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Wednesday, Inly 16, 19)6?? -,> Night Club Reviews ; Continued from page 65 ; Desert Inn, L. V. Las Vegas, July 10. "Pzazz '70 and All That Jazz, Baby" with Will Jordan, Marvin Roy, Four Little Steps, Monroe & Whiting, Montego, Jacqueline Douguet, Nick Navarro, Kiki Paige, Penny Pryor, Jeanne Costa, Bobbi Hill, Sheila Sparr, Lillian D'Honau; Girl Dancers (14), Boy Dancers (14), Girl Singers (7), Boy Singers (7), Carlton Hayes Orch (20); produced by Frank Sennes; created, staged, directed by Donn Arden; production design, Harvey Warren; music, Jim Harbert; costumes, Bill Campbell; lyrics, Leonard Adelson; sound, lighting, Randy Wood; company manager, Ffolliott LeCo- que; stage manager, Esper Esau; II $7.50 minimum. Donn Arden has come up with another surefire hit which will be an entertainment landmark for a || couple of years. This one, called "Pzazz *70 and All That Jazz, Baby" is a strong sequel to the highly successful "Pzazz '68" which had a marathon run. After opening night, Arden, who created, staged, and directed the girlie gala, and producer Frank Sennes can gaze on a colorful extravaganza which has only a couple of things to be doctored to make it a powerful lure for Vegas show patrons. About 10 minutes should be trimmed from the 105-minute running time, and if comedian Will Jordan's next-to-closing spot was moved to an earlier slot, he and the whole show would be better off. At preem, the festivities were soaring to a peak, and when Jordan came on, putting the audience down because his familiar jokes didn't get the appreciation he expected (first-nighters were mostly Vegans, and they knew the punch lines to almost all his jokes because they've been used here over and over by other comics), there was a let down. Jordan would be wise to chop; the one-liners and concentrate on [ his impreshes, which are top drawer, especially his famed Ed | Sullivan, plus good carbons on j Groucho Marx, Jack E. Leonard, J Bing Crosby, Clark Gable, and j Peter Lorre. Perhaps Jordan could j improve the fast pace of the show I by switching spots with the Four Little Steps, male sepia youngsters whose zinging terp acrobatics are frantic and fun to watch. Arden's production numbers, done with taste and imagination, involve such cities as Las Vegas, San Francisco, Chicago, and Hollywood. Each is populated with ex- ceptionally beautiful s h o w g i r 1 s | (14), expert femme and male dan- I cers, blended with girl and male singers. Standouts are Kiki Paige, doing a takeoff on Texas Guinan; Bobbi Hill, Helen Morgan; Penny Pryor, Bette Davis; and James Weiss, Harry Richman. Sheila Sparr (Tallulah Bankhead) and Lillian D'Honau are also show stoppers; Jacqueline Douguet, Nick Navarro, and Bernard Charey are j skillful body manipulators with their displays of flashy, fleshy aero dancing. Song team of Barry Mon-1 roe and Edward Whiting ("There's I A Place For Us") clicked handily! with first-nighters; Gordon Cornish as the singing pianist in San Francisco number is sterling asset to show. Long ago Arden ran out of w.k. disasters (his shows here have dramatized in dance, song, and frightening scenery upheavals such events as the sinking of the Titanic and the Hindenburg destruction) so he made up a dandy for this outing ?╟÷ the gunning down of a gangster in Chicago. "Pzazz 70' is gracefully punctuated with specialty acts which give the stage hands time to set up the big production numbers. ?╟≤ Handsoma juggler who mixes ballet into his incredible flipping and balancing is billed simply m "Montego." Marvin Roy, who doe* seemingly impossible stunts wittt light bulbs, is a highlight of th?╜ lvshow. I Finale is a salute to Duke Ellington, the scene is the old Cotton. Club in New York, and it's indeed ! a rouser. Special credit should go 'to the original music by Jim Har- I bert and the lyrics by Leonard j Adelson, the gorgeous costume* j and the overall production design jby Harvey Warren. Carlton Hayer 'and orch back,the bash with the [proper aplomb. Show is in for in-. i definite period: Duke. ****+*+******************+*4****+*++**< NEW YORK POST, MONDAY, AUGUST 25, 1969 I Hill Ulllllll miPI'I^iiM.W,^ It Happened LastMglit By EARL WSLSOH I The Invisible Boss.,.: x The great myth named Howard Hughes is one of the best of all Show Business bosses "because he's invisible?╟÷ you never see him?╟÷while all the other bosses are always I putting their 2c in." "Yet in an eerie way you know that Howard Hughes is aware of what you're doing. You feel that he's got you wired '. for sound." Donn Arden, who has 150 beautiful girls working for him j and still likes beautiful girls, delivered this opinion while waiting tor his new "Holiday On Ice" revue to open at Madison Sq. j Garden Wednesday. "I was producing the 'Pzazz '70' show | at Hughes' Desert Inn," Arden said. "One | day the ax fell. I got the message from I upstairs. 'No nudes.' I had some beautl- | ful nudes, too. I said, 'Thanks a lot, 111 I ?et some body stockings.' We did a beautiful show without nudes. It got raves. "IN THE SCRIPT we had one pretty/. : rough line. Nobody from upstairs was in ; to see the rehearsal, but one day I got I another message. That line was to come I out! Now how did he know?" Rumors that Hughes checks on everything in his hotels with a closed cir- j cult TV are current in Vegas. Arden only knows that he likes to j work for him. "It's wonderful," he says, "to work for a boss yon ! never see." I (3Iy secretary agrees with that.) I HUGHES (1947) "In an eerie way . . A BACKGROUND OF 18,000 COLORFUL LIGHTS SPARKLE DUIRNG THE EXCITING OPENING NUMBER IN THE DESERT INN'S NEW MUSICAL SUPERSPECTACULAR, "PZAZ ?· '70". THE RECORD-BREAKING MILLION DOLLAR PRODUCTION IS PRESENTED TWICE NIGHTLY AT 8 P.M. AND MIDNIGHT IN THE CRYSTAL ROOM. H m