever is her nostalgic “Lili Marlene.” While the house orch tootles the brass for a 60-second march med¬ ley, Miss Dietrich ducks offstage for an apparel switch into black tux, topper and tails. Returning, she cakewalks on a runway to “Dark Town Strutters Ball” for sock applause, then returns to the foots for a touch at theatre in “One For The Road” and “Falling In Love Again.” For the kicker, she exits leading the SaHaremaids down the runway and through the audience. Jean Carroll is marqueed as an added, extra and for her portion she -whips out a batch of sprightly comedy that clicks well. She’s put on a few pounds since her last turn here, but she makes a play of it as she ribs “us obese gals.” A natural is her bright patter cen¬ tered about the local greenfelt spirit, “don’t you wish you could afford to live like you live here?” A blue note wends its way into her routine now and again, but the, impish manner with which she tosses off the line gets her by with¬ out leaving a bad taste. The Mar¬ cellis, a comedy aero duo, get the show away to a lively start with their yock loaded sommersaults, headstands, gyrations and bruising prattfalls. Cee Davidson waves an excep¬ tionally keen baton to firm up a top musical backdrop throughout, while Buddy Peeper keyboards the orchestrations cleffed for Miss Dietrich by Peter Matz. The Sa- Haramaids frame a moody calypso in the center of the show, “Funny What Money Can Do.” and raise the curtain with “Cupid Doesn’t Bet,” a number that embodies “We’re In The Money” aind “You’re My Lucky Star”—both' of which the Sahara ops can 'hum in earnest during the run of this re- vusical. Alan. Old Roumanian, X. Y. Sadie Banks, Gene Baylos, Lil¬ lian Hayes, Danny Mason, Line (8), Joe LaPorte & D'quila Orchs; minimum $3.50. One of the most stable institu¬ tions in the nitery field is Jack Silverman’s Old Roumanian over which Sadie Banks presides in a manner befitting a matriarch and a dowager. The cafe and Miss Banks are inseparable by now. The nitery has gone through several transformations. The spot for many years has been a downtown branch of Broadway. It must get rwes / that >have. worked >tbnt sec¬ tor of town and must draw from all sections of the city in order to survive, especially in view of the comparatively high entertainment budgets. There’s a pair of co-headliners here with Gene Baylos and Lillian Hayes. Latter is a draw in that sector of town and probably could extend her clientele in some of the uptown spots. Miss Hayes is a strong singer ivho came through on night caught despite laryngitis. She shows a superiority in rhythm tunes over ballads and she concen¬ trates in this field. She gets an extremely strong mitting in this hall. Baylos achieves a comedic suc¬ cess in virtually any cafe situation. His line of yock material remains potent despite the lack of major changes throughout the years. At some points during the turn, the audience reaches hysterical heights, which is a tribute to Baylos’ deliv¬ ery, timing and the bits of business he infuses. With some variations in his act, he should hit the up- towneries with great regularity. Miss Banks sells her special ma¬ terial well. The audience likes her songs as well as her hostessing. The production accoutrements, by Boots McKenna, encase an octet of girls doing some well-drilled routines. Costu ming is good and, the music is well-integrated. Joe LaPorte does the showbacking and D’Aquila relieves. Jose. Shoreliam Hotel, Wash. Washington, Oct. 8. “Mississippi Showboat ” revue, with Hightowers, Tippy Stringer, Charles Gregory, Rika Perikles, Pat McDonald, Bob Davis, Howard Hood, Ian Bruce, Shoreham Bal¬ lerinas (6), Singing Strings (12), Barnee Orch; cover $2. Cool weather has forced the Shoreham’s shows from its outdoor Terrace to its indoor Blue Room, but hasn’t changed the smooth quality of the entertainment. “Mississippi Showcast” is gener¬ ally stronger on the melody that most of the recent shows, but does manage to register nicely in the terping department with two wide¬ ly different numbers. One of these, an acro-dance by the Hightowers, has the girl member of the team at her best with a deep back bend from pedestals to pick up a hand¬ kerchief in her mouth and then flip forward into the arms of her partner. The Hightowers give the Blue Room its best terping of this school since Darvas & Julia played there, two years ago. The other dance, in the Missis¬ sippi steamboat theme, has river gamblers (hoofers Bob Davis, How¬ ard Hood and Ian Bruce) working with Rika Perikles and Pat McDon¬ ald as dancehall dollies. Number is lively and colorful, but is much more typically cheek-to-cheek Bow¬ ery style choreography. Tippy Stringer, back from her summer vacation, solos with “Make a Wish” for strong returns. The Singing Strings, the 12 vio¬ linists who have become the Shore- ham’s entertainment trademark, are pushed strongly to the fore¬ front in the current show and de¬ liver some of the best music they’ve offered in many shows. In one number they feature a number of antique stringed instrumentS'Which they also use in the earlier, dinner show, in which they are also strongly featured. Charles Gregory works with the violinists, using a musical saw & balloons. Cakewalk finale is a nice wind¬ up for the Mississippi revue, Barnee Breeskin, the Bltie Room’s longtime maestro, plays for the show and dansapation. Lowe. El Cortez, Las Vegas Las Vegas, Oct. 6. Romaine Brown & His Romaines (5), Yvonne Moray, Dorothy Kra¬ mer Dancers (5), Sherman Hayes Orch (6); no minimum. Unlike the plusher boites cross¬ town on the Strip, this Fremont St. inn doesn’t rely on tourists to fill its modest supper cafe, where. a three-a-night show policy and a $1.95 Chicken-in-the-Basket menu is sufficient to lure blue-chip play by the local rounders. And the’ latter set goes for the Pirate Den’s format of rhythm & blues which, for the present fortnight, is firmed up by Romaine Brown and His Romaines. Fronted vocally and on the keyboard by Brown, a former Steve Gibson 88er, the quint rocks through w.k. r & b livelies. Con¬ trast is offered by balladeering of Jimmy Thomas, who bisects the bash with an exceptionally good “Young and Foolish” and “Learn- m’ the Blues.” Yvonne Moray is well received in her slot, during which she bub¬ bles and bounces her 42-inch frame through song parodies, mimes of Strip topliners and the •peel. • > 1 1 .'■ > . u j . Alan. >. Hiltmore Hotel, L. A. Los Angeles, Oct. 5* Henny Youngman, Helen For. rest, Toy & Wing, Hal Derwi-n Orch (10); Cover, $l.50( $2 n Another frothy concoction has been whipped up by Joe Faber for this deep downtown, outpost of en¬ tertainment and the hour-long layout will find favor with tourist and regular alike. And with such pros as Henny Youngman and Helen Forrest headlining there’ll even be interest from Holly- woodians, despite the dangers of the long trek down the freeway Youngman’s headlining stint* is no barrage of bellylaughs but the chuckles are constant and the good humor contagious. His material is like the traditional wedding garb of a bride and he wears it. well Some of his whimsy is a bit too fast for the visiting vacationer and would sit better in a more show- hep spot, but careful tailoring should overcome momentary lags. His discourses now cover every¬ thing from his hotel room to the new cars and includes the already- inevitable $64,000 question. The fiddle bit now serves only as an encore piece and it gets him off well. Youngman has a tough spot fol¬ lowing Helen Forrest; who earns - a begoff in a 20-minute stint that is packed with musical and nos¬ talgic values. She’s singing better than ever and her current act packs a solid wallop. It’s com¬ prised of standards only, like “Falling In Love,” “Funny That Way” and an excellently handled cavalcade that reprises her top platterings of “Honorable Mr. So- and-So” with Artie Shaw, “The Man I Love” with Benny Goodman and “Don’t Want To Walk Without You” with Harry James. Slick phrasing and showmanship comple¬ ment the voice, a combination most evident on a fine next-to-closing “September Song.” Sole flaw is an expensive but not attractive gown. Perennial dancing favorites Toy & Wing are back to open the show with some fast routines that gain attention. Top response is regis¬ tered with a medley of George M. Cohanisms and a frantic windup in the acroballet tradition. Hal Derwin’s house band is still around and with good reason; they play a good show and provide a dance that keeps the customers satisfied. Kap. Fontainebleau, M. B’eh Miami Beach, Oct. 7. Joel Grey, Felicia Sanders (with Irving Joseph), Midge & Bill Hag- gett, Sacasas Orch; $2.50-$3.50 minimum. This is convention month for the hotel row, with resultant upbeat in patronage for their cafes and for bar-lounges. Though the majority are content to go along with mod¬ est-budget policy, depending on the conclave-character’s predilec¬ tion for entertainment, any kind of entertainment to go with liba¬ tions, the management of this over- whelmery has obviously upped the budget for the pre-season weeks, current package being indicative of things to come. Joel Grey, a click in the swank La RondeClub not too long ago, again generates that aura of confi¬ dence and showmanship that spells a pattern of plaudits in this big room. Routines are the basic weavings he’s been using: the spoof on the nostalgia-weavers, “Do You Remember,” in which he limns his “memories” of the toppers of the ’40s; the strawhat bit which plays up his penchant for takeoffs on George M. Cohan, Chevalier, et al., who utilized the skimmer as a trademark, and his wrapper-upper, the lampoon on folk singers of the Belafonte, Burl Ives genre, wind¬ ing into the triple-tongued rhythm¬ ics of “Romania.” He could well include' the Yid¬ dish musicomedy star, Aaron. Lebe- doff, who introed the song years ago, in the strawhat parade. Youngster is off to heavy response after keeping the • pace in high tempo throughout. Felicia Sanders, who came up via disclick of the “Song From Moulin Rouge,” is a sleek-looking lass smartly groomed with a solid ‘pair of pipes that commands atten¬ tion,’ albeit some of the songs in her compote show the need for a better change of pace. She belts best with the upbeat tunes. The torchants are well handled, but could stand insert, of a current click. “Moulin Rouge” garners the expected mitting. Irving Joseph s keyboard backing is out of the top- drawer. Fresh looking pair of youngsters are Midge and Bill Haggett. Their routines, however, could stand elaboration on some of the lifts and designing. As is, they add up to a breezy pair of terpers who please, where they*, could earn the heavy salvos that spe 11 sock, u -iwiM iJ I >Lavy-