Variety (December 1954)

Record Details:

Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

66 LEGITIMATE Wednesday, December 15, 1954 Shows on Broadway The Bad Seed . Playwright! Co production of drama In two act» eight scenea) by Maxwell Anderson, based on the William Marsh novel. Stars Nancy Kelly; features Patty McCormick. Evelyn Varden. Henry Jones. Eileen lleckart. Thomas Chalmers. Staged bv Reginald Denham; scenery and light- ing. George Jenkins; costumes. Sal An- thony. At 46th Street, N.Y., Dec. 8. '54; $5.75*4.60 top. Rhoda Penmark Patty McCormick Col. Kenneth Penmark .... John O’Hare Christine Penmark Nancy Kelly Monica Breedlove Evelyn Varden Emory Wages Joseph Holland I.eroy , Henry Jones Miss Fern Joan Croydon Reginald Tasker Lloyd Gough Mrs. Daigle Eileen Heckart Mr. Daigle Wells Richardson Messenger George Gino Richard Bravo Thomas Chalmers From William March’s disturb- ing novel. “The Bad Seed.” Max- well Anderson has written a grip- ping drama that’s calculated to make parents shiver and leave most other spectators a bit un- easy. It should be a boxoffice click for the Playwrights Co. and j is a natural for the screen. Not since Lillian Heilman’s “The! Children’s Hour” <1934-35>, has the' stage offered a malevolent char- j acter to compare with the disarm- 1 ing little urchin of “The Bad Seed.” An innocent - looking. | sweetly-mannered girl on the eve of her eighth birthday, she turns | out to have been the remorseless killer of a nice old lady, and she coolly heats a schoolmate to death and makes a human torch of a hired man during the show’s two ; acts. This isn’t exactly a jolly eve-; ning’s diversion, but it’s enthrall- ing drama. Not everyone may accept the story’s basic premise that the mop- pet’s homicidal trait, skipping a generation, is inherited from her wholesale murderess grandmother, i For contemporary psychiatric theory minimizes inherited charac- teristic and stresses environment. But even disputing the premise, j the events and circumstances of the yarn are apt to be engrossing and unnerving. The title player in this psycho- logical shocker is a blonde pig- tailed, rosy-cheeked young tele- vision actress named Patty McCor- mick, who’s going to be the talk ; of the Broadway season. She’s a bland little thing, not too pretty to be plausible, and beneath ladylike j affectation she can suggest implac- able psychotic menace. It’s a brilliant bit of casting that’s going to establish Miss McCormick as a juve name. Nancy Kelly is starred as the child’s mother, a complex role of considerable range and depth. She must suggest normal wifely and maternal love at the start, blend- ing extrovert cheerfulness with a hint of underlying worry. But as the play progresses she is horri- COMMON STOCK The Company will employ it* funds in diversitied entertainment enter- prises connected with television, motion pictures and the theatre. Pric« 50< a shara r - - « HOLLYWOOD ANGELS, INC. I • 29 Wsst 65th St., N.Y. 23, N. Y. Dept. VI! I 1 TRafaliar 4-1815 I J Send Free Offering Circular without cost. J SUMMER RENTAL ! MAPLEWOOD PLAYHOUSE Maplewood, N. H. Seats 600 — Open for Inspection Phene: JUdson 6-0637 or Write 227 W. 45th St., New York City _ fied at the discovery of her own background and finally over- whelmed at the realization that the ! malignant “seed” dooms her j daughter to a career of murder. The actress gives an expertly, developed perforpiance, probably | the best of her career to date, even though the script’s denouement isn’t entirely convincing. It seems reasonable to assume, for example, that the mother would have fore- seen the flaw in her solution of the situation, and also that she would J have wanted, in fact would have ! felt obliged, to give her husband i some explanation of her action. j (Since the drama has a surprise -1 switch ending, the tnatter cannot be discussed too specifically.! Henry Jones is excellent as the subnormal janitor (what a social comedown from his last part, an unctuous General Motors officer and hoard member in “Solid Gold Cadillac”) who intuitively recog- nizes the little girl as a fellow- psychopath. Eileen Heckart gives an expressive performance within the limited emotional range of the role of a murdered little boy’s distraught mother, although she i and director Reginald Denham un- 1 cover nothing new for the second of her two scenes. Evelyn Varden gives dimension to the character of the psycho- analysis-happy landlady who dotes on the homicidal youngster; j Thomas Chalmers is properly gruff as the moppet’s foster-grandfather, whose well-intentioned protective-; ness in tha past contributed to the sinister situation. and John O’Hare, Joseph Holland. Lloyd Gough. Joan Croyden and Wells; Richardson provide effective sup-; port. Denham, whose melodrama stag- ing credits also include “Ladies in Retirement” (which he also co- authored with Edward Percy) and [ “Dial M for Murder” has supplied smoothly professional direction, for the most part, notably in the suspenseful use of an empty stage, ; and George Jenkios’ single in- terlor setting combines a sunny feeling for the bland opening scene and a subtle suggestion of ominousness for the tense, curtain- drawn climax. “The Bad Seed” is sock theatre whose boxoffice pull may be some- what limited by the horror of its story. Significantly, a few first- nighters walked out during the second act. presumably because they couldn’t take it. But most patrons will probably shudder happily and spread the gruesomely j salubrious tidings to fcllow-goose- pirtiple-addicts. Hubc. l<miali«‘N and l-uveni May Kirshner product ion of farce kn (wo acts (four scenes', by Sidney Kings- lev. Features Dennis King. Buddy Hackett, Sheila Bond. Vicki Cummings. Mary j Anderson. Arthur O'Connell. Nat Cantor, j Staged by the author; scenery and light- 1 ing. Frederick Fox. At Broadhurst, N.Y.. Dec. 13. '54; $5.75 *4.60 top <*0.90 open- , ing>. Dan Cupid Buddy Hackett Joe Gonz Nat Cantor Sable Wellington Sheila Bond Waiter Maurice Brenner Judge Sullivan Dennis King Desiree Vicki Cummings Will Harrison Arthur O'Connell Marian Harrison Mary Anderson Policeman James Nolan House Detective George Tyne Hotel Manager Fairfax Burgher Bellboy Maurice Brenner Bride Lynn Merrill Groom Rex Partington Bridesmaid Donna Pearson Having collected several Pulitzer and Critics Circle prizes over the years for his serious dramas, Sid* ncy Kingsley has now turned to farce. “Lunatics and Lovers.” which the author’s sister. May Kirshner. presented Monday night (13) at the Broadhurst, is not only farce, hut broad, raffish sex farce. On the thedVy that frivolous- minded diversion seekers in the big bad city probably aren’t averse to smoking-car brand jokes, j the show should do moderately well. It obviously has plenty of ; laughs (or has plenty of laughs obviously), but its backfenee style of comedy would have to be steel- wooled almost beyond recognition to be acceptable for films. As one veteran first-nighter observed. “Lunatics and Lovers” For n° show SPECIAL RATES! Bight in the heart of Philadelphia’s ^ theatrical and night club district . . • excellent facilities, spacious, homey rooms. is a sort of verbal burlesque. Avoid the word “dirty” and note merely that the show's characters are un- savory, the dialog bristles with vulgarities if not actual profanities, and the general flavor is tasteless. Add, however, that there are un- deniably funny scenes and situa- tions, plus some genuinely laugh- able lines sfattered through the knockabout shenanigans. “Lunatics and Lovers” is in gen- eral artfully cast, skillfully played and handsomely produced. Given its unprepossessing characters, locale and premise, the story is reasonably well worked out. The yarn about a drunken, lecherous judge involved with two petty hoodlums, a couple of strumpets, a philandering husband and the latter’s distraught wife suggests something of the harum-scarum quality of such vintage Broadway farces as “Three Men on a Horse” and “Room Service.” Although the talk is contemporary, the general style is traditional. Dennis King is excellent as the boozy, amorous judge and there is a priceless performance by nitery-film comic Buddy Hackett as a primitively philosophical goon, the only character written with a point of view'. The actor has a direct, driving style of play- ing slightly reminiscent of Sam Levene, and Kingsley has thought- fully cast small, earnest Nat Can- tor as a dimwit partner-in-larceny as a sort of Teddy Hart gesture a la the George Abbott farce hey- day. Vicki Cummings and Sheila Bond are suitably tough as fre- quenters of the racketeers’ nest, and film actress Mary Anderson is attractive in one of those nice- girl parts that always seem to ' baffle Kingsley. Arthur O’Connell ! is convincingly confused as the errant husband tossed around by jealous women, and there are com- petent supporting bits by James Nolan as a cop, Fairfax Burgher as an officious hotel manager and Maurice Brenner as a waiter who can adjust to unusual situations. Having presented himself with an exacting directorial assignment by providing simultaneous action in three different playing areas at various times, the author has come through with expertly paced and resourceful staging that large- j ly solves the problem. Frederick Fox has designed and lighted the production stunningly, even pro- viding a plausible looking tub at the left for Miss Bond’s appre- ciatively attended bubble-bath, the funniest moment in the show. “Lunatics and Lovers" is a likely commercial hit. But although it has plenty of comedy, it hasn’t much humor. Ho be. EatsY Drinks Continu.-d from page 63 lively interest in the trade as to whether the Shuberts will attempt 1 to prevent Mary Martin, for in- stance, from continuing that prac- tice at the Winter Garden, N. Y., where she’s starring in “Peter Pan.” Part of the order requiring that j food used onstage as part of the production be “disposed of” ini- J mediately after each performance, ! has occasioned some picturesque joking, but is actually figured to be a relatively simple matter. However, no one seriously expects stage doormen or house managers to prevent actors, technicians and other backstage personnel from bringing in coffee and occasional food. Apparent cooperative altitude of the Shuberts toward the Equity- League cleanup campaign is re- garded with cautious satisfaction | by members of the joint sanitation I and safety committee. Lawrence Shubcrt Lawrence, Jr., house j manager of the Majestic. N. Y., has ] been making the inspection rounds with committee representatives and has reportedly seemed rea- sonable and helpful. Since the withdrawal of * Shu- ! bert from the League nearly a year j ago. it had been feared that the Shuberts might resist efforts to remedy unsafe and unsanitary con- ditions backstage at their theatres. Union officials make no secret of their willingness to force such a cleanup, by boycott of individual theatres if necessary. But they strongly hope the situation can be handled amicably. Under the basic agreement be- tween Equity and the League, there is provision for joint committee effort to solve mutual problems, including backstage conditions at theatres in New York and out of town. If unsatisfactory conditions aren’t remedied by committee ef- fort. Equity has the right to take action independently. I Operating Statements PAJAMA GAME (As of Nov. 27, ’54) Original investment (repaid* $250,000 Gross, last 4 weeks 208,479 Profit, last 4 weeks 48,730 Total net profit to date 138,925 Distributed profit to date 50.000 (And additional $50,000 dividend was paid Dec. 1) Balance $ 88,925 (Includes bonds, touring production cost, cash, etc.) (Note: The Frederick Brisson, Robert Griffith & Harold' Prince pro- duction opened May 13, ’54, at the St. James, N.Y.) KING AND I (As of Oct. 30. ’54) Original investment (repaid) $ 300.000 Net profit, B’way run 745.824 Profit, last 5 weeks on tour 86,313 Total net profit to date 1,169.558 Distributed profit to date 1,000,000 Balance (including $25,000 reserve) '. $ 169,558 (Note: The Richard Rodgers-Oscar Hammerstein 2d production played 1,246 performances on Broadway and has been on tour since last March 24.) TEA AND SYMPATHY (As of Nov. 27. ’54) Original investment (repaid) $ 60,000 Gross on B’way, last 4 weeks 78,534 Profit on B’way, same period 10,894 Total net profit to date, on B’way 283,331 Production cost, touring company 33,667 Gross on tour, last 4 weeks 115,134 Operating profit on tour, same period 22,235 Touring cost to be recouped 11,431 Total net profit to date 271,900 Current dividend 20,000 Distributed profit to date 225,000 Balance, excluding bonds and $30,000 reserve $ 1,140 (Note: The Playwrights Co.-Mary K. Frank production premiered Sept. 30. ’53, at the Barrymore, N.Y., and the second company opened its tour last Nov. 5 at Asbury Park, N.J.) Equity Reviews Tnki 1 n Gianl Slop (LENOX HILL, N. Y.) Although “Take A Giant Step” received favorable critical atten- tion, public apathy to Louis Peter- son’s wise and tender play was an anomaly of the 1953-54 Broad- way season. It has been suggested that the script’s qualities might be better adapted to a smaller house. and certainly Equity Library Theatre’s revival in their Lenox Hill Sandbox has a moving intimacy. Performance credit can be shared several ways. Bill Gunn’s yearning as the adolescent Negro boy, with whose wistful adjust- ments to harsh reality the play deals, and Jacqueline Andre’s tartly compassionate grandmother, are particularly affecting. Stanley Greene’s rugged strength is well suited to the role of the boy’s well-intentioned but blunder- ing father. As a woman who helps the lad in his deep need, Rosetta LeNoire has a buoyant sympathy. Comely Lois Kibler is good as a lonely girl the boy wants to be- friend, Royce Wallace is a raucous prostie, and Claire Leyba plays the boy’s tormented mother. The young Negro’s highschool friends are not credibly cast, but the balance of the company satis- fies. Frank Wilson “saved” the show- Thursday night (2) by pinch- hitting at an hour’s notice in his original role of bartender. Ira Cirker, late of video serials, debuts as legit director with “Giant Step." While he has adopted a deliberate beat that extends the evening until 11:40, the produc- tion’s thoroughness is due to his sympathetic understanding of the slice-of-life values inherent in the script. Geor. Tin* Isirl On Tlio Via Flaminia (11th ST. THEATRE. CHI) Chicago, Nov. 23. Equity Library Theatre, with a building fund as its target, has launched its most ambitious season with three major productions on the docket. If the subsequent projects come off as well as the initialer, “The Girl On the Via Flaminia,” the local ELT will be a group to be reckoned with on the Chi legit scene. This was the first Chi showcas- ing of Alfred Hayes’ adaptation of his war novel and it was satisfy- ingly professional throughout. The acting ranged from competent to excellent. Will Haas’ direction evi- denced both subtlety and disci- pline. And Jack Cornwell’s two- level set fit the mood. If there were more moments when the preachments broke the spell, the fault apparently lay largely with the author’s failure to stay with the “little picture” in his study of human conflicts of the liberation of Rome in World War II. The role of Lisa, the Italian girl who gave herself to the American liberator out of necessity and de- spair, was played by Jane Roberts, who lacked only a slight added spark of latent warmth for a stand- out portrayal. Marc Reyna was wholly believeable as the GI lover. The bitter young Italian war vet was potently depicted by Fredd Villani. Irene Sartini and Jose Borcia turned in fine jobs as the middleaged couple in whose home all the action occurred. Also in effective support were Melodi Lowell, James Mclnerney, Berend Hayes, Barbara Drell, Nick Vanous and Paul Condylis. Dave. ADVANCE AGENTS! COMPANY MANAGERS! We hav# been serving theatrical shows for over 42 years. Ours is the oldest, most reliable and ex- perienced transfer company on th# West Coastl • Railroad privileges for handling shows and theatrical luggage. • Complete warehouse facilitiesl • Authorised in California. Equipped to transfer and haul cm^where in u s , • RATES ON REQUEST I Atlantic Transfer Company GEORGE COtfANT 1100 East 5th Street Los Angeles 13, Calif. MUtual <121 or OXford 9-4764 FAIRFAX BURGHER Understudy to DENNIS KING IN “LUNATICS and LOVERS” BROADHURST THEATRE New York ' PRODUCER Need person with business acumen far yaar-round art thaatra in midwest ta arrange tours in and out of city) also summer Shakespeare festival. No Investment' needed. Great po- tential. Write t. O. Bax 7012, Chicago, III.