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LAST TIMES TODAY Xido, Paris CFOLLOWUF) Paris, Dec. 20. In its heyday, as it was becoming a nitery mecca, the Lido used to change its show every year and vie with itself in more unusual meccano effects, more inventive production numbers and unearthing solid offbeat acts. Then as biz became SRO almost nightly it ran shows for two years. It was decided to go back on an annual change this year, but the overflow biz would not have it. So last year's show gets a series of new acts, a brush-up and a couple of new numbers for another year of service. And it is still highly serviceable for those who come new to the Lido. But for regulars and more peripatetic show people, it might seem all too familiar for all the acts have played the Lido at some time or another. The Bluebell Girls (16) are still smart looking and good hoofers, the Lido Models (8) are sleek nudes who can move well and Marion Conrad is a most provocative unclothed dancer, while the Arden Boy Dancers (6) do okay chorus boy chores. Numbers are still fresh and well costumed with Russo, Scottish and circus motifs neatly danced and staged. Erich Brenn comes back for his ultra rapid turn of keeping plates spinning on rods which always gets fine response. Gino Donati (2) does his bel canto attempt hampered by a buttinski stooge which has him acrobatting while singing for a good number. The Nitwits (10) are a zany, corny band with slapstick aspects usually well planned and manned for laughs except for a Negro member who may be too much of a stereotype for some tastes. Eddy Seifert Co. (3) do an expertly regulated contortion number. New production numbers in the second part are being tried out for later Las Vegas use and are a colorful American Indian sequence and a Paris backgrounded fashion bit. Both are colorful. YetJ the Lido now needs a fillip for its classic envelope. Something new in effects or acts is called for to keep up the international name of this boite. It is still the best of its kind in its richness, electric mixture of Yank movement and French taste, and general knowhow. It may not be feasible to rewrite a hit, but the Lido could keep up its yearly new entries with a refurbishing of its basic format to make it remain the number one boite of its type. It seems that Rene Fraday, Pierre Louis-Guerin and the Cler- ico Bros, have decided to go back on the yearly basis next December. It would be a good idea. Meanwhile, biz is excellent and more dinners are served than ever as people come early for best seats. For a $7 minimum it is still the best buy in town. Donn Arden's direction and choreography are still standout while Folco and Fost have kept the costumes and sets good looking. Arnold Shoda lones it on the ice rink for very good terpskating. Live and taped musical backing is still fine. Mosk. LOUIS^ KEELY PRIMA & SMITH TOMORROW THAT MAESTRO OF MIRTH! PROFESSOR BACKWARDS JIMMY EDMONDSON EXTRA! DONN ARDEN DANCE PRODUCTION ART JOHNSON singing master of informalities CARLTON HAYES & orchestra .SHOWTIMES: 8:15 P.M. FRIDAY: 8:15 P.M. 11:45 P.M 2:15 A.M uliCA^PESEKT INN LAS VEGAS, NEVADA ' .^ UB REVIEWS 55 Desert Inn-, Las Vegas Las Vegas, Jan. 17. Andy Williams, Jimmy Edmondson, Art Johnson, Gloria Ferrina, Donn Arden Dancers (16), Carlton Hayes Orch (21); produced hy Frank Sennes; choreography, Don \ Arden; $4 minimum. B^H RTER I Andy Williams, who has that commendable quality of being pleasant to watch as well as listen^ jP to, is here for a special two-weekvjrv^ engagement. He's a savvy show-~ \ man, and sounds better than ever, ^j Arrangements, especially the one |J on "Love For Sale," are by Williams' 88er, Dave Grusin, and are outstanding, giving the entire turn an extra lift. T Karl Kiffe on drums also gives^ strong assistance, and the Carlton ??k Hayes orch (21) sparks splendid - framework. Numbers include, among others, "You Do Something To Me," "Just In Time," "Green Fields," "Danny Boy," "I Love All of You," and a yock-pulling "You 1 Don't Want My Love." Johnny O'Brien, subbing for Jimmy Edmondson (whose plane was late) on opening night, did the act he currently does at the Dunes. He was rewarded with many laughs for his one-liners and harmonicartistry. New Donn Arden production number, "Now We're In Tripoli," again spotlights the brainchild of a master choreographer. The colorful, festive splash features the fine voices of Art Johnson and Gloria Ferrina, backed by the Arden dancers (16). Rosemary Clooney preeros here 5^v eviews DESERT INN Las Vegas. ?╟÷ A comparative newcomer to Las Vegas is Andy Williams, billed as "America's new balladeer and TV song star" at the Desert Inn where he opened a two-week engagement this week. His pleasant song-styling was warmly received during a time when enthusiastic audiences are at a premium. His comedy partner, Jimmy Edmondson ("Professor Backwards"), didn't make it in here from San Francisco in time for the press opening and was replaced by Johnny O'Brien, borrowed from the Dunes. Donn Arden's single production number is a four-part miniature musical called "Now We're In Napoli." It's one of the best seen at the Desert Inn and the female production singer does a particularly fine job. Williams is on stage 45 minutes, and in that time does 1 5 songs, including a medley. The audience, of course, liked the tunes most closely associated with him?╟÷"Day In, Day Out," "Just In Time," and "Time After Time." Only "Mack the Knife" wasn't up to par. After one false start with "Mack," he apparently realized the musicless beginning was a little too different. Cole Porter's "Love For Sale" was particularly well done and Williams left a pleasing impression at the close with "I Love All of You," which had the lyrics slightly tailored to fit his style of saying, "good night, all." ?╟÷Colin McKinlay. Mon., Feb. 6, 1961 REVIEWS DESERT INN ($1* Minimum) Las Vegas, Feb. 5.?╟÷The charm of Dinah Shore was never more evident than in her DI debut?╟÷a package of tuneful, pleasant, pretty entertainment. Backed by a highly talented chirping-terping male sextet (Earl Brown, Tom Allison, Frank Howren, Joe Pryor, Ronnie Dexter and Dave 0'- Hearn), Miss Shore breezes through an act splendidly staged by Nick Castle. Slight tightening of the turn after the first performance will give it blockbuster status. Star is stunningly gowned by Robert Carlton and Harry Zimmerman gracefully guides the Carlton Hayes orch (14). Earl Brown and 88er Ticker Freeman have provided clever special material for a couple of Miss Shore's songs?╟÷a touching "Something Wonderful," a stirring "Swing Low Sweet Chariot," an amusing "What Have You Done All Day?" and a pensive "When World Was Young." At one point Miss Shore's teammates do a delightful bit of musical nonsense involving a toy balloon, a cup, a comb, keys, and other unlikely "instruments" for a sustained yock. Summing up: the act is a most welcome click. Jimmy Edmondson by-passes his "Prof. Backwards" gimmick for this stanza, concentrating on one- line gags which for the most part are borrowed from other comics. However, he manages to get many laughs. An excellent Donn Arden production number, "Now We're In Napoli," is held over for fine effect. This bill is in for two weeks. Duke. tars & Strip By YOUNG, polished singer, has won many new friends with his vocal presentations in the Flamingo Driftwood Lounge. ANDY WILLIAMS is rapidly becoming the favorite balladier of song lovers. In his present Desert Inn appearance, ANDY sings number after number, each of which brings hearty and vociferous applause. PROFESSOR BACKWARD (JIMMY EDMONDSON) brings the "house" to a head with laughter at his "gags." DONN ARDEN'S newest Production, "Now We're In Napoli" is as colorful a bit of terpsi- core and song as a festival in Naples and uses the talents of ART JOHNSON, GLORIA FERRINA and FREDDIE KNARR to great advantage. CARLTON HAYES and orchestra provide the music. i > i i i