Variety (March 1956)

55 Wednesday, March 7, 1956 PSmErr NIGHT CLUB REVIEWS Downstairs* JV» i • Julius Monk presentation, "Four Below ” with June Erickson, Dody Goodnmn, Jdck Fletcher Gerry Matthews, Murray Grand, t Stan Keen’ direction, John Heawood; writers. Grand, Michael Brown; minimums, $2, $3. The off-Broadway type of pro¬ duction that has provided an influx oi new talent and ideas in the legit field has now permeated the cafe o-bit Julius Monk, who has been the conferencier at Le Ruban Bleu for many years, has gathered to¬ gether some earnest, talented play¬ ers writers and composers, and _j)as fashioned an intimate revue that not only delivers a full quota oi cafe entertainment, but gives the viewer a looksee in talent dis¬ covery. "Four Below” takes place in a ‘•mall basement room that was site of the N.Y. edition of the Purple Onion, and sundry other cafe ventures. The Monk revue, of course, has its faults, as would any venture attempting a departure from existing formats. But this type of show'will entice new audi¬ ences for a cafe field that is already suffering from a shortage of cus¬ tomers. Show, for example, on opening night, seemed to attract Brooks Bros, attired gentry, and a lot of refugees from the east side. They roared at the entire proceedings, and according to opening-night reception, the venture should pay off handsomely. Another factor in its favor are the low, prices which will enable a younger element to get in and out of the spot for a nominal fee. Both idea and budget- wise, the Downstairs Room seems to be made for the youngsters, a neglected portion of cafe society. “Four Below” contains a quartet of performers, two of whom were groomed by Monk when he was presiding at his foriner Le Ruban Bleu post. June Erickson and Jack Fletcheir (ex-& Sheidy), played that spot. Dody Goodman and Gerry Matthews complete the troupe. -They’ve literally thrown themselves into their work. They have been given good material by Murray Grand and Michael Brown, with staging and choreography by John Heawood, arrangements by Stan Keen, and two piano back¬ grounding by Grand and Keen. The entire result is tasteful and funny. There are some moments in which the proceedings become a bit too arch, but nonethless there’s' a lot of plus values, arrd^maybe' a peer into future nitery shows. Present-day cafe economics have already resulted in a revival of the small rooms, and the small non- name show may produce the Amer¬ ican version of the European politi¬ cal cabaret, if satirizing political issues ever becomes popular again. It’s difficult to single out any performer as outstanding, since each seems to contribute a special quality. Miss Erickson is a cute item with a flair for small comedy; Miss Goodman takes on the heavier comedy assignments, while Fletch¬ er gives his zanyisms a touch of hauteur and Matthews is more of the seridso type, but can turn out a laugh when the script re¬ quires. The air of the revue is gay. There are satires, one dealing with Tennessee Williams writings, that come off especially well. Miss Erickson does well with a tune on Lola Montez, scripted by Brown; Matthews does a touching “Tom Jones”; there's a chant to the late Third Ave. El, and a lot of other satires, including a takeoff on “Glad Rag Doll” by Miss Goodman and Fletcher. Miss Erickson pro¬ vides a warm description of ^Par¬ is.” “Four Below” results in a rewarding evening. Jose. Alpine Village, (Hlevo. Cleveland, Feb. 24. Jacqueline James, Manuela De Cadiz Dancers (8), Kenny Rass- mussen, Joe Baldi combo (4), Ben Silverberg orch (6); $1 entertain¬ ment charge. \ Between Ben Silverberg’s new sinng orch and new policy of more *>uave, intimate revues installed by Herman Pirchner, his Alpine Vil- J age has completely changed its complexion. Accent is now on more atmospheric showmanship, a la New York’s Ruban Bleu and fJiue Angel, with warmer color in music as well as decor. , ^°°d start is made in initial snow, topped by Jacqueline James and Manuela De Cadiz’s Spanish «nr? ce troupe. Both acts give the bOO-capacity theatre - restaura t, which formerly adhered to con¬ ventional variety bills with femme oance ehorus, a fresher air of sophistication that should bring in heavier spenders. Several capacity crowds were built up first week by word-of- mouth publicity and socko reac¬ tions to Silverberg’s high-calibered orch. Long known as a symphony orchestra and radio coijcertmaster here, vet violinist squeezes a lot of lush-toned, fancy arrangements out of a six-piece combQ. It sets a restful,- nostalgic and romantic mood with three violins plus Bar¬ ney Zalek at grand piano spot¬ lighted in pop concerts between three nightly performances. De Cadiz dancers brighten the hydraulic rising stage with flash- ingly colorful flamenco numbers. Eight senoritas and Caballeros not only are attractively costumed but also whip excitement into fast heel - stomping, castanet clicking and swirling Iberian folk dances. They look authentic enough to give the action an unusual sprakle. Jacqueline James knows how to keep it gay vocally. That adds considerable visual appeal to her repertory as she smartly segues her way from a semi-operatic “Granada” to “Why Was I Born,” then a breezy Mary-Martin-styled “Wonderful Guy” and “Over the Rainbow.” Kenny Rassmussen handles pi¬ ano keys briskly during orchestra lulls, which are also filled by Joe Baldi’s versatile quartet from the upstairs Eldorado Room. Herman Pirchner, the owner, doubles as emcee amiably, although a bit ner¬ vously at first. He admitted to feeling jittery about making his bow in formal evening attire, after wearing stage costume of Tyrolean knee britches, leiderhosen and feathered cap for 2& years. Pull. Sans Souci, Miami B’ch Miami Beach, Feb. 26. Myron Cohen, Freddy Qalo Orch; $3.50 bev. minimum. This is the last of a trio of sea¬ son engagements in this swankery] for Myron Cohen, and he proves a three-time winner for the Blue Sails Room, which has seen spotty business during the interim weeks when he’s been away. His, potent pull is full illustration of draw- values of an established act with the New Ybrk-Philadelphia-Chi- cago-Las Vegas spenders who are here in full force come winter. Add patronage from other points who’ve seen or heard of his story¬ telling talents, and the sumup is sellout sessions nightly. Cohen’s added several new ac¬ cent-angled yarns to his funny col¬ lection, but the tablers, from walkon, keep calling for the fami¬ liars he is identified with; A fin¬ ished raconteur, the suave, impec¬ cably groomed ex-garment center habitue tends now to build his laugh lines with carefully detailed gestures and occasional muggings to keep the comedy boiling up to the punches, intelligent intros of his ' character delineations lend a universal touch for alb types in the audience, to sustain overall inter¬ est and keep them happy. On for over 40 minutes, he has to beg off after what amounts to a one-man yockfest sans any music or vocalis- tics. ' Lary. Empress, Miami Beach Miami Beach, March 3. Lou Holtz, Barbara Velasco, Mandy Campo Orch; $5 food & bev. minimum. Last time Lou Holtz came out of retirement for an appearance here was three years ago at the Five O’clock Club. Lured back again from the green pastures of the Hillcrest Country Club by an of¬ fer from the Empress hotel man¬ agement, he’s spending a week in action at the Regency Room of the oCeanfronter recalling his Lapidus and other dialectician yarns. As caught on opening night, Holtz was finding his memory a bit faulty, even on his best-told yarns. Odd note was fact that his attempts at new barbings, sufch as those at a bus-tour section of the audience, garnered the heaviest laugh reactions. Sporting the in¬ evitable cane and now wearing horn-rims, the dapper Holtz am¬ bled amiably around the small stage, trading small talk with ririg- siders who, obviously old fans, nudged him into remembrance of things past and the b^fter stories associated with him in his hey¬ day. By end of his 30 minutes on¬ stage, Holtz was feeling his way with more assurance, the old dialectones cropping up frequently enough to lift the Lapidus limnings into heavy laugh plateau, indicat¬ ing return to the nimble-witted twists and shadings in short order. Barbara Velasco churns up en¬ tertaining calypso chants and straight pops, with results on the plus side. An attractive lass, she marks up a solid score for her chore. Mandy Campo emcees in and batons the orch on the back- his amusingly fractured English ings in o^ay style. Lary. Chez Paree, Chi x Chicago, Feb. 24. Guy Cherney, Shecky Greene, Chez Paree Adorables (6) (with Jimmy Lee), Brian Farnon Orch; $1.50 cover, $3.75 minimum. The Chez probably would have had a packed house opening night if Louis Armstrong had not been forced to cancel; as is, this turned out to be a comfortable, small, family-style opening. Both the featured performers on this two- week bill are hometown boys, mak¬ ing for a very receptive audience, and this was. However, this top- drawer nitery can only do top business with the big names; this layout is weak in name value. Lack of names does not get in the way of good, solid entertain¬ ment, though headline songster Guy Cherney came off well in what was for him a major opening. Starting cold and tightly, Cherney warmed gradually until lie had won the house; toward the end he had them on his side so completely that, even to his surprise, they wanted to sing along with him, community-style. A few heavy tunes spotted through the book don’t quite go over, but whenever Cherney deals in the lively kind, or the stand¬ ards, or current pops, he gets a hefty plus from the patrons. He shows a talent for the A1 Jolson style of delivery, the trademark of a whole school, and often sings with fire and impact, Shecky Greene, a holdover from the last show, displays a versatile comic talent in the new layout. Confronted with a small audience, he work? intimately and success¬ fully. Comic has good timing and mixes visual gags with carbons. He includes straight stories for a win¬ ning parlay. Show opens and closes with the Chez Paree Adorables. The eye¬ filling and leggily hoofing house line bows with interp of “That’s Entertainment” and wraps up with a nifty dixieland number in bright orange costumes. Always decora¬ tive, the Adorables get solid vocal backing from Jimmy Lee. The Brian,Farnon orch does the usual pro job of cutting the show and providing the dansapation. Gabe. Cameo, N. Y. Mel Torme, Corky Hale, Roger Steele; $4 minimum. Mel Torme, absent from New York for a number of years, seems to be emerging from the “velvet fog” that has enveloped him since he started on the nitery circuits. Freed from the artificial limita¬ tions of the sound that he was ad¬ dicted to, the Torme that emerges is a more relaxed citizen and a better singer.' Torme, who opened at the Cameo in company with Corky Hale, indi¬ cates that he’ll swing some business to this boite. He exhibits an easy flow of melody which is pointed up by his sticking to familiar tunes and an informal mien which gels the customers on his side. Of course, Torme still goes overboard in a few instances in contorting a melody completely out of shape and out of context with the lyric. And his attempts at archness aren’t befitting to the new Torme. But the net result is a singer who will appeal to the customers at this in- timerie. Giving impetus to Torme’s turn is Corky Hale, a versatile per¬ former who accompanies Torme vocally as well as on the harp and piano. She provides a good back¬ ground, in a lot of visual interest. Miss Hale restricts herself to tfao numbers of her own, one at the ivories and another on the Lyon & Healy. She has sufficient equip¬ ment to essay a longer stand on her own in several departments. Her vocals come off well and her instrumental work is of a superior grade. During the lulls, Roger Steele provides fullbodied piano work which frequently merits applause. Jose. Hold Roosevelt, X. O. New Orleans, March 4. Joe E. Lewis, Consolo & Melba, Paul Neighbors Orch (14); $2.50 minimum. Crowds cued from word of first- nighters will/bulge walls , of The Roosevelt’s {flush Blue Room dur¬ ing two-week tenure of puckish Joe E. Lewis. And it’s a safe bet that many customers will make re¬ turn trips to see and hear the hard¬ hitting comedian in his first visit to this nocturnal rendezvous. Lewis, as spry as some of the two-year-olds he bets on, was given a thunderous ovation as he came on stage before a sellout audience opening night. Vet never lets up during 40 iminutes he’s .in spotlight land never lets the tableholders down, either. Everything he does —parodied song or joke—is per¬ fectly welded into a relaxed, racy turn that’s a succession of belly- laughs. Sex, liquor and horses are the principal topics, as usual, and the stuff is pretty risque, but he’s such a charming imp that nobody takes offense. He also handles ad lib in¬ serts of sly digs effectively, and Austin Mack, his longtime accom¬ panist, is often the butt of his jibes. Consolo & Melba present a num¬ ber of dance routines surely ex¬ ecuted and smooth. Duo displays great versatility, and possesses the verve and sparkle necessary for audience projection. Team closes in a colorful production finale fea¬ turing a cascade of bubbles to the tune of “I’m Forever Blowing Bub¬ bles.” The Paul Neighbors crew is geared for dancing and listening, delivering with top showmanship values. • Neighbors not only sparks the band in its gay, rhythmic rendi¬ tions, but his friendly personality and gab click with patrons through¬ out. He’s in continuous action on the stand and delights all with his uninhibited manner. Linz. Gate of Horn, Clii Chicago, Feb. 29. Luc Porct, Katie Lee, Wally Cor¬ vine; no cover, no minimum. It figures that an offbeat room should open on an offbeat day in an offbeat year. The opening is further distinguished iff being a double debut: that of Luc Poret as wefl as the Gate of Horn. The nitery is designed to meet a need that its proprietors, A1 Gross- man and Jack Stevens, feel has never before been supplied in Chi¬ cago. The Gate of Horn will show¬ case the comparatively esoteric talent of folksingers, both imported and domestic, and an occasional blues singer of the unrecognized type. This policy immediately brings with it problems, not in¬ soluble, but nonetheless formidable. Firstly, such talent is not of uni¬ versal appeal; secondly, there is not a bountiful supply of l'irstrank entertainers of the type required for this room; thirdly, its capacity (57) is too small to pay top salaries. Katie Lee tops the bill here with the unusual combination of fem¬ inine good looks and folksongs. Self-accompanied on the guitar, Miss Lee presents a contrast of sophistication and the Paul Bunyan legend. She does the not too w.k. kind of folksongs, the products of her own research and selection, a definite plus from the- patrons. Luc Poret, of late accompanist to Genevieve, balances the card here nicely with songs of the continen¬ tal variety and makes his American debut as a single. (See New Acts). Wally Corvine backs Poret on the accordion, and plays smooth and entertaining interim music. Gabe. Riviera, Las Vegas Las Vegas, March 1. Orson Welles, Toni Arden, Amin Bros. (2), Dorothy Dorben Dancers (17), Ray Sinatra Orch (12); $2 minimum. The man of many parts, Orson Welles, takes a whirl into a nitery floor on a three-frame Riviera dare, to discover that the medium requires much more than the sum total of all those parts. After his overly-extended opening show (75 minutes) he has cut, sliced, grafted and rerouted his hastily assembled routine to bring the act home in less than 25 minutes. And biz, excepting on weekends, is only fair—knocking into a cocked hat the predictions that his Vegas debut would be of enough offbeat value to load the Clover Room every show. Yet the fault is not with Welles alone. It also lies within the nature of Las Vegas itself and the habitues which use its casinos for a whirl at all that “ready” coin. Perhaps Welles doesn’t conjure up the right mood when they see his name on the Riviera marquee. (See New Acts). Toni Arden fills her mid-seg¬ ment with expert thrushing in the pop vein, utilizing her well-trained chords to achieve very good re¬ sults. The moods vary, from full- throated swinging tunes, “You Do Something To Me,” “They Can’t Take That Away From Me,” “It All Depends On You,” into the hushed tones of “Autumn Leaves,” or dynamics in “Love Is a Many Splendored Thing.” Her simple delivery of “He” wins full plaudits, with “Sorrento” culminating the session to insure big salvos. Amin Bros., who moved down- Strip for this stanza from the New Frontier, give their 'usual ap¬ plause-tingling display of outstand¬ ing risley. Dorothy Dorben Dan¬ cers fill the stage with the splashy “South Rampart Street Parade,” and the Ray Sinatra Orch ^"eks strongly. Will. Hotel JPIerre* N. Y. Gloria DeHaven & Co, (1), Lu¬ cille & Eddie Roberts; Stanley Melba Orch conducted by Joseph Siidy; Alan Logan’s Music; $2 and $2.50 convert. Carter DeHaven & Co.’s New Act files in Variety go back to 1908, two reviews in 1909, 1911, 1913 and 1914. Until 1925 he and the toflm of Mr. and Mrs. Carter DeHaven (Flora Park¬ er) were standards in legit and pictures, somewhat in the same idiom of Mr. and Mrs. Sidney Drew comedies. As DeHaven & Parker, in legit musicals, they were the standard juvenile and in¬ genue team. In ’25 there is a rec¬ ord of DeHaven’s comeback, sans his wife, with a company of 11 in a novelty flash at the Orpheum, Los Angeles—it was still in the heyday of bigtime vaudeville—and in 1929 he had cut his act to a less¬ er flash, featuring his son Carter Jr. and daughter Marjorie. A quarter-of-a-century later the veteran trouper is doing his stuff in the chic Cotillion Room of the Hotel Pierre and, at 70, he’s (1) a spry assist to his glamorous daugh¬ ter Gloria DeHaven; (2), a warm, poised personality iri whatever he does; and (3), Confusing that in his more than 61 years in show business this is (a) the first he's worked on a cafe floor and (b) “still can’t get used to these new¬ fangled microphones.” Latter ob¬ servation came about naturally when the mike went dead ana maestro Joe Sudy had to rush a new p.a.’er into the breach. Miss DeHaven billing her dad as “company” is good showman¬ ship. It comes on naturally and warmly, especially after she re r calls her cinematic impression of her mother, as she did “Who’s Sorry Now?” in “Thr.ee Little Words,” the Kalmar & Ruby bio- pic. Miss DeHaven comes into the cafes with a screen rep and a well- endowed wagon, not to mention the essentials of talent and sound showmanship. She plays it modest¬ ly and doesn’t err, as do many “nervous A” (and that even goes for the undisputed A) names who make with the Hollywood glam pitch. On. a saloon floor the fun¬ damentals are still the basic goods of entertainment. A cafe audience is hip and knows the answers. So even when she does her broad “I’m A Star” (Hollywood brand) she is smart in playing it that way, else it could have frozen many an audi¬ ence. She throws away her celluloid credits as intros to song associa¬ tions. Unfortunately she lacks a real standout picture credit, so that it’s up to the song and the interpretation to sustain matters. This she proves with “An Occa¬ sional Man,” a saucy lyric from a dud picture, “The Girl Rush.” “Sorry Now” is of sturdier back¬ ground but in .the main her reper¬ toire of “10c A Dance,” “All De- ds On You,” “Everybody Loves . Baby,” and-the special “Star” song, is competently performed and acclaimed on basic merit. “He’s My Dad,” opener, segues into a reprise of a yesteryear im¬ pression of the senior DeHavens (Flora Parker), a special titled “Marriage Is A Grab Bag.” They wore recalled but wisely begged off. The dapper little dad, for all his bespectacled appearance now, is nimble of hoof and, in his topper, is a neat vis-a-vis to his glamorous daughter. There’s no “kind ap¬ plause” applesauce about any of it; they do their stuff with profession¬ al dispatch and get their hand-to- hand musical rewards on . the es¬ sential merits. Miss DeHaven, incidentally, looks svelte in a new coiff and a general new look that is OK for sight and sound on any bistro board. Opener composes an eight-time winner at the Cotillion Room, Lu¬ cille and Eddie Roberts, with their amazing mindreading. Whatever the code, it's baffling because, working with a savvy audience, their stuff defies the gimmieking. If the Lunts as “The Sebastians,” are vaudevilley, in the legit man¬ ner, then the durable Roberts are the Lunts of the mental telepa- thetic circuits. Their intro Small¬ talk is bright patter but soon segues into the basic table-working as he throws his cues at the per¬ sonable Lucille Roberts. The Pierre’s attendance (punctuates the proceedings with amazed salvos as the blindfolded distaffer of the team reads serial numbers, identi¬ fies names, cards, etc. ‘ Joseph Sudy, substitute maestro for Stanley Melba, now also em¬ cees besides doing his competent batoning job, alternating .with Alan Logan. Biz good and Pasquale and his hosting aides give the Cotillion Room a special hospitality flavor which is unique even for this class hotel. Abet