Variety (January 1958)

63 Wednesday, January 29, 1958 PAiiiETr NIGHT CLUB REVIEWS ChlCbl, Palm Springs Palm Springs, Jan. 22. Andrews Sisters (3f, Estelle Sloan, Harvey Stone, Bill Alexan¬ der Qrch (9) ; ^2.50 cover . Irwin Schuman still believes In priming his own pump in a tight money market, apparently, because he has followed Liberace with the reunited Andrews Sisters, and segues', next week with Ginny Simms and Paul Gilbert. Only Mr. Big knows what Schuman has sunk into his Starlite Room since open¬ ing it as a new arid enlarged deluxe nitery in this 10 o’clock Coney Island of the Mojave Desert. But he’s still the smiling, gracious bonir face, acting as if the dough were rolling in, instead of moaning when the blues of the night meet no gold of the day. Over the years he seerns to have grown accustomed to this melan¬ choly economic pace. His first shows do . fairly well but second shows usually play to waiters. Cur¬ rent bill, however, . has done better after midnight than any others so far this season. Show opens with Estelle Sloan,, fresh from a European tour. Last year she played this house with Liberace and was woven into his act. This year she opens bold but soon warms up both the house arid herself. Patter could be improved but not her dancing. Though her spins bring out the heartiest ap¬ plause, it’s her : Irish dance, her Israeli wedding dance and nfbst of all her Metronome Number that deserve the biggest hands. Behind her comes Harvey Stone and like all comics, here or any¬ where else, beds and buttocks make up a major part of his humor. Air Force officers had ‘ringside tables and Stone’s Army routine was di¬ rected toward them. All his asides involve the suspicion that he is not only playing to a half-empty house but the rest are either dead or sleeping.. Oddly, these spaced asides get him his biggest laughs. He introduced the Andrews Sis¬ ters who appeared in huge, flaming red coats of slipper satin that would be great as a style to glam¬ orize pregnant little mamas. They open on ‘.‘Harmony,” beg not to be fenced in, begin the beguine; wish they could dance all night, try feudin’ and a-fightin’, add their version of Working for a Yankee dollar and finish where they be¬ gan — on “Harmony.” Halfway through they toss away their carmine cloaks and reveal themselves in lace frocks studded with, rhinestones over faintly tinted Sink slips. In a second showing ley change to blue frocks plug and sing snips of their new disks, convincing the house that when it comes to harmonizing and original styling, no singing group can top them. They pull out some high stools with apologies to Perry Como and try some harmonizing sitting down. They sing just as well either way but they are so well nourished that this sort of relaxation involves risks that may send them all to slenderella mornings if they don’t watch out. But they are essentially ear entertainment, because Miss Sloan’s figure had previously proved the ayes have it. Altogether a well-balanced bill but tough going in a town that won’t stay up till midnightteven for Jack Parr — for^nothing. Soul. Eden Roe, Miami Beach » Miami Beach, Jari. 26. Buddy -Hackett, Gloria DeHaven (with the Kirschner Twins), John* ny Puleo & Harmonica Rascals, Mai Malkin Orch; $3.50-$7.50 mini¬ mum. Biz is on the rise: for the Cafe Pompeii with advfent of this copedy loaded package. Buddy Hackett has become a staple hereabouts and, With this en¬ gagement has entered the near five figure bracket on the payoff scale. Going on What he accomplished in way of draw values first weekend, he rates the hefty jump,: albeit there's still plenty of nights to run¬ out against the tough-competish he's faced with. Withal, Hackett takes to the big Pompeii with aplomb, spinning out his sock-yock filled string of self-appraisals; the pitfalls of married life; total recall -^and a hilarious one — of birthday. There's a smart insert of psycho¬ logical undertones in his material; notably in the effect of legit on his stage manners. It’s high level laugh plateau he strives for here, and reaches with plenty to . spare. A new bit anent arriving eons ago from outer space, contains solid topical overtones. The begoff isn't permitted by tablers at wind, his trademarked Chinese waiter served for the big payoff. Gloria DeHaven, in a glowing enciente state that calls for the current hout-couture (arid attrac¬ tive on her) sack* dress; works out. a trim set of song specials arid standards to healthy response. The vo.cability is fair, but the might, effervescent personality, still touched with the Hollywood lammister in-person glamour, wins them ill the way. Inject of a. shortie costumed lyric original, is a plus. She’s using a piano team for this engagement to allow , for solo spot while she’s off for the change from sack to short. They’re a fair pair, more suitable for lounge dates. Mai Malkin’s batoning and fine, crew carry the de Haven scorings. Johnny Puleo is: another faye in this resort, and can do no wrong with the regulars who frequent the bigger cafes. Per always, his pantoantics with his mouth-orgari crew iriakes for laugh-filled sight stuff that stays in a rising reaction. Some Of his. mixups leari overly to the broad side, but the arid takes it in stride, to palm him and his crew into a solid bowoff. As noted; Malkin is expert at the conducting chores, and also, at doubling as emcee. Joe E. Lewis, Marie Mac¬ Donald . arrive Feb: 6th. Lary. Sands, Las Vegas Las Vegas, Jan. 24. jerry Lewis, Peg Leg Bates, Dick Humphreys, The ' Mudlarks (5), . Antonio Morelli Qrch (22); created and staged by Jack Entratter; $3 minimum. Jerry Lewis’ latest venture into the Copa Room displays the comic in typical Lewisian fettle, and his fans get more for their money, be¬ cause he’s surrounded by a smaller company than last time around. Ope holdOver • from the previous romp, terper Dick Humphreys, is featured, and joins Lewis in some classy and yock-pulling dance, rou¬ tines. Lewis gets loudest laughs from his classic Japanese character whose dialogue must be interpre¬ ted, and he clicks with his distinc¬ tive chirping of special lyrics to “From This Moment On,” some oldies, and a subdued. Italian song which serves as a bow off. He’s joined in one number by a new arid good group of songsters called The Mudlarks (5), and as usual shows masterful adlibbing when he gets ringsiders to sing with him. Lou Brown, who ac¬ companies Lewis on the 88, de¬ serves special credit for the way he guides the Antonio Morelli orch (22). . Peg Leg Bates, the vet monoleg tapper, was warmly received by first-nighters with . his unique dancing and sprinkling of comedy lines. New production numbers featuring the virile voice and showmanship of Bob Kaye, backed by the Texas Copa Girls (12) give smooth balance to the Jack Entratter package skedded for three frames. Duke. Chateau Madrid, N. Y. Beatrice Kraft & Dancers (3), Kitty De Carlo, Mara Lopez, Ralph Font & Panchito Orch; $4, $5 minir mums . Beatrice Kraft, once a minion of Jack Cole and who has been suc¬ cessful on her, own for quite a few years, has long been missing from the New York cafe haunts. She returns with probably the strongest act in her career. Her local reenr try, at Angel Lopez’ Chateau Ma¬ drid, provides a strong focal point to the show. Miss Kraft, assisted by two boys, now has an -act that choreographically as well as sar¬ torially fits the requirements of class and mass spots. The act is excellently disciplined. The lads in her troupe are strong solo dancers and fall into the ret quirements of the east Indian style of dancing With an ease and grace that contribute to the all-around excellence. Miss Kraft shows quite a variety of numbers, all in the milieu of the Kipling country. The dances have a sly touch of subtle humor, there’s a trace of folkways in the work, and there’s color and vigor in the terps. Miss Kraft’s costumes arid those of the boys are resplendent, though still light enough not to impede the move¬ ments of the terpers. With , this turn. Miss Kraft looks like she’s “in.’1 • ' Other performer of note is Kitty De Carlo, making a return trip here. Miss De Carlo is a much im¬ proved singer. She seems to have found direction and developing an individualistic style that encom¬ passes a sexy delivery and a man¬ ner that goes well with either pops or Latin numbers. She goes over strongly in this room. Completing the act lineup is Mara Lopez with an indeterminate kind of dancing. She works like an exotique Who has been iriistakenly booked , at a church social and is improvising artlessly. . The Ralph Font orch backs ex¬ cellently, while Panchito provides a lot of drive for the Latin dancers. Jose. Palmer House, : Chi Chicago, Jan. 24. Nelson Eddy with Gale Sher¬ wood (Theodore Paxson), Morlidor Trio, Ben Arden Orch (10); $2 cover. Musical nostalgia is the staple that should keep the Empire Room a happy, populous spot for the five weeks Nelson Eddy is to be; there. He’s a prepossessing performer. With a voice that still rings with the quality of yore. He delivers it un¬ sparingly and effortlessly. There is, of course, “Shortnin* Bread,” somewhat altered, but the. baritone clicks best when he War¬ bles the chestnuts— “Falling, in Love,” “Rose Marie,” “Desert Song” and “One Alone.” Blonde Gale Sherwood, with obvious phy¬ sical assets as . Well as a good oper¬ etta voice, does a polished job as Eddy’s vis-a-vis. The duo plays it straight with a romantic “Out of the Night, ’’.then scores with song parody of the “Merry Widow” (though dialog is ^o-so.) The lady later makes a wow return in a scant harem costume that reveals wide patches of her torso, and Eddy engages her . in some amusing byplay along the “Desert Song” route. The baritone surprises with some /pretty fair mimicry— his "impres¬ sions of other singers Imitating his “Road to Mandalay.” Pianist Ted Paxson provides deft accompani¬ ment. for Eddy’s solos. Morlidor Trio (two femiries arid a guy), in a seven-minute warmup, wins the audience with a clever, contortionist turn in which the male does an amazing simulated golli¬ wog. Ben Arden orch provides 'excellent backstopping for the show. Carol Channing follows March 6. Pit. Stagier Hotel, X. A. Los Angeles, Jan. 24. Gogi Grant , Don Josei Eddie Bergman Orch (12), cover $2, $2.50. It’s only a couple of years since Gogi Grant catapulted into the ranks of nitery names off a couple of hit disks for a small label. This year, with the credit of an off¬ screen singing voice in “The Helen Morgan Story” (plus the sound¬ track album from the film) and bol¬ stered by a topnotch vocal act, she may well climb into the upper echelon. Certainly from the stand¬ point of pure tune entertainment, her current Statler Hotel . offering leaves nothing to be desired. Actis wisely tailored to 35 min¬ utes and it moves along without a sag. Miss Grant, a fetching song¬ stress, is completely at ease and personable on the floor, she has selected her material with taste and care and she uses (arid needs) no tricks or gimmicks to sell her wares. Hers is a rich, true voice: she bits every note squarely and with the proper emphasis. And her understanding of the lyric content adds an extra Impact to tunes like “Ail the Way;” “Best Things In Life Are Free” or a Morgan medley. She also has a fine noveltune medley, reprising some of the daffy ditties of bygone days in a commentary on today’s musical output. In this segment, her patter gets a trifle strained but it’s easily remedied. Show opener is a suave and slick prestidigitator billed as Don Jose. By any name, he’s Frakson; long a vaude and nitery standby. The monicker may be new (so much so that he still forgets sometimes and refers to himself as Frakson) but the routines are generally standard and very good. He’s a whiz with the multiplying cigarettes, selfrising cards, arid coins from* out of nowhere and his kidding “It’s amazing, madam, amazing” echoes the ringside comment. He’s got a fine disappearing radio trick that’s new and he packs plenty of ring¬ side response into his 12 minutes. As always, Eddie Bergman’s crew does 4 solid job of show back¬ ing and more than meets the terp demands. Kep. Village Vanguard, PT.Y. (FOLLOWUP) This spot’s policy Of parlaying a straight nitery act, such as Prof. Irwin Corey, and a modern combo, the Charlie Mingus quintet, has a double-edged influence on jazz. On the positive side, Corey, who’s a holdover, brings to this club a class of customer who would not ordinarily be exposed , to modern Jazz. On the debit side; however, is the fact that many who come to hear Corey don’t dig jazz at all and create a serious problem for the musicians. For unlike, traditional jazz, such as dixieland arid swing, which is loud . enough . to make its point whatever -the audience deci¬ bel count mav be. modern jazz is a more fragile idiom which re¬ quires, in most cases, an almost concert hall silence for its appre¬ ciation, Mingus, on the night caught last week, was severely handicapped by an: inattentive and gabbing crowd. The management recognizes the problem by preceding the Mingus sessions with requests, if not pleas, for silence during the music. “If you listen,” the announcement goes, “you’ll find a meaning in this music.” The trouble is that few listen. That’s unfortunate because Min¬ gus, whocalls his current group, a “Jazz Workshop,” is one of the most dedicated and most talented personalities of the modern jazz school. His music may be turgid at times, but he achieves moments of intensity and power which go far beyond other modern combos. On a Haitian folksong number, Mingus, through his long and sub¬ tle solo on the bass, did succeed in earning a tribute of silence. But on the whole, it appeared to be a relentless war between Min¬ gus and some female in the crowd who persisted In her E-flat laugh. Herm. Hotel Radisson, Mplp# Minneapolis, Jan. 25. Pat Windsor (2), Don McGrane Orch (8); $2.50-$3.50 minimum. Songstress Pat Windsor proves to be a welcome new face for this swanky Flame Room and one won¬ ders why she hasn’t been around before. Tidings of whatever suc¬ cess she has achieved during ap¬ pearances at such tony eastern boites as New York’s Cotillion Room probably haven’t percolated hither, but at the opening dinner show local cafe sodeteers quickly took to her enthusiastically. Wordof-mouth seems certain to be high¬ ly favorable. _ As far as looks as well as voice are concerned, this stunningly' at¬ tired chirper resembles another highly gifted Flame Room per¬ former, Miml Benzell. She Un¬ doubtedly will emerge from her current fortnight here to take her place with this spot’s favorite femme songbirds. „ The manner In which Miss Windsor gilds her*cIeVeriy rou¬ tined original, highly effective ar¬ rangements of his showtunes, cur¬ rent pops and classical' selections with dramatic verve, charm and various other embellishments gives them distinctiveness arid freshness; In doin£ so, she displays an ex¬ ceptional set of pipes. In deference to regular and very popular conductor Don McQrane, the songstress explains at her performance’s conclusion why Joseph Reeder has taken over the baton from him. It’s because Reeder is “my husband and I never travel without him.” This proves to be a gesture which is nice In several ways, giving her a tighter hold on the customers. Reeder and the topnotch orch back her up flawlessly. Miss Windsor Is here, until Feb. 5, after which comedian Johnny O’Brien takes over. Rees. Black Orchid, Chi Chicago, Jan. 25. Jack E. Leonard, June Perry , joe Pamello Trio; $1.50 cover. Jack E. Leonard and this intimery are a made-to-order pair, even when the comic works with¬ out a discernible concept. His sec¬ ond show openingcriight (24) was a marvel of diffusion^, which, had it been essayed by. ra lessor talent, would have been, a large embar¬ rassment for both performer and audience. Instead, Leonard made: it hold up for most of the 50-inlnute turn. _.j First 20 minutes were gobbled with an ad lib tour de force as Leonard introed press guys and celebs in the audience. Needles and non-sequiturs, his character¬ istics, came at top speed to rau¬ cous laughs, arid the bit shaped as the summit of the show. AfterWard It was format, and somewhat anticlimactic, with a monolog sand¬ wiched by his vocalizing of “Sunny Side of Street,” and his trademarked softshoe business capped by the spinning hat getaway. June Perry, a stacked thrush, puts out top effort in a 13-minute warmup to a so-so reception. Her otherwise belting chords tend to fade -distractingly iri low register. She makes points with “Day In, Day Out” and “You Make Me Feel So Young,” but her “Street Where You Live” is an ilLconceived ar¬ rangement. Some corrective steps, however, should make her just right for a spot like the Orchid. Joe Parnello’s Trio gives solid backing for the show. Next up, Feb. 7; ' Jonathan Winters and Jennie Smith. Pit. The Sahbro, N. Y. Shoshana Damari, Sara Aman, Jackie Clark, Leo Fuld, Martin Ro¬ wan Orch (23); $3.50 minimum, $4.50 Sat. This kosher Israeli nitery’s gesheft is on the upgrade5 and the current erigagement of Shoshana Damari, the striking contralto from Yemen, should add considerably to the worthy rep of the uptown es¬ tablishment Here’s a comfortable 240-seater with decorative murals by a sterling artist Yoram Kaniuk, that is ideally suited for Miss Damari’s Hebraic melodies. Leo Fuld, who owns the Samira, said to be the only Israeli nite spot whose’ nearest rival is 8,000 miles away as the strudel flies, is on as master of ceremonies and does a f atgnigen (pleasurable, to for¬ eigners) job With introductions and vocals. He gives out with “Song of the Negev,” “Sonia Is Here to Stay,”, and his bestselling “Where Can I Go To,” a heart-wringer and eye-moistener. When Miss Damari comes on, the room becomes electric and the • lass from Israel has absolutely no difficulty capturing her audience. Bursting with melodic energy and built like a Rubens model, she’s an eye-filling, earthy, provocative damsel. Americans may recall her performance in an Israeli flicker, ’Hill 24 Does Not Answer.” She’s also in an upcoming full-length color musical, the first to be shot in Israel, called “Homeless,” and scheduled to. onen shortly at the Paris Theatre, N. Y. After her en¬ gagement here, she’s slated for the Brussels Fair as representative of the Israeli government. In a stunningly-tight white and gold gown, she gives forth with a medley of Hebraic chants and songs including “Facing Mt. Sinai,” “Camel Caravan in the Desert,” "Song of the Negev,” “Delights of /Memory,” “The Way We Dance In Israel.” “We are the Shepherds,” “The Red Puppies” and “I Am the Girl From Sufferth,” Throughout her performance, she’s accom¬ plished in both Voice and stance. One or two more bouriev numbers, however, might add a fillip to her present routine. Jackie Clark, bill’s comic, is iri from the Boulevard, Queens. In^> this all-Israeli atmosphere, he de¬ scribes himself as the only “for¬ eign” act on the bill, hut the audi¬ ence has no trouble grasping his accelerated natter dealing with psychiatry,' drunks, mothers and other surefire matters. He hints that he mav nlay “Loew’s Negev” after this date. Sara Aman does rousing ver¬ sions of Israeli dances. She’s on for two numbers, the second in an abbreviated piece of muslin which' shows off her umbilicus to remark¬ able advantage. Martin Roman and his orch are on the ball at all times, particu¬ larly behind Miss Damari’s thrush work. Rans. Ambassador Hotel, L. A. Los Angeles, Jan. 23. Frankie Laine, Farrer Trio, Ray Anthony Orch (15); $2-$2.50 cover. By the time canny Cocoanut Grove entrepeneur Gus Lamp* gets through with his scissors, he’ll have a good, entertainment ’ package for the current fortnight. Combination of Frankie Laine, the Farrar Tria and Ray Anthony’s orch can register with the .proper pacing. Admittedly, it’s not easy to cut Laine’s act since It’s a crowdpleasing melange of' his better diskings. Edited, however, it would have even greater impact at, say. 40 minutes. HO has 4 couple of standout segments;, notably a pair of tunes from .his’.ripcoming album in which he’s backed' riot by the orchestra but by a stereophonic tape of Michel LeGtand’s music. It’s excitihg nitery fare, particu¬ larly since the Grove's great equip¬ ment gives a living presence to the instrumentation and to LeGrand’s topnotch arrangements. Another Solid hit is a torch medley to gui¬ tar accompaniment, with Laine re¬ prising some of the torch stand¬ ards to top response. Other high¬ lights are reprises of such Laine oldies as “Black and Blue,” “We’ll Be Together Again,” “Jezebel" and quick excerpts of others, Farrar Trio, two gals and a guy, open with a quartet of dance rou¬ tines which should be cut by at least one. -There's some novelty in the manner in which the guy handles a dance stint with both gals simultaneously, hut it wears thin after a while and the chore¬ ography is just passable. Anthony's "Slaughter,” a fine arrangement, starts the show with a wallop and the crew ably hacks the rest of the layout in addition to keeping terpatrons well pleased from a large library of fine, dance ahlp arraTiVpmpnts. KVm.