...the short-lived Indian Village with Native American dancing, the Cellier de Pigalle wine bar (featuring Seattle's Italio-lounge crooner, Gil Conte), the Diamond Horseshoe (Gay Nineties-themed bar, that somehow ended up featuring a Jamaican musical act), and the short-lived Flor de Mexico restaurant (which was quickly replaced by the Sleeping Buddha coffee shop with its folk music).
Far better recalled in Century 21 legend and lore were the other few attractions -- those titillating shows that were marketed as "NEW! DIFFERENT! ADULTS ONLY!" -- a designation that brought official scrutiny from the Seattle Board of Theater Supervisors (aka the "Seattle Censor Board") and a resultant avalanche of publicity. The rooms in question included the locally produced Girls of the Galaxy show that offered the opportunity for customers to take "pin-up" photographs of naked young ladies "with their own cameras or rented ones" (The Seattle Times, November 21, 1961). Within days the problem-plagued venue was briefly shut down by fair manager Ewen C. Dingwall (1913-1996) after an incident that saw nearly nude women joining the barker outside. After receiving complaints -- one fairgoer wrote that “In 30 years of going to “adult” shows, I have never seen a worse show. 1. Dirty building. 2. Poor sound. 3. Poor seating. 4. Last, but not least, the show itself 'stunk'” (Kessler) -- the Galaxy was closed again in mid-May and finally booted on August 29th.
There was also the 300-seat LePetit Theater's risqué puppet farce, "Les Poupées de Paris," which was deemed edgy enough to require an emergency script rewrite at the censor's insistence. The brother team behind the show, Sid and Marty Krofft, would, nevertheless, go on to great success doing kiddie-TV work with Hanna-Barbera's Banana Splits show, and later producing the H.R. Pufnstuf series. Then there was the Backstage U.S.A.'s Peep show which was run by Tacoma's John and Ralph Matlack -- and choreographed by LeRoy Prinz who'd made a name for himself working on Hollywood blockbuster films like South Pacific and The Ten Commandments. The Seattle Times enthusiastically noted (on April 20th) that Peep would feature "eighteen (count 'em) curvaceous girls display[ing] their various talents" in a show whose iffy premise was that of giving attendees a peek into the behind-the-scenes world of a Broadway spectacular -- including a wide-eyed glimpse into the "fabulous dressing rooms" of the dozens of half-clad performers at whom visitors were invited to "Look as Long as you Wish!" (Official Guide Book, p. 112).
Lastly, was the biggest of the bunch, Gracie Hansen's Paradise International -- a publicity magnet of a 700-seat dinner-theater / nightclub which mounted four shows nightly (except on Sunday) -- each featuring singing, comedy routines, 18 topless showgirls, and Hansen's own ribald vaudeville-inspired cabaret shtick. As Time magazine reported, yes, worry not: "the fair will have its undraped girls, in a 'Las Vegas-type revue' to be produced by one Gracie Hansen, an entrepreneuse who promises 'a daring show with some nudity, but all in good taste.'"
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