ent000826-036

Pzazz '70' Revue Due in Vegas Continued from Page 14 Chicago, Hollywood and New York in production numbers. The first is Las Vegas, U.S.A. Today," which will open with a rousing "Jazz Baby Jazz" sequence. In this case "jazz" will include everything from historic to contemporary. Jacqueline Douget and Lillian D'Honau are principals. "To San Francisco?╟÷and Love With Music" will exploit a female ensemble dressed in seven shades of blue. "Chicago," going back to the Prohibition era, will involve the Mob, the Tarnished Swells and the Easy St. Hustlers in two scenes. More than 50 dancers and singers are to participate with Kiki Paige portraying Texas Guinan. - Scene III is "The Shanghai Follies"; Scene IV is titled "A Grand Girl?╟÷a Grand Piano," with Bobbi Hill portraying a composite called Libby Morgan. Then there'll be "Violation of the Volstead Act" and "The Breadline Blues." Fourth production number is "Hollywood and All That Jazz," featuring Edward Whiting, Barry Monroe Jeanne Costa, Sheila Sparr, Jacqueline Douget and Bernard Charey, besides others. "We'll have some fun with the so- called golden era of Hollywood musicals," Arden pointed out. 'Salute to Duke' Finale is titled "New York, a Salute to Duke Ellington," with action taking place in a set depicting the famous old Cotton Club. Entire company of nearly 100 will take part. Sennes summed up his new show with "We're going to give people something they can't see on television." Arden explained some of the new aspects of staging spectaculars. 'Everybody moves in the show," he said. "The days of stationary showgirls are over. As a matter of fact we're doing dances now that dancers will like, and not just the old formula one, two, three, kick. "When we called an audition, we were amazed to find 350 girls waiting in the auditorium. This is possible because dancers now flock to Las Vegas, about their last stronghold. We selected about 50. Some had just deserted-Broadway.* Arden's "touch" with spectaculars is a combination of good taste in his lavish use of spectacle and unusual j ability to coordinate. "Today, with costs soaring, we hire \ talent to perform. 'Politics' of the past which kept some girls working whue- ther they had talent or not are no more | ?╟÷at least not here," Arden pointed out. "I don't ride herd on my boys and girls when they're away from the show, but i I know they're here every morning ! bright and early. We rehearse from 8 to ; 5 daily, and we've been at it for six weeks." Arden added a postcript: "I get more respect and discipline now." He smiled wryly. "Maybe it's because I'm old enough to be the kids' father." Yards of Fabrics As usual in Sennes-Arden revues, color will run rampant in costumes designed by Bill Campbell and production design by Harvey Warren. Thousands of yards of fabric ranging from traditional weaves of silks, satins and velvets to the exciting new vinyls, metal cloths and Cellophane synthetics have been used by Campbell to develop a post contemporary look in both the couturiere and theatrical sense. Feathers, too! Campbell tied up the New York market for pheasant feathers and went to South Africa for ostrich trim. Warren's scenic designs rate the word "awesome" and are on a scale that requires a huge electric facility. The power drain wall be tremendous to I mount the 8,000 lights and 25 miles of | wiring needed for the opening scene alone. Other special effects will be achieved through use of bubble and fog machines, stage lift elevators, drops, waterfalls, black light, scrims, projections and pyrotechnics. Music for " '70" has been composed and arranged by Jim Harbert with original lyrics by Leonard Adelson, and orchestrations by Harbert, Bill Stafford and Jimmy Bryant. Flying sequences are by Peter Foy, sound and lighting by Randy Wood. Peter Gowland handles film sequences. Carlton Hayes and orchestra will provide music for the super spectacular which will be open to the public Thursday and is booked for a year, at least. !iit??ttBftiif' Venice, Calif. Evening Vanguard (Cir. D. 973) JULl6l969 -J&. en 6 P- C. B. Est. 1888 Paul Flowers talks on Hollywood A.T.N. Syndicated Column "Looney Lewis Paints Too I" Frankie Lame, who collects oil paintings of Unique impression of a clown in repose. Lewis's who collects gales of laughter at the "Minsky's : Burlesque '69' " revue at Las Vegas Aladdin Hotel, cails his painting "21st Century Clown." According to Laine, the Lewis canvas is alive with the same color treatment and feeling that an old master would have given the painting had he lived in the 21st Century. Featuring extensive color combinations and unusual color depth and projection of emotion, the painting depicts a clown sans makeup |usV after concluding a show. Zem Zemhik, owner of Las Vegas' House of Fine Arts and a fine artist in his own right, is so impressed with Lewis's canvases that he has invited the Minsky top banana .to present a one-man show at his studio. The exhibition will be offered as a prelude to Zembik's representation of the comic-artist in circulating his paintings in key art galleries throughout the U.S. Tenth Anniversary Activities The dinery honored by many gourmet societies for. its many culinary triumphs ?╟÷ the Stardust Hotel's Aku Aku Polynesian restaurant observed its j 10th Anniversary during this month. Picturesque Polynesian rites are being planned to salute the im- \ portant milestone. Highlighting the ceremonies will : be the placing of 10 orchids ?╟÷ one for each year of Aku Aku's operation :?╟÷ on the giant Aku image that adorns the restaurant's entrance and serves as one of the Las Vegas's foremost landmarks. Officiating at the orchid lei ceremony will be j beautiful Hawaiian-born Nalani Kele, star choreographer of the, perennially popular Polynesian Revue in the Stardust Hotel Lounge. The Aku image is i a reproduction of the giant stone figures which guarded the beaches at Easter.Island. The natives there regard it as a harbinger of good fortune. The qi I squats jasuddi $ AWONo|