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Forrest Duke duc< H Mah in* who *the Visiting Fireman"?╟÷! If You Like Movies, You'll LOVE Pzazz! '68' Donn Arden's newest spectacular, "Pzazz! '68," eould prove to be his most popular success, as it is certain to draw many repeat patrons ?╟÷ especially among movie buffs. Like his previous marathon hits here at the Desert ton, "Hello, America!" (and unlike his Lido shows across the Strip at the Stardust), this lavish revue has no nudes among its 18 showgirls and 18 girl dancers, who, with nine boy dancers display some of the finest choreography (which was honed by Arden, Carl Ja- blonski, and Joyce Roberts) seen in a showroom. (And a special accolade should go to the gorgeous costume*' designed by Bill Campbell and executed by Berman's of Hollywood.) OVERALL THEME of "Pzazz! '68" is a loving salute to Hollywood; its opening production, with four scenes, kisses Mae West, Carmen Miranda, and Julie Andrews, socks across a clever title presentation with three screens showing clips from vintage films simultaneously, and adds a delightful "psychedelic delight" number populated with beautiful girls, featuring the terp artistry of lovely Shirley Kirkes. One production number, with Astaire-type dancing, Is "a tribute to Fred." Lillian D'Honau is a typical movie queen in an amusing "Born A Star" skit, and in a strong "Hell's Angels" number, Arden has the leather-jacketed mob set fire to an oil boomtown for frightening effect, Impersonations of Bing Crosby, Bob Hope, and Dorothy Lamour fit right into the festivities with a spoof on the "Road" pix, and the overwhelming finale is an Arden version of "Beau Geste" involving the entire company. SPECIALTY acts are smoothly sandwiched, and none run too long. Included are comedian Jeremy Vernon, who showcases why he's one of the fastest-rising young stamdups; the Snyder Brothers, who add more comedy with their very funny dialog, accurate impressions, and superb singing by brother Bob; more excel-1 lent singing is done by beautiful blonde Bambi McCor- \ mack; the handsome Agostinos ?╟÷ Frank and Denise ?╟÷ j do startling balancing and their famed "Roman Chair" J display of strength combined with delicate beauty; shapely looker Gala Shawn shows some incredible skill on the trapeze; and juggler Rudy Cardenas does with ease seemingly impossible feats. CARLTON HAYES and his orchestra do the fine backing throughout; art direction is by Harvey Warren, and the just-right original songs were cleffed by Jim Harbert and Leonard Adelson. Frank Sennes produced the show, which is in for an indefinite run ?╟÷ probably at least 18 months. Producer Sennes, at the black-tie premiere, introduced attending VIPs, Arden, and Robert Maheu. Maheu, who represents all Howard Hughes' interests in Nevada, brought a personal greeting from the boss, who now owns the Desert Inn. DON ARDEN Director 'Unspoiled' By Success Record By BARNEY GLAZER [theatre soon extended beyond To showbiz mathematicians,]individual performance. Before Donn Arden adds up as a highly organized mind, unusual taste extended creativity and a driving energy to work in his chosen metier. On abacus or computer, the answer is always the same for the man who currently stages and directs today's greatest trilogy of revues?╟÷the Lido in Paris, "PZAZZ; '68" in the Las Vegas Desert Inn, and the Lido de Paris in the Las Vegas Stardust Hotel. With huge spectaculars running simultaneously on three stages, Donn Arden has to reduce to the common denominator of b e i n g showbusier than any other stage director today. His achievements have garnered honors including the Grand Prix in France, the Golden Runway and Silver Masque awards in Italy and the National Dance Educators award in the U.S. Arden is a perfectionist. He despises sloppy work. He has auditioned 5000 gals, maintaining his selection standards higher than a micro-skirt's hemline. In the field of dance, he knows what he's doing. As a youngster, he developed a fine technique in ballet, acrobatics and the modern and jazz dance idiom. he was 20, he assumed charge! of a 16-girl line at the Missouri! Theatre, St. Louis, and staged its shows. He toured with Fanchon &f Marco, designed costumes andj painted scenery. He worked the burlesque circuit with Ada Leonard, Gypsy Rose Lee and Ann Corio. In 1933, he staged the Mounds Country Club shows in St. Louis. Sophie Tucker femceed those productions. During this stage of his career, Arden developed his flair for creating exciting panoramas. He had begun using staircases with lines of girls, lavish costumes, music, movement, and more girls. Following World War II, the Lido in Paris invited Donn to choreograph, stage and direct its famed show. To this day, he has produced the fabulous fable, a mecca for every show- j minded tourist. During the 1951' Lido staging, a talented newcomer assisted the director. Her name: Gwen Verdon. Asked why he is inactive on television, Arden stated, "The tiny screen is helpless to compete with a huge spectacular or a stage of 100 performers. An extravaganza must be seen The viewer must feel that Frank Serines & Donn Arden's Production "PZAZZ" DESERT INN "Special accolade should go, too, to the gorgeous costumes designed by Bill Campbell and executed by Berman's of Hollywood." ?╟÷Duke, Daily Variety ?Θ╝*&&&', CO STUM