Variety (April 1956)

Wednesday, April 25, 1956 PBriety NICHTOBB REVIEWS . 69 Los AngieleSr .April 19. Jane Froman, Murio & Sheila, Russ Morgan ‘Orch (16); . cover $2, $2.50. __ The combination of Song and dance at the Cocoanut Grove this fortnight add's up to a superior riiehtclub show—a 50-minute of¬ fering highlighted by Jane Fro- man’s first Coast appearance in better than five years.. • That her “First Lady of Song” billing is no mere ad-man’s pipe dream is effectively demonstrated in her 40-miriute stint. Undeniably one of the best voices on the bistro beat, Miss Froman also of ¬ fers class and savvy to 6voke con¬ stant palm-pounding in * solidly tuneful melange. A highlight is her Irving Berlin tribute, which uses a song' story framework to sing the praises of the man who- has pro¬ vided the romance for “three gen¬ erations of .lovers.” It’s a 15-min¬ ute medley that reaches way back to 1910 for a melange of Berlin ballads and it’s larded with humor via reprises of the hat styles of the various eras. ■ Another solid routine is her “Song in My Heart” medley and a poignant treatment of “Every¬ body’s Got a Home But Me.’ She uses “I Bdlieve” as a begoff bit. Opener is. a European dance team, Murio & Sheila,^ that’s a cinch to become one of the top ballroom duos on 1 the circuit. They rifle through a paso-doble, a bolero and a rhumba in six exciting min¬ utes, utilizing routines that gen¬ erate constant excitement. Paso- doble features some toreador-like handling of a cape that has an immediate impact on ringsiders and they wind up with a startling .one-hand lift and spin and a new wrinkle on the old whirl as Sheila, suspended only in an oversized scarf, is spun around the floor. Russ Morgan orchestra does an excellent job of backing this show and the old coal miner fronts the crew for the dahde stuff that rates with the best. Too, he has become an engaging and frequently hu¬ morous conferencier for the show. Kap. this huge room for her entire four- week run. Miss Dandridge has gained con¬ siderably in poise and authority, which gives ,her more confidence and sophistication as a performer. She's . still an outstanding looker and a' skintight white gown is in handsome contrast to her dark fea¬ tures. The first impact, therefore, is exciting and stimulating. . First-night routine was over¬ weighted with too many earthy, dramatic, downbeat tunes. Admit¬ tedly they suit her personality and style, but are off balance when they come in quick succession. That’s the main criticism tjiat has .to be levelled at Miss Dandridge ■■^nd with carefully planned adjust¬ ments, it should not be valid for long. She has, after all, the requi¬ site knowhow, personality and big^ league name value to insure ulti¬ mate success. * Her best number is “Blow Out the Candle,” which she introduced during her earlier London stint, and this tin&e she delivers it with considerably more assurance, to make it the production highspot. The two numbers which follow have something, of an anti-climatic quality. She needs sturdier mate¬ rial with which to wind her act. Once the adjustments to the song selection have been made, the songstress should have no problems in holding her audience. She has the voice, but needs the microphone to fill the vast room. She has a> tendency to move around on the big stage, but such gestures need to be kept for more intimate surroundings. Marty Paich, who sits in at the piano with Ian Stewart’s' SaVoy Qrpheans, takes good care to in¬ sure precision backgrounding. Myro. IUtz Carlton, Montreal Montreal, April 19. ’ Terri Stevens, Johnny Gallant, Joe Settano Trio; $1.50-$2 cover. „ Songstress Terri Stevens is some¬ thing new and refreshing for the Ritz Cafe, and the patrons of this attractive boite lost little time, on night caught, okaying her songalog and manner. Blue Angel, IV.. Y. Ronny Gaham, Maxene Andrews, Teddy Reno, Ellen Hanley, Jimmy Lyons Trio, Bart * Howard, Otis Clements; $5 minimum. The Blue Angel goes in for a wider than usual variety with this session. The Kferbprt Jacoby-Max Gordon spot has not only tapped the usual eastside faves but taken on • a singer who ' has never been associated with' this part of town. Maxene Andrews, one of the com¬ ponents of the former Andrews Sisters trio, is a prominent mem¬ ber of the assemblage. A brief is filed in Ndw Acts. Of the others on the bill, the most prominent is Ronny Graham, a comedic with a strong steak of zanyism readily appreciated on the eastside. Strongpoint in Gra¬ ham’s repertoire is a dissertation on jazz musicians, which sets the customers in an applause-giving mood. He also gets the measure of the audience, with his exposi¬ tion of theme songs based on film titles, and a take-off on “C’est La Vie.” Off solidly. Another newcomer of import¬ ance is Teddy Rerio, an Italian import, who has scored strongly in several midwest spots. His N. Y. bow is similarly impressive. He’s skilled at linguistics, has an excel¬ lent histrionic flair which aids his song values and frequently gives a sensitive projection. Reno is a charming lad.who gives out With a pleasant assortment of ballads and rhythm tunes in, English, French and Italian. Barytone disker for Decca in the U, S. went off to a potent palm. .Other singer this session is Ellen Hanley (Mrs. Ronny Graham), who has a pleasant, voice in the mezzo register and who sings a brace of tunes correctly albeit somewhat primly. Backing is by the Jimmy Lyons Trio and Otis; Clements at ‘the piano, with Bart Howard emcee¬ ing, Incidentally this marks the 14th anni of thiis East Side bistro. Jose. '■ Savoy Hotel, London London, April 17, Dorothy Dandridge .(with Mar¬ ty Paich)Ian Stewart & Savoy Orpheans, Francisco Cavez Orch; $5 minimum. It’s just about five years since Dorothy Dandridge, as a little- known artist, played her first cafe date in London,' where her talent was more conspicuous than her personal lure. Now she returns in triumph as an 'international star to headline at this top hotel, atid there’s little doubt that she’ll.pack A handsome, well-groomed bru¬ net, Miss Stevens mixes the ballad arrangements with her offbeat ma¬ terial in neat fashion that keeps interest going all- the way. A rath¬ er shaky start (her only weak num¬ ber) gives way to “Many-Splen- dored” for plaudits and a bit around the floor with a hand mike as she sings and tosses a posy to receptive male ringsiders bridges gap nicely between performer and payee. A calypso, “Married Man from Yucatan,” is just risque enough to keep it amusing without being blue, and a reprise of her first AA platter, “Unsuspecting Heart” scores. A rarity in this room is anything bordering on audience participa¬ tion and this entertainment form is, as a rule, given little or no help from patrons but Miss Stevens proves the exception. Back for an encore, she goes through an analy¬ sis routine that involves any male willing to co-operate and come out on. the floor. ' A patter-type song follows with strictly adult lyrics but Miss Stevens manages ‘ with plenty of personality to put over the gimmick and leave everybody happy. Idea is good but could be risky with an inexperienced song¬ bird. The Settano Trio and house- pianist Johnny Gallant do the ac- comp music handily and then split dance interlude tunes between shows. Newt. ( liauiliori 1 , Ottawa y Ottawa, April 17. Rowqna Rollins & Bob Hannon, Bev Sc Sue, Lucky Girls (7); Harry Pozy Orch (8); $1 admission. Tall, gangling Rowena Rollins works a 40-minute comedy stint to big mitting in the Chaudiere Club’s Rose Room this week. A combina¬ tion of Cass Daley and Charlotte Greenwood in appearance, femme mugs and clowns at high „ pace throughout. Stanza features' im¬ pressions of Mrs. Eleanor Roose¬ velt, a. femme tv cooking school and a roaring ’20s novelty bit, with handsome chanter Bob Hannon working in and out of the session, "plus emcee chores for. the show and solo piping items. Hannon exhibits nice pipes arid gets plenty of opportunity to use them. Bev & Sue, titian and blond, are backed by an intricate rearrange¬ ment of “Rhapsody in Blue” in a moody bit of unison terps per¬ formed mostly while reclining on a fur rug. Theme apparently has to do With a telephone jcall in a boudoir' and routine resembles a Lili St. Cyr bit sans strip, although, the two femmes wear class draping stuffed with.plenty s.a. and hiding little of their lush stacking. Gorm: Latin Quarter, N* Y. (FOLLOWUP) Mae West, who cqme to New York last season and racked up a record-breaking b.o. at the Latin Quarter, is making another at¬ tempt to perform a similar chore in-her four-week stand at the Lou Walters spot. Miss West has re¬ turned with a song and dance crew, a couple of leading men and an octet of disciples of the late Ber- narr Macfadden. It’s essentially the same act that she toured with last year, but it’s one that’s still a lot of fun. • Miss West has an act that retains the illusion that she built up a couple of decades ago, when she was the subject of more smoking car jokes than Marilyn Monroe and Gina Lollobrigida are today, and she was the imaginary extra-curric¬ ular lovelife of the bulk of the male population of that era. Her past glory still holds over into the present. She’s still the lusty, gusty and busty gal who indicates that she’s ready for all comers. The lines such as “I feel like a million tonight, but one at a time,” and upon being told that the 400 are waiting to see her, her quip “I’m a little tired, one of them will have to go,” still get the boffs as.of yore. There’s the toUch of genteel and not so genteel ribbing of ail the femmes fatales rolled into one, that make Miss. West’s act a fun¬ laden frolic. Miss West has . again invested heavily in this turn. Probably it’s one of the most populated singles on the boards. The act opens with a quintet of song and dance men; there’s a bit of chitchat^with Tito Coral, a singer who has decorated the circuits as a single for many years; Peter Paul Linder, who con¬ tributes more songs and conversa¬ tion; a Negro maid, a conductor, and the group of musclemen who cause a bit of titillation when they ripple the sinews of their well-bu'.lt frames. As Miss West puts it, “It’s some¬ thin’ for the girls.” With this act a lot of customers who couldn’t come up and see her during' her previous stand at the Latin Quar¬ ter, will be doing so this turn, and business at the hospice should remain as potent as during her first turn. For the present occasion, Wal¬ ters has pared his show down to essentials, not only to accommo¬ date the longrunriing time of Miss West’s turn, but conceivably as a means of compensating the budget. Sole other act is Jack Kodell, a magico, further described 'under New Acts. The Walters production rounds out the show and it’s still a lush bit of programming. The Metro¬ politan. Sextet, singipg operatic Dits, also aid in the production work. Jo Lombardi provides razor- sharp musical backing, and Buddy Harlow does the relief. Jose. Sahara, Las Vegas Las Vegas, April 24. Lillian Roth, Katherine Dunham & Co. (15), Saharem Dancers (12), Cee Davidson Orch (12); $2 mini¬ mum. The presentation of two such acts as Lillian Roth and Katherine Dunham, both dynamic in their separate spheres, was a challenge to producer Stan Irwin, success¬ fully met. Everything comes off in supercharged fashion, with every possibility for upped biz dur¬ ing the next three frames. • Miss Roth, aided by reception of her tome and its film counterpart, emerges as a winner on three counts—talent, personality, and repertoire. There is no mistak¬ ing the solid background of vaude, upon which her songalog rests. Nostalgia is all there is in such entries as “Ain't She Sweet,” "Honey,” “Goodie Goodie,” and a break into more current pop idiom fares well in “Something Better Than Love.’ Ail Eli Basse special “Beauty Parlor,” has no resound¬ ing laugh material, although it is a good pace-changer. More oldies include “After the Bail,” in which a male ringsider is brought upon stage to whirl the waltz for applause spurt. Section devoted to “I'll Cry Tomorrow” panorama is an excellent climax, followed by “Please Tell Me When,” with her lyrics set to a Nacio Herb Brown tune. In this she weaves her way through audi¬ ence, exiting with flourish at din¬ ing room entrance. Katherine Dunham sets .opening segment afire with her dance rou¬ tine. Festivity is underway at once with “Dora,” and following 19th century quadrille featuring Lenwood, Lucille, Kupi, and John. With Vanoye Aikens, Miss Dun¬ ham does the Haitian “Bel Congo.” Rosalie King leads a warbling quin¬ tet in turn' of the century Ameri¬ can songs, with the Dunham- Aikens, “Floyd’s Guitar Blues” a sock, sexy followup. Lenwood Lucille lead the company in a rous- I ing “Cakewalk,” and for conclu¬ sion there is the spice in “Honey in the Honeycomb.” Spacing the Dunfiam-Roth turns, the Saharem Dancers whirl a waltz medley. Cee Davidson’s musiemen ably play the scores of this long- play edition, with an assist from Dave Fleischmann who keyboards and conducts for Miss Roth. Will. Fontainclilcau, M. B’eli . Miami Beach, April 20. Diahann Carroll, Rowan & Mar¬ tin, The Duanos (2), Sacasas Orch; $2.50-$4.50 minimum. Last time Diahann Carroll worked the LaRonde in this plush- ery it was in the supporting-act slot; after several months hiatus, she’s been brought back as top- liner and holds down the assign¬ ment in capable manner, a much improved performer since last seen here. The Negro thrush is a highly at¬ tractive lass with a sultry appeal that enhances the torchants and upbeat tempos which comprise her book. Delivery is fluid and phras¬ ing intriguingly shaded in the workout of her sometimes intricate arrangements. The tendency to battle the tablers for attention stiD happens however. Once she devotes full time to working on her intelli¬ gently blended array of blues, rhythmics and ballads. Miss Car¬ rol winds into a winning session, overall reaction buttressed by slick gowning and looks. Rowan & Martin, young comedy team, need more polishing before they realize the potentials con¬ tained in their offbeat inventions. There’s need for freshening o' lines in some spots, updating that would sharpen two basically sock bits a lampooning on medics which could become sock in the zany idiom once the straight man of the duo learns to guide the lead lines into more disciplined channels; and a routine on a drunk heckling a Shakespearean fugitive Wh i c h again indicates need for more work on timing by both. Addi¬ tion of a stronger opening gambi* to build faster aud impact would add to what at present is an ac. that garners hefty bellows in the stronger segments. The Duanos are a vet pair of ballroomogists who purw y stand¬ ard lifts and spins to okay palm payoffs. Sacasas and his orch mark up a high score on the background¬ ing meter. Lary. Palmer Houses MTlii Chicago, April 19. Johnny Puleo & Harmonica Gang (6), Betty Madigan, Francois Szony & Pa ti, Charlie Fisk Orch with Lee Charmel; $2 cover. Current Empire Room display is Unique in that at least two of the acts are unusual for this room. Nonetheless, it’s an entertaining package, judging from customers’ reaction opening night. Johnny Puleo and his Harmon¬ ica Gang top the card with then- usual combo of skillful harmonica playing and laugh-getting clowns- manship. Of course, without Puelo there would be no act; his portrayal of the constantly abused little man, who plays it to the hilt, is a consistent, laugh-getter. When the chuckles subside, the harmon¬ icas reward the customers with an exceptionally well arranged brand of playing. Puleo and another of the group wrap up with a mouth- organ duet, playing it straight, and they’re off to hefty palms. ' Presenting an act especially dressed up for a chi-chi room such as this. Betty Madigan goes over surprisingly well. This is not a rec¬ ord name’s room. Unlike many of her diskery sisters, Miss Madigan has put together a more than ac¬ ceptable act. There are some rough edges left, for sure, but experience should smooth them. Displaying a ’big set of pipes, thrush can belt and coo, and at the same time play the intime ringside bit with the customers. Although a little too loud at times, she does a slightly obvious, sophisticate spec intro designed to set the mood and then segues with "I Like the Looks of You.” In her rep, she includes “Love and Mar¬ riage,” the Calypso, “Marry a Woman Uglier Than You,” and winds up belting “ ’Deed I Do,” for a big mitt. Francois Szony & Pa^ty open the show with their smooth terp- ing, he in tight-fitting bolero and she in bouffant pink. With opener “Autumn Leaves” it becomes ob¬ vious that this is a team of su¬ perior quality.* Although the band occasionally murdered, their ac¬ companiment opening night, their graceful patterns, smooth lifts and spins gave this terp duo an un¬ usual fillip. Off excellently. Except for an occasional bog- down during the opening act, the Charlie Fisk Orch cut a neat show- back along with handling dansapa- ■tion chores smoothly. . .Gabe,. .Lninco, IV- Y. . Hazel Scott with John Simmons <fr Kenny Clark; Roger Steele Trio ; | $5 minimum. Hazel Stott came into the Cameo on a hurried booking. Opening with a bass and drum behind her, Miss Scott indicates that the small rooms are her metier. She was re¬ cently at the Latin Quarter where she had to extend herself, but in a small room Miss Scott can play, and therein lies the essential dif¬ ferences in her choice of spots. Miss Scott has a fascinating way of doodling on the ivories. A sense of humor and a solid sense of mu¬ sicianship are manifested. This is reflected in a lengthy dissertation of “Tea for Two” in which counter¬ point is constantly woven, into the theme. Overall result is an arrest¬ ing display of technique that fre¬ quently brings applause in the middle of the piece. This is one of her showier numbers, but the rest of her turn begets a lot of atten¬ tion. Miss Scott’s vocals are sim¬ ilarly in an applause-getting mould, and once the effects of the quick opening are worn off, she should spell some business around this spot. Miss Scott came on following a brilliant display of pianistic tech¬ nique by the Roger Steele Trip, who do a solid job of entertaining between the main event. With two piano leads, she has to dip into the ivory aspect of her act with rare. This is accomplished in short or¬ der and she starts riding handily on her own. Jose. FI llanelio. Fa* V<»gas Las Vegas, April 24. Joe E. Lewis with Austin Mack, Lili St. Cyr, Wanda Sjnith Cover Girls (9), Ted Fio Rito Orch (11); ?2 minimum. Weather is clear, track* fast for Joe E. Lewis in the coming two months at this spa. With Lili St. Cyr on the bill, this is no longshot for peak crowds. They’ll murder maitre-de Albert’s velvet ropes. There is no change in Lewis' routine of work-for-the-laughs-are coming, in spite of the recent op¬ eration. There are. it is noted, only two “post-times” per show— nerhaps an alltime record. If he keens in his standards among the latter, there are also many new •‘arody and dittv unveiUngs— ‘Great Pretender,” “Autumn Leave*.” “Tonsils on Tv,” “Peaee- ime Energy.” and “Oldest Profes- ••ion.” Austin Mack is the key¬ board and routining bulwark giv- ; ng every Lewisian „ ramble its oroper emphasis. Lili St. Cyr goes topical with her brief “Royal Wedding” dives¬ titure. There is a backdrqp of the bay of Monte Carlo to further the 'heme, but the interior set is •nu'*h the same. She enters wear- ng a white camisole complete with hinestone crown, to eschew these for play in the usual tub, and some ■'?x.v gyrations with a towel in r ront of a fireplace. During her ^onning of a filmy blue negligee, 4 he set turns revealing an ornate N ed. She tests the sorings, finds 'hem almost wanting, but stretches cut on the silk coverlet quite alone as the curtain closes. . Will. Bradford Hoof. Bos*on Boston, April 19. Baker Sisters (2), Tony Lavelli, y^dria-Elena & Chicuelo (2), Harry DeAnqelis Orch (5), Versitones (3), $2.50 minimum. The zany Baker Sisters, Thelma & Bobbi are back luring customers (o Al Taxier’s roof garden nitery spot and showing some new mate¬ rial. Opening with “Side by Side ” they go into gagging bits for big palm whacking and do a straight number. “If You’re Ever Gonna Leave Me.” Following a slick double Ethel Merman, the girls take turns with carbons of Pearl Bailey, Louis Armstrong. Eartha Kilt, Jimmy Durante and Helen Traubel, in latter as Brunhflde with helmet and shield. Duo change pace with “Too Many Tear¬ drops” in rock and roll idiom for big round of mitting. Pair bowoff with tophats and canes for nostal¬ gic softshoe. Adria-Elena & Chicuelo, flamen¬ co team from Cuba in flashy cos¬ tumes,'open the show with an ex¬ citing dance set using plenty of castanet work. Chicuelo does a slick cape dance for nice returns. Tony Lavelli, former basketball player, with a neat accordion stint emcees the show. He windjammers a 15-minute turn in a well-paced tune selection, and winds up his- offering with a community sing. He retains plenty of poise and show¬ manship. Harry DeAngelis cuts at slick show and Veristones ’ please jn the dance, interludesi - Guy.