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THE CHATTA'.' OCGA POST, MONDAY, aniasnc Show LAS VEGAS, Nevada ?╟÷ Howard Hughes' Desert Inn I spectacular, "Pzazz 70 and All That Jazz, Baby," cost $1 I million to stage. Sounds like a lot of cabbage; but after d seeing the show, one wonders how its producers stayed | within even that huge budget. Take my word for it, "Pzazz" I is a stage show only one word can thumbnail describe it- fantastic! Presented before a highly responsive audience of VIPs I and newspapermen and with a backdrop that seemed like ?║ something out of nothing short of The Arabian Nights, this I magnificent extravaganza almost defies adequate description. Its opening performance was for a specially invited I group that included the nation's top celebrities (I can't help | but note here that beauteous Betty Grable, always a favorite I with nie, was one of them), political leaders, amusements I editors, Las Vegas' leading citizens (no, I didn't see the I ghostly Mr. Hughes there, although lie very well might have I been), and everybody who was anybody at all. THE FRANK SENNES PRODUCTION, created, staged ijand directed by Donn Erden, contains almost unbelievable 3 lighting effects, lavish costumes designed by Bill Campbell, I beautiful girls, exciting dance routines, breathtaking scenery *jand imaginative special effects, among other?╟÷many other?╟÷ I storybook surprises that highlight the gigantic presentation. 8 In one scene an entire segment of the stage sinks through the | floor of the stage, making you wonder where in hell it went, | and in another a flock of birds is released from the rear of the spacious room to fly stageward and light on the heads, I costumes and arms of the splendid performers and all over ?√ßthe props. Whew! What a show. From the wildly psychedelic opening number, "Las Vegas Today," featuring gorgeously gowned girls amid the splendor of 18,000 lights, to the concluding salute to New York's famed *|Cotton Club, "Pzazz 70" is a memorable look at America's Sgreat musical tradition, turned on by the music of Jimmy ?√ßHarbert and the lyrics of Leonard Adelson, played by the Carlton Hayes Orchestra. IN THIS CITY WHERE SPECTACULARS are generally I accepted as commonplace, the local press and press relations i men from other hotels (such as Tony Zoppe, former night I life columnist of the Dallas Morning News, now public rela- \ (ions man for Toe Riviera) are agreed "theatrical history ?√ß1 was made" with the opening of "Pzazz '70." Max Wolkoff, the j Desert Inn's resident director of advertising and public rela- I tions, told me 'n' the other writers seven weeks of intensive ] rehearsals went into the show. This meticulous preparation paid off. The gigantic spectacle went off without the slightest | flaw. Everything was perfect, down to the minutest detail. To give you an idea of the magnitude of "Pzazz 70," no 1 theatre on Broadway is nearly large enough to accomodate j the massive Harvey Warren sets, so brilliantly lighted a new I half-million-watt transformer had to be added to the hotel's I electrical sub-station to carry the increased power output. | Thirty stage hands are required to position the motorized i scenery in addition to a control room technical staff of 10 ?╟≤1 handling the lights and special sound mixes. Man! THE HOLLYWOOD SALUTE to the "Golden Girls," all- Other of the Knpctaciilar oroduction numbw-s. features a flv- ping ballet of lovely show girls against a background of pink land gold while a cascade of water comes thundering down Krom two giant waterfalls. Colorful fountains add a crown- ping touch to this picturesque setting. The scene is frosted ?√ßby that previously mentioned multi-colored array of birds Bdescending on stage as the curtain closes. A beautiful blue background, complete with soft candle-light and rich velvet drapes is the setting as San Francisco I is visited. Opening scene is an intimate cocktail lounge I which smoothly changes to reveal a penthouse on Nob Hill J overlooking historical San Francisco Bay. "Blue" is the I romantic theme and is featured in most of the rousing musical | arrangements. The entire scene has the elegant air of a I sophisticated cocktail party. It's a regal moment as pretty ] girls, one with a trio of live lavendar poodles, display rich \ creations from the coutere world of high fashion which were \ flawlessly executed by Berman's of Hollywood. ANOTHER MAJOR SCENE within the framework of the | mighty show is a feature on "Chicago" during the Roarin' | Twenties. This is a triumph of set design by Harvey Warren \ coupled with the imagination of the renowned Arden touch. 1 Opening with a street setting in the speakeasy district with and _gin peddlers, the scene expands Beautiful Heather Victorson, a well-distributed 37-2^-37, is loaded with pzazz. She's one of the reasons "Pzazz HO and and All That Jazz, Baby" is as spectacular a shoiv as it is. acts; but in an extravaganza of such gigantic proportion as "Pzazz 70," they are just parts of the whole. Their segments, like all the others are helped by additional special effects, achieved through the use of fog machines, bubble machines, black lights, endless drops, elevators, projections and other new devices, used expertly for "Pzazz '70." LIKE ITS PREDECESSOR, "Pzazz '68," "Pzazz 70" will undoubtedly run well over a year at the Desert Inn. "Pzazz '68" didn't close its run until earlier this year, when I didn't see the last