Word: rainbows
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Dates: during 1980-1989
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...Lido in Paris? A cabaret on Tokyo's Ginza? Rio's Copacabana? Hardly. The revue, well named Kicks, is packing New Yorkers and visitors into the Rainbow Grill, which in the past has been celebrated more for its 65th-floor view of New York City than for closeups of prancing showgirls. The revue is risque, sassy, elegantly mounted, and amusing, and its success may say something about the city's mood in troubled times...
Though piano bars, jazz joints and discos abound in the Big Apple, the Rainbow Grill is the classiest cabaret today in a city that once boasted such lively nocturnal redoubts as the Blue Angel, Le Ruban Bleu, La Vie en Rose, the Latin Quarter, the Persian Room and Cafe Society Uptown and Downtown. The irony is that this topless tower should be in the heart of staid Rockefeller Center, built 45 years ago by a family not exactly famed for tripping the light fantastic. On the other hand, the Rockefellers have never been known to disapprove of profitability...
...lines outside the Rainbow Room, whose art deco trappings and bouncy bands have been part of Manhattan's nostalgia bank since the days when young ladies made their debuts there in elbow-length white gloves, may be the longest for any after-theater show in town; it is a place so perfectly preserved in décor and atmosphere that one half expects Fred and Ginger to come tripping down the curving, chrome-railed stairways. The Grill, which long played second sax to the Room, became a supper club in 1965. Its windows were doubled in size...
Dinner, a distinct cut above most cabaret fare, comes from a kitchen that also provides more elaborate menus for the Rainbow Room and nine private dining rooms. (At lunchtime the whole Rainbow complex is a private club for businessmen.) But then, when les girls are on, few eyes are riveted on the leg of lamb...
...first-rate trio in tow: Pianist Milcho Leviev, Bassist Bob Magnusson and Drummer Carl Burnett. His repertory ranged brilliantly over a variety of moods and rhythms, from standards (What Is This Thing Called Love?) to appealing originals (Ophelia, Blues for Blanche), and from wistful ballads (Over the Rainbow) through funky Latin beats (Mambo Koyama) to awesome, high-speed pyrotechnics (Cherokee). Amazingly, after all his debilitating periods of obscurity and silence, his full, ringing tone was unimpaired, his melodic gift intact, his instinct for pace and structure still solid...