Variety (November 1955)

64 NIGHT CLUB REVIEWS Variety Wednesday, November 16, 1955 Copaeabana, IV. Y. McGuire Sisters (3), Morty Gunty, Bobby Brandt, Tony Foster, Fran Leslie, Line (10). Mike Dur- so & Frank Marti Orchs; mini¬ mum $5. Jules Podell has unveiled a new set of principals in a show that exudes the scent of a prosperous run. Comprising the McGuire Sis¬ ters, Morty Gunty. and tapster Bob¬ by Brandt, the Copacabana has three tested products that give^the patronage an exuberant effectl The McGuire girls have an act that has been polished and buffed to a rich sparkle and patina. The girls have worked a long time for their New York debut and their preem night indicated the correct¬ ness of their strategy. Of course, the McGuire Sisters are veterans of the days when Arthur Godfrey held high teleratings. Their tribute to him indicates that they think he's the greatest thing since the invention of the wheel. They have managed to survive on this show and they have at¬ tained a name status by virtue of Godfrey exhibits, diskings and one- niters. Trio are warm, charming girls who seem to have drilled them¬ selves into their songs with rigor¬ ous discipline. They give off a scrubbed-up and fresh look. They have a disarming manner, and what's more, they sing nicely, r . The bulwark of the act is sister Ph 3 T llis, who sings the leads, as¬ serts herself a little more positive¬ ly than the others, and does what - amounts to a solo turn on the floor. She offers a series of impressions that comes off well. But with Chris and Dorothy, the aggregation is potent enough for the 37-minute concert they essay. The femmes display good musicianship as well. There is a brief turn in which the trio does a chore on the piano, sax and glockenspiel. There’s sufficient entertainment and variety in their act to insure solidity. Morty Gunty, making his second stand at this hospice, indicates great growth. . Although still to reach his peak, he gives increasing evidence that the makings are there. Gunty has come back with new material. A groom of one week, there is a truly funny bit bn the early days of marriage, another rollicker is his treatise on "Birth of the Blues,” which hits the audi¬ ence with a strong impact, and a reprise of his recollections of a brief teaching career. Gunty draws an appreciative mitt for his turn. Bobby Brandt, in his Copadebut, continues to show the promise that was indicate^ at the Palace Thea¬ tre a few years ago. He has ac¬ quired smoothness and even a bit of sophistication in batting out his taps and softshoe. His acrobits help point up the applause, but his act basis is still an extremely ’ strong virile type of terping. The production elements hold up well in this show. Singers Tony Foster and Fran Leslie point up the tunes, and Meri Miller & Jim¬ my Sisco interpret the production dancing. The Doug Coudy drilled line provides appropriate decora¬ tion, while Mike Durso and Frank Marti do the showbacking and re- liefing chores expertly. Jose. Ambassador Hotel, L. A. Los Angeles, Nov. 10. Gale Storm, Jack 'Durant, Bob- bye Priest & Al Fosse, Freddy Mar¬ tin Orch; cover $2. ^^ij^The toughest spot in show busi¬ ness this week is following Tony Martin into the Cocoanut Grove. That the current layout headlined by Gale Storm will suffer by com¬ parison is obvious. Even without the comparison, however, the prospects are for only average business for this fortnight, with Miss Storm’s telefans holding any possible balance of power. Unfortunately, she doesn’t show¬ case well in her local nitery debut. Admittedly, she was extremely nervous opening night and forgot some of her lines while facing the hometown folks. Chief difficulty, however, is that while she has a pert personality and pleasing pipes, she doesn’t have much of an act. Special material stuff is woefully weak and one, "Hillbilly,” should be eliminated completely, lor it serves only to embarrass. Re-routining of her pop tune t.. tries will help—and since there |W isn’t time in this fortnight to lick the problem of special stuff, a con¬ centration on proper handling of the pops should result in an act that will satisfy. The "Un Bel Di” from "Butterfly” and "Something's Got¬ ta Give” are good entries and utilizing her "I Hear You Knockin’’ disclick as a finale would get her off to better' response. Chirp has what it takes .to make the grade but changes are indicated, par¬ ticularly the patter and was Jack Durant, the only comic the room has called back for a re¬ turn date. He’s a knockabout wag- ster whose special brand of corn- cum-pratfalls has been polished to the right gloss to appeal to a Grove audience. He keeps ringsiders in a constant state of chuckles with some rapid-fire comments and an occasional takeoff. Durant has been around for a long time and has learned how to handle an audi¬ ence. Timing and delivery are both good and Durant seems a cinch for yet a third date here. Dance team of Bobby Priest and Al Fosse opens with four routines that show imagination and fancy footw'ork. Final "Tramp” number bogs them down, however, and should be dropped. Team sets the pace for the 75-minute layout which gets good backing from the Freddy Martin orch, which has its own specialty in a stirring version of "La Macarena.” Orch also pro¬ vides a toe-tapping dance beat’. Kap. ' Palmer House, 0*1 Chicago, Nov. 11. , Harry Belafonte (with Miller Thomas), Chandra Kaly, Empire Eight, Charlie Fisk Orch; $2 cover. Harry Belafonte took the Empire Room by storm opening, night (11); the crowds should flock to the Palmer House for the duration of this four-weeker. Belafonte blends a vital animal magnetism with savvy showman¬ ship, charm and a sonorous voice for a sock parlay. First-niters were enthusiastically won and sat hushed till the begoff. Costumed in a scarlet shirt and black trousers, Belafonte’s lithe, panther-pacing around the floor shows to best advantage. Judicious, tasteful use of lighting adds an¬ other plus to the act. Sharp, steely chords plucked from the backing guitar add still another well-fitted dramatic dimension to this top turn. Belafonte does calypsos, folk standards, his own originals and even a single pop. He has the sedate Empire Room crowd joining with him in singing "Matilda” and "Hold Em Joe.” He has to beg off. Chandra Kaly and the house line, the Empire Eight, opep the proceedings with "Calypso Jam¬ boree,” a production number. Well- choreographed and well-danced, this is a fitting intro to what fol¬ lows. Kaly’s story-telling terping is enhanced by expressive mug¬ ging; he sets the pace for the two men and six girls in the Eight. Kaly’s .lively hoofing is well com¬ plemented and the audience gives the group a big hand. The Charlie Fisk orchestra backs expertly with a well-cut show. Gabe. Chez Paree, Chi Chicago, Nov. 11, Betty Hutton, Morey Amster¬ dam, Chez Paree Adorables (with Jimmy Lee), Brian Farnon Orch, $1.50 cover, $3.75 minimum. Betty Hutton’s current two-week- er here is her first Chi cafe appear¬ ance in 15 years. She got a warm reception from opening-niters. Miss Hutton’s act belongs in the extravagant showmanship class. No detail that could contribute to maximum impact is overlooked: from the dramatic, spotlighted en¬ trance from the heart of the audi¬ ence to the closing introduction of "Mother,” every stop is pulled out. A rousing rendition of "There’s No Business Like Show Business” is momentarily expected toward the end. but patrons had to be con¬ tent, with a Sophie Tucker bit ex¬ orcising ghosts of the' all-time greats of the ’20s. As is to be expected, the act is loud and fast. La Hutton’s pipes don’t have the melodic quality of other years, but she works hal'd at putting oyer an act of obvious de¬ sign. Miss Hutton builds strong audience response after getting through a couple of colorless open¬ ing numbers. Turn really gets roll¬ ing when she takes off the skirt, displaying shapely gams in the "Little Rock” number. From there, through a '20s number and senti¬ mental show biz bits climaxed by "Mother” singing "Darktown Strut¬ ters Ball,” the audience * is won. La Hutton caps with an encore sung while sitting atop the piano and mopping the sweat away. She goes off to hefty palms. Morey Amsterdam holds up the comic end here with a well-paced act. Show got off to a late start opening night (11) and Amsterdam cut down to fit. He did just enough to get a neat plus from the cus¬ tomers. Amsterdam gets off the ground slowly, but soon wins the customers with a smooth succes¬ sion of topical stories and quips on modern, living. Success of the stories is more indebted to timing than to material. Guy is a little more subtle than most. He gets a big mitt for his "Yuk-a-Puk” trade¬ mark and goes off to big palms. Layout is introed and spaced by the house lookers, the Chez Paree Adorables, backed by the melo¬ dious larynx of Jimmy Lee. The production numbers are well chore¬ ographed and the gals make eyes pop as they move gracefully across the floor. Usual topnotch backing is pro¬ vided by Brian Farnon’s house band. Gabe. effective and amusing format with which he opens his performance. Using thd Chevalier technique he explains that it is customary for French entertainers when appear¬ ing in foreign parts to describe the contents of each song. He < then goes into an involved description of a man yearning to get back to a sunny and romantic spot, and with the use of shock tactics segues straight into a chorus of "Cali-? fornia Here I Come.” There’s, a definite comedy ap¬ proach to the whole routine, and the best entries in this category include "I Hate Them” and "Back in the Garden of Eden.” As an offbeat treatment, vocal back¬ grounds are occasionally added by an offstage group. Entire presenta¬ tion gets the familiar quality show¬ casing by the Felix King combo, and the Don Carlos orch ron- tributes the rhythm music for the dance sessions. Myro. Beverly Hills, IVewport 'Newport, Ky., Nov. 12. Shecky Greene, Barry Sisters, Rudy Cardinas, Dorothy Dorben Dancers (10), Dick Hyle, Gardner Benedict OcJi (10), Jimmy Wilber Trio, Larry’Vincent; $3 minimum, $4 Saturdays. Esplanade, Frankfurt Frankfurt, Nov. 12. Warren Bros., Emst-Guenther Zebel, Gerd Gela, Prof. Olgo, Cycasso, Ferry Kurucz, Hein Moeller Orch; $1.10 cover. Shamrock, Houston . Houston, Nov. 10. June Valli, Four Juggling Col- lean os, Paul Neighbors Orch; no minimum; cover; $2-$3. The Explanade, -which had a brief fling as a renovated modern variety show, folded after.less than a year and has now reopened under the management and production of Frankfurt showman H. H. Dettmer. Dettiner, who has two other suc¬ cessful entertainment enterprises, the town’s top nude show, The Parisians, and a lively diner called 08/15, proves himself a skilled doctor at bringing the dead to life. Uriusual from start to finish is his new cabaret. The $1.10 tab is I steep for cover here, but he gives a two-hour entertainment package that’s worth it and more. Ernst-Guenther Zebel is a like¬ able emcee who holds the show together. Gerd Gela, opener, is a master-builder with a stack of clay. In seconds, he molds the rough wet earth into busts of Toulouse- Lautrec, great composer, comedy figures. Slightly similar and also fast-paced entertainment is the split-second drawing session of Cycasso. Prof. Olgo, mathematician, as¬ tounds the audience as he makes squares of magic numbers, recites instant multiplication and addition answers of lengthy numbers. A fast-tongued wit, he’s as flip with the quick crack as he is with the numbers. A real show-twist is that his cold mathematical calcula¬ tions, delivered in inimitable patter with apparently ad lib comments, is the biggest applause-getter. Cymbalist Ferry Kurucz scores with familiar classics. Winder for the show, and biggest buildup, is given the Warner Bros., billed as "U.S. parodists.” Recently arrived from Paris bookings, the cjuo does parodies of the Andrews Sisters, Spike Jones, Yma Sumac, , - - — an ex-(acting out the vocals to records. change with accompanist-arranger j Act falls a little flat in that it June Valli is a thrush who meets her public sans accoutre¬ ments of special material, produc¬ tion numbers, sexational gowns, costume changes—she even opened at the Shamrock Hilton without a song about Texas. Pixiesh gal of¬ fers one commodity—voice. This proves sufficient for the payees, who duly noted her excep¬ tional pipes on the opening session with salvos. Pursuing the groove of .standard hits most of the route, gal renders a sultry "Cha Cha Cha” and lilting copies of ‘Tve Got the World on a String” and "Something’s Gotta Give.” Headliner does top thrashing job throughout, soaring up for the high ones at the end. Singer’s jazzy belting style ignites Paul Neighbor’s orch, which cuts the show with all-out precision and' verve, aided by star’s savvy accom¬ panist, Fred Steamer. . The Four Juggling Colleanos kick off the show with a neat dis¬ play of colorful whirling hoops, trays and Indian clubs. Composed of two guys and two gals, all youthful, clean-cut combo limns some eye-catching arabesques as the four exchange hoops, etc., simultaneously.. One male does deft solo turn with clubs.' Bode. Strong with this class cafe’s reg¬ ulars through several previous engagements, Shecky Greene and Rudy Cardenas keep them happy with freshened entertainment in the current two-framer. Added for good measure are the Barry Sisters, in for their first time and warranting repeats. Greene, hefty tuxed comic, makes 25 minutes fleeting, cram¬ ming it with distinctive , material and styling. His stock in trade in¬ cludes lightning-fast takeoffs of varied names, vocal gymnastics, dialects and lingos. He’s always in balance 'when skirting risque fringes, Cardenas, Mexican youth, backs up his billing of “fastest juggler” in manipulations of balls, hats and other objects, sonfe while somer¬ saulting. ' A solid 12 minutes in any company Barry Sisters, who could pass for twins, stick to "saucy and sexy” programming in a 25-minute song cycle. Statuesque dark¬ haired lookers, the gals switch from hotsy on "My Sister” and "Send Me a Man” to close har¬ mony on “I Believe.” Streamlined gowns are attention arresters. Dorothy Dorben Dancers came through with three new and nifty numbers, with vocals by Dick Hyde. Gardner Benedict's combo cares for the instrumental trim¬ mings as per usual. Roll. La I in C asino, Phllly Philadelphia, Nov. 12. Billy Eckstine, Pepper Davis & Tony Reese, Rivieras, Bobbie Drake, Lindsay Lovelies (6), Rocky Valentine's Orch (10); $3.50 mini¬ mum. Statler Hotel, L. A. Los Angeles, Nov. 3 Paul Gilbert, Estelita, DeMattia>- zis (2), Al Donahue Orch (9) Bel Air Trio; cover $2, $2.50. * Sparked by some top comedy bv Paul Gilbert, this layout should appeal both to tourists and those locals willing to make the sleeper- jump downtown. Despite a few soft spots, hour-long layout moves well and the outlook is bright for the stand. Gilbert’s material has improved considerably since his last outing here and he punches over a laugh- loaded 30-minute stint. His "video operation” standby has added im¬ pact now that "Medic v is a top- rated teleshow and, by enhancing some mf the lines and snipping some of the duller and rougher passages, it now* is a top routine. AnotheTr good one is cued to "That’s Entertainment,” in which he hoofs and juggles to command constant attention and he wins solid laughs with a folksong satire. Comic works easily and with new assurance and now rates as a strong headlines for the room. Estelita, who shares billing, needs some routining changes to hit her peak. Singer has some good stuff but she takes too long to get into the fiery atmosphere expected of a Cuban canary and, she doesn’t really hit a good pace until near closing with a fine offering of “La Macarena,” the toreador prayer, and a hefty closing with "Dark- town Strutters.” Earlier items, particularly her Latune opener, aren’t strong enough to capture the immediate attention desired. A looker with a good set of pipes, she has what it takes to register with the right stuff. Show opener is the DeMattiazzis, dancing doll novelty which is a ready ringside click. They’ve been around before, but even repeat customers get’ a kick out of the ease and showmanship with which the gimmick of the supposedly me¬ chanical dolls is worked. Al Donahue orch holds over to play a good show' and provide a fine dance beat. Kap. Lake Flub, Spgfld., III. Springfield, Ill., Nov. 12. Dorothy Dandridge, Miriam Sage Dancers (7). Clair Perrault Orch (15); $2 admission. Milton Rogers. should have included at least one Colony, London London, Nov. 2. Jacques Pils, Felix King & Don Carlos Orchs;. $5 minimum. Hit of . the •opetilng'hight-showi w.k. German record. ■.Haze. Jacques Pils represents a new name in British cabaret, although the French star is currently ap¬ pearing in a West End musical. And he has a very acceptable en¬ tertainment to offer, intelligently geared for the Supper trade in a lighthearted key. In particular, he deserves to be kudosed for the way in which he maintains a French flavor to his routine, although the majority of his numbers are in English. That eases artist projection to the audi¬ ence and makes for freer customer participation, as evidenced in his closirf* medley of French Ivt tunes. Pils; ’ has formulated: a 'highly Making his first appearance here in two years, Billy Eckstine still displays plenty of drawing power. Singer has made his act much more commercial during the in¬ terim, relying not only on larynx, but employing helpful gimmicks. Ease on the floor is immediately noticeable; and while his terping won’t make Astaire or Bolger move over, his song-and-dance "Soft- Shoe” 'has given him movement and the ability to break up thatr steady stranglehold on the mike. In his regular stretch of vocal¬ izing, Eckstine wisely alternates a slow number with patter mate¬ rial or a jump tempo. Request medley, however, allows for little change of pace. This makes for poor routining, especially after the singer has been on for more than 35 minutes. Getoff routine about waiting for a disk jockey to play his numbers and hearing everyone else gives him chance for series of impressions—Como, Monroe, Arm¬ strong, etc.—and makes for solid getaway. Bobby Tucker is the ac¬ companist and doubles at leading Rocky Valentine’s house band. Song-and-comedy duo of Pep¬ per Davis & Tony Reese have gone in for new material (Kay Thomp¬ son is said to have choreographed several routines for them), but their familar slapstick stuff still gets the laughs. High point of the roughhouse is an interview with a punchy boxer right .after the fight telecast. Davis is the slug-nutty fighter and Reese the broadcaster. Duo also tallies with gymnastic takeoff of Four' Aces and singer Reese doing series of vocal im¬ pressions at mike trying to foul up Davis, who does the gestures down front. The Lindsay chorines are seen in a brace of numbers, backed by emcee Bobbie Drake. The opening act, the Rivieras, give a twist to the Apache dance routine by hav¬ ing the small femme throw around her 20(Mb.'.partttei\ > Gagh,< i \ ; • - Dorothy Dandridge’s dynamic vocal invitation to "Come By Sun¬ day,” as sung Saturday night (12) at the opening of her four-day Lake Club stand, w r as appropriate. An overflow audience turned out for her sultry song session. Another apropos selection, "Rid¬ ing High,” used as an opener, pretty well sums up Miss Dan¬ dridge’s. central Illinois debut. The tawny chanteuse, after'40' minutes in front of a soft spotlight, had ringsiders and standees alike shout¬ ing for more. Final begoff was an effective "Hooray For Love,” with Miss Dandridge hoisting a' cham¬ pagne glass toward her accom¬ panist, the band and audience! The toast to Eddie Oliver, her musical conductor and 88er, was in appreciation of his initial- appear¬ ance with the singer on the road. Heretofore the two had worked together only at Hollywood’s Mo- cambo. The nod to Clair Perrault’s band was a thank-you for solid support from the leader’s 11 reg¬ ular players plus four extra violins and two saxophones. Show’s opening was handled by the Miriam Sage steppers in torea-^ dor costumes and matador move-"' ments. Slinging flashy red satin capes, the terpers set the stage for Miss Dandridge. Wayn. Bradford Hotel, Boston Boston, Nov. 11. Buddy Lewis &. Don Phillips, Kathleen Denis, Tato & Julia, Moe Solomon Orch (5 ), Versitones (3); $2.50, $3 minimum. A polished team of comics are bringing the customers in for boni- faqe Al Taxier at this class supper room atop the Bradford Hotel. Buddy Lewis & Don Phillips, on for 40 1 minutes, get salvos for their stint, which embraces everything from quick change carbons to straight dramatic bits. The pair start off with a makeup box gim¬ mick in which they alternate nice carbons of Groucho Marx, Edward G. Robinson, Ted Lewis, using a shadow from the. aud for comedy effect, Billy Eckstein, Eddie Can¬ tor and Billy Daniels. High point of the duo’s stint is a straight drama sketch of the old James Cagney film, "City of Con¬ quest.” Lewis plays Cagney as a blind newsboy and Phillips does Arthur Kennedy as the composer with background music to "I Be¬ lieve” for boffo aud reaction. Pair bow off in "Huckle Buck” song and dance routihe for big round of mitting. ' ' ’ , Kathleen Denis, a good belter ol (Continued on pager .65) ’ * .