Tips on Tables - By Robert W. Dana - October 2, 1958

Constance Moore Returns To St. Regis Maisonette

The return of Constance Moore last night to the Maisonette of the St. Regis was more than just another engagement - her sixth in the room – it was the return of a beautiful woman who typifies the essence and Constance Moorespirit of a room that maintains a steady foothold on the gracious past.

As one sits in this beautiful room, with its predominating colors in the green and red family, it is a privilege to be served by such a fine staff under August. From my table I had a good sweep of the room, noting the clusters of graceful wine glasses.

This was the setting, one which Miss Moore knew well. And so, about 9:30 p,m., blonde Connie, radiant, beautiful and ever-youthful, came out in one of Mitchell Leisen's most tempting creations, a silver-brocaded ballet-length bouffant gown.

Audience Relaxed. Certainly it was not effort for her to swing right into her opening medley of "From This Moment On" and "Breezing Along with the Breeze." As she sang, the audience sort of sat back and relaxed, knowing that this gal was one they could tie to. And indeed, she breezed along with no hesitancy.

Connie Moore has a beautiful voice to start with. She can sing along without a microphone and make you love the purity of her tone. In the Maisonette she uses the mike because some people never stop talking and others like a little more volume.

Special Material. As in the past, in this engagement she sings some original numbers written for her by Earl Brent. These included "Hot Dog Stand in Paris," "You've never Been Blue" and his well-known "Forty Cups of Coffee." They don't exactly knock you off you feet, but they register a glow as interpreted by the Moore voice and personality.

In between, Miss Moore sang "Just in Time." "Will You Still Be Mine?" and a medley of "Do It Again." May I say right now that I enjoy Connie Moore's singing very much, especially those last two.

Dining and dancing at the St. Regis should be enjoyable for many during Miss Moore's four-week engagement, with Milt Shaw and his orchestra and the Ray Bari ensemble alternating from 8:15 p.m. to closing in providing dance music. Miss Moore appears at 9:15 p.m. and midnight except Sundays, when the room is closed.