Variety (February 1959)

MBSBEFr NIGHT CLUB REVIEWS 71 Wednesday, February II, 195fr Moulin Rouge, H*wood Hollywood, Feb. 7. Jerry Lewis, Bob Williams & Bis Dogs, Hal Bell, Donn Arden Revue, Dick Stabile Orch (25), Max Fidler Quartet; $5.5Q package. The old rhyme—“Something old, something new, something bor¬ rowed, something blue”—aptly de¬ scribes Jerry Lewis’ act at Frank Sennes’ Moulin Rouge, where he’s in for a 10-day stand and preemed to a packed house. In fact, at show caught there was very little differ¬ ence from the material he used in his appearance at the spot last May when, incidentally, he set a house record for attendance. Nevertheless, the audience loved it and ate it up, keeping him on for about 85 minutes,- which -seemed overboard. Starting with garbling of “It’s Good, to Be Alive,” he apes various song styles, then mouths the.words to a Mario I.an7_a recording of “Be My Love.” Following a standup dialog rou¬ tine, he goes into a Jolson imita¬ tion of “RockaBye My Baby,” segueing to the' now-too-familiar Japanese bit, with Hal Bell inter¬ preting. Then comes his leading of the Dick Stabile arch, trumpet playing, imitations, solo strawhat- softshoe routine, the heckling of members of his audience and ac¬ companist Lew Brown (with the oldie, “give him a SDotlight with hair’’), individual and community singing of “Shine On, Harvest Moon,” and windup with lullaby from his most recent Par pic, “Geisha Boy.” That Lewis has great talent is evident; but It would be more showmanly' for him to get new material and to build the act to a rousing Climax. Donn Arden Revue was cut to one spectacular number Opening night—the cast of 37 singers and dancers putting on an Afrlcan- localed voodoo sketch to intro the bill. Other act is Bob Williams and his two dogs, one named Louis getting great yocks in routine in which he is as limp as a piece of boiled spaghetti. Stabile’s aggregation backs Lewis and the show appropriately, •with the Max Fidler Quartet alter¬ nating on the dance sets. King. Beanvllle, Miami B’ch Miami Beach, Feb. L “Newcomers af *23,” starring Paul Whiteman, Harry Richman, Rudy Vallee, Buster Keaton, Fifi D'Orsay, Billy Gilbert, with Larry Grayson, Kitty Muldoon, Mitzi McCall, New Rhythm Boys, Earle Twins , Louise Vienna, Cathy Stu¬ art, Tom Vickers; produced, writ¬ ten and. directed by Jackie Barnett; choreography , Jon Gregory, asso¬ ciate producer, Paul Ross; settings, Harvey Warren; original .music. Dean Elliot; production manager; Jerry Franks; Roy Bargy conduct¬ ing the Lee Martin Orch; $3.50-$6- $7.50 minimum. Slickest big-company production in a town filled with several smartly staged revues to compete with tie name array of the cafe circuit’s top hotels, the Eden Roc and Fontainebleau, is this Jackie Barnett original. The smooth, fast-moving layout, with shrewdly integrated staging, is tonched with a click aura from opening curtain. The Barnett con¬ cept has old-pros Paul Whiteman, Harry Richman, Rudy Vallee. Billy Gilbert and Fifi D’Orsay presented tongue-in-cheek to a young couple during honeymoon trip “to the moon” that twists into reverse travel by rocket’ship, back in time to ’28; their tour of Manhattan .becomes the peg on which the period is brought into musical pic¬ ture, The continuity device is highly original and allows for a bash Of fine new song ideas to he wedded to the hits of that erg, associated with the vets on hand. By this means, the nostalgia noodlers, can revel in a Richman- Vallee reprising their hits in a clever mixup of music that ends on a straight rundown note. Paul Whiteman, in one of the show’s outstanding segments, is a show- stopper when he introes the “new” Rhythm Boys with a Crosby look and sound-alike, then introes Roy Bargy for feature solo at the 88 in a condensed and highly "effective arrangement of “Rhapsody in Blue.” Another highlight is probably: the best staged and choreographed number in town. It is a recap, in driving rhythmic tempo and lyrics, of a stock brokerage office frenzy, pre-’29, that gets the auditors to constant palming. A “dueling” scene between Whiteman and Bus¬ ter Keaton is another topper; it’s a sketch right out of the o T d clients that shows Keaton at h'is panto¬ mimic finest/with Vallee and Rich¬ man lending strong assists as the seconds. The quartet had earlier set themselves solidly with a song and “dance” spooL Fifi D’Orsay reminds that the late ’20s had its own Genevieve type in.a saucy, mangled English lampoon on a fashion salon of the day, with a modem twist. She’s £s vital and forceful as in her heyday. Billy Gilbert themes the show idea together as the “Professor” who pets up the honeymooner’s Corri¬ gan flight into space, adding laugh values in a middle-break spot with his trademarked sneezers-types, to constant ringsider howls. Of the current-generation group, Kitty Muldoon is the big hit. A wholesome, sparkling blonde looker Who hits top sopranoings with skilled ease,-she raises a big aud buzz. Her dueting partner, Larry Grayson, impresses as a potent musicomedy lead. The Earle Twin's are dance whizzes who hit peak in a clever routine with agile Tom Vickers, who in all production numbers sparks the zesty ap¬ proaches to the company’s choreo¬ graphic assignments, for ‘ which Jon Gregory rates a bow. Louise Vienna as Helen Morgan; Mitzi McCall as Helen Kane and Cathy Stuart as Texas Guinan are bit- 1 part standouts. The package should build biz via word-of-mouth. Majority of at¬ tendees leave in ' click-talking mood. Barnett rates kudos for his creative approach to it all: it’s a bet for a video special and rates a New York presentation house showcasing—or in any big, class cafe with large stage. With the right advance promotion it could spark a steady b.o, flow. Lee Martin’s' enlarged (to 13) orch is tops in the playing of the tough score, notably in the “Rhap¬ sody” and the broker’s office melange. Package is in for three weeks. Lory, Thiisderblrd, Las Vegas Las Vegas, Feb. 3. u China Doll Revue of 1959,” Ming & Ling, Kim Sisters (3), Toy & Wing, Misou Shuree, Tong Bros. (3), Glen Chan, Keiko, Dancers & Showgirls (20, At Johns Orch (14); Produced & staged by Tom Ball; presented by Marty Hicks; choreography by Jack Bunch; mu¬ sic by Wayne Kirkland; costumes by Mm?. Berthe; $3 minimum.. Tom Ball’s “China Doll Revue of 1959,” presented by Marty Hicks, is the latest in a series of s imilar shows which have been pitched here in the past few years, and this one is by far the best. High¬ light is the sock turn of the Kim Sisters (3), Korean chirper-terpers making, their American debut (see New Acts.) Headlining are Ming & Ling, the “Chinese hillbillies,” who have long been Vegas faves. Comedian Ming and handsome singer Ling are an ideal balance ifr a very fun¬ ny act which includes incongruous joke-telling and comedy juggling by the former, top-levels vocals and impreshes by the latter. Toy & Wing are welcome re¬ turnees with their traditional Ori¬ ental fare blended into Occidental rock ’n’ roll and such pure Ameri¬ cana as numbers from the George M. Cohan era. Miss Toy is effec¬ tive as a ballerina, and Paul Wing is clever with his versatile foot¬ work. Misou Shuree scores with excit¬ ing native dance routines in unique costume which captures the flayor of the ancient Orient. Keiko, a vivacious looker, clicks as featured terper with the line of ’gorgeous showgirls and dancers (20). .The Tong Bros. 13) show uncanny bal¬ ancing skill in their acrobatic act, and Glen Chan robustly performs as production singer. The choreog¬ raphy by Jack Bunch is outstand¬ ing; music by Wayne Kirkland, skillfully interpreted by the A1 Jahns orch (14),' is a solid plus; as are the sets, costumes and light¬ ing. Show is set for eight weeks. Duke. Amato’s, Port, Ore. Portland, Ore., Feb. 4. Day, Dawn, & Dusk, Harry Gillr gum Trio, Duo-Tones (2), Vivian Grant, Gina; no minimum; $1 coper, Sat. only. . Day, Dawn & Dusk are back for their annual trek. However, this marks their debut in the newly re¬ modeled room. Longtime faves here have marquee value and should draw their two-week stay. Eddie Coleman (baritone), McKin¬ ley Smith (lead tenor) and Robert Caver (tenor) score nicely with group and solo stuff. Boys are vet showmen and slam out standard and pop tunes for solid returns. Harry Gillgum Trio backstop the show well and get the diners: on the floor for dancing. The Duo-j Tones work the lounge with songs, piano and bass/ Vivian Grant pleases the quiet entertainment- seekers in the Lamplighter Room with songs at piano. Feve. j Latin Quarter* N» V* Jeon Carroll,-Four Lads, Romano Bros, (3), Three. Tuckers, Pony SherreU, Joyce Roberts, Dick Curry, Boubouka, Ted Monson, Lisa Rose, Mitsouko Mongol , La¬ tin Quarter Dames (13), L-Q Boys (4), Jo Lombardi Sc Buddy Har- lawe Orchs; $6.00 minimum. This longrun production under the Donn Arden aegis is brightened up to such a degree with four new acts that it plays almost like a new show at this landmark night club, -New lineup is topped by corned i- : enne Jean Carroll and the Four : Lads, hut the other two turns run ; them a close race for laurels. Miss Carroll, a regular at the LQ, gets the star spot at the tag- end of the production, and obvious¬ ly deserves it. She is leaning heavi¬ ly on her material and easy deliv¬ ery. Miss Carroll still uses much of her better double-entendre bits — and most of it is funnier than downright blue. It is concentrated on fat people, puns and her hus¬ band. She still retains the knack of dropping in her punchline With a straight face. vPer usual Miss Carroll has the quick retort, with those premedi¬ tated ad libs, .for anyone in the audience trying to mess up her routine. Opening night, Miss Car- roll was in top form and more comedy songs were the order. She is an outstanding comedienne for niteries and television, and fits ex¬ cellently into this show. The Four Lads have been around in N.Y. spots hut this apparently 1 is one of their first nitery engage¬ ments since building a rep in the recording field. The Columbia labeleers appear to have come con- i siderable distance since their break-in on the N.Y. scene about; nine years ago.. Their projection; is more relaxed and the boys are okay audience-pleasers with much of their harmonizing. Opening 'night, the quartet seemed on too long—or maybe it was just the way , they material went over, some of it failing to hold interest at the dinner show. , They click best with "Standing on the Corner” and “No, Not Much.” Another standout is “When You’re Really in Love,” Their medley is a bit too routine and quiet. In contrast, “Istanbul” Is done up brown and has sufficient pantomime to go over solidly. Lads < segue into a tribute to Frank Loesser. This gives them a chance to trot out such as “My Dating, My Darling,” “Jingle, Jangle,” “Slow Boat To China,” “Small Fry” ; and “Praise the Lord and Pass the Ammunition.” Ace supporting turn is the Three Tuckers, deft trampolinists. Act follows much the same pattern as used for. some time. But the two comely femmes and male in rube getup now work with such, preci¬ sion that the most difficult tricks appear easy. The stunt of bounc¬ ing nearly to the roof, as done by the comic, is something that gets the turn rolling early. Their abili¬ ty to leap over each another and do-stands brings plenty of mitting. This combo is so good and fast moving that It mops up in this room. The Romano Bros, fundamentally is the same act it has been for the last eight or nine years. It has: more popular appeal now since the three acrobats have built their turn and eliminated so much so-called- comedy. They still mix a few snatches of song with fast-stepping, to intro their aero. Threesome has: virtually a double climax, ending with a triple stand that gets them off to loud applause. i Remainder of show is basically the same production setup as when launched several months ago. Pony : Sherrell and Dick Curry continue in the main leads, with Boubouka still the “Baghdad Baby” with her Oriental gyrations. Jo Lombardi plays the show with his customary deftness ditto for part patron danc¬ ing, with Buddy Harlowe’s combo on dansapation relief. Wear . ■ Hotel Weylin, N. Y. Bobby Short, Ralph Strain Trio; $3.5Q-$4 minimum. The Weylin is sure to develop as a stopoff for late-hour carousers once word gets round that Bobby Short is back in town and in stand¬ out piano-vocal form. Short began to build his Gotham following about two years ago when he was berthed at the Beverly, and it’s large enough to keep the new room busy for his four shows nightly. Short’s establishing a new policy for the Weylin. It had been fun as a luncheon-dinner and after- theatre spot for the last three years, but owners Ben Fmden and David Sverd. decided to take a crack at an entertainment policy. With Short, they’re starting right at the top. Singer’s vocal dash and choice of repertoire is the big draw for the musical huffs. He digs into the catalogs of old showtuners, pix and pops and comes up with nifties that delight the tablers. His pro¬ gramming is definitely away from “Top 40” styling hut it still won’t frighten away those who may not know “The Hottentot Potentate,” “And Her Mother Came Too,” “An Island In The West Indies” and “Let’s Go Slumming,” to pick a few from his stocked-up songbag. He delivers with ease and a clarity that gives, a solid dimension to everything he touches. It adds up to a music fest that holds the crowd through more than one set —a tribute to Short’s long talent. He gets a nifty rhythm backing from Ishmael Ugarti (bass) ana Johnny Cress (drums). Ugarti and Cress stick around when Ralph Strain takes over the keyboard for some quiet but highly appeal¬ ing musical interludes. Cabby, the maitre d’, who’s had a 25-year stretch at the Weylin, keeps the service crew on its toes. Gros. Besert Inn, Las Vegas Las Vegas, Feb. 3. Tony Martin, Jack Durant, Bob¬ by Winters, Art Johnson, Donn Ar¬ den Dancers (11), Carlton Hayes Orch (20); choreography by Donn Arden; $3 minimum. After a 10-year association with the Flamingo, Tony Martin has moved up the Strip to the Painted Desert Room, making his Desert Inn debut to launch a five-year pact with Wilbur Clark and associates. On Martin the transition looks good—he’s still one of Vegas' pow¬ erhouse regulars/ and apparently will remain In high gear for a long time. The intimate room is an ideal showcase for Martin’s, distinctive vocal style; first-nighters welcomed him with applause hefty enough to stretch his turn to a solid hour. Smoothly hacked by A1 Sendry at the piano and Carlton Hayes' orch (20), Martin caresses the standards and some current pops. “I'm Glad I’m Not Young Anymore” has him joined dance-wise by his two “secretaries,” lovely Latin-types Alvi Corona and Gerre Goss. “Fire Down Below” is woven into a pro¬ duction number, and in “I Don't Care If The Sun Don’t Shine” he adds his own okay hit on the cla¬ rinet. Hal Belfer neatly coordin¬ ates ^ staging, choreography and lighting for Martin. Jack Durant, another perennial fave here, gets sustained yocks with, his breathless delivery of anti¬ wife and other jokes followed by his own infectious laughter. Bobby Winters, in a well- received comedy juggling routine, and holdover production numbers featuring the big voice of Art Johnson and Donn Arden’s danc¬ ers (11) balance the bill, skedded for four weeks. Duke , Barclay Hotel, Toronto . * Toronto, Feb. 3. Johnny Howard, Ray Romaine ic Claire, Jimmy Stevens, William Boehm, Craig Daye Dancers (7), Jimmy Amara Orch (8); $L50 cover. As new owner-operator of the Barclay Hotel and stager, A1 Siegel has grabbed Johnny Howard as the funny storyteller, with William Boehm as goodlookihg handler of romantic songs and the Craig Daye Dancers in three new routines, Howard is a rapid-fire monolog- ist with his Yiddish, Irish £nd Scotch dialect effects. Besides taking over most of the time, he has no difficulty in staying on indefinitely, including his whistling finale. Boehm has lots of local Mends from his staging of “round” musi¬ cals in Buffalo and Toronto, and appearance in one of the leads of “Song of Norway” last summer in both cities. He sings the produc¬ tion numbers for the Daye line, including “Oklahoma” medley, “Live Till I Die,’ "Pagliacci” and “Invitation to Love.” Also out¬ standing is Jimmy Stevens, a tall and fast-stepping boy with soft- shoe and a fast tap finale frenzy. Ray Romaine & Claire front a tumbling and balancing act with thrilling foot and hand catches and fine muscular control. • Daye Dancers, now seven girls, open in western briefies in white, plus three in Indian costumes and headdresses for'the “Oklahoma” medley and are hack later In a Mardi Gras number with cha-cha .dance. They finish with colorfully costumed waltz number. Also in this flash finale is Jeri Jane in; silver paint covering her face and frame. All in all, every act scores on a bill neatly assembled, with excel¬ lent backgrounding supplied by Jimmy Amara’s orch. McStay. International, N. V* Fran Warren, At Bemie, Boots McKenna Girls (8), Boys (3) k Michael Dwrso Orch; $5 minimum. Bonifaces may be their own best masterminds, but sometimes im¬ partial observers can spot chinks in the armor better. Jack Silver¬ man’s International (ex-OId Rou¬ manian) is so outsized (upward .of 1,000 capacity) that the talent must be booked, among other require¬ ments, with the proportions in [ Tn'ind, Fran Warren is a competent singer and an extremely attractive one, but the cavernous cafe is not ; for her. Hers is only a medium voice with occasional belting. She cannot command a stadium-like , stretch. What hurts, too, is that I with a slim crowd (much less than 50% capacity at the Thursday (5) first-show), even the top layer of performers are at a disadvantage, , Apparently there is no suitable i method of screening the huge three-sided terraced area when there’s only a small house on hand. Curtaining off the outer reaches could work wonders—for act* audi¬ ence and management. Still, granting Miss Warren's longtime greater successes else¬ where—and there’s no doubt about her slick chirping and ultra groom- I ing— she herself created a chasm by being much too obvious about a [ bit of commotion indulged in by diners. There was a predominantly all-male crowd. .No nitery is a kiddie park and the customers are entitled to a little kidding, pro¬ vided they don’t interfere with the stageside stuff. Miss Warren didn’t take to the unbilled noises; but all kinds of performers are subject to ditto (and sometimes worse) hap¬ penings and many of them ride it out and, .in fact, make a virtue of such a disadvantage by going along with the joke. It’s part of that old audience rapport, whether instinc¬ tive or artificially arrived at At this preem, Miss Warren was, in most cases, too deliberate in her approach to the songalog. “My Heart Belongs to Daddy” was a much too self-conscious try at an offbeat arrangement of a number that does pretty well for other chirpers as written—and not neces¬ sarily the Mary Martin way. Each canary will, of course, bring her -own style into play; this is what separates the girls from the women. She’s back on the track with “Swinging Down the Lane” and is oke in a strolling-mike medleyi “Sunday Kind of Love,” her for¬ mer disclick (MGM) is not- helped by an intro that’s tantamount to an appeal to run right opt and buy a copy. Miss Warren is the belter in “Do It Again” and she also nicely caresses a number in Eng- lish-Yiddish. Spirited audience don’t hurt comics, which is one advantage en¬ joyed by the standuppers of the genre. Al Bemie, more familiar to Copa crowds, debuts at the Silver- man spot and gives a good account of himself. If about three-quarters of an hour is overboard, the fact is that his change of pace works well for him and in the overall he is a dick. His material is largely new for this date, and his Impressions, done through songs as a fulcrum, are firstrate; he can stand on that alone. Like many another come¬ dian, he’s custom-tailored for cafes in the International groove.. Boots McKenna’s three produc¬ tions are seemingly holdovers. There’s entirely too much dialog and hokum Inserted which cannot get over in this large spot. The hoofery is tentative, for the most part, and Is not from the choreog¬ rapher’s top shelf. Tran. Hotel Mneblebaeb, K. C. Kansas City, Feb. 4. Tim Kirby, Larry Green Orch (8); $1-$1.50 cover. The Muehlebach has temporarily shifted dates on the show in the Terrace Grill and has Tim Kirby for an unusual 10-day run. He obliges with a 40-minute turn of varied vocals and chatter, and im¬ presses favorably. It’s his first effort in the Grill and his first in this part of the country. Kirby has a long song list, mix¬ ing in pops and standards and some special stuff, and talking away between numbers with a soft-sell approach. He has a number of embellishments, including one of the new electronic pianos which Larry Green plays as accompani¬ ment, bringing on a bar stool for a sitdown number, and chatting with the customers. He warbles ; rather well throughout, hut makes a soft-like version of “Old Black I Magic” and a lively version, of “Life Is Just a Bowl of Cherries” I stand oid. He tosses in considerable affability along the way and gen- [ erally pleases the customers. Castle SisterB take over Feb. 13. I Quin.