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BILL WILLARD 8D/Lm Vegas Rowtow-JouniM/friday, September 16,1983 Facelift rejuvenates That dear old Las Vegas staple, the Tropicana?╟╓s ?╟úFo-lies Bergere,?╟Ñ with its running life nearly as long as the ?╟úlido?╟Ñ show down-Strip, has had a facelift It has also enjoyed a tuck hoe and there and displays some new body parts, all Frankensteined by Jerry Jackson. The once antiquated lady looks quite rejuvenated. ?√ß Jackson, of course, has been hailed as a genius for his conceptions, composing, staging, choreography, costume design and whacking the show into shape at veiy little cost Although a brilliant person, he is not a genius. There aren?╟╓t any geniuses in this glitzy village, despite tons of hype engineered by certain so-so midtalented super-achievers. Jackson sweats for his showbiz victories. He deserves plenty of laurels for this 100-minute dazzler. Actually, the sum of its parts doesn?╟╓t quite add up to the whole ?╟úFB.?╟Ñ It?╟╓s somewhat of a nervous show, reflecting the Jackson style. And it?╟╓s not the ?╟úall-new?╟Ñ production as advertised. Many elements have remained, some hidden, but there nevertheless. No matter, ?╟≤ credit producer Larry Lee for mounting this 16th edition in tiie Tiffany Theatre. . Barclay Show, the puppetmaster, is a holdover and so is T-nnr* Burton, whose hyperbolic description states he is ?╟ The World?╟╓s Foremost Champion of Magic, Winner of the 1982-84 Grand Prix of Magic.?╟Ñ Not too far off at that.. Burton is diabolically clever with his attitudinal hocus-pocus. His supersmooth tricks are amazingly mys-tifying. Shaw has the poignant mime of his little down Toto that, just about brings tears to audiences as the diminutive fellow tries to get out of his manipulation and be free. On the other hand, Shaw?╟╓s dirty talk for Madame Clara Cluck doesn?╟╓t belong next to the superb Toto routine. Some of Shaw?╟╓s flatulent allusiins to natural fiinrtinna are most unnatural, lowering the jabber to offensive comedy. Fortunately the payoff with its hilari- ous surprise saves the now ducky act from degenerating into the dumps. .... The specialty turn, Fly-By-Nights, is a duo with fast ^ hands and fast talk The lads juggle their shiny plastic pins adroitly and play around with some apple tossing and gobbling with splishy-splash all over ringsiders. The pair?╟╓s comedy gets a little labored at times, but they toss it off like their perspiration and applesauce. The show?╟╓s Parisian name is just a name, a monicker. The is a gallimaufry of music hall, degant kitsch, T&A with feathers, a salute to American music and finally Place Pigalle for the most electrifying CanCan displayed on any Vegastage. Carl Wallace, as the handsome compere, takes the audience on its Folies journey from back then to here and now, then back again. He is very persuasive, points out everything adeptly with his singing and dancing. Wallace is a solid contributor to the eclectic rounds. A find is black singer-dancer Albeny (Jinka). Her vocal equipment .matches everything else about her. She?╟╓s a quality performer. Outstanding are Gail & Bryant in several notable adagios. Versatile soprano Lynette Giesen continues her expressive ways entering her fourth consecutive year with the show. Joe Macchia-vema is listed in the program as ?╟úJ.J-,?╟Ñ but he s not fooling anyone. He?╟╓s a special Joe with his tippy song and dance inserts. ?╟÷ After all the hoopla about the Trops cross-country search for the ?╟úultimate showgirl" and finding her in Las Vegas?╟╓ back yard, Los Angeles, or, to be more precise. Upland, try Mid find her in ?╟úFB.?╟Ñ Hint she?╟╓s six feet tall, ediihifai the necessary anatomical features, has a. pretty face and travels in fast company among the other scrumptious mannequin/dancers, the gorgeous topless ones. Her name is Leslie Kay. Again, Jackson has worked his dancers, male and female, to reach a pinnacle. They perform magnificently. And Les Acrobats are, as always, extraordinaire.