Variety (December 1954)

56 LEGITIMATE Wednesday, Deceml>er 8, 1954 1 Tryouts Switch Matinee Skeds, But Boston Critic Opposes Test In a bid to hypo attendance and thereby reduce tryout losses, the managements of two new Broadway productions have juggled per- lormance schedules to eliminate regular matinees during upcoming out-of-town breakin dates. Move is being opposed by tradition-minded loealites in one case, however. In both instances, the matinee time is being moved back. In the case of “Festival.” ulaying a Bos- ton tryout Dec. 25 through Jan. 8. producer Walter Fried eliminated all afternoon performances in favor of double shows—6:30 and 9:30 p in.—Fridays and Saturdays. He’s already being urged to revert to the conventional schedule of Wednesday and Saturday matinees. In the other case, producer John Huntington has slat°d a late ma- tinee—ringing ud at 4:45 p.m.— for Christmas Day for John Cecil Holm’s “Southwest Corner” at the Shubert, New Haven Theory is that the delayed start will give patrons time to attend Christmas church services, have dinner and still gel to the theatre for the ma- tinee. That night’s ner f ormance is slated for the usual 8:?0 start. The show opens i f s four-oerformance shakedown engagement Dec. 23. Idea of the unorthodox sched- ules is believed to be new for pre- Broadwav tryouts, but ere familiar for touring productions, particu- larly in the midwest. Notable ex- ample is "Moon Is Blue,” currently playing the road on a two-for-one basis and playing “twinivht” per- formances Friday and Saturday nights, with no matinees. Dissenting Vote Boston, Dec. 7. Announcement that Hub the- atregoers were in for an “innova- tion" in the form of 6:30 p.m. “twilight performances” Fridays and Saturdays during the tryout run of Walter Fried’s production of Sam and Bella Spewack’s com- edy. “Festival” drew an immediate dissenting vote from Boston Herald drama critic Elinor Hughes. foK lowed up by a letter to the pro- ducers. Comedy is slated to open a fortnight stand Dec. 25 at the Colonial. Miss Hughes agreed in her let- ter that “Wednesday matinees without Guild subscription are not good,” she argued, however, that Saturday matinees always do well here, and I think you would meet with great resistance if you omitted them.” Asserting that the only shows H' * have played Boston on the night” schedule have been “ovofers,” Miss Hughes expressed the belief that “prospective ticket buyers would automatically as- sume that ‘Festival’ is a cut-rate production, which would be dis- astrously misleading.” • The critic continued, “This is a city of fairly fixed theatregoing habits, with theatre^o''’- pre- dominately in the middle-age brackets. These oeople do not like to go to the theatre at night, especially in winter, and I suspect them also of having quite settled dinner habits, 7 p.m. or there- abouts.” Noting that she has “no axe to grind” and sincerely wishes the new production the best fortune, Miss Hughes suggseted that Fried “consult other producers and Hub theatre people whose judg- ment he respects before making an irrevocable decision, rather than jeopardize the chances of a pro- duction that promises to be so en- tertaining.” HAYWARD HAS‘RETURN’ PIX RIGHTS FOR 100G Screen rights to “Point of No Return,” Paul Osborn’s dramatiza- tion of the J. P. Marquand novel, have been purchased by Leland Hayward for $100,000. Although final details of the detail haven’t been set, the coin will be in stag- gered payments. Hayward, who produced the play on Broadway during the 1951-52 season, with Henry Fonda as star, will make the picture for Warner Bros, release. His indie productions of “Mister Roberts,” just about completed, and the up- coming “Spirit of St. Louis” and “Old Man and the Sea,” will be released by the same company. Absolutely A recent paragraph in Variety noted that several Broadw'ay managements have dropped the word “The" from before the titles of their shows in order to get priority in the alphabetical ad listings in the New’ York dailies. After read- ing it. Bella Spewack got to brooding about “Festival,” which she co-authored with Sam Spewack. and which is be- ing produced by Walter Fried. Some time in the wee hours of the night she roused her sleeping husband. “Sam,” she said. “Sam, listen. Let’s call our play ‘Arts and Crafts.’ ” Equity Referendum On Amendments to Change Contract, Vote Setups Two proposed amendments to the Actors Equity constitution, due for referendum vote at the quar- terly membership meeting Dec. 17 at the City Center Casino, N. Y., are stirring intense discussion in the union. It’s expected that the council, which has not yet issued a formal statement on the measures, will come out strongly against both. One of the proposed amend- ments, in particular, is the subject of bitter criticism. This would change the constitution to require that all contracts and agreements involving terms of employment or working conditions for actors be ratified by two-thirds of the se- nior members present at a meeting specifically called to pass on such matters. The other proposed amendment would scrap the present electoral system involving the election of a nominating committee to select a regular ticket oW officer and coun- cil candidates. Instead, it would provide for nomination of individ- ual officer and council candidates by petition of 20 senior members in good standing. Three Main Grounds Opposition to the first proposed amendment is based on three main grounds. It’s argued that such a setup would hamstring any nego- tiating committee to such a degree that it would be virtually power- less, since it would leave the nego- tiators without authorization to represent the unon. It’s also claimed that the requirement of ratification by a two-third majority present at a meeting would permit a minority veto of any union agree- ment. Finally, it’s pointed out, the wording of the measure would re- quire a special meeting for ratifica- tion of every individual actor con- tract for a show since the proposal would apply to contracts and agree- 1 ments "negotiated by council, its appointed committees or em- ployees.” In the case of the proposed change in the election procedure, there’s more evenly divided senti- ment. One side claims that the suggested setup would be more j democratic, since it would presum- ably prevent a minority faction from packing the quarterly meet- ing to capture control of the nine- man nominating committee by ! electing the six membership rep- resentatives. Others argue that under the pro- posed change it would still be pos- sible for an organized minority to capture the election by arranging for numerous nominations-by-peti- tion and then concentrating its votes for a few selected candidates. 3d L’ville Show Train; 1st Opera Jaunt Back Louisville, Dec. 7. Third theatre train from here, organized largely through the ef- forts of Courier-Journal drama editor Boyd Martin, left Sunday (5> for a round of plays and enter- tainment in New York. About 450 are making the trip. Another group has just returned from the first opera-train parent to New York, arranged locally by Courier - Journal music critic Dwight Anderson. Legit Bits Muriel Smith in New York until Dec. 11 on vacation from the Lon- don production of “The King and I” . Rehearsals for Kenneth Banghart’s contemplated produc- tion of William McCleery’s “Run- ning Mate," originally skedded to begin last Monday (6), have been indefinitely postponed . . . George Jenkins, scenic designer of “The Bad Seed,” has resigned as art di- rector in charge of color of CBS- TV, to concentrate on legit. Howard Whitfield is production manager, William Weaver is stage manager and Lowell Harris is as- sistant stage manager for “Desper- ate Hours . . . Paul Gregory’s musi- cal, “Three For Tonight.” cur- rently tryout-touring, is skedded for Broadway late in March . . . Comedie Francaisc. famous Paris group, will make its initial U.S. appearance next fall under the snonsorship of S. Hurok and Pierre Danzelot. director general of the French Ministry of Educa- tion . . . “Pleasure Express,” revue with sketches and lyrics by Alex- ander Wilde and music by Ted Royal, will be produced by Wilde for a road tour next Spring. Director Jose Quintero and ac- tor-production Ted Mann, two of the founders of the Circle in the Square, N.Y., contemplate reacti- vating the off-Broadway group next spring if a suitable theatre can be found. Greenwich Village operation was disbanded last sea- son when the outfit’s theatre was shuttered by the fire department . . . Wynard Brown’s “The Holly and the Ivy,” will be presented by the Pilgrim Players at the Broad- way Tabernacle Church. N.Y., for four days beginning today (Wed.). “The Perfect Wife,” adapted by Haskell Frankel from his own tv script on the “Web” series, is an- nounced for Broadway production by Herbert Hirschman and Gene Burr, respective producer-director and story editor of the tele stanza . . . Theatrical accountant Jack Seidman (& Seidman) will talk on legit investing at a luncheon next Tuesday (14) at the Harvard Club, N. Y. . . . Joshua Logan planed back Monday (6) from the Coast, where he saw rushes of Leland Hayward’s film production of “Mister Roberts.” Pittsburgh Playhouse tossed a party last week for Fred Burleigh on the occasion of the 100th pro- duction he has staged for the group . . . Producers Theatre (Rob- ert Whitehead and Roger L. Stevens) plan a late February opening on Broadway for William Inge’s new drama, “Bus Stop” . . . Hugh Martin and Ralph Blane, who split as collaborators after “Best Foot Forward” in 1941, have resumed partnership on the songs for a collegiate musical, “Three Tigers,” for which Cy Gomberg and Jack Sher are supplying the book, with Herman Levin and Alan J. Lerner slated to produce. Tom Ewell returns Dec. 27 as star of the Broadway company of “Seven Year Itch.” Meanwhile, George Keane is playing the lead in the comedy, succeeding Elliott Nugent, who was subbing while Ewell made the film version. Nugent planed to England last week to confer with Paul Vincent Carroll on the casting of “The Wayward Saint,” which he’ll direct for Courtney Burr and John Byram . . . Sol Jacobson will press- agent “Tonight in Samarcand.” Thelma Chandler will be general stage manager of the touring edition of “Teahouse of the Au- gust Moon,” with Joseph Doodley and Conrad Hamanaka as assist- ants . . . Hermione Gingold, Alice Ghostley, Jimmy Komack, Portia Nelson, Bib Osterwald, Charlotte Rae, Susan Reid, Elliott Reid and Richard Silvera will be among the performers at the Equity Library Theatre’s third annual Cocktail Revue next Sunday (12) at the Piccadilly Hotel, N. Y. Trudy Goth handling American office (in N.Y.) for the Italian The- atre Syndicate of Rome, whose di- rectors are Paola Ojetti and B. Randone. They’re seeking U. S. scripts for production in Italy. Miss Goth, former head of Chore- ographers’ Workshop, N.Y., writes dance columns for tradepapers here and abroad. Donald E. Ames points out that “The Flowering Peach” was not the first Broadway-bound tryout since “Doctor Social” in 1947, as reported in a story from Baltimore in Variety two weeks ago. Other pre-Broadway tryouts there in the interim included “Mister Roberts,” “Red Gloves” and “Anne of the Thousand Days.” Staff for the Howard Erskine- Joseph Hayes production. “Des- perateJIours,” includes S. M. Han- Inside Stuff-Legit Backers of the Kermit Bloomgarden production, “Wedding Break- fast,” currently in its third week at the 48th Street Theatre, N.Y., include the producer, $350; Paul Beisman, manager of the American Theatre. St. Louis. $700; Herman Bernstein, general manager for producers Leland Hayward, Richard Halliday and Howard Lindsay & Russell Crouse, $700; Raymond A. Broeder, of City Playhouses, Inc., $700; John J. Celia, president of the American Theatre, St. Louis, $700; souvenir program agent Arthur Klar, $700; author-playwright Arthur Kober, $700; attorney Morris M. Schrier, repping Music Corp. of America, $700; film-legit actor Van Heflin, $1,400; United Artists prexy Arthur B. Krim, $1,400; John Shubert, of the Shubert office, $1,400; Eugene W. Walton, of the Walton Transfer Co., $1,400; ad agency exec William H. Weintraub, $1,400; Mrs. Edward Kook, wife of the president of Century Lighting Co., $1,750; Irwin D. Wolf, president of the Pittsburgh Civic Light Opera, $2,100; Robert E. Dow- ling, producer and head of City Investing Co., $2,800; film actor Kirk Douglas, $4,200; Metro lawyer William Melniker, $350, and Anthony B. Serlin, son of producer Oscar Serlin, $700. Production is financed at $70,000, with no overcall provision. Backers of the Ethel Linder Reiner production, “Rainmaker,” cur- rently in its sixth week at the Cort Theatre, N.Y., include producer- theatre owner Huntington Hartford, $6,000; Thomas Hammond, the show’s general manager, $4,000; L. Arnold Weisberger, attorney for the production, $3,000; ad agency exec William H. Weintraub. $3,000; bandleader and orch contractor, Meyer Davis, $1,500; producer Mary K. Frank, $1,500; author-playwright Arthur Kober, $1,500; Irwin D. Wolfe, president of the Pittsburgh Civic Light Opera. $1,500; tv pack- ager Muriel Campbell, $750; CBS-TV researcher Oscar Katz, $750; Lawrence Langner, associate director of the Theatre Guild, $750; Alfred Levy, of Talent Associates, tv production outfit, $750; Mrs. Edward Kook, wife of the president of Century lighting, $750; actress Ruth McDevitt, $500; Ruth Green, of the League of N.Y. Theatres, $375, and producer Gerard R. George, $375. Production is financed at $75,000, with no overcall provision. “The Champagne Complex,” which Gayle Stine has scheduled for Broadway production around Feb. 1, has been drastically revised by author Leslie Stevens since Alexander H. Cohen tried it out last sum- mer at New Hope, Pa. The comedy’s three character emphasis on psychiatry has reportedly been modified and the heroine, instead of merely getting blotto, now has a compulsion to take her clothes off when she’s been drinking. Latter plot twist is said to provide the curtain for one act. Another major change is that instead of the young psychiatrist, the older of the two suitors, to be played by Donald Cook, now gets the girl. Alfred de Liagre Jr. is mentioned as likely stager of the play. Pittsburgh Civic Light Opera issued last week a list of 14 musical titles from which its schedule of next summer’s eight productions will be chosen. Optional slate includes “South Pacific,” “Count of Luxemburg,” “Me and Juliet,” "Waltz Dream,” “Guys and Dolls,” “Best Foot Forward,” “Sweethearts” and “Cyrano de Bergerac,” none of which has ever been done here in summer, and “Song of Norway,” “Wizard of Oz,” “Carousel,” “Brigadoon,” “New Moon” and “Rosalinda,” as potential repeats. During an intermission of last week’s “Mrs. Patterson” opening, Tex McCrary, Jinx Falkenburg and Bill Leonard discussed the show loudly enough across an intervening row of seats’to give nearby play- goers a free audition of the unfavorable opinions to be aired on their respective tv programs next day. McCrary, the toughest of the three, disliked Eartha Kitt’s performance as star and thought the show “a waste of time.” David Brooks, one of the four singing-acting leads in “Sandhog” at the Phoenix. N.Y., went without credit in the Variety review last week through a confusion of identification with Gordon Dilworth. It happens, too. that cast also includes David Hooks. delsman, general manager; Clayre Ribner, production manager; How- ard Whitfield, stage manager, and Marian Byram & Phyllis Perlman. pressagents . . . Pat Campbell will do the sets and lighting and Vir- ginia Volland will be costume de- signer for Shepard Traube’s pro- duction of “Grand Prize.” George Brandt, who last week expressed doubt as to the boxoffice potential of “Moulin Rouge,” Pierre La Mure’s dramatization of his own novel, has partnered with M. Allen Lewis and Clifford Hay- man to produce it for a road tour . . . “Lawrence of Arabia,” drama by John Huntington and Erskine F. Gilbert based on the career of the British soldier of fortune of World War I, is being presented tonight (Wed.) through next Sat- urday (ID at Ithaca (N. Y.) College. Legit-film actress Edna Thomas, recuperating in Brooklyn Hospi- tal from a heart attack, is now’ permitted visitors . . . Rodney Mill- ington, managing director of the British casting directory, Spot- light, is due Dec. 17, from London, for his annual Broadway show- catching visit . . . Peter Davis, Theatre Guild business manager, vacationing at Ft. Lauderdale. London Bits London, Nov. 30. Actress Olga Lindo has optioned “All Done with Mirrors,” comedy thriller by John Clevedon . . . Keneth Kent is going into manage- ment with “From Crime to Crime,” adapted from the French by Philip Weathers . . . Bernard Grun col- laborating with Eric Maschwitz on a new English version of “Three Waltzes,” by Oscar Strauss, to in- corporate the same composer’s “La Ronde” waltz. Jack Hylton is paging Richard Attenborough for the lead in “Ring for Catty” by Patrick Cargill. Play is set for spring production with Richard Bird directing ... As there are too many distractions in Lon- don “for one bent on playwriting.” Hugh Hastings, author of "Seagulls Over Sorrento,” is vacationing in Mentone before returning to his native Australia. Scot Bits Glasgow, Dec. 7. “Blithe Spirit,” with Kay Ken- dall, Dennis Price, Margot Gra- hame and Irene Handl, touring Scotland prior to a West End re- vival in early Spring . , , Gateway Theatre, Edinburgh. withdrew "Rope,” Patrick Hamilton thriller, because of poor biz . . . Hazel Pen- warden, young Cornish actress, tak- ing the lead in a new comedy- melodrama “Diana,” at Citizens' Theatre, Glasgow . . . Sonia Dres- del starring in “Queen of Calabash Island” at Empire Theatre, Inver- ness. Scheduled N.Y. Openings (Theatre indicated if set ) BROADWAY Bad Seed, 46th St. (12-8). Lunatics & Lovers, Br’dhurst (12-13). Witness For Prosecution (12-16). Portrait of a Lady, Anta Play- house (12-20). What Every Woman Knows. City Center (12-22). House of Flowers, Alvin (12-23). Black-Eyed Susan, Playh’se (12- 25). St. Bleecker St., B’way (12-27). Flowering Peach, Belasco (12-28). Anastasia (1-4), Purple Dust, Bijou (1-4). Time of Life, City Cent. (1-5). Festival (1-12). Grand Prize, Lyceum (1-13). Put All Together (wk., 1-17). Fourposter, City Center (1-19). Plain Sc Fancy (1-20). Silk Stockings, Imperial (1-21). Painted Days, (wk., 1-24). Desperate Hours (1-27), Tonight in Samarcand (wk., 1-31). Wisteria Trees, City Center (2-2). OFF-B’WAY Dr.’s Dilemma, Phoenix (1-11). High Named Today, do . Lys ( 12 - 10 ). Troublemakers, President (wk.. 12-27).