Variety (March 1959)

74 INHiflT CLUB BEVIEWS P’SrieTy Wednesday, March 11, 1959 Latin Quarter, N. Y. Keefe BrasseUe (with At Fos¬ ter,), The Happy Jesters (3), Kar- vian Israeli Dancers & Singers (10), Romano Bros. <3). PonySher- rell, Dick Curry, Joyce Roberts, Boubouka, Latin Quarter Dames (18), LQ Boys (4), Jo Lombardi and Buddy Harlowe Orths; $6.50 minimum. The E. M. Loew-Ed Risman management has retained the same winning “A11 About Dames” pro¬ duction setup shaped by Donn Arden’s guiding genius and brought in three new acts topped by 'Keefe BrasseUe. This lad has the necessary verve to lend class to the whole show. He has been on the nitery circuit before but his present act looms as by far his best. Billed as having won top lau¬ rels for his portrayal of title role in the pic, “The Eddie Cantor Story,” BrasseUe in his N. Y. cafe debut plainly shows that he is a solid bet for future nitery book¬ ings. BrasseUe has constructed his act about the theme of there being three stages of show biz—up stage, down stage and on stage—and then proceeds to relate, via tunes, how he finally made the grade, viz, into Hollywood pictures. Because he has done so nicely with this por¬ tion of his act, perhaps the intro could be pared a bit BrasseUe has dovetailed his “You Don’t Need a Voice, You Need a Gimmick” to bring in emulations of Billy Dan¬ iels, which is excelent; Frank Sin¬ atra, which is just routine and could be dropped; and Elvis Pres¬ ley, which gives him a chance to go into a lowdown rock ’n* roll number. The three stages of show biz drew great applausee, with Bras¬ seUe returning to sing (he ad¬ mitted it was true) to his mother- in-law in the audience. He was forced back to do "A1 Jolson, Jimmy Durante. Eddie Cantor and Me.” This permits an imitation of Jolson vocalizing “Dixie Melody.” Topflight on mannerisms and putty nose makeup is his takeoff mi Durante warbl' r ° “Start Each Day With a Song.” H’s Cantor portrayal is a natural for him. enabling him to do “If You Knew Susie,” etc. This "Jolson, Durante, Cantor” routine was in Irs original act, and cleaned up here. The Jesters, three male singers (one lad with a guitar), click nicely, largely through the clowning by the taU member. His versatiUty in making sound effects and extra¬ curricular h alluding makes the turn jeU. He does Clyde McCoy playing his coronet and Harry James and his trumpet. He’s also the tall, high-voiced member of the Ink Spots for sock results. As usual, .he bows off as Popeye, the Sailor—pipe and swollen eheeks, et al. The Karman Israeli Dancers & Singers are reviewed under New Acts. This groun failed to impress in this room. The Romano . Bros, have been held over and do solidly with their acrobatics and clowning. Surrounding show is much the same as the one which opened several months ago. with Bou¬ bouka, Oriental dancer; Pony Sherrell, Joyce Roberts and Dick Curry predominating. Billy Jacobs (pianist in the orch) Is leading Jo Lombardi’s veteran outfit in playing the show expert¬ ly. Lombardi is awav on tour with Danny Kaye. Buddy Harlowe’s band plays for patron dancing as relief outfit. Wear. Blaek Orchid, Chi Chicago, March 3. Roberta Sherwood (3), Bill Daily, Duke Haz'.ett, Joe Parnello Trio; $T.50 cover. An otherwise fine two-weeker for this cozery is marred by an over¬ loaded bill, the management hav¬ ing added singer Duke Hazlett from its adjacent Junior room, presumably on the notion that tyro comic BiH Daily (see New Acts) isn’t enough in support. Even if that had been so, any grumbling would long since have • been si¬ lenced by the windup of Roberta Sherwood’s 50 minutes. The Cinderella lady of the biz, in her second stand-here, convinces she could be the room’s whole money saving show. Were the ops So disposed. It’s not too analytical to suggest that such stalwart troup- ing and range of styling at her age is a fascination in itself. Basic virtues, however, certify her posi¬ tion in the trade, and these include a superb sense of rhythm, disarm¬ ing simplicity of manner, and con¬ viction that a lyric is only as good as the depth of its interpretation. In an age of many good voices, but only that. Miss Sherwood is an outstanding singer. She’s given solid backing over a 20-tune route by her steady ac- comps, pianist Ernie DC Lorenzo and guitarist Red Newmark, work¬ ing with Joe ParneUo’s sidemen, FedoraJopped Hazlett is a Frank Sinatra copy in phrasing, manner and songalog. This may help Si¬ natra, but Hazlett can only suffer from the comparison. Shecky Greene and Ford & Hines are due on March 17, PR. Henry Grady, Atlanta Atlanta, March 3. Olsen & Johnson, Marty May, Lolita de Carlo with Ramee & John Kelly, June Johnson, Walter Shyretto, Eileen O'Dare, Don Grimes Orch (6); $3 minimum. Gle Olsen & Chic Johnson have been partners for 44 years and have been bringing their shows to Atlanta for about 35 of them. That means they’re playing nowadays to. a second generation, progeny of those they were entertaining dur¬ ing the ’20s. And it’s the same old formula—hokum in large doses. They have nine in the company and, as is customary in an O&J show, they double and move around so fast the audience is hoaxed into thinking the place is crawling with performers. For instance, Eileen O'Dare, dressed in somber Quaker garb, warms up Paradise Room’s audi¬ ence with a deadpan search for “Oscar,” before show starts. Later it develops that she is a shapely acrobatic dancer who does a ter¬ rific turn. Marty May handles emcee role and keeps show moving at fast pace. He is husband of June John¬ son, blonde daughter of Chic and a show biz vet in her own right. Lolita de Carlo is a vivacious Latin-type song and dancer and with her partners, Ramee & Kelly, score in “Steam Heat” number. May and Johnson get a big mitt with their “Flower Song” bur¬ lesque, May fiddling and Johnson playing tiny harmonica. June Johnson’s Mrs. Gabbler takeoff also goes over big. Adding variety is Walter Shy- retto’s bicycle-unicycle act, his rid¬ ing made more difficult by postage stamp size of working area. As noted, dissembling this show into segments is difficult as stage area is a veritable beehive of ac¬ tivity. The costuming is what one has come to expect of an O&J pro¬ duction, with peeling stressed. It isn’t so much what they do as the nostalgic tie that the principals represent with the past. In audience at show caught was Betty Mae Crane, member of O&J show in early days before they reached their “Hellzapoppin” heights at the Winter Garden in New York in the 1938-41 era. She was member of dance act (Crane Sisters) and now is wife of Maj. Jack W. Peterson, Army officer stationed in Atlanta. Johnson caUed her onstage for reunion with cast and to take bows. Show came here from New Arena in Pittsburgh, stays here to March 14 and will open two-week run March 26 in Adolphus Hotel, Dallas. Luce. Isy’s, Vancouver Vancouver, March 5. Bill Kenny, Nina Ray, Richard Walters, Fraser McPherson Orch; $2 cover. Bill Kenny is no stranger here, but Isy’s plush new saloon is, as witness sparse turnouts on weeknights. Singer is local fave, but the swankery is technically “dry.” Forthcoming imbibing per¬ mit should swing Isy Walters’ regu¬ lars (ex-Cave) plus others toward his mainstem boxoffice, and mean-, time receipts show solid at week¬ ends. Kenny has changed. This preem night he betrayed weariness with own ’tween-tunes spieling, surely brief enough, yet handled his pipes with same trade- marked artistry to elicit eloquent mitts that kept the spenders pound¬ ing and brought ’em up on their gams apropos a finch-sweet trick of long-held notes at phrase-end¬ ings. Songalog is the familiar nos¬ talgic binge of his familiar items and disclicks with bonus on “Char- maine” t via Fraser McPherson’s standout flute fills. Kenny built to encore demands which, at three-a- night stint, he declined; that's be¬ cause of a regimen he’s been keep¬ ing since recent neck injury hexed his pipes for four months. He closes here March 14. Nina Ray is a youthful blonde looker with pleasing tunefest on the marimba as apt opener. She reaps plaudits. Richard Walters gains on the emcee chores and orch lends topdrawer support to 'ow and dancing. Jay. International, K. Y. Joey Adams, At Kelly,' Lou Wills Jr. Jacqueline Fontaine, Lane Bros., Michael Durso ; Orch, Charles Palmieri Rhumba Band; $6 minimum. The International has an enter¬ taining show this session. Joey Adams is headliner and he’s in ac¬ tion most of the time. The com¬ edian works solo or with the other acts, aU of which are good. This uptown version of Jack Sil¬ verman’s former downtown Old Roumanian is tailored for Adams. His material is targeted at the predominately Yiddish - American clientele, who go for the spot’s seltzer-on-the-side cuisine. How¬ ever, some of the lines are too spe¬ cial considering there may be some in the audience raised on Irish stew rather than matzoth ball soup. Adams, who has a winning way with the customers, scores with some stories and misses with oth¬ ers. His involvement , with the va¬ rious acts provides some . funny bits, but the friendly face-slapping routine is overdone to such an ex¬ tent that it becomes irritating. At the opening show, he also went overboard in a lengthy introduc¬ tion of the newsmen, columnists and. cqlebs in attendance. This was done while the other acts re¬ mained onstage, probably twiddling their thumbs. The pleasant-to-look-at chorus line, aided by some male singers, gets the baH rolling with a satis¬ factory kickoffer. The mike vol¬ ume, however, should be reduced since the vocalling is ear-shatter¬ ing. Adams also utilizes the chor¬ ines for an audience participation gimmick that’s sure to warm up the customers. The Lane Bros, a vocal-instru¬ mental trio, score with some stright songstering and frantic rock ’n’ roll instrumentalizing. They’ve a pleasant manner and perform well. Lou Wills Jr., a personable dancer, gives a stand¬ out acro-terp performance and singer -Jacqueline Fontaine em¬ ploys a sexy approach for good re¬ sults. Miss Fontaine also gets the audience on her side by tossing off some remarks that could easily backfire if handled with less poise. Al Kelly, second-biHed, is the last performer to take the spot¬ light and clicks with his double- talk artistry. The show wraps up nicely with the entire group pa¬ rading around the tables to a rous¬ ing rendition of 4 ‘When the Saints Go Marching In.” The Michael Durso orch backs the acts neatly, while the Charles Palmieri band dispenses terp tunes for those cus¬ tomers with a Latino bent. Jess. Shamrock Hilton, H’st’n Houston, March 5. Fontane Sisters (3), Carl Sands Orch (9), no cover or minimum. The Fontaine Sisters lean heav¬ ily on the .oldies, for who can get harmony out of rock ’n’ roll? Their ibices blend perfectly on such as “When You’re . Smiling,” “Does Your Heart Beat For Me,” “Once In*A While,” “I Don’t Know Why” and, going ’way back, “Dfet The Rest of the World Go By.” Girls get a bit of bland comedy in their “Side By Side” number, donning patched coats, tophats and carrying canes. In “Tenderly,” brunet Bea takes a turn at the piano, joins redhead Geri and blonde Margie in their nearly faultless close harmony. A comic bit, “Cinderella Work Song,” gets only average reception, but their special material in a medley of ‘Together,” “Without You” and “Mention My Name” is better re¬ ceived. It isn’t easy to fault the trio, for the 40 minutes they’re onstage doesn’t seem that long, but the act seems to need a bit more drive. The Carl Sands orch is again more than capable in its backing. The Fontaines give way to Jack Durant on March 19. Skip . Village Vanguard, N. Y. Dinah Washington, Red Garland Trio; $3.50 minimum. Dinah Washington played the uninhibited imp at her Vanguard opener last week (3), to the delight of her entourage and to the‘distress of those who came to hear her sing. After a first set, which was repor¬ tedly. straight and sound, Miss Washington started “acting up” in her midnight show, throwing all pro rules to the wind. She’s been av/ay from the New York nitery scene for more than two years but that’s still no excuse for turning an opening night into a private party. When she stuck to . her singing she Was fine, but the trouble was that she interrupted herself too often to bring her “friends” Into the act. For example, she broke into her song set to introduce her table of supporters among whom were her manager, her manager’s wife, her pressagent, hfer press- agent’s husband, her dentist, her dressmaker, her recording boss, and a man from New Orleans who gave her “the loveliest necklace she ever received.” After that lengthy credit list she went back to singing again, but not for long. The next break in her songalog came when she pulled on Ernestine Anderson to warble a couple of tunes. (Miss Anderson, incidentally, is due to headline the Vanguard bill beginning March 17.) Miss Washington took over again but again not for long. For the next interruption she nabbed comic Slappy White who wasn’t shy about holding the stage for a gag turn of nearly a quarter-hour. Humor was strictly offish and rang a wrong note in the Vanguard sur¬ roundings. She closed after a hassle with her manager who said she ought to sing one more song while she insisted that she didn’t It’s probably safe to assume that once she got the opening night frivolities'out of her system that she was able to turn in a good show because when she belts she definitely hits a striking note. “I Get A Kick Out Of You,” “I Thought About You,” "I’ll Close My Eyes,” “Somewhere Along The Line” and “All Of Me” are some of the numbers that she can really sweep across. Spelling Miss Washington Is the Red Garland Trio (piano, bass, drums) who lay down a deft but not demanding beat. Gros. Sahara, Las Vrgas Las Vegas, March 3. Kay Starr, Leo De Lyon, Four Step Bros., Stanley Boys (4), Sa- harem Dancers (12), Louis Basil Orch (12); produced by Stan Ir¬ win; productions by Shaw-Hitch- cock; $3 minimum. Kay Starr, who broke attendance records at the Sahara last time she was here, is teamed with one of the most refreshing comedians to hit Vegas in a long time, Leo De Lyon, plus the always-reliable Step Bros, in a well-balanced show which was rewarded with maxi¬ mum mitt action opening night Since Miss Starr is a fave with the gaming set, it should be a hatfpy three weeks for the Sahara. Her distinctive styling is fortified on certain numbers by the fine-blend¬ ed voices of the Stanley Boys (4), adding up to a sock turn. De Lyon’s vocal gymnastics in¬ terlaced with bright comedy lines put him in an exclusive category— a sort of combination of the old and new schools of funnymen, which is a welcome change from the standard standuppers who shuffle and deal gags from a master file. His unique talents, from the si¬ multaneous humming and whist¬ ling to the oral impreshes of mu¬ sical instruments, brought pro¬ longed laughter from first-nighters. The Four Step Bros., who have mastered the science of fancy foot¬ work, blend their terping with both visual and vocal comedy which pays off. It’s an act con¬ sistently topnotch. “Choo-Choo-Cho Cha-Cha-Cha," production number with original music, lyrics and choreography by Sonia Shaw and Bill Hitchcock, is a springhtly intro for Miss Starr, featuring the Saharem Dancers (12), set by Fred Pons, and cos¬ tumes by Lloyd Lambert. Louis Basil and orch (12) are capable backers for the package, produced by Stan Irwin. Duke. Drake Hotel, Chi Chicago, March 3. Roberta MacDonald, Jimmy Blade Orch (6); $2 couer. Roberta MacDonald, who chirped In Broadway’s “South Pacific,” makes her maiden Chi stint, in the plush Camellia House, a satisfying one on all counts—voice, catalog and appearance. Her preem found her tending to be a bit too arch on some of the lyrics, but the over¬ all impression is a solid talent of good taste. Her contralto seems right at home torching or music-hailing. In the former groove, and a high spot of the show, is a sensitive limning of the oldie “Musi, Maestro, of the oldie “Music Maestro, is bigger, it even has a Helen Mor- ganish quality on this one. Singer gives a particularly fine account¬ ing, too, on a Latino “Come Closer to Me.” Miss MacDonald is a poised stroller on the small floor here, and with her strong pipes could have forsaken the mike on one or two occasions, chiefly with a begoff “The Party’s Over” that could have finished dramatically with her well Good backing, per usual, from the Jimmy Blade crew. Fran Warren opening April 2 after a week’s darkening of the room over the Holy Week lull. Pit. Blaekhawk, S.F. San Francisco, March 3, . Modern Jazz Quartet; $1 admis¬ sion. A capacity crow'd of loyal jazz buffs beat their way through the worst storm of the winter to pay homage to the top small combo in the. jazz world. Opening on the night that saw empty seats in all clubs and thea¬ tres, the MJQ nevertheless demon¬ strated the power of its draw by filling this club to capacity for all shows. Opening for their longest run on the Coast (a six-week frame), they serve up familiar fare to delighted fans. Top hands for the evening go to MJQ specialties such as “La Rcnde,” on which drummer Connie Kay gave a slick exhibition of brush work; “Bluesology,” on which the more earthy aspects of the group are accentuated, particu¬ larly In the vibes solo work by Milt Jackson; “Golden Striker,” on which bassist Percy Heath is fea¬ tured, and “Fontessa,” and “Willow Weep for Me,” featuring the pianist and musical director of the group, John Lewis. N. MJQ sells its quiet jazz strong¬ ly, shapes up as one of the strong¬ est draws on the jazz circuit and impresses as being able to work a variety of dubs including the more intimate rooms. The audience, a mixture of crewcut and graybeards, was universally appreciative, re¬ ceptive and enthusiastic. It looks like a solid six weeks. Rafe . Latin Quarter, M. IFeh (FOLLOWUP) Miami Beach, March 3. Jimmy Durante & Co. may be the balancers who’ll tip this indie- cafe landmark into the profit side this season for ops E. M. Loew and Eddie Risman. It has become an obvious fact along the circuit here that only a powerful name with an act that spurs talk can lure the tourists away from the ocean front line to this plushery’s mid-Bay, island location. Last season, Milton Berle caught the town’s fancy and they flocked to the L.Q. in the droves that dragged it into winning returns. Durante, this time out, away from the hotel run where lie’s been play¬ ing, may duplicate that b.o. feat, for he’s come in with probably the best set of mayhem-comedy rou¬ tines purveyed in some years. Utilizing the fine talents of Sonny King, his younger vis-a-vis through¬ out, the vet master of frenzied invents works as though he’d found Ponce de Aeon’s fount on. Palm Island. He’s at his strutting, language- mangling funniest, clipping off at piano, mixups with longtime aides Jules Buffano at the 88 and Jack Roth at the drums. The mixture is as before, but with the big laugh difference of new invents, and a heavier duo assignment for King. Latter’s dynamic vocalistics are given full play, but this time with the “boss.” They become involved in pseudo-wrangling to constant audience delight, then wind in the trademarked strutaways that bring the mitting for more. Use of a group of talented lookers from, the Donn Arden collection in an ex¬ tensive series of lyric work-ins, is another plus. They help to cap matters in a new routine, a spoof on the French and “can-can” that has Durante in wacky getup, com¬ plete to beard. It’s a howler. There’s another fillip- in the easy, effective cane-appearings- frora nowhere dances of Johnny ! Mack who later joins with Durante & King in another rouser, a soft- shoe workout. Sally Davis, the oversized gal of the act, adds an¬ other mad touch. But it’s Durante and King who .carry the whole into the click-aura realm. Durante does not, as in other dates here; men¬ tion his old partners. Perhaps it’s just as well—it’s a new act, now, going on the impact of show caught —Durante and King, with the lat¬ ter taking the buffetings and happy-talk bombardments of the boss as though he&-been with him all of his young life; a sock combo that has all the impact of the impact of the original of years ago. Don Arden’s production stagings are as zipful and zingy as when first seen at beginning of season. New dance duo of Tanya & Biagi are a smart booking. Their dance spoofs winding into a comedy of errors are a solid forerunner to the Durante wackiness. They’re classy looking team, tha femme eye-catching with her all-girl pro¬ portions, their legit stuff smoothly and effectively done, to add to the surprised laughs when they be-' come entangled. If Durante doesn’t bring them' down from hotel row with this out¬ ing, then Loew & Risman will face next season with apprehension. He’s their last best bet, for a good one his whiter. Lory.