Variety (May 1959)

Record Details:

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68 NIGHT CLUB REVIEWS PfiRIETY Wednesday, May 27, 1959 Blae Angel, N. Y. Dorothy Loudon, Roger Price, Ken & Mitzi Welch, Randy Sparks , Jimmy Lyon Trio, Bart Howard ; $6 minimum . Current outing at the Herbert Jacoby & Max Gordon nitery spans over two hours with those entr’acte interludes. Filling the talent bill are comedienne-canary Dorothy Loudon, droodler-wit Roger Price, engaging Ken & Mitzi Welch and folksinger Randy Sparks. Four-act combo adds up to a chi chi bill, with the accent on what passes for sophistication among the “nervous set.” (Only Sparks doesn’t seem as much infected). Not that each performer doesn’t deliver something for the customers’ mer¬ riment—some better than others— hut the content of material from Price to headliner Miss Loudon ranges from the “sick” South to the “sick” Village. Greenwich Vil¬ lage that is. Miss Loudon Is a Bine Angel regular. She’s been there 15 times in two years and the association is celebrated in a Coral Records entry billed, not surprisingly, “Dorothy Loudon at the Blue Angel.” Her best is a clever number on the Snyder murder case of the *20s which she belts out in real pro fashion. She opens okay with “I Love a Piano,” but the time she spends in “sick” egghead patter before getting into two numbers, “Louisiana” and “Mobile,” is hardly worthwhile. The material, partially blue, just isn’t too funny. Many of the biggest yocks of the evening are supplied by the irre¬ pressible Price. Fodder for his mill are bongo bongo-playing Stevenson fans, the hemming and hawing of Eisenhower at a press conference, the “controversial” cult of N.Y.’s Channel 13. et al. His onstage droodles and commentary have wit and style. But one of his tales, that of a village tree lover, could stand tightening. He winds up with an audience name game, getting off some good cne-liners" Ken & Mitzi Welch are a young, attractive couple comparatively new to the nitery circuit. They have pleasant voices and some of their comedy material in song and patter is real winning. Number coming off best is “What Do You Really Like.” done to the timing of a metronome. There’s fun also in “Starting 'Tomorrow.” and the turn kidding tomorrow's psyche commercials. “Cocktail Lounge” number is spoiled by obviousness. Sparks, the opener, warms up the audience with “I’m Just a Country Boy” and “Tell Him I’m Gone,” followed by a sock “Drill Ye Terriors, Drill.” He’s a hand¬ some young lad. While range of his voice doesn’t seem big, he handles his numbers slickly. Jimmy Lyons and his trio lend an able assist and Bart Howard does the intro for each act. Hp.ro. Shamrock H’st’n Houston, May 19. Molly Bee, Pete Pedersen, Carl Sands Orch (9); no cover or mini¬ mum. Fresh and fetchin’ Molly Bee tries to leave after 40 minutes in the spot, but the auditors wouldn’t have any part of it, so young thrush has to return for one mere song in her preem night at the In¬ ternational Club’s Continental Room in the Shamrock Hilton. Miss Bee is as busy as, and show’s fine change of pace and va¬ riety in the now’ act she’s built. She’s a picture in her white gown as spot finds her offstage doing opening “Looking For a Boy.” Once onstage, she runs a gamut of “Failin’,” “Little Things Mean a Lot,” “Remember The Alamo,” “Friendship,” “I Got Nobody” and a request number after she’s called back, “Your Cheating Heart.” Special material is clever and good. Blonde, pony-tailed femme kids radio liiUbilly singers and in so doing displays a fine yodel. Using well-timed taped record¬ ings, thrush carries on conversa¬ tions with Bob Hope and Liberace, and even sings a duet with Hope, “I Ain’t Hankering.” As it is the style these da>s. Miss Bee disap¬ pears behind a screen onstage and reappears in a white zoot suit to do “Pink Shoe Laces.” One of best-received numbers, and un¬ usual in a nitery, is the spiritual, “His Eye Is On The Sparrow.” Giving a good assist on electric guitar is femme’s accompanist, Billy Strange, who joins in a. cap¬ able duet, “Friendship,” with her. Pete Pedersen opens show, dis¬ playing a double-barrelled talent for comedy and the harmonica. His stahdup throwaways are generally fresh and funny, and he mixes comedy and music to perfection. Opening with Offenbach’s Orpheus Overture, better known at the Can-Can, Pedersen follows with perhaps his best received. “'Ghost Riders In The Sky” and a four-part medley from “Gigi.” Comic runs Into an ironic and unfortunate sit¬ uation in that a couple of his bet¬ ter gags were spoken by other com¬ ics at niteries here recently. And one of them he wrote himself. He’s on 25 minutes to’consistently good reception. Carl Sands Orch is Just about perfect in backing job for this show'. Carmen Cavallaro comes in for two frames May 28. Skip, Roundtable, Y. Y. Red Nichols & His Five Pennies, Tyree Glenn Quartet; fl.50 mini¬ mum weekdays, $4 weekend. Red Nichols Is currently get¬ ting his second wind as a per¬ former. A veteran jazzman who clicked originally in the late ’20s and who maintained his standing through the swing era of the ’30s, Nichlos is now riding high again with a Danny Kaye-starring film biog due to open next month. The pic’s advance publicity is appar¬ ently paying off since Nichols, after a successful Las Vegs stand, did ropes-up biz on opening night 118) here’in his first N.Y. stand in almost 2Q years. Nichols was and still Is an ex¬ ponent of traditional jazz, dishing up dixieland, ragtime, one-step, etc. Playing with a supporting quintet of top pros, Nichols gives fresh excitement to the familiar jazz classics. Within the dixie for¬ mat, Nichols’ combo also shows an unusual range of instrumental color and shadings on numbers like “Mood Indigo,” “Johnson Rag,” “Ostrich Walk” and a stir¬ ring arrangement of “Battle Hymn of The Republic.” Nichols’ comet is currently being backed 'by Billy Wood on clarinet; Pete Bail- man, trombone; Al Sutton, piano; Joe Rushton, bass sax; and Roily Culver, drums. The Tyree Glenn four, regulars at this spot, alternate on the band¬ stand with a consistently tasteful brand of quiet jazz. Herm. Fountainhead, New Rope, Pa. New Hope, Pa., May 22. Henny Youngman , Teddi King, Johnny Crawford, Buster Burnell Girls (4), Mickey Rogers Combo 15); $5 minimum. Warm-voiced Teddi King, a pe¬ tite, gamine-type thrush with im¬ peccable taste, sings and looks well in her Fountainhead date, her first Philadelphia area appearance in several years. .A refugee from the jazz circuit (she got her start W'ith George Shearing), Miss King still show's her background with her jazz-like phrasing and her choice of material. Her clever songalog (whipped up by Bill Heyer) opens with an uptempo “It Could Happen to You” in which a too-Ioud band all but downed her out. But she came back strongly with her sincere de¬ livery on “It Never Entered My Mind.” Her hip phrasing and mu- sicianly style made “That’s Why the Lady Is A Tramp” a delight and she got warm applause for her sensitive treatment of the rarely- heard “Porgy.” In a beatnik version of “All the Way,” complete with special hip lyric by Heyer, Miss King shows a sense of humor. Although the lyrics might 'be a little too far out for the nitery circuit, a preem crowd seemed to dig the w’ords and the special drew heavy mitting. She closes with an uptempo “Let’s Face the Music and Dance” in which she shows can can belt with the best of them. Pert, pretty and shapely. Miss King has good stage presence. She might improve her act by using the hand- mike and by adding a little more patter to get closer to the crowd. If she can come up with a hit record (she recently switched from RCA to Coral and recorded several singles and an album), she 1 could be on her way. She certainly has the vocal equipment to be a top star. In his turn, Henny. Youngman Show's once again how an experi¬ enced and talented comic can draw bellies with familiar lines. It could be that Youngman still will be making them smile when the comedians of the “sick school” are forgotten. Minus his fiddle, Youngman has little in the w'ay of fresh material, but his sense of timing and his quick sizing - up of an audience make him a crowd pleaser. The show is rounded out by emcee-singer Johnny Crawford, the Buster Burnell Girls and the combo led by Mickey Rodgers W'hich features talented bassman Frank Sostek, a veteran of a num¬ ber of name bands. Bitt. International,N. Y. Julius LaRosa, Lou Nelson , Boots McKenna Line with Jimmy O'Shawn, Mike Durso & Charlie Palmieri orchs; $5-$6 minimum. May and June generally provide a few windfall weeks for New York bonifaces. Spring is in the air, the prom kids have their big moments in the cafes and the bus tours bring a harvest. The open road is a healthy contributor to the gate. Julius LaRosa’s opening at Jack Silverman’s International was attended by no less than 500 femmes from Philadelphia who got off a fleet of busses and filled the room. This was a trip engineered by a travel bureau that gives the ladies transportation, lunch, a legit matinee and a nitery for one pack¬ age price. Maybe the waiters don’t get treated royally, and the checks of individual diners are higher, but it’s a living and it’s an audi¬ ence. Everybody’s happier. LaRosa is a surprising perform T er, still in the process of growth. He has never opened in N.Y. with¬ out having shown another phase of his development. This time in, he seems to have lost the naivete and country-bumpkin mannerisms of his past. He is now trying for a stress on personality. He has acquired bits, a degree of hepness and an ease he has rarely shown .previously , in cafes. Also he, has come in without the overarrange¬ ments that characterized his work. LaRosa is constantly the improved performer. There is a vocal resemblance to Frank Sinatra. His voice mirrors a musical instinct, he has a cheer¬ ful delivery and a good tune selec¬ tion comprising mainly standards. He holds attention on ballads and his rhythms and he fills the room with excellent musical values. He took repeated bows. Lou Nelson, in the comedy spot, alsd hits the audience hard with a series of bits on commercials, medicos with a song-and-dance impression for the windup. Nelson’s lines achieve force via an easy delivery. It’s a good middle ground. While not overstating his case, he doesn’t bang out his lines either. His efforts are well appreciated. Boots McKenna’s line of guys and dolls holds over with a good brand of production with Jimmy O’Shawn on the vocals. Mike Durso’s band showbacks with com¬ petence and Charlie Palmieri’s Latunestering fills the floor. Jose. Society Rest., London London, May 20. Peggy Sands, Gypsy Adam & His Tzigany Players, George Birch Orch; $3.50 minimum. Blonde Peggy Sands, a svelte, goodlooking warbler, is doubling at the late-night Stork Club where she does a longer and more bois¬ terous act than at the elegant So¬ ciety room. Here she is content with a 20-minute stint in which She gives with five oldies for which, unaccountably in such' a small room, she uses a mike. Miss Sands has a gay and peppy personality and her act would have been even more acceptable had she not clung to such well-worn material. Opening with “Slow Boat To China.” she then gives a demure and saucy rendering of “Let’s Do It” (tremendously plugged by cabaret performers in this capital). She puts over “How Deep Is The Ocean” glibly and fol¬ lows with a lively Version of “I Can’t Give You Anything But Love.” She rounds off her act with “Old Black Magic.” which is dis¬ appointing. Miss Sands belts at far too rapid a pace and has the air of riot understanding the lvric.. Rich. Savids. JUss Vegas Las Vegas, May 20. Nat King Cole, Rou-an & Martin, Joan Swift, Harry Nofal, Copa Girls (11). Antonio Morelli Orch (24); produced by Jack Entratter; choreography, Renne Stuart; stage direction, Harold Dobrov'; $3 min¬ imum. Another of Jack Entratter’s $-in- the-casino attractions. Nat King Cole, glides back into the Copa Room and presents the kind of sock nitery act for which he/s noted. Despite an ailing threat on opening night, Cole’s, distinctive song styling was. magnificent throughout his repertoire which included such numbers as “Balle¬ rina,” “Very Thought of You,” "Continental,” “Paradise,” “Ma¬ drid,” “Unforgettable.” “Just One of Those Things,” “You Made Me Love You,” “Mardi Gras,” “Dinner For One” (done with a prop table and dramatic lighting), “Avalon” and “Joe Turner,” plus two me¬ morable 88 solos, “Tea For Two” and “Where or When.” Dan Rowan & Dick Martin, who have long been comedy faves in Vegas, return for the ninth time, and are better than ever. Most of their material is new this time, with only the classic inebriated drunk heckler bit being revived— which is, as usual, rewarded with a blanket of yocks. The act is con¬ sistently funny, and would click in any nitery or theatre. Beautiful Joan Swift, who also scores in the voice department, and handsome Harry Nofal, a virile baritone, are solid assets to Renne Stuart’s production numbers, deco¬ rated with precision by the Copa girls (ID. Antonio Morelli’s orch (24) does its usual fine job of backing the show, skedded through June 16. Duke. Harold's Hub, Reno Reno, May 19. Carl Ravazza, Wiere Bros. (3) (vnth Mildred Seymour), King¬ pins (5). no cover or minimum. The current bill continues Har¬ old’s Club’s policy of longterm bookings (12 weeks, this one) for the intimate Fun-Room—but what with the talent-loaded lineup, re¬ peater auditors, plus the ones mak¬ ing it the first time around, should keep the room filled; The suave and stylized Carl Ravazza. the impish Wiere Bros., and the diversified musical King¬ pins offer tablers a full hour of something-to-please-everyone. Ravazza, taking time out from his ranching and real estate biz (both locally), is in full command of the chords, albeit he’s not work¬ ing year round on the nitery cir¬ cuit. He wins top endorsement on such trademarked titles (and many of his own authorship) as “Mad¬ ame,” “Them Sobbin’ Women,” and “I Dream.” His “Story of Joe,” sans any backing, is a sure click in any room. A melange of standards includes “I’ll See You In My Dreams,” “Two Loves Have I.” and “Don’t Take Your Love From Me.” And his emoting ability is evident on a winning interp of “Thank Heaven For Little Girls.” The Wiere Bros., clowms and musicians all (Herbert, Sylvester and Harry), fracture with violin routines. One fiddles through with a shredded bow string he can’t unshred, while the other two play iLstraight. Sylvester gets off some good lines in competition with the , freres and the three show near- perfection in timing. Some of the aero stuff is also pro quality. The trio is backed at the piano by Mildred Seymour, who shows obvious talent. The Kingpins (sax, guitar, bass, drums, piano) make it a playback this session. They rate plaudits for the instrumental work on both pops and novelities. And their impreshes are convincing. The boys are on for 25 minutes, and the versatile act is a perfect warmer for the bill. Long. Riverside, Reno Reno, May 21. Jaye P. Morgan & Morgan Bros. (3), Rickie Layne & Velvets, Star¬ lets (8), Eddie Fitzpatrick Orch (10); $2 minimum. Jave P. Morgan exhibs a vocal styling that can offend no taste, and for this time around (the last was about five years back) she stays close to the titles essayed be¬ fore—and proves her point: she clicks solidly with the “can’t miss” stuff. The blonde thrush, backed by her Morgan Bros. (Duke, Dick & Charlie), whips thru a 25-minute repertoire that shows her talent on both the beltier titles and the sen¬ sitive offerings. From opener “Runnin’ Wild” to the closing “Detour” she’s “in”—and auditor reaction is positive assurance. In a full-skirted red creation.,, she wins approval with “Life Is Just a Bowl of Cherries,” “You Are My Lucky Star,” and in chorus with the freres, “Sing, You Sinners.” The male threesome upstage with their recorded version of “Noah,” and ably back the distaffer with guitar and string bass. Miss Morgan finales with a vocal in¬ terpretation of “Detour Ahead.” Warming for the headliner (and he finds the spot not a cinch) is Rickie Layne and his wooden- head Velvel. He’s off slow, but gradually makes it for a full com¬ mand. Layne is heavy on the what’s - wrong - with - the - audi¬ ence routines and his dialect (Yid¬ dish) bits. Both efforts could be ; trimmed with no loss, as it’s in¬ dicated he has other materials he leaves unused. The Starlets, in a Moro-Landis production, take the first and final curtain with Frank Finelli vocal- ing. Entire show is backed by Eddie Fitzpatrick and boys. Bill runs to June 3. Long. Hotel Plaza, N. Y. Lisa Kirk with Jim Brooks, Jimmy Harris, Jerry Rush & Scooter Teague; Don Pippin con¬ ducting Ted Straeter Orch, Mark Monte Continentals; $3-$4 cover . Lisa Kirk, who opened the spot this season, is back for the sea¬ son’s finale in the Persian Room. Rarely does a performer here get a second booking within one sea¬ son. As in her previous visit, Miss Kirk has one of the glossiest acts to come to this room. It’s been worked over in a multitude of en¬ gagements until it has achieved a high polish. It’s an act in which she is in full control from her entrance, and the m a t e r i a 1, scripted mainly by her husband Robert Wells, wears well even upon a second airing. Lotsa people are involved with this turn. Not only are there four boys who come in to give added flash, but there’s the musical direc¬ tion of Ted Straeter’s band by Don Pippin, staging by Tony Charmoli, original music by David Saxon and naturally, a gown credit for Jean Louis. Latter designed a dress in layers in which Miss Kirk makes her entrance with a breakaway skirt, a red confection for the La¬ tin number, a doublet and a Chi¬ nese garb for “Limehouse Blues.” This is prbbably the riiost archi- tectured act in the business today, but also one of the more expertly performed. Miss Kirk, even with the multi¬ tude Of accoutrements, has plenty of time to be herself. There are long stretches in which she gets acquainted with the audience on her own. It may be heresy, but she’s as effective on her own as with the lads. Let there be no mistake—the boys add color, dash and an added dimension of gallop¬ ing movement, but in the final analysis it will be Miss Kirk’s name and performance which will have to fill the room until its sea¬ sonal exit. Her specials include “I Travel Light,” a sprightly opener, and “Good Little Girls” which is* re¬ prised from her previous turns. However, all her numbers have in¬ dividualized treatment. She has sights and sounds that are identi¬ fied with her and she .knows what to do with- them. Her “Far Away Places” with several costume changes provides powerful clos¬ ing for her, and her boys carry, her off on an improvised sedan made up of a piece of luggage, to applause of hitnnaking proportions. Ted Straeter’s boys perform ex¬ cellently in the musical require¬ ments. and Mark Monte’s Continen¬ tals fill the floor in the alternate, spot. Jose. Bradford Roof, Boston Boston, May 22. Ice Frolics, with Michael Mee» han, June Rae, Shirley Winter. Es* Co LaRue, Naries James, Jo Valle, Joan Anderson, Ted Roman, Den¬ ise LaFlamme: narrated and pro duced by Jack Kelly: Harry De* Angelis Orch (5 1 ; $3-84 minimum. This is the first icC show foe the Bradford Roof where boniface Al Taxier has the ropes up for the 55-minute production which opened Monday (18) and is booked for four weeks, exiting June 13. Ice surface is extra large, 25 x 22 ft., allowing plenty of latitude. Cast gives terrific skating exhibi¬ tion replete with the flips and flourishes to big mitting all the way. Format is similar.to big arena icers with Michael Meehan, fea¬ tured. soloing to terrific applause. Breaking up the aud is Esco LaRue who has his drunk act working to perfection and fooling even the blase night-clubbers. Working without skates from ringside table, LaRue heckles and taunts the skaters to merriment of ringsiders, finally joining them onstage and becoming involved in intricate steps and taking a number of falls on the ice. Shirley Winter, tall and blonde, whizzes around in slick solos; June Rae, wife of producer Jack Kelly, who choreographs and cos¬ tumes the show', scores with a polka on the frappe. Four blonde lookers. Naries James, Jo Valle, Joan Anderson and Denise La¬ Flamme, make visual impact as chorus line and tear off some fan¬ tastic production numbers, particu¬ larly a torrid Charleston. This new departure for the Bradford Roof, which plans to stay open all summer, looks to pay off with big takes as customers seem entranced with the stacked femme skaters and the showers of ice chips from their ffasning: blades, Guy.