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CITIZEN-NEWS ?╟≤ Wednesday, October 10, 1956 Moulin Rouge Show a Hit TUES., OCTOBER 9 FRANK SENNES Presents his all-new 1957 Musical Ixtravaganzci ?√ß?╟≤?√ß?√ß J Starring World's Outstanding Soprano [Helen Traubel I In her first L???╜ An?╟?.L. lk-li ~. . . By LOWELL E. KEDELINGS It was quite^ appropriate, I think, that Frank Sennes, who has made a tremendous success of the Moulin Rouge, should come up with his greatest/show last night?╟÷on his birthday! "C'Est La Vie" is superb; it has everything in the grand manner of all Donn Arden revues . . . imaginative sets*, stunning costumes, gorgeous girls, expert dancers, good singers, attractive props, pleasing music, a skillfully trained chortis line ?╟÷ and colored pigeons, ho less! This is not all; the revue has Helen Traubel as its star?╟÷and to hear Helen Traubel is a rare and rewarding experience. For here is a woman with an engaging personality and an operatic- trained voice that gives each song a richness^ of quality that defies description. . Her magnificent voice fills the, spacious room with melody that' lingers long afterwards, and her repertoire is inspired. It includes such varied numbers as the current hit from "My Fair Lady,"?╟÷ "I Could Have Danced All Night"; the inspiring spiritual song, "He"; the lively "Leg of Mutton" from the film, "Deep in My Heart"; "When I Grow Too Old to Dream," "Autumn Leaves," "All at Once You Love Her," a Rodgers and Hammer- stein composition, and arias from such operas as "Carmen" and "Madame Butterfly" among others. Her comedy byplay, in which she does a Jimmy Durante impersonation, with her accompanist, the talented pianist?╟÷Richard Gale?╟÷was a particular highlight last night, especially since Durante himself came on stage* to greet Miss Traubel, and to. | honor Sennes by calling him toi the stage to receive a huge I birthday cake. Afterwards, Miss Traubel, cool and poised in a stunning black evening gown, graciously accepted huge bouquets of roses and mums, and left the stage. But the applause was so thunderous, the demand for an encore so insistent, she returned to oblige. Here is a truly great artist! The new revue has 12 topnotch production numbers, featuring ' the Wiere Bros, in a good but overlong comedy routine; Singer-Pony Sherrell, who does three songs very well?╟÷and with Phil Moody wrote the original music and lyrics?╟÷a fine achievement in itself; and Al de Jonghe and Co., acrobats de luxe. The opening Bon Voyage number is delightful. So is the grand finale, a symphony of beauty in red, white, and blue?╟÷and in between a Spanish production number, complete with songs from "Carmen," castanets, guitars, and dancers and singers in stunning red and black costumes, is ?╟÷perhaps?╟÷the most ej'e-filling and pleasing of all. Phil Moody's musical arrangements are an outstanding contribution. So are the handsome costumes by Madame Berthe of New York City, Lee Gotch's choral direction, and Harvey Warren's lush sets. Backing it all musically is^ Eddie O'Neal's Orchestra, also a fine band to dance to. Such celebrities as Jan Peerce, Lauritz Melchior, Marie Wilson, Jeff Chandler, George Gobel, Maria Palmer, Art Baker, and Mae Murray, the silent-film star, were on hand to applaud this elegant new show of which Frank Sennes and his production j staff can be mighty proud. SUNSET near VINE n* iismations CM ho 9-6333 Starring World's Outstanding Soprani elen Traubc. In her first Los Angeles Night Club Appearance* * ?╟≤Exciting, Glamorous Productions( ?╟≤'World's Most Beautiful Girls I ?╟≤ Hilarious Comedy! ?╟≤ Greatest Combination of talent from two Continents including THE WIERE BROTHERS & others! Staged at a cost of $225,0001 Staged and Directed by Donn Af dm 2 SHOWS NIGHTLY (Except Monday) % mm ne% jJ^, m SHOW: with &????*?╟??╟?..?·> mm. ST *M?? AHOW: with Jm**fttt* 3 *?╟≤ urn (Except Sat, 6 $**.) Prices for PREMIERE only* $10 per person pim f*x includes Special Govrmet Steak turner M PfrRmfr NIGHT CI Moulin Rouge, HHvood Hollywood, Oct. 9. Frank Sennes production of "C'est La Vie," starring Helen Traubel and featuring Wiere Bros. (3), Jaynos & Bagyo (2), Pony Sherrell, Ffolliott Charlton, Will Carter, Luis Urbina, The Sennes Senders (50). Directed by Donn Arden; music and lyrics, Pony Sherrell, Phil Moody; costumes, Mme. Berthe; scenery, Harvey Warren; Eddie O'Neal Orch (20); $6.85 admission including dinner. The experimental "name" policy essayed in the closing weeks of his third season has been firmed by Frank Sennes, beginning with the eye-popping "C'est La Vie" launching 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. 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 wrhich they are done. Highlights include a stunning "Sym- phonie D'Espagne," a "Hollywood" finale that subtly satires 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 j 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 Phil 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 ungim- micked 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 Brahm's 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 operatic sequence completely overshadows the preceding production. For comedies, Sennes hr\s imported the Wiere Bros, who grow funnier annually. Much of what they are doing here they did recently in the "Rosalinda" revival, but even the familiar- material is done so slickly that it delights. 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 Jaynos & Bagyo, a European import. Act is several cuts above even the highgrade Euronean 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 neighborhood for contemporary cafe tastes. But the Moulin Rouge has become a solid tourist attraction and the name policy should keep the locals coming as well as keep the house in the black. Show is in for three weeks. Kap.