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MOULIN ROUGE ($5.50 Package) Fifth edition of the Moulin Rouge extravaganzas staged by Frank Sennes has about everything to catch the fancy of the diner-outer and showgoer and it has Marie McDonald, too. This added plus promises high returns for the Boulevard boite and should prove a bright showcasing to tv scouts for the shapely entertainer, who once was in the chorus line at this selfsame showplace. Without slighting the Donn Arden production, The Treniers or Billy Wells and The Four Fays, it must be conceded that Miss McDonald is the main draw. Those drawn by curiosity of her recent publicity will remain to applaud as a forthright performer with her only thought to entertain and not necessarily parading a great shape sheathed in a slit gold lame gown. The pros who came to see her were more profuse in their praise than the plain citizenry of supper clubbers. The terraces were dotted with names bigger than hers in show biz but for the evening it was her night. She sang, indulged in flippancies and generally comported herself well. Her singing is pleasant and won over the crowd without any vocal tricks or trading on her figure. She has a nice, easy manner with an ingratiating quality that at once dismisses any thoughts that she's cashing in on her publicity. She's a good performer and would do as well in any supper club. She scored strongest in a travel song, "Around the World in Eight Minutes," in which she sang in the native tongues of Yiddish, Japanese, Italian and French. To Hal Borne, her arranger, accompanist and manager, she gave full credit for her accomplishments. The Treniers, a lounge act from Vegas, stormed up all facets of the current craze of violent songs and dances and steamed up the room's temperature. There's eight of them but they sounded like three times that many with their instruments, hoofing and handclap- ping. Billy Wells and The Four Fays are acrobatic tumblers par excellent with dizzy spins and lightning-fast gyrations. Production numbers were impressive and well, executed, with many new specialists to round out the cast of holdovers, including the pigeons. Closing "Frankie and Johnny" routine and the Barbary Coast number were overdrawn and should be trimmed. Arden's staging was both inventive and striking despite a few rough spots which brought an apology from Sennes on stage. But for Miss McDonald no apology was necessary. She performed with class and eclat and should keep the room well filled once the word gets around. Helm. Pfi!RIETY Moulin Rouge, L?╜ A. Hollywood, March 21. Betty Grable & Co., with Art Johnson, Flo Walters, Jim Hodge, John Drexel, Ray Baxter, Dean Campbell; Toni Dalli, Gautier's Steeplechase, Dick Stabile Orch; $5.50 package. For those too young to remember, or those nostalgically eager to know, the origin of the term "Betty Grable Musical," the reminder is currently available in the living, breathing, glowing flesh at the Moulin Rouge. Miss Grable, trim and neat as ever, with the celebrated legs still worthy of plenty of celebration, is the central figure of a lively miniature revue in which she kids herself and her film successes and at the same time makes clear why they were successes. Slick, fresh costuming, fast dance staging and the professional attitude that the audiences deserve more than just a look at a "movie star doing the boite beat," make this act a solid one. Miss Grable has seven costume changes in her 30-minute turn and she was understandably breathy toward the close. But it didn't make any difference. She treated the whole thing goodnaturedly, confided to the audience she doesn't sing very well anyway, so a note lost here or there is no calamity. She reprises some of her film hits, "Rosie O'Grady" and "Alexander's Ragtime Band" (latter in French for pleasant comedy effect), with assists from singer Art Johnson and dancer Flo Walters; exchanges vocal banter with her introducing quartet, Jim Hodge, John Drexel, Ray Baxter and Dean Campbell, and even tangles with the Moulin Rouge chorus line for a mute but funny reminder of her high-kicking cinema duties. Held over from previous shows are Italian tenor Toni Dalli and Gautier's Steeplechase, horse-and- dog act. Donn Arden's "Pariscope" revue continues to stand as a smartly costumed and expertly choreographed revue. Miss Grable has a limited run, through March 30, when Helen Kane preems a night club act. Powe. Beverly Hills., Newport Newport, Ky., Jan. 17. Beverlee Dennis, Little Buck, Donn Arden Dancers (10) with Clay Mundey, Mary Fassett, Mar- lene Powers, Gardner Benedict Orch (10), Jimmy Wilbur Trio, Larry Vincent; $3 minimum, $4 Sat. Beverlee Dennis, chic comedienne, and Little Buck, jet hoofer, combine with this plush casino's popular production ensemble and musickers for a *sprightly floorshow in the current fortnighter. On repeats, both singles boost their ratings with Greater Cincinnati Cafe- goers. Miss Dennis makes her half-hour on the boards pass quickly with sparkling material and personality with showmanship to match. Fetching in a short black strapless gown and a distinctive do-it-yourself hair bob, the dashing diminutive clown is at ease in banging home saucy patter. Ditto for her impersonations and singing. The Sophie Tucker takeoff is a classic. Her treatment of the Yiddish square dance caller in the Catskills and the star who marries his critic are standouts. Little Buck, billed as "rhythmic lightning," racks up heavy applau*- over a 13-minute route. Hits h j with impressions of the Four S ;; Bros, and motor and train sou; Makes good use of a mike pic?. ..?? from floor for tapping; dresses neatly and wears white shoes to focus attention on his business tools. Classy "Bon Voyage" and "Spanish Rhapsody" numlbers by the Donn Arden line have Clay Mundey and Mary Fassett on vocal j duets and Marlene Powers as Vr- let soloist. Session openinr has Jane Morgan as headh; ADazzBngExfraYogonza! iilUCEl -^C* /fllSS fATRl w "* ^ ^ Intimate Rme* % PRODUCED by ROBERT SCHUIER ?╟≤ STAGED by ROD ALEXANDER ?╟≤ MISS MUNSEfS GOWNS by SCAASI ?╟≤ CONDUCTOR AND MUSICAL ARRANGEMENTS by JERRY ALTERS * SPECIAL MATERIAL by KVING GRAHAM ?╜ The HUSBAND"- ARTHUR MAXWELL THE "OCCASIONAL MAN"- STEVE WILAND 4 EXTRA lADDED ATTRACTION IB ft fc 0*4* 4* \ Jackie Miles !"*+?╜ uaacvs mam mm am tmmiam ma con *?╜ .'*. ?√ßk ?√ß4c SHOW TIMES ??:15 PM.?? 12 MIDNIGHT f SAT 8:15 P.M. 12:30 A RESERVATIONS, OU 2*6000 11111 Mp 7 Great Musical < uot ma LOUNGE SKYROOM DANCE 8 PJWL *> 4 AJ*. | In the SKY ROOM 9mm xm mm mm t>mm feSPAMOMG PROMOTIONS ACT JOHNSON *m??**m?╜mLnm iCMTON HAYES ?╜*0RCWfM )i(ki(M,' DESERT J N SPECTACULAR SHOW I "DANCING Olid for yovr fNTERTAINMiNT PRESENTED NIGHTLY p?╜~?╜* WATERS" AT POOL 9:45 TO 11 PM, DANc/NG UNDER THE STARS ?╟≤?╟≤?╟≤DURING INTERMISSION High Wind, Chill Not So Good Moulin Rouge Background By IAN McGREAL Hollywood's Moulin Rouge show came to the State Fair Wednesday night and did its best in a cool breeze that cut through the stands, bothered the foot juggler, sent howls through the mikes and made the roller skating performance on a high platform a truly death-defying act. Spirits on stage were not entirely frozen out, however, as the Moulin Rouge showgirls and dancers went through their ordinary lively pace. ; The costumes were splendid and the music was in tempo as the production numbers spread out across the race track stage. At moments the show took on something of the effective pre cision of a fast-moving revue but there was only a vestige of continuity in the arrangement of numbers. THE SHOW, staged and directed by Donn Arden and produced by Frank Sennes, received a splendid fireworks sendoff as it moved briskly into "Bon Voyage," a nautical production number. This was followed by Lorn, the foot juggler, unfortunately placed in the second spot where something was need to carry the initial impetus of the revue. She performed capably but admitted defeat when several of her larger props refused to ignore the wind. Johnny LaPadula, accordian- ist, played and sang several numbers, including "My Sin," and "I'm Going to Sit Right Down and Write Myself a Letter." His lively playing interested the crowd, but something more was needed to keep things going. WITH THE return of the Moulin Rouge performers in a Spanish production number the enthusiasm of the audience picked up. Castanets and clacking heels came into play, and snatch- es from, the opera "Carmen" provided the musical theme. High spot of the show turned out to be the Albins, comedy ballroom dancers. With Albin's hair sprouting grotesquely from the sides of his forehead and his partner, half his size, falling awKwardly in ner blue split dress, the pair went through the misadventures of ballroom clowns with the appropriate degree of buffonery and vulgar pi- . Bob Top and Lauren, high plauojLin sKaters, spun courageously on their tiny perch, gaining considerable suspense advantage from the minor gale at their altitude. PUBLIC address difficulties took a great deal out of the performance by the Toppers and Donna, accustomed_tp the more intimate surroundings 151 a nightclub. With the finale production number, "Le Cirque," with all performers on stage and the Fre- dianis, acrobats, climbing and leaping fou..: high, the show won back something of its initial zest. Everything considered, however, the fireworks stole the opening night show. A spectacular barrage accompanied the closing Star Spangled Banner. The music and lyrics for the revue numbers were written by Pony Sherrel and Phil Moody and the orchestra was conducted by Eddie O'Neal.