Variety (June 1957)

72 NIGHT CLUB REVIEWS _ Pfi feltTY Latin Quarter, N. Y. The Vagabonds, George Matson, the Trio Cottas (3), Isabela & Miguel, The Y-Knot Tunrlers, Pam¬ ela Dennis, Latin Quarter chorus and showgirls, Jo Lombardi and Buddy Harlowe Orchs; $6 mini¬ mum. The tourist season and the vaca¬ tion period is getting under way so the booking of The Vagabonds as the feature attraction at Lou Walters’ Latin Quarter appears to meet the demand of the present market. The Vagabonds, a musical and comedy quartet, are a com¬ mercial act whose main appeal is for the peasantry and the local yokels. The four lads have had considerable exposure on tv, via the Arthur Godfrey show, and have been mainstays in Miami Beach spots. The brand of humor dished out by the Vagabonds, consisting main¬ ly of mugging and sight situations interpolated with their own musi¬ cal accompaniment, appears to score nicely with less sophisticated audiences. More discerning enter¬ tainment seekers will probably find it hard to take. At the LQ, The Vagabonds are offering many of their familiar routines, including "The Salt Song" and "Up the Lazy River." There’s no doubt about their ability as popular entertain¬ ers. They’re hard workers and give the customers their money’s worth. As per usual, Walters’ establish¬ ment remains the popular concep¬ tion of what night club entertain¬ ment should be. It's big, colorful and lush and more than meets the demand for anyone out for. a pleas¬ ant evening’s diversion. If has scantily clad girls, an excellent mixture of acts, music and bright costumes. Except for the Vagabonds, George Maston, and production singer Pamela Dennis, the present acts and routines are holdovers- from previous shows. Maston is a clever record act who specializes in female impersonations to match the background voices and music. He does a flapper of the 20’s, a strip teaser, and an opera singer who gets drunk while performing. He gets a nice mitting. Miss Dennis has a pleasant so¬ prano voice and fits in nicely with the production numbers. The re¬ peat acts, including The Tri Cottas, Isabela & Miguel and the Y-Knot Twirlers, continue to draw top au¬ dience response. Each act is a show-stopper and points up Walr ters’ ability in coming up with un¬ usual attractions. ' „ Jo Lombardi’s orchestra provides topnotch showbacking and alter¬ nates with Buddy Harlowe’s crew for customer dancing. Hotl. den, general stage manager, and Harry Howell, stage manager, con¬ tribute greatly to "Pajama’s" vi¬ tality. "Pajama” is slated for six weeks with options that may be picked up if George Gobel (incoming July 17) agrees. Adding to the ‘ show’s pull is a casino filled with em¬ ployes—from -waitresses to dealers —dressed ii} pajamas, a sure-fire attraction for gamblers and tour¬ ists alike. The virile production is present¬ ed by Frederick Brisson, Robert E. Griffith, and Harold S. Prince. Musical direction by George Hirst (17> is imaginative and with few fla,ws. Dipl. Fontainebleau, M. B’ch i Miami Beach, June 7... I Phil Foster, Leny Eversong, Gina I & Gerardo. Murray Schlamm, \ Sacasas Orch; $4 minimum. J Current show is part for the La Ronde course, offering an estab¬ lished—in this sector—comic, plus a brace of new acts. The package adds up as upper bracket nitery fare, befitting this plus cafe. Foster is now committed to a three times per year, exclusive deal with the Fontainebleau, where formely he’s worked every hotel location around. Per usual he keeps laugh-matters at a bubbly tempo with his gruff, albeit dis¬ arming approach that is tagged to the Broofclynese he accents through his stint. Foster maintains his pop¬ ularity here, thanks to injects of new twists to hypo the standards he's associated with, viz: the mar¬ ried life, advice to newlyweds rou¬ tine—apropos at this honeymoon¬ time of year. New bit is his “Let’s Keep the Dodgers in Brooklyn’’ tune which he recently recorded. The from-all-points audiences cur¬ rent, go for it all with howls. Leny Eversong is a buxom Bra¬ zilian whose vocalistics are pleas¬ ing. Although not conversant with the language, she spells out pho¬ netically a canto of upbeat state¬ side pops, paying two-tune service to her Latin origin, with topper rousing version of "La Cumba- drero.” She’s a likeable personality who fits the songstress slot ably. Gina. & Gerardo are a handsome pair of south-of-the-border imports who work out some slick ballroom- ology as well as their native steps. Gal is a looker with an entrancing torso which is'put to zesty use in latter part of their act, to heat up the palmometer. Murray Schlamm/ house emcee, turns in his usual smooth job while Sacasas dittos, in the musical department with his orch. Fran Warren and Georgie Maye arrive on the 12th. Lory. Riviera, Las Vegas Las Vegas, June 5. "Pajama Game," produced and directed by George Abbott, Jerome Robbins; music and lyrics by Rich¬ ard Adler and Jerry Ross; scenery and costumes, Lemuel Ayers; chore¬ ography, Bob Fosse; restaged by Zoya Leporska, musical direction by George Hirst (17): Stars Larry Douglas, Betty O’Neil, Buster West, Barbara Bostock, features Fred Irv¬ ing Lewis, Ruth Gillette, Jack Naughton, Tally Brown; $3 mini¬ mum. "Pajama Game"—the Broadway hit package—was tooled neatly into the Clover Room and opened with its characteristic zip and dash to a highly enthusiastic audience. Lemuel Ayers’ sets and the cho¬ reography of Bob Fosse have been tailored ideally to nightclub stand¬ ards—to provide a workable show¬ case for the talents of a cast per¬ forming as if on home ground. The 90-minute production but¬ tonholed about the pajama-manu¬ facturing business and a labor con¬ flict is embroidered by Larry Douglas, Betty O’Neil, Buster West and pixie-like Barbara Bostock. Douglas’ powerful singing is coun¬ terpoised with a strong presenta¬ tion by Miss O’Neil. West supplies fine comic interludes—but the ap¬ plause-gathering Miss Bostock gives this road show it^ genuine appeal of caprice. Opening with "Her Is" with the versatile Jack Naughton, Miss Bos¬ tock returns in the second of two acts to delight with Lee Capo and Tom Snow in derbyed, tuxedoed dance highlight "Steam Heat.” Combining with Douglas in the secretive “Hernando’s Hideaway,” Miss Bostock delivers robustly in song and dance before melting into the farcical “Jealousy Ballet” with a stolid West and sprightly males of the cast. Staging showpiece is the lively “Once A Year Day"-number cast in picnic dress and involving the entire company. Most responded-to duet is "There Once Was A Man.” carried by Douglas and Miss O’Neil. Set direction by William McFad- Lido de Paris (FOLLOWUP) , Paris, May 25. The lavish Lido revue, "C’Est Magnifique,” has played practical¬ ly SRO since its inception last De¬ cember. The French, Parisians as well as provincials, and the inter¬ national tourists have made it a mecca. Show is still fresh and fast as it mixes Gallic taste and ele¬ gance with the U.S. pace and rhythm. With its varied audiences, the Lido operators and creators, Pi- erre-Louis Guerin and Rene Fra- day, are probably right in eschew¬ ing star names. They really do not need them, for they supply enough dance display, costume and nude draw, top specialty acts and move¬ ment to overcome any lag that might be due to a lack of a co¬ hesive personality addition.. - ’ Revue is even more rigorous and polished now. The Bernard Brbfc. <2> have since gone on to other pas¬ tures, and, if their smart 'disk- mime number is missed, there are enough yocks, eyecatching aspects and pi'oduction values to make this probably the best nitery revue extant. Harrison & Fisher have shelved their big terp production number based on the “Amphytrion” legend. Now, they do only straight and satiric ballroom dance interludes. Their racy, graceful, haughty aplomb is just right for the more j serious stuff, underlined by their ; ease and flair, and perfect for their ( parody moments. The casual com- [ edics make for sophisticated shen- . anigans and plenty of laughs, i With the zany Anglo band, The (Nitwits (9>, the bright magico rou¬ tine of Marvin Roy, Erich Brenn’s feverish juggling, Margie Lee and Michael Meehan on ice skates, the Hispano terping of the Trianas (6), and the whole paraphernalia of a swimming pool, fireworks, dancing waters, nude revels etc, all done with taste and savvy production planning, the Lido, at a $6.50 mini¬ mum, is one of the best entertain¬ ment buys in town. Second part of the show is aimed at the tourist bus loads, but also gives a good ac¬ count of itself. Mosk. Village Vanguard, N. Y. Chico Hamilton Quintet, Irwin Corey; $2.50 minimum. The Village Vanguard, a N. Y. landmark which has gone through many cycles from poetry readings to names, is now switching to jazz groups, which has become the chief entertainment product of this sec¬ tor of town. However, proprietor Max Gordon is hedging a complete switchover to the cool form of amusement. With the Chico Hamil¬ ton Quintet, he has brought in Irwin Corey, who upon occasion has meant boxoffice in the Village and who no doubt will attract a considerable slice of‘trade on his own. The Hamilton group is probably one of. the more interesting of the jazz collaborationists. They have an unusual sound with an instru¬ mentation of Hamilton helming from the drums, with cello, guitar, bass, and a flutist who quadruples on sax, clary and piccolo, but may have some other instruments stach- ed away out of sight. The group seems to be highly articulate in expressing itself in offbeat patterns. The odd instru¬ mentation permits equally strong accents on melody and rhythms, and frequently unusual textures. The outfit also has a lot of imagi¬ native patterns. The lighter pieces, such as some of the standards, are done witn taste and charm. Some Bach influences even filter through. But it’s a combo that will speak in equally acceptable tones to the longhair jazzists as 'the progres¬ sives, and they loom as an influen¬ tial voice in the new sounds firma¬ ment, Hamilton, a sepian, makes the announcements in a scholarly ! manner. Rest of the crew are ofays with professorial miens. Corey has always done 'foell in the Village’ In fact, he started ,at this boite as a record act. Since then, he’s organized his disorganiz¬ ed fulminations in a most effective manner. Sometimes he runs away with himself as far as the time element is concerned and in pick¬ ing on a single party in the vicinity of the stage. At show caught, boni- face Gordon put on the lights, wigwagged and threw some other attention getters until Corey got the hint and took off. Before that he seemed to be doing so well that he was loathe to leave the assembl¬ age. J ose. Statler Hotel, L. A. Los Angeles, June 7, Gogi Grant* Bobby Brandt, Eddy Bergman Orch (11); $2-$2.50 couer. It has been about a'year since Gogi Grant last appeared at the Statler here and in the interim she has gained in both pull and poise. These factors, plus selection of pleasant (tho not necessarily out¬ standing) material for her act in¬ dicate better than average returns for the downtown hostelry during the current three week stand. Miss Grant is one of the better, new singers currently making an impact via disks and occasional nitery salaries. With a recent soundtrack dubbing job (“Helen Morgan Story”) behind her and a full-fledged film assignment (“The Big Beat”) coming up, she’s on the verge of carving a nitery niche for herself. She should have no .diffi¬ culty but additional special mate¬ rial, like her “I Like a Novelty Song” medley which .points out that other generations also had nonsense numbers, might acceler¬ ate her climb. She has a big, clear voice ’Shd she knows -how' to use it, either for belting or for tender selling of such items as “How Deep ly the Ocean” or a few bars of her “Suddenly There’s a Val¬ ley’* diSclick. Highlight of the turn is her re¬ prise of the "Wayward Wind” platter, the noveltune medley (which ranges from "Where Did Robinson Crusoe go with Friday on Saturday Night" to “Mairzy Doats") and a fine job on “With¬ out a Song," done only with a piano accompaniment. Miss Grant is preceded by Bob¬ by Brandt, an -energetic young dancer who lards his taps with acrobatics. It’s a fast turn re¬ plete with showmanly gimmicks to attract attention, particularly on a soft shoe dance with modern connotations. Eddy Bergman’s orch returns to the Statler for this layout to be¬ gin what will probably be another deserved long run. Kap. Royal York, Toronto Toronto, May 30. Jane Morgan, Lucille & Eddie Roberts, Johnny Lindon Orch (10), Beverly Foster; $3 cover . Sharing honors with Jane Mor¬ gan (New,- Acts), Lucille & Eddie Rober s are in with their merry mental act. Husband-wife team scores on sophisticated- sparkle, plus the smooth gabbing of the tablehopping male ahd the baffling and correct answers of the masked lady on centre platform as she rattles off the answers. They add class to the bafflement of' the posh clientele by appearing in evening dress, the dlstaffer in white-se- quinned gown uflth salmon-pink overskirt.^Working fast, husband is also a personable questioner and glib gentleman on the ad lib. They delight the customers. New band (10) is conducted by Johnny Lindon, replacing Moxie Whitney’s orch which has moved for the summer to the Canadian Pacific Railway’s resort hotel at Lake Louise, Alberta. Lindon makes the mistake of leading the* band while stepping out for his baritone* vocalistics, thus splitting the chore to detracting and detri¬ mental effect. Beverly Foster, blonde in blue evening gown. Is pleasant to look at and listen to. Show is in for a fortnight. McStay. New Nixon, Pitt Pittsburgh, June 5. Gali Gali, Steve Gaynor , Farrar Trio, Joey Deane, Mme. Kamarova Dancers (8), Al Marsico 4 Orch. (8); no cover or minimum. Downtown Pittsburgh’s newest nitery, 350-seat New Nixon, which got into action just about four months ago, looks to be in. It’s a class spot and has been building steadily. Dinner business has been extraordinary; supper is still a lit¬ tle off but it’s coming along. En¬ tertainment policy, with a big pro¬ duction splash a la Latin Quarter in N. Y., h£s wisely continued. Current layout is the best New Nixon has had since its opener in February. Headed by Gali Gali, in Pittsburgh for the first time, since he played the old Nixon Cafe (since torn down and now the site of the Alcoa skyscraper) ini 1949. Calling Gali Gali just a magician would be like labeling Manhattan just an island. He’s off by himself as a'personality and a de luxe sleight-of-hander. The fellow improves with age; his dis¬ appearing chicks with a couple Of recruits from the audience are not only mystifying but also hilarious and everything he does is solid and gilt-edged.. They love him here; nobody can remember when a magico has ever killed them like this. Up to and including- Gali Gali, the show’s capital entertainment. Joey Deane is a little guy who hoofs big and his eccentric stuff is showy and neatly mixed. Far¬ rar Trio, two girls and a man, turn out a flashy and original dance act, ballroom and aero, and Steve Gaynor, who also emcees, registers solidly with his songs. * He has a fine voice, an ingratiating manner and uses both of them advan¬ tageously. Mme. Kamarova’s line appears in three-production num¬ bers all neatly integrated into the layout, and Al Marsico’s band backs everything smartly and puts out a smart brand of dansapation as well* Cohen . Hotel Mnehlehaeh, K. C. Kansas City, June 7. Andrini Bros. (2), Gerri Gale, Tommy Reed'Orch (8); $1-$1.50 cover. The Terrace Grill has a 40-min¬ ute show high enough on the en¬ tertainment score for this session, albeit both acts are new here and little known here consequent¬ ly. The two make an unusual combo with the string instrumen¬ tals of the Andrinis and the danc¬ ing and songs of Gerri Gale. Miss Gale has the opening spot to work a little boogie and assort¬ ed rhythms into ballet, adding a calypso, some samba and a dab of Dixieland for variety. She warbles a bit, has a special entree in a ditty of an expensive lady and how she does her day, done in pantomime and with a hat to match each mood. Blonde, lith- so'me. Miss Gale is at her best in the dancing entries, raises a good hand at her finish. Mastery of the strings is the forte of Francisco and Lorenzo Andrini, who have played most spots around the world but some¬ how have missed K. C. heretofore. Their mainstays are the Spanish guitar for Francisco and the man¬ dolin, both electrified, for Lorenzo, from which they .extract most every type of tune and tempo. For a fillip there is the 17th century mandolira, which Lorenzo adds to the offering, an especially good novelty twist.. The switch .to ban¬ jos and back to their original in¬ struments while picking out a long list of favorites from opera, the standards and otherwise well known numbers. Their skill is topflight, and they embellish it with a bit of kidding and a vocal or two, all well received. Quin .* Greater Cincy nightclubbers latch on to Roberta Sherwood’s kind of singing. Her kickoff of the current two-framer matches the warmest reception accorded that of any of the long string of artists to play this northern Kentucky sWankery. Billy Vine, a fave who has been absent for several years, upholds his end in the laugh department. Class backing comes from the Bev¬ erly crew of Donn Arden Dancers and Gardner Benedict’s band. Miss Sherwood gets off to a big hand by coming on stage from the rear of the ’ room, wearing dark rimmed glasses and a white sweat¬ er, which she discards until exit¬ ing. Her 33-minute catalog, sock all the way, permits advantage of vocal ranges from sweet to shout¬ ing. Standout returns on "I Used to Love You," with cymbal fan¬ ning, her “Lazy River” and a walk- off to thunderous mitting on "Bill Bailey." Youngest of her three sons, out of school with a good re- pprt, an opening night ringsider. Accompanied by Ernie DeLorenzo, piano, and Red Newmark, electric guitar. Hefty Billy Vine, in tux, refreshes a 27-minute routine with unfamil¬ iar gags and retains his standard drunk and Yiddish dialect pieces. Myron Cohen returns as headliner of the show opening June 21. Koll. Hotel Radisson, Mpls. Minneapolis, June 8. Wally Griffin, Don McGrane Orch (8); $2.50-$3.50 minimum. Youthful comedian Wally Griffin bowed locally-at this plush Flame Room in 1956, an unknown here¬ abouts, and scored so strongly he was held over an additional fort¬ night. He’s now brought back after only nine months, a Griffin’s return is notable be¬ cause he has a brand new act that’s even a vast improvement over his initial offering which went so well here. With original, smart material (most of it from his own pen) that he sells exuberantly well, he kept an almost entirely filled room con¬ tinuously entertained and laugh¬ ing at his opening dinner show. Griffin wisely has eschewed his former pianistics and works entire¬ ly standing up behind the mike, unloosening a steady stream of amusing patter and neatly sung numbers most of which also boast a heavy quota of rib-ticklers. An especial knockout is his version of “Little Red Riding Hood" set to “My Fair Lady" tunes. Yocks come frequently during the act. There’s no gainsaying that in Minneapolis this performer is a real hit and has won a place among Flame Room favorites. Don McGrane’s orch, as usual, fills its end of the bill superlative¬ ly well.#Griffin is here until June 19 and will be followed by singer Ann Leonardo. Rees. Amato’s, Portland, Ore. Portland, Ore., June 4. Carl Ravazzai The Boginos (5), Julian Dreyer (5), Nikalani Fo & Sol Brite; $1-$1.50 cover. Singer Carl Ravazza is bringing his charm to the Pacific Northwest for the first time in his debut in this area .at this plush showcase. With the tofrn loaded with visitors for the annual Rose Festival, Ra- vazza’s name on the marquee is sure to keep the -tables full for his entire two weeks stay and set him up as a regular returnee. After his intro, he starts to sing in the rear of .the house and gets the customers in his palm and keeps them there till he signs off 40 minutes later. He’s a top sales¬ man with a pair of good pipes. He has an easy, clean style and stint is well staged and moves quickly. Ravazza pleases with pop standards. Best bets are “Holding Hands Time” and “Carmen Boogie.” His “stories in song" are \ also top drawer. The five Boginos get things under way with their lightning risley stuff. Three male guys and 2 femmes go thru some better than average foot juggling for solid returns. Guys toss, spin, and twist the others individually and in doubles and get gasps from the ringsiders. Several payers get' a gratis trip aloft for plenty of belly laughs. Julian Dreyer and his house crew do their usual good job of playing the show and get the dancers on the floor for the dance seshes. Nikalani Fo & Sol Brite keep the lounge patrons in good spirits with their miniature floor show throughout the eve. Feve.