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L@s Afigelts ix&mintp* 14 Sec. 3 Thurs.,Nov. 7,1957 I 'Gotta See Durante at Rouge' By HAROLD HILDEBRAND That small, lovable, gigantic entertainer Jimmy Du-i rante wowed the patrons of j Frank Sennes' Moulin Rouge; into submission within seconds Thursday evening when; he opened a two-week star-j ring engagement Durante quickly quieted; the largest and noisiest crowd ever assembled at the supper club ?╟÷ to the point where even the heavily taxed waiters were taking time out to watch from the sidelines. His formal was easy. He bedazzled them and then threw in his bolo bunch. He has seasoned material that never* falters, beautiful timing andj skilled nonchalance even! when things go wrong, as! they frequently do on open-i ing nights. In essence, he has! showmanship! , CLOTHES NUMBER?╟÷ Curtain-raiser, "It's a Man That Makes the Clothes'* had Jimmy demonstrating ?╟÷ via song and an assist by eight Sennes chorines ?╟÷ attire ranging from Bermuda shorts and polo outfit to beaver coat and beanie. His colleague Sonny King joined in on the Durante standard "Inka Dunka Doo " which incorporated much! clowning and many Durantf isms. Eddie Jackson, a former; vaudeville partner of Durante] strutted out with cane andj top hat to double with Jininiy on "It's Still the Same Old Broadway," adding even more warmth and nostalgic moments. But throughout the program, which ran unusually long on opening night, it wasv always the diminutive comics ad libs and a side si which marked the presenta-j tion as a high scorer. When Jimmy spotted! famed Helen Traubel he; brought her up from thei audience. SAT DOWN TO PLAY?╟÷ And some of the heartiest laughs of the evening arose; when Jimmy sat down at thej piano to accompany Miss Traubel and found the microphones suddenly cut off. This: was quickly remedied after Durante threw the expensive gadgets across the floor, evoking from Miss Traubel some loud, loud laughs. They teamed with their old favorite "When a Real Piano Player Sits Down at the Keys" and "Bill Bailey." The show ?╟÷ which also includes two fabulously costumed Donn Arden produc- tion numbers with a cast Thurs., Oct. 11, 1956 i literu rsc ?╤ *eview MOULIN ROUGE (Admission $6.85, Inc. Dinner) The experimental "name" policy essayed in the closing weeks of his third season has been firmed by Prank Sennes, beginning with the eye-popping "Cest La Vie," which launches the fourth season at the theatre-restaurant which has become the hallmark for the- acme of cabaret entertainment. Stripped of its name content, it's a fine, fast-moving series of productions that dazzle and intrigue; with the names?╟÷and most particularly with the sensationally simple stint of Helen Traubel ?╟÷ it becomes a 100-minute show that rates as a memorable evening of cafe entertainment. Only the title is French; actually, the show is a revue with global flavor. This time, Sennes' opulence has turned more in the direction of costuming than sets. As a result, some tremendous Donn Arden numbers achieve even greater impact by virtue of the simplicity against which they are done. Highlights include a stunning "Sym- phonie D'Espagne," a "Hollywood" finale that subtly satirizes the general opinion of the Film Colony as a rococo locale, and a women's prison number that builds to some pulse-pounding excitement. These routines are skillfully handled by the 50 "Sennes Senders," a line that includes some really eye-filling cuties, and enhanced by the good work of Ffolliott Charlton and the fine brassy chanting of Pony Sherrell (who, as usual, teamed with Paul Moody to do the original music and lyrics). } Miss Traubel's 30-minute next- to-closing spot serves as a model of what opera - trained talent should essay in niteries. It's un- gimmicked, save for a short, tongue-in-cheek excursion into such items as her standard "St. Louis Woman" and "Bill Bailey." The rest of the time, she simply stands there and sings, winning ovations both for her unsurpassed vocal quality and her treatment of the melodies. She recognizes the inherent beauty of the songs and sings them on that level, rather than condescending to handle pops, and the results are perfect. And the final encore handling, sans mike, of Brahms' Lullaby, achieves a degree of impact that makes it almost impossible for the finale to follow her. Too, during her stay it might be advisable to drop the "Espagne" number, sock as it is; her simple handling of the Carmen material in.a brief operatic sequence completely overshadows the preceding production. For comedies, Sennes has im- ported the Wiere Brothers, who grow funnier annually. Much of j what they are doing here they did recently in the "Rosalinda" re- I vival, but even the familiar material is done so slickly that it scores. They earn repeated guffaws with their buffoonery, which is neatly interspersed with good fiddle work and they get above- average assistance from Mildred Seymour at the piano. Featured acts are introduced by the excellent acrobatics of Al De Jonghe & Co., a European import. Act is several cuts above even the high- grade European entries of recent seasons and they handle some difficult hand-to-hand work with ease and considerable grace. Costumes by Mme. Berthe, the Sherrell-Moody score and Moody's arrangements, Harvey Warren's scenery, Lee Gotch's choral direction and the pit work of Eddie O'Neal's crew all rate high. As usual, the production represents a hefty investment (probably around $200,000) and a weekly nut in the, neighborhood of $25,000. That's ordinarily a much too fancy neigh- MOULIN ROUGE Opening night at the Moulin Rouge was full of sentiment and delays both of which did not in the slightest impair Marie McDonald's glamorous debut. The show, scheduled to go on at 9 ran into wiring difficulties and ' ^ariscope" didn't tee off untii well c ter 10. The sentiment was sparked b/ Marie's 11th wedding anniversary duly noted by husband Harry Karl on stage with roses and a birthday cake as well as presents. Miss McDonald has a way with her both in appearance and singing style. She was a big smash in Las Vegas and should repeat her success here. The actress is a well publicized commodity and from a curiosity point of view alone should lure the customers. "Par- iscope," staged and directed by Donn Arden is in the tradition of past Moulin shows. It is spectacularly beautiful, noisy and full of variety. A poplar act on the bill, The Treni- ers, were greeted by constant bursts of applause during their roustabout act which makes rhythm and blues old- f?╜ ?√ß-ihioned. Other hilights of the show are the old-timers, Billy Wells and the Four Fays, Martha Errolle, Ffolliott Charlton and Diana Varga. There are 50 "artists models" which can't be j overlooked either in the color spread. The original music, as usual, is by Pony Sherrell and Phil Moody. ?╟÷Leo Guild. borhood for contemporary cafe tastes. But the Moulin Rouge has become a solid tourist attraction and the name policy should also keep the locals coming to keep the house in the black. Kap. of 50 or more singers and dancers ?╟÷ also presents the phenomenal Juggler Rudy Cardenas. To use Durante's own vernacular, "This ya gotta see!" BEACON-WOOSTER BOUQUETS TO: The Moulin Rouge's entire management ?╟÷ from Frank Sennes to Marcel Lamaze to Johnny Oldrate to public relations ace Cliff Lewis ?╟÷ for the truly magnificent handling of the press and public on opening night. The superb show, starring scintillating Marie McDonald, would do justice to a Ziegfeld (Donn Arden, take a bow!) ?╟÷ the food was excellent ?╟÷ and the service prompt. It was an evening long-remembered. MAKE THE MOULIN ROUGE A NIGHT-TIME MUSTT /. The rhythmagic of Frankie Sands and his combo. His robust singing; and deft fingering of the guitar keeps the Mink-and-Mocambo Set on their dancing toes . . . John Carroll's tender rendition of I'll Remember April ?╟÷ a song for lovers everywhere . . . A BEACON-WOOSTER BRICK-BAT TO: The L. A. County's Planning Commission ?╟÷ for its failure to put a stop light at the dangerous crosswalk where Queen's Road intersects Sunset Blvd. Accidents have been occurring there with monotonous regularity . . . Nacio Herb Brown, Jr.'s latest Liberty album has the ming title of Way Past My Bedtime. It'll be released in six weeks . . . Le* ( i Bert Mittelman ?╟÷ who owns 21 changes of toupees ?╟÷ received this re^*j| , or growing hair from a femme admirer: Mix paraffin oil with an onion, put the stuff in a bottle, cork it and let it stand for one lunar month. Bert's problem is: what to do when the 30 days are up? Drink the mixture ?╟÷ or rub is on his noggin! . . . Las Vegas' Flamingo Hotel drum beater Abe Schiller bragged to press pals here that no performer can top Tony Martin's tremendous mapnetism in drawing over-flow audiences. ?√ß1