Variety (November 1954)

LEGITIMATE Wednesday, November 3, 1954 Shows on Broadway The* It a i ninaker thel Linder Reiner (in Association with Hope Abelson) of comedy in three acts, by N.. Richard Nash... Stars Gera’dine Page; featyn'es Darren McGavin, Richard Coogan; • Jbseph Sullivari; Albert Salmi, Tom Flatley Reynolds,. Camerpn Prud’s hoinnie. Dire c ted by Joseph. Anthony; 'scenery and .lighting, .:Ralph Alswang; costumes, .Bblasni. At. Cort/N.Y., Oct.-28, ?54l $5.75-$4.C0 top ($6.90 opening;. H. C. Curry Noah Curry Jim Curry ..... Lizzie Curry File. : Sheriff Thomas.. Bill Starbuck'., , Cameron Prud'homme Joseph Sullivan .... Albert Salmi Geraldine Page ...... Richard Coogan .Torn' Flatley Reynolds ...... Darren. McGavin Tele scripter N. Richard Nash, whose previous legit efforts have been the rather serious “The Youhg and Fair" and, “See the Jaguar," has come up with a comedy in his newest play,. "The Rainmaker.!’ It's a folksy southwest yarn about a lively, level-headed girl who es- capes the dire fate of spinstei'hood, and it’s an! Animated and fairly diverting show that.should have a moderate run. It is also an interest- ing prospect for film adaptation. ‘'The Rainmaker" has an arrest- ing central idea. It's about a. sen- sible but “plain" young woman Whose fluttery shyness scares off possible, suitors arid is thereby the .despair of her rancher father and brothers;: When an eloquent charla- tan; posing as a rainmaker, arrives during a prolonged drought he cons the rancher out pf $100 and talks the nervously 1 eager daughter into the conviction that she’s beau- tiful.. Armed with this feminine consciousness, she's just what the manly deputy sheriff wants, . Alt.hpUgh the story is thi ;. it keeps the key characters as the center of attention and offers a number, of laughably meaty scenes, Geraldine Page,- who became aii overnight star sensation on Broad- way two seasons ago in ‘‘Mid-Slim- mer" and repeated. last season in “The Immoralist," demonstrates that she’s no single-note' talent, but. a versatile and resourceful actress. Although she’s Still a rather "busy” player who stuffs a part with, man- nerisms, she..- reveals promising tendency toward simplicity and economy. , As wasn’t possible" in . her tear- jerking previous roles, the actress shows an unsuspected but well de- veloped, talent for hilarious com- edy. From her first coltish en- trance in blue jeans and demure hairdo, she is an infectiously frisky comedienne, but saves the biggest laughs for a second act scene.in which she “sashays" around the stage imitating the flirtatious tac- tics of coy local belles, though bordering perilously on outright farce! Under Joseph Anthony’s .franti- cally fussy direction, the whole cast seems in danger of acting the play right out of the theatre. However, Darren McGavin does reasonably well with the difficult role of the itinerant braggadocio. Cameron Prud’homme is believable as the. rancher with the wisdorn of toler- ance. Albert Salmi, is amusing as the girl’s. dimwit but sympathetic brother. Joseph Sullivan is con- vincing as the smug older brother with contempt for other people’s illusions, Richard Coogan is ac- ceptable in the ill-explained role of the. self-doubting deputy sheriff and Tom Flatley Reynolds is cred- ible as the fatherly sheriff. Ralph Alswang has designed an iriipres- sionistic ranchhouse interior, with a sidestage sheriff’s office and ranch outbuilding. Kobe. Tlio Traveling Lady Playwrights Co. production of drama, fn three acts (four scenes), by Horton Foote. Features Kirn. Stanley, Jack Lord, Loivny-Chapman, Katherine Squire, Kath- leen. Comegys. Directed by Vincent J. Donehue; scenfery, lighting and costumes. Ben Edards. At Playhouse, N;Y. Oct. 27, '54; $5,75-$4.60 top ($6.90-opening). reaches stardoin in the theatre,; gives the top performance of her young career, in the title part pf the ; inarticulate, humbly heroic drudge married to a bum, but bravely determined to be a good mother to their small daughter. It is a tender, sensitive, unabashedly honest, undeniably touching por- trayal that justifies Miss Stanley’s increasing reputatibn in the trade. It also indicates'that the actress is on the verge of becoming a real star. That is, not simply a player with official star billing (she was given that the day after the. open- ing) but the exceptional actor whose .entrance animates a play and enkindles audience imagina- tion, a personality with b.oxoffice draw beyond the show and. part 1 . : But . “Traveling Lady,” in the current “lhood piece" fashion, seei more of a character study than .full-dimension play.. Al- though it has attention-getting characters and a provocative basic situation,; with fairly dramatic inci- dents; it seems .curiously untheatri- cal! It’s reasonably interesting, but insufficiently stirring or entertain- ing. It’s likely to be. difficult to sell to the public! Nbt only Miss. Stanley gives a. .memorable . performance. The . au- thor; who always writes about his native smalltown Texas, has cre- ated a believable 'atmosphere of rural, life and. an assortment of: picturesque but ill-defined charac- ters, some of whom occasionally occupy tbo riruch attention for the Overall effectiveness of the story. Although that is a fault of dra- . malic construction, it. enables the supporting players to give*notable performances. /Lonny Chapman is expressive in the relatively brief role of the worthless husband who is thrown into panic by responsi- bility! Jack Lord is convincing as the quiet, intense man Who be- friends the harried young mother. Helen GareW; is unobtrusively be- lievable as his. observant,'generous and wise sister. Katherine Squire is plausible as a Well-meaning busy- body. Mary Perry is amusing as a resolutely eccentric crone arid Kathleen Comegys is credible as a gullible temperance missionary. Vincent J. Donehue, who has directed some of the author’s tele- vision scripts and his “Trip to Bountiful" on Broadway last sea- son, has staged “Lady" with seem- ingly excessive restraint, but Ben Edwards has provided • an expres- sive setting of a modest cottage porch and yard. Foote has denied that “L^dy" i was originally a video script - panded for the stage. There’s no reason to. doubt him, but it’s also easy to see why the question was raised. In fact, “Lady" seems a natural, for condemnation as a tv vehicle. Hobe. Off-B’way Shows The Dyhbult David Hose production of drama in three acts: by ! S. Artsky, adapted by Henry G/ Alsberg; Directed by Ross/ Settings, Alfred Leslie;, choreography;. Edward Caton; lighting, Richard Jackson; music based on Chassidic melodies, adapted by Thomas Mayer. At 4th Street Theatre, N.Y., Oct 26, '54; $3 top.. Messenger . Batlon ,,.. . 2d Batlon ... 3d-Ballon Channon . ..... ...... < Meyer Hennoch . HarinalvEsther ,,.; Frade .. .. Leah . i ... Gittel ‘.».. •«.'•• .-i Sender . . ............ Wedding Guest .,, ,. •Drazel .......... Blind Woman Drunkard Old Soldier ......... Hunchback. .. ...■, Bassia .. ..... . .. .Nachmon Rabbi Mendel ..... Menashe. Mikhoel Rabbi AZrael ..,..... . Rabbi Samson ...... Dayohim , Charles Brin .... Martin Garner Jack Hollander /.... .Max. Rosen ... Robert .Dowdell ..,Sanford Seeger ......, /. Alex Lord ...... Miriam Elyas ,;.. Miriam Elyas . Rachel Armour .. /;... Lila Popper. ,. . .., ' Lou Gilbert ...... . Martin Garner ...... Daphne Vane ..... Mavis Walters ..,. Aileen Passloff ... Noel Schwartz .David. Roher .;.. Eva Rubinstein ..Jack Hollander ..... ... -Max Rosen ... Albert Valentine Alex Lord Ludwig Donath i...... .David Ross .;.. Martin Garner The Living Room New Haven, Oct. 28. Uhert Miller ,and Donald Albery pro- duction - of drama in two acts (four scenes) '■ by Graham Greene. Stars Bar- bara - Bel Geddes; features' Walter Fitz- gerald, Ann Shoemaker, Michael Good- liffe, Nora Nicholson. Directed by Hugh •Hunt;' scenery,. Raymond.. Sovey; cos- tumes, Kathryn . B. Miller. At. Shubert. New, Haven; Oct.. 28, *54;' $4 top. Mary- : ..... ;..; /. Hazel Jones Rose Pemberton . .'. .Barbara Bel Geddes Michael Dennis .Michael'Gbbdliffe Miss Terese Browne .... .Nora NlchplSori Miss Helen Browne Ann Shoemaker Fr. James .Browne ... , . Walter Fitzgerald' Mrs. Dennis . . . ... V......Norp^a.. Winters There is something a bit para- doxical about the American pre- miere of the current London hit; “The Living Room;" Although the production has made. a successful physical crossing to the U. S., its dramatic essence has not survived as well. 2d Dayonim .. ......... Albert' Valentine Chassid Soloists Herbert Rapoport Rafael Sanchez, Rolf Waller stein Mrs. .Mavis Slim Murray ...;. Judge Robedaiik . Georgette Thomas Margaret Rose Clara Breedlove . -Sitter Mavis .. '• Mrs: Tillman. .... Heniy. Thomas ; . . Sheriff.. Mary Perry ........ Jack Lord ...; Calvin Thon)a?. .. .... Kin) Stanley ....Br ook Sea well Helen Cai-ew . Katherine Squire Kathleen Comegys ,. Launy Chapman .. . Tony. Sexton Occasionally an outstanding per- formance can save ah ordinary play, Kim Stanley, one of Broad- way’s' most talented; young ac- tresses, gives a truly fine perform- ance in “The Traveling Lady,” but the Horton Foote drama doesn't provide her with enough substance to make a Satisfactory evening's, entertainment. The Playwrights Co. production is a respectable . effort that may have a modest and fairly approving audience, but it’s a questionable prospect for general popularity arid therefore a dubious boxoffice bet. It may have a moderate run if, as reported,, the management is pre- pared to; support it with a strong exploitation campaign, but its best chance of eventual payoff may be from a possible film sale, , Miss Stanley, the- sort of nn- glamorous actress that occasionally Wish Me Luck Irving Jacobson and! Irving Grossman production of play with music in two acts (six scenes) by William Siegel, with music by Joseph Rumshinsky, lyrics by Jacobs. Stars Jacobson, ' Diana Goldberg, Mae Schoenfeld, Grossman, Directed by Judah . Bleich; scenery, Michael Saltzman. At Second, Ave. The- atre, N. Y., Oct. 31, '54; $3.45 top. “Wish Me Luck" isn’t likely to enlarge the limited Yiddish-lan- guage theatre audience in New York, It’s a formula job that should please the oldsters. A redeeming feature, however, is that several talented Yiddish performers are given a showcase, Irving Jacobson knows how to build yocks and is a pleasur to watch. Mae Shoenfeld is. also a laughgetter, Diana Goldberg; moves around a stage gRyly and- puts over a song witlv. verve,.' while Irving. Grossman: pipes enthusiastically and .can emote with restraint. : It’s this quartet, all. starring in the production,/who give a lift to an otherwise .tired script. Compli- cated plot has a husband, wife, her two sisters and father all living in the same house. Tile wife believes ,she!s in love, with her younger sis- ter’s fiance, who’s an '.-beau of hers and also a con m A cousin! ,of the. family is carrying a torch for the engaged girl, while the re- maining.sister is trying to lure him into marriage. In the various' fortunes, Miss- Goldberg scores on two numbers, Grossman does a nice job with a sorrowful “How Gari I Live With- out; a Heart" and Miss Shoenfeld and Jacobson -team up on a medley i of butchered pop' tunes. It’s a routine they’ve done in previous shows arid has risibid'.value. , Music by Joseph Rumshinsky. is rhythmic, while Jacob Jacob’s lyrics, delivered in both Yiddish’ arid English, are okay, Michael Saltznian’s living room set is func- tionable. Jess. If all three acts of this, new Eng- lish' translation Of S. Ansky's “The Dybbuk" were as powerful as the last, the 4th Street Playhouse would have an auspicious, opener. Unfortunately they’re not. Pace of the initial two, acts is slow, arid the perforrnances therein aren’t par- ticularly stimulating. Adaptor Henry G. Alsberg hits his stride in the final act, however, with a tremendous assist from Lud- wig Donath. who gives, a sensitive arid convincing arid inspiring por- trayal of a head Rabbi. Show also hits its dramatic peak during that stanza in which Doriath exercises religious methods.-to rid,a girl’s body of the soul of her dead suitor (the Dybbuk). ; • Play is produced via center stag- ing in. a one-flight up theatre,: with the action confined to a small area. In a three-way spread^ David Ross produced, directed' and performs. He does okay in the last category, while his direction, succeeds in creating an aura of mysticism. Physical production has been kept to a Irii imum. Importantly cast are Robert Dowdell, the lad turned; Dybbuk, Rachel Armour, as the girl he: plagues, and Lou Gilbert, as her money-hungfy father; Miss Armour is properly: doleful and a little too wistful; Gilbert does okay as does Dowdell. Most of the characteriza- tions, however, are etched along standard lines. Edward Caton’s Second, act beggar’s dance isri’t par- ticularly impressive. Jess. Sands of the IVegev Benjamin &. Lawrence Rothman produc- tiort oi drama.; in three acts, by Yigal Mossensohn. adapted: by Shimon Wincel- berg./Stars . Celia Adler, Peter- Capell; features: Michael .Lewin, Si Oakland, Gregory Morton, Anna Minot, Sylvia Davis, Elinor Rartdel, George Zlboran. Directed by Boris Tumarln; scenery , and lighting, Mordi Gassner; daqces, Ora. Braunstein. At President Theatre,, N.Y., Oct. 19, ’54; $4.60 top. Ruth ... Zvl Gaiiah Dap' ; Biinyamj Itmar ... Rivka Shosh .,. Avraham .... Sylvia Davis ..-:.-.. Si. Oakland ... Elinor Randel ..George Ziboran. ,,Michael Lewin .. Gregory Morton ...... Celia -Adler /;.... Anna Minot Peter CapeU Simon Wincelberg’s English adaptation of Yigal Mossesohn’s "Sands of the Negev" lacks dramat- ic punch or emotional pull. When originally produced in 1949' at the Habima Theatre, Tel Aviv, it ran for nearly two years.: A repeat of the successful Israeli run doesn’t look probable. That the play may have, been weakened in language transition is moot. In any case, the situations and characters are too familiar. Story concerns a group of Israelis defending: their settlement on the Egyptian border during Israel’s war of independence. Their cour- age, convictions! conflicts arid sacrifices are brought into play, but in a machine-made way. Prob- ably much of the action., is fac- tual, but: either: Mossensohn or Wihcelberg it lacks effective dramatic treatment. Performances generally, lack shading. Costars Gelia Adler arid Peter Gapell, as a married couple,, with, latter functioning as head of the civilian population defending the settlement, are unconvincing. Gregory Morton and Ann Minot register in the respective roles of a man fed up with destruction and a radio operator who returns to the settlement to aid in the conflict, and incidentally pick up a past romance. • Si Gakland is .okay in ,a comic relief role that’s marred by some tediqus lines. Boris Tiimariri’s di- rection has a heavy-handed qual- ity; but the production design and lighting by Mordi Gassner are im- aginative. Jess.' This reaction!.is . perhaps due to a> lack oif solution of the play’s major, theme, or even a clear posing of exactly what that major theme is. Also, an innocuous finale tends to let down the audience. ... Certain phases of the staging, too, leave something to be. de- sired at various key points, such as a scene in which a hysterical wife overacts a . poorly, directed threatened suicide . sequence. The show will require a fair, share of stepping up, with clarification and more potent development of pres- ent potentialities, before realizing Broadway standards. “Living Room!! concerns the problem of a Catholic girl in love with an older, married niari, . a Protestant, and the reactions of her pious relatives to that situ- ation. Ultimately, the apparent hopelessness of her future proves too much for the girl, and wheri she fails, to find concrete guidance from her priest-uncle, she kills herself. ’ The play may be regarded in some: quarters as an indictment of the Catholic. " Church’s attitude toward divorce and ; those outside the church, ais well as the Church’s failure in this case to unravel the knotty problem involved. That could make the play exceedingly controversial. “Room” has interesting ele- ments, such as the at-sword’s-point philosophies of the married Protes- tant, and the crippled priest. Wheth- er or not thp play is strong enough to draw converts to either side is moot. The dialog is meaty! and a certain undercurrent of suspense is generated, but peters out in the end. Performances are good, with Miss Bel Geddes effective as the confused young girl who goes from romantic ecstasy to smicide. She is physically attractive and dis- plays the exacting combination of youthful innocence and dramatic ability demanded by the role; Walter Fitzgerald’s interpreta- tion of the priest unfolds Rome capable acting but occasionally drifts into a thick accent. Michael Goodliffe skillfully warms up to tlie part of the married man. As the girl’s maiden aunts, Ann Shoe- maker arid Nora Nicholson rate plaudits,, the former as the bitter opponent of illicit romance, the latter exhibiting a delightfully coy senility. Brief appearance of Norma ,Win- ters as the overwrought wife is marred by apparently poor direc- tion; Hazel JOnes is an efficient maid. A suitably depressing setting, with a novel transparent wall, places the action, iri the living room and hallway of an old-fash- ioned London home. Costumes range, appropriately from vintage gowns to modern apparel. Bone. Wedding Breakfast Wilmington, Oct. 28. ■; Kerrnit .: Bloorngarden production of comedyrdrama in two acts, " by Theodore Reeves. Directed, by Herman Shiimlin; 'scenery and lighting, William and Jean Eckhart; costumes, Edith Luytens. At Playhouse, Wilmington, Oct. 28, *54; $3.85 top. Ruth .., .Virginia Vincent . Norman :. , Harvey LembecK. Stella /; , .. ..i .'-.Lee Grant Ralph . . . . ., . rvAnthony Franciosa As of now, “Wedding Breakfast" dbesn-t have What it takes for Broadway. In sense the play ends long before the final curtain,, pointing up the need for cutting and revision. A quartet of talented actors make up. the cast, but time and again they are stymied by the heavy-handed, script! The first act starts out in a comedy vein but in the second switches to drama. Play is about two sisters. One, a good-humored, fix-it type, is engaged to a smallrtime book- keeper. The other, a sophisticated career girl, has been jilted by a doctor. She carries a chip on her shoulder and almost ruins four lines by trying to transform ri 1 subsequent suitor from a hardware dealer into a lawyer. . Lee Grant is excellent as the career girl, although the script makes her a prig in many scenes - But the actress succeeds in making the character believable and sym- pathetic, . Playwright Theodore Reeves has written a more attrac- tive part in the good-natured sister, and Virginia Vincent proves aa accomplished player as her match-' making efforts draw chuckles and she handles a dramatic scene near the end with fine, feeling.. Anthony Franciosa turns in a virile and well-balanced perform- arice as the harried suitor, and Harvey Lembeck makes the. baffled bookkeeper warm and genuine. William and Jean . Eckhart’s mul- tiple settirig, depicting two sepa- rate apartments, is a standout and. Herman Shumlin has supplied sensitive direction. But “Wedding Breakfast" offers only a snack for those expecting a full course meal., Ballets Espagnols Mlchaux Moody (In associatipn . With Jules: Borpn) production in two acta ( 1.3 number^; Stars Teresa- & Lulsillo; fea- tures Carmen Araceha, Amparo Bausct, Gloria Goma, Mercedes Molina, Mari Roman, Antonio Cano/. Pablo Canas. Miguel Carmona, Felix Rodriguez, Altiei-io: Mas, and Marla Vivo, Angel Iglesius, Jose Romero. Nino de Almaden: con- ductors, Julian Hannel,. Werner Torka- noswky. At Mark . Hellinger, N.Y., Oct. 31, *54. This is a whiz of a Spanish dance show. Accent is on theatre and drama, rather than concert. Show is almost; a revue, with sing- ers and guitarists as Well, ais danc- ers. But Ballets Espagriols, in its N. Y. debut, discloses a roster of top dancers who are true artists In the field, and who carry on the autheiitic traditions of the Spanish dance superbly, while giving it modern styling and swing. Result . is. a bright, fast-paced presentation, with nary a dud i the swift succession of varied offer- ings, for. as exciting a dance eve-, ning as Gotham has had in years. Troupe is headed by its organiz- ers, Teresa and Luisillo, a brilliant young dance duo who not only contribute some, of the evening’s top moments, but have staged and choreographed the whole produc- tion as well. They’ve used imagina- tion, as well as rich trappings and costumings, for their presentation, while yet retaining a simplicity of background. Luisillo is; a versatile dancer, lithe; slim arid, quick as a whip; Teresa (his wife) is also adept, and the five men and five women; in support are all accomplished dancers, and. in other, troupes would be starred. In. addition to the .dancers, there is’ a vivid dyna- mo of a singer in Maria Vivo and a true flamenco chanter ‘ 1 Nino de Alrriaden. It’s hard to pick out highlights i the: procession of solos, small groups and large production num- bers, dramatic or cimc, that mark the evening. There is one number, “Luna de Sarigre," a tragic ballet about ill-starred love arid gypsy feuds, which is danced without mu- sic, the story be^ng told dramati- cally via a variety of heel-and-toe tappings and finger-snapping for gripping event. Luisillo arid Teresa also standout in “El Prisionero,” where a jailed lover’s fevered passion makes startling ballet, Bron. Fallen Angels (LENOX HILL, N. Y.) Equity Library Theatre has a brand new staff, the Lenox Hill Playhouse has been shined up; and an attempt is. made with Noel Coward’s “Fallen Artgels" to giv'e the 11th season, a happy , sendoff. Sadly,. Coward’s jest about the mutual lech of . two rriarried women for a continental charmer is tired and tawdry stuff. Most of the play’s distaff, duo- log is played by Avril Gentles, !a Channing-esque blonde with an amusing bass voice, and Estelle Omens, a sleepy-eyed brunette with remarkably loose joints. They both know how to play deadpan comedy, and their lusty antics get som laughs; but :it’$ a waste of energy. Barney Biro and Bill Landis ap- pear briefly as the inept husbands, Nancy Quint finds way to make her maid seem different; and Lee Papell, as the great lover, enlivens the play’s final 10 .minutes with his mustachioed virility. Geor.