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'ISITOR "Pourquoi Pas?" by Barney Glazer If "Pourquoi Pas?", the ninth edition of Le Lido de Paris, w hich world-prem- iered here Friday at the Stardust Hotel, were a movie, tv special, Broadway play, scientific achievement or journalistic gem, it would win, in the order named, an Oscar, Emmy, Tony, the Nobel Prize or the Pulitzer Prize. If there were an eighth wonder of the world, this would be the ninth. As it developed in the ninth inning of a thrill-soaked ballgame, the new revue scored enough runs to win the World Series for show spectaculars. In the opening act of a dazzling, creative, space-age show, staged and directed by Donn Arden, a regiment of showgirls, topped and topless, sequined, rhinestoned, strikingly-draped and ostrich-feathered, inundated a mirrored ballroom with a flood of beauty, movement and melody and a riot of color. It was not enough to steam the skyscraper mirrors and trigger the sign that things could only get better. Titles and sub-titles of acts and scenes reflected the passing parade: Paris c'est groovy, mademoiselle swing, Telegance du Lido, la creme de la Olympus, miseries and graces of beauty, rhapsodie Espagnole, great ice stage, Paris panorama, flaming inferno, and fountain of light. These were no idle boasts but promises fulfilled. Among specialty acts, blonde, delicious, ice skater Heather Belbin glided and whirled with breathtaking skill, even overcoming a nasty fall with symphonic recovery; agile juggler Rudy Cardenas maintained a KING-SIZED SALUTE?╟÷The all-new "Pourquoi Pas?" edition of the "Lido de Paris" at the Stardust Hotel, receives a champagne toast Irom two of the show's beauties, Bluebell girls Susie Smith, left, and Chantel Fri- card. More than 100 entertainers from ten nations appeared in the openings over the weekend of the Lido's 12th anniversary. It cost more than $1 million to produce. Producer Frank Sennes and director-choreographer Donn Arden devoted a full year in its planning. changing pace of perfection; Jillian and Ron danced in the near-nude with ballet artistry; the Volantes performed missions impossible on unicycles; Siegfried and Roy fashioned feats of illusion that opened with pigeons an d main-evented with a man-eating tiger; and sleight-of-hand artist Dominique strolled through the audience to pick pockets, and remove wrist watches, suspenders, shirts, socks and even gag it up with falsies. Among the production numbers, "Symphony of the Sea" employed a huge sheet of cloth to simulate a raging sea; the undersea "Temple of Athena" proved most unique and fascinating; the "Theft of the Mona Lisa" segment developed a highly effective panorama of Paris and helicopter sky fight; "Rhapsodie Espagnole" enchanted with music, color and animals; the "Red Bordello" gave ladies of the evening a round-the- clock glamor treatment; and "London is London" removed the fog to reveal a pageantry of costume, beauty and performance that flipped the switch for the dazzling scene, "Fountain of Light," ?╟≤ designed by Michael Knight. Entrepeneur Frank (Continued on Page 18) POURQUOI.... (Continued from Page 2) Sennes produced. Harvey Warren's scenic designs broke existing sight barriers. Pierre Louis-Guerin, Rene Fraday and Madame Bluebell spilled their production talents into the huge vat of French e x citement. Folco's "costumes sef new world records in audience breath intakes. Jim Harbert's and LP. Landreau's music and lyrics listened beautifully. The Stardust's complex, automated machinery, with its awesome, six hydraulic lifts, moved and changed scenery and provided dramatic split-level effects without a single flaw.