Nitery Review
FREMONT

Las Vegas, April 5Large advance reservation list for Tiny Tim's opening was thinned somewhat by the air travel stymies, but Fremont expects the fortnight to be bullish.
   Herbert Khaury had many years in which to perfect his Tiny Tim. During his roving minstrel days on N.Y. streets and occasional gigs at some seamy Greenwich Village bistros, he was Larry Love and Darry Dover and perhaps had many more alliterative pseudonyms. Essentially, it was Tiny Tim all the while, waiting for the big break. When it came, Khaury continued the mummery in new surroundings despite exceedingly increased pressures of fame. He maintained the unflappable innocence that was at once his shield and principal image, bugging many who sought to break him down or laugh him out of existence.
   In his current galavant, Tiny Tim is the masker, ingenue, soubrette, character actor, vaudevillian, grimacer, clown, fool, tragedian and the great pretender. His recreations of early tunes might also tag him as an excellent historian. These amusing flashbacks open his prancing turn after entrance bearing tote bag with ukulele. There is an uncanny likeness to period, no matter whether he goes into his falsetto scoops or essays the old spirit with rather pleasant baritone piping.
   A doomsday piece, "The Icaecaps Are Melting, The Whole World Is Drowing," reveals a narrative style with good diction in ringing tones. The terpery with this bizarre revelation is so utterly wild and completely uninhibited it completes the grotesque sensation Tim set out to accomplish. None, excepting Tiny Tim, would attempt such madness.
   The Elvis Presley set is another surprise, with his deep tones unmistakably simulating the original. The movements are typically TT camp, however. He probably would spoil the whole effect were he to attempt any Presley body moves. He retains his own herky-jerky, fluttery, romping manner in everything put forth.
   Use of the bullhorn, capturing a sound going back to the old acoustic waxworks, is a neat touch. In this electronic tool he is perhaps the first to use its peculiar resonance in an act and so far as is known, the first to sing "America the Beautiful" on a Las Vegas stage. The duets with himself are howlingly funny, as he reverts to a boy-girl 1909 song and his version of the MacDonald-Eddy "My Hero" with spotlight effects changing from green to white as he quickly yawps from straight to falsetto. Bow off is, naturally, "Tiptoe Thru The Tulips With Me." Tiny Tim has brought in Australian chirp Helen Reddy for a curtain-raising session. She has a piercing style when she belts, but can go into sexy purrs when lyric calls for that mood. Best is her combination of "100 Miles" and "Phoenix" in fine walking tempo. Al Jahns orch backs well, headed by Tim's conductor-pianist John Rodby.
   Marty Robbins opens April 16.

Monday, April 6th, 1970
Source: Unidentified
Reproduced according to "Fair Use"

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