Variety (March 1959)

Wednesday, March 11, 1959 P^RIETY NIGHT CLUB REVIEWS 75 Blue Angel, N. Y. Shelley Berman, Ruth Olay, Fay DeWitt, Los Indios Trabajas (2), Jimmy Lyon Trio; $6 minimum. The Max Gordon-Herbert Jacoby formula of comedy-song blending gets an okay display in the current bill at their Blue Angel eastsidery. It’s a two-hour session, including those long lulls between turns, and it’ll suit the tastes of the Blue Angel clientele. For those whose dish is comedy, there's the lofty Shelley Berman and the earthy Fay DeWitt. And for the music lovers there’s Ruth Olay, making her N.Y. debut after stirring up some noise on the Coast and. on Jack Paar’s NBC-TV show. There is enough there to keep the crowd guzzling and grinning. Berman played it safe at show caught (5), sticking to his tried, tested and familiar material. Even so, his “conversations” re airplane travel, phoning a department store and talking to children on the phone pick up strong reaction in the yock department. He’s of the far-out school of comedy but there apparently is enough of a crowd on that cloud to keep him going for some time to come. Miss DeWitt, on the other hand, plays her comedy broad, building to a high score via mugging, built- in sound effects and some snappy special material and throwaway gag lines. Songstress Ruth Olay shows plenty of style in her segment, per¬ haps a bit too much. She’s got a strong piping way but she tends to go overboard on “style” which very often stretches her vocal cords beyond their natural length. However, she does manage to stir up interest and attention as she works through “Do You Know What It Means To Miss New Or¬ leans,” “Slow But Sure/’ “After You’ve Gone,” “Love For Sale” and “Shimmy Like My Sister Kate.” Holding over are Los Indios Tra¬ bajas, two guitars and voices, who serve as a likable opener with some Brazilian material, Chopin, samba and community sing. Jimmy Lyon’s boys do their usual topnotch backing job. Gros. Crescendo, Houston Houston, March 3. Whitey Carson, Jose Ortiz Orch (5); no cover or mininmm. Western sirtger Whitey Carson, booked into . Club Crescendo to coincide with Houston’s annual Fat Stock Show & Rodeo, roams a wide and pleasant 25-minute vocal range. To scattered cowboy whoops from the aud, Carson rides from such alfalfas as “Happy Texas Cowboy” and “Rose of San An- tone” to such oldie pops as “Any Time” and “Has Anybody Seen My Gal?” Surprisingly, there’s little corn in this harvest. Carson plays a capable guitar and displays a pretty fair yodel. He gives impression of several C&W singers, including Eddy Arn¬ old Gene Autry and Tex Ritter, and while he captures the style of each, the carbons point up the fact that one western singer sounds like every other. Jose Ortiz and his old vaqueros surprise with a smooth transition from samba to sagebrush beat in another top backing job. Vicki Benet opens March 11 for two frames. Skip. Ewige Lamp?, Berlin Berlin, Feb. 24. Stachelschweine ( Porcupines ) production, "Den sie wissen, was sie tun" {Since They Know What They Are Doing), in 19 numbers, written by Rolf Ulrich, Eckart Hachfeld, Thierry, with additional contributions by F. K. Kelling, Ralf Wolter, Dieter Finnern, Alex and Wolfgang Gruncr; directed by Horst Braun; features Edith El- sholtz, Wolfgang Gruner, Achim Strietzel, Inge Wolffberg, Jo Herbsl, Joachim Roecker; music, Klaus Becker; sets, Werner Victor Toefling; costumes Rotraud Piehl- Braun. Opened Feb. 13, ’59; $1.20. Every year or so, W-Berlin's “Stachelschweine” (Porcupines), city’s best known literary caba&t ensemble, comes along with a new program and is always a must item with the local cabaret clien¬ tele. Some identify the Porcu¬ pines with the best cabaretists in the land. Group appeals also to those who normally don’t go much for this sort of entertainment. New program is again surefire. Although some of the 19. numbers are not exactly exciting, all are done competently and there is hardly ever a dull moment in the two hours. - Greater part of the presentation addresses itself to political themes. Curiously, Berlins current No. 1 topic (the menacing Soviet attempt to drive the West out of the city) hardly gets mention. Formerly, the Porcupines were always up-to- date when it came to hitting po¬ litical subjects; it looks as if they were beating about the bush this time. There are the usual attacks against the current regime, cor¬ rupt politicians, old and new Nazis, etc. As per tradition, local performers are always repping op¬ position via their topics. After all, it’s more rewarding to poke fun at the men on top. It must be said, however, that not all the jokes are funny and/or imagina¬ tive. The German “Wirtschafts- wunder” (economical miracle), a favorite subject with German cabaretists, for example, has be¬ come a corny item. Of excellent quality are those numbers not related to politics: the Hula Hoop craze, the juvenile problem, the camping trend, mar¬ riage problems, etc. Best performance is turned in by Wolfgang Gruner who, long with this group, has sort of become its star. Although the show is pri¬ marily an ensemble achievement, Gruner rates tops as an individual performer. He appears in sundry functions (and in nine of the 19 numbers), as capitalist, proletarian, politician, tourist, ariving ex¬ aminer—always a howler. Another topflight performance Is turned in by Jo Herbst. He too is seen in nine numbers and also knows how to make the most of his material. Inge Wolffberg is at her best when giving out with her “Anti-Lysistrata,” a solo number, and hardly less impressive in the various ensemble numbers. Achim Strietzel and Joachim Roecker are very good, as usual. New to the group is -Edith Elsholtz who has much opportunity to reveal her re¬ markable abilities. Direction by Horst Braun is excellent. Other credits bear the usual dependable standard. Title, incidentally, is an adapta¬ tion from “Denn Sie wissen nicht, was sie tun,” German title of the James Dean pic, “Rebel Without a Cause.” The “nicht” has been skipped and now the whole thing reads: “Since They Know What They Are Doing”—a reference to some responsible men on top. Hans. Holiday, Reno Reno, March 3. 'Nick Lucas & Troubadors (3), Edmond Sisters (3) and The Fun- Atics (5); no cover or minimum. Nick Lucas’ nitery appeal is evi¬ dent: it’s his stylizing and choice of titles, and he can do no wrong with either. Aud reaction for his playback in this room indicates the veteran minstrel will undoubtedly- become a semi-annual returnee. Backing him is a capable trio he calls his Troubadors—three guys who play exclusively for the long¬ time singer guitarist. Filling out the current offering are the Ed¬ mond Sisters, blonde triplets with looks to match the talent. Lucas makes no attempt to latch on to the updated titles, but wisely offers those associated witn his name. The years haven’t changed his style or voice, and his looks belie his age. With full and effortless com¬ mand of the cords, he wins top approval with such as “Tip Toe Through Tulips,” Red, Red, Robin,” “Four-Leaf Clover” and “Those Old Phonograph Records,” among others. On some he joins the trio with either guitar or banjo, and elsewhere the boys back with vo¬ cals as well as instrument. Lucas’ most ardent fans are in the older set (with. more money to drop at the tables) but he’s also winning ad¬ mirers from the younger salooners. The Troubadors (Mel Obsen on drums, Clark Keen on piano, Joe Bernas on string bass) show much accord with the Lucas style, but prove individual talents on turns upstage. Repertoire -is varied from Latin rhythms to the jump stuff. Edmond Sisters, in show biz for less than a year, prove themselves potential top league w’ith a me¬ lange of mostly pop titles and variety numbers that show much study and rehearsal. The gals, near-identical lookers, suggest a delivery akin to the Andrews Sis¬ ters, but make no attempt to mimic the veteran trio. Most control comes on the beltier tunes, but the trio (Bonnie, Lynn and Gay) vocal smooth harmonics on the slower titles. Costuming is smart. The Fun-Atics back the girls in good manner, and rate approval on turns up front. Their best is on the novelty and jump numbers. Max Doffner is on drums, Vince James on trombone, Frank Mayo on sax, -Tony Carle on trumpet and Tom Cavanaugh on piano. Show runs through March 11. Long. Eden Roe, Miami Beach Miami Beach, March 7. Sammy Davis Jr. (with Mort Stevens), Hal Loman & Playmates (3), Walter Nye Orch, Jackie Hel¬ ler; $5 $7.50-$10 minimum. Sammy Davis Jr. hasn’t been seen in these parts since he worked ‘ at a local indie, (Ciro’s) several years ago. Going on the impact made on opening, the reluctance; to play a hotel cafe, a fact which kept him away, was ill-advised. The standing ovation he got was a tribute to an electric performance by Davis, working without Uncle Will Mastin and his Dad, in what amounts to virtually a new act as compared to that turned in . during his last stand here. Sparking immediate big recep¬ tion was surprise intro by Tony Martin, himself ovationed on clos¬ ing night by virtually the same audience. Martin’s remarks were delivered in a quietly sincere and glowing manner that had them mitting before he brought on Davis. From there in, the click aura was always present. Davis is singing more, but sets that segment in the forepart of the act. His vocal approach is a strong, assured one, purveyed in full- throated style that rings up' ap proval for that expanded facet of his talent. Big items are “When I Fall . In Love With You” with strings backing that ups values, and .attention grabbing “Where Is My Bess” excerpt from the pic version of “Porgy And Bess” in which he plays Sportin’ Life. When Davis hits the mimicry trail he generates constant excite¬ ment. Always a deft carbon cutup, he has now added a broad satirical base that sharpens the sequence and gives it solid laugh dimensions. With.a verbal bow to Sinatra, he. sets off his rundown on how sing ing contemporaries would handle a Sinatra song. The basic premise is aimed for laughs; withal the workouts contain canny duphea- tions of the vocal tricks and delive¬ ry used by Tony Martin (who howled that one up), the Martin called Dean, Nat Cole, Tony Ben- nettr Vaughn Monroe and Louis Armstrong. He tops it off with a powerful Lanza high-tenor intoning, then wraps it all up with his Jerry Lewis. The pounding began long before he’d reached the midway point in the routine. His hoofery is now an added bit; once he disposes of feathery preci¬ sion tappings, Davis embarks on a newie that is a class addition. It’s a . spoof on flamenco dancers, brought off with an authentc flavor and capped by a comedy bullfighter bit that contains Amos ’n’ Andy type asides for more yocks. His 50-plus minutes onstage build into a begoff. " Question now is: how’s he going to fare in the b.o. sweepstake? against SinatfA next door? If the v. ord-of-mouth plugging that makes an act—big or small—in this resort works true to its first-night indica¬ tors, he’ll continue the pack-’em-in pace set by Joe E. Lewis and Tony Martin. Hal Loman and his two leggy, talented blonde aides set the tempo of the layout at a zingy pace with some colorful dance patternings, oi which their “Dragnet” standard is again the best of a soundly con¬ ceived grouping. Jackie Heller emcees in bubbly, effective manner. Mort Stevens, Davis’ longtime con¬ ductor, keys up the excellent Walter Nye orch to the top-talent exhibition. The room shutters on the 20th until Maurice Chevalier arrives On the 25th. That’s a matter of unavailability of an act with the draw to enter in the strong competish this month. Lafy, Lauderdale Reaeh Hotel Ft. Lauderdale, Fla. March 2.. Jimmy Jett Quintet, with Sherry Martin (5); no cover or minimum. Among the fugitives from Vegas come to bask in the Florida sun this winter, Sherry Martin and her merry men from The Dunes have established a rapport with the con¬ servative clientele in the Carib¬ bean Room of this long-established beach hostelry. The radiant redhead has a wide repertoire of standards ranging from ballads to blues. His combo of. four men, among them, play eight different instruments adding up to a fair dance ,band for the terp sessions. - Group holds the spot until Easter when, the Southern Colonels are due to return for the short season. Culm. Cork Club, Houston Hous'on, March 3. Beverly Richards, Freddie Gib¬ bons Orch (5); no cover or mini¬ mum. A tall-redhaired stunner, Bever¬ ly Richards, despite-the handicaps [ of a cold, quickly warms to her job I as the audience warms to her in | her second appearance at this nitery. Openings with “It’s A Most Unusual Day,” thrush moves into *Tve Got a Crush On You,” “I Can’t Give You Anything But Love” and “My Funny Valentine.” She then displays an effective change of tempo with “After You’re Gone,” and perhaps hits her high spot with “Over The Rain¬ bow,” a fine showcase for Miss Richards’ good voice. She closes with “Thirteen Men” and the beg¬ off, “The Song Is You.” In keeping with club manager Don Stone’s policy of’keeping the acts short, the canary hardly wears out her welcome with 20 minutes onstage. Freddie Gibbons’ combo gives its usual good backing and keeps the customers on the floor between shows. Tommy Zang comes in for a pair March 16. Skip. Gay 90*s, S. F. San Francisco, March 3. Bee & Ray Goman,‘Rtiy K. Go- man, Diamond Lil, Joy Healy Dan¬ cers (4), Dik Keegan Orch (4) with Ellision Ames; $1-$1.50 cover. Fast, sharp vestpocket show opens with dance specialty, “Wid¬ ow from Amarillo,” and “Diamond Lil, a very hefty blonde with nice smile and lots of empathy, then comes on to do a series of ragtime numbers—“Let’s Bring Back the Good Ol’ Days,” “Ragtime Cowboy Joe,” “Won’t You Come Home. Bill Bailey.” Lil has good, gutty voice, belts songs well and gets excellent crowd response. Ray Goman follows with banjo- and-song medley, including “Griz¬ zly Bear” which generates much enthusiasm, and Bee Goman then knocks out three blue but amus¬ ing songalogs. Ray K. Goman, a sure, swift standup comic, takes over for 20- minute stint and whole cast does a “Floradora Sextet” finale which includes a couple of laugh-provok¬ ing pratfalls by Diamond Lil. Audience gets a big kick out of un¬ sophisticated and “non-sick” 50- minute show. Stef. Ye Little Club, L. A. Beverly Hills. March 3. Marilynn Lovell, Joe Felix, Roger Nichols; 2-drink minimum. Latest songstress showcasing at the Ye Little Club is Marilynn Lovell, a tall, attractive brunet un¬ der pact to Jubilee Records and just signed as a tyro by the Desilu Workshop Theatre. Miss Lovell’s opening show in the tiny room brought out a capac¬ ity crowd which reacted with heavy mitt action, indicating that prop¬ rietor Marshall Edson will have a good two weeks. Miss Lovell handles “Come Rain Or Come Shine,” “My Love Is A Wanderer,” “To Love And Be Loved,” “Happiness Is Just A Thing Called Joe” and “That Old Black Magic”—all stylized individ¬ ually. Singer scores better on ballads than jump tunes. Joe Felix on the 88 and Roger Nichols bassing continue their tep musicianship. Kafa. Dunes. Las Vegas (FOLLOWUP) Las Vegas, March 3. The current. “Nuit de Paris” nudie brings in some new acts which keeps the revue rolling in the best Minsky tradition. Frankie Marlowe clicks in his Vegas debut with a very funny standun comedy routine that will have the advantage of being dif¬ ferent at each performance- be¬ cause he gears certain gags to in¬ dividual ringsiders. Some of the hqpnor is physical a la Mack Sen- nett—he takes pratfalls and tears off his shirt—and a^l of it. includ¬ ing the songs, one-liners, and im- preshes, is highly acceptable for this room. Dolinoff & The Raya Sisters (4) is a novelty act with good response from first-nighters. Dolinoff. in black velvet garb, is invisible against black curtain as he tosses the three femmes around for un¬ canny effect: Knockabout team of Latona, Graham & Chadele gets yocks with {ast-moving pantomime. Production numbers and several acts from initial “Nuit de Paris” hold over for neat integration; show, in for four frames, is capa¬ bly backed by Cee Davidson orch (11). Duke. Romanoff as Parisian Bon Soir 9 N. Y. Jimmie Daniels, Three Flames, Phyllis Diller, Don Adams, Tony & Eddie, Murray Grand; $5 mini¬ mum. The Bon Soir can be relied on to provide a fine evening’s enter¬ tainment. Current bill is a com¬ edy click. It’s played mostly for laughs, with the exception of host Jimmie Daniels’ savvy songstering and the between-acts keyboarding of Murray Grand. Working the yock angles are Don Adams, Phyl¬ lis Diller, Tony & Eddie, and the Three Flames. Adams, who last week joined the other acts at the club, is perfect for such intime spots as the Bon Soir. His dry delivery and excel¬ lent timing give nifty dressing to top-drawer material. A satire on a sexy novel and another on stock Bengal Lancer films are standout. Miss Diller also comes through with some clever material. She knows how' to put over a laugh line and her designedly clumsy execution of a partial strip is funny, as is her takeoff on an eld¬ erly lady and the bit in which she borrows a comb from a male ring- sider. The Three Flames, regulars at the spot, are a sock instrumental- vocal group. They run through a 10-minute session at a fast and humorous pace. Tiger Haines, who handles most of the vocals, and his confreres gag it up on sev¬ eral numbers, neatly arranged and sharply executed. Tony & Eddie, Avho play the Bon Soir often enough to be classed as regulars, continue to break up the customers with their zany rec¬ ord pantomiming. The duo, taking a cue from “My Fair Lady,” are doing their own musical version of Shaw’s “Major Barbara” as part of the act. It’s an okay item, with music and lyrics ffem “Call Me Madam.” Daniels, as usual, opens the show' with a splendid songalog and Grand's handling of the piano is pleasant. Jess. Industrial Show Review ('hrysler Corp. Spring Festival Montreal, March 6. Jane Morgan (with Ernest Bragg); Alhonse Berge & Co. (5>, Honeydreamers (5), Charles Danford, Art Morrow Orch (15), lyrics and music. Bob Hahn; pro¬ duced by Jim Nicholls; free ad¬ mission. With the motor and other major industries highlighting their new- line presentations with live enter¬ tainment, another lucrative facet of show biz for both sides becomes apparent if the smash success of Chrysler’s Spring Festival at the Queen Elizabeth Hotel is a cri¬ terion. Produced by Jim Njcholls of the May Johnson office in Montreal for Harold Jackson, general man¬ ager of the Chrysler ad agency, Ross Roy of Canada, this three- day layout played to capacity every night. Although the crowds far exceeded expectations, a star such as Jane Morgan, a solid newspaper campaign, plenty of editorial breaks and radio interviews, plus okay plugging by local dee-jays of Miss Morgan’s. latest w r axing for Kapp, did much to build the attrac¬ tion. Working on a basis of five shows a day, producer Nicholls assembled a neat 30-minute package that was ideally suited to the atmosphere of a new car display. Teeing off with the Honeydreamers who in- troed with a number describing the new cars. Alphonse Berge took over with his quick fashion vignettes as he draped five attrac¬ tive femmes in various lengths of material, simulating (natch) the new r Chrysler colorings. In the starring slot. Miss Mor¬ gan, backed by her own pianist Ernest Bragg and the big Art Morrow orch, wowed with a group in both French and English. As per usual, thrush packed a visual wallop, adapted nicely to the situa¬ tion and generated enough person¬ ality to keep jsi standing audience attentive throughout session, Charles Danford handled emcee chores in an able manner with Morrow’s band giving adequate support lo all performers. Newt. Hollywood, March 10. Restaurateur Mike Romanoff, whose face is nearly as wellknown as the next one in American mags, will make his tv bow in “Five Fin¬ gers,” projected 20th-Fox tv series. He’s cast as owner of a Paris cafe/ in first segment of series. In 1 real life, of course, he operates j Romanoff’s, in Beverly Hills. J Danny Kaye, 53iG, S. F. - San Francisco, March 10. DAnny Kaye show grossed a near-sellout $53,500 in its third week at the Curran Theatre. Figure^ is up $1,200 from previ¬ ous frame.