Variety (October 1961)

Shows Abroad August for the People London, Sept. Fa. Stage Co.. in association with} be considered good Caroline Swann, presentation of comedydrama in two acts (with prolog and epilog?, by Nigel Dennis. Stars Rex Harrison; features George Benson, Rachel Roberts, Cyril Raymond, Edric Connor: | Hugh Latimer, William Kendall. Staged by George Devine: decor. Stephen Don-' caster. Opened Sept. 12. "61, at the Royal Theatre, London: $2.50 top. Sir Augustus Thwaites...... Rex Harrison ! Toastmaster .......-.-2.--John Junkin Mr. Bolt ......-..-.20e0% George Benson Angela —s.. ss ee eee ween Pauline Munro Mrs. Fultom ...........Rachel Roberts ; Finola + teeta ;-Elizabeth Bell , Lord Woodham ........ William Kendall | Mr. Glumly ttepeceese Cyril Raymond Dr. Swinburne ......... ‘Hugh Latimer ; Thompson —_.....-.4Gorden Rollings Mrs. Thompson .........Kate Lansbury Beamer weaves Arthur Multlard Miss Willoughby .. Laura Graham Reporters....Prior Pitt, Terrence Brook, | Kenneth McCleilan : French Lady Reporter Paulette Preney Lady Reporter . -.,Constance Lorne American Reporter. .. Donald Sutherland Mother ......0 .-cceecene. Caroline: John :‘ Father —.... os sae c encoun Deuglas Ditta Lady In Red Hat ..........Gwen Nelson Lichee of Tambueca .......Edrie Connor ' Lichee’s Press Attache..... John Junkin Aide to Lichee Yemi Ajibade | “August for the People,” which gets its title from W. H. Auden, was previously presented at the Edinburgh Festival and is to be, at the Royal Court for only a fortnight, because Rex has film commitments. That just about kills any hope of a transfer, as it would need his marquee ap-' peal to sustain it in the more competitive areas along Shaftesbury : Avenue. Nigel Dennis describes his play | as a farcical tragedy, but it would : be more accurate to classify it as _ would-be satire heavily loaded © with farcical twists. Its failings are many, yet it provides Harrison : with one of the best straight roles he’s had for a long time, and the high prafessional standard of his performance has immense compensating values. A brief prolog sets the.scene for the action which follows. Harrison, as president of an organization for owners of stately homes (who make a handsome ‘living in Britain by admitting the general public ! at 50c a head) startles his dinner audience by attacking democratic '! institutions and comparing _ the masses with apes and fleas. “The ! masses, their curiosity «aroused. : turn up in hordes to visit his stately home, only to be abused : at first hand. Not much more happens, other ; than the fact that he continues to abuse everyone within range, that. his long-cuffering estate manager is fired, his mistress walKs out on him. and his daughter commits suicide, until he goes mad. The ac-: tion is finally wrapped up by an: epilog, at which the deranged man’s successor is lavis! ning: S¥COphantic praise on the man in the street. Although Nigel Dennis has a flair for satirical dialog, it takes more ;: than a few erratic and witty passazes to add up to a good play. Too often he strives for effect, and an overdose of would-be devastat; inz comments becomes tedious | long before the two-acter has come . to its end. The best of the play is to be found in the first act, and interest begins to disintegrate shortly after the intermission. Though there is a cast of 25 plavers, plus several extras, there is only one character of any sig-! nificance, and that’s another failing of the construction of the play. Too much depends on one inan, and though the author could hardly hope to be better served, it makes an unrewarding excursion for the other performers. _ Well known plavers like George Benson, Rachel Roberts, Csril Raymond, Edrie Connor, Hugh Latimer and William Kendall do adequately, but have little chance. George Devine’s staging is firm and confident. and Stephen Don caster has designed an elegant set | J of the sreat drawing room at a stately home. Myro. A Whistle In The Dark London, Sept. 12. Robin Fox & Brian Phelan presentation w ef a three-act drama by Thomas Murphy. Stars Michael] Craig, Patrick Magee Staged by Edward Burnham; decor, -Alan : Pikford. Opened Sept. 11, °61, at the Theatre Royal, Stratford (East London); $173 top. Michael Carney Sr. weeees Patrick Magee Michael .......c.cccccveee Michael Craig Harry ..cceceesc cee eeees Derren Nesbitt Des ...ccccccccssvccces Dudley tton Iggy ..... qaccerecnes fuge wees beens ceraceee: James Mellor wee eee cee eeeeeees Dorothy Bromily Mush Oo’ Reilly ew acc ener eres Sean Lynch Robin Fox makes his bow at the Theatre Workshop with a promising schoolteacher, Thomas Murphy. “A Whistie in the Dark” is tough arrison ; entertainment and though not likely to lure the masses, it may’ enough to justify a transfer to the West End | after it has concluded its four: ! weeks season at this'nabe situation. The author shows power in his writing. and has a forceful. sense |. | of characterization, but though the , subject is dramatically compelling, {there is an immaturity in the con[struction which becomes most: apparent in ‘the final act. | “A Whistle in the Dark” jabout an Irish family living in Coventry. The eldest son, a’ reasonably decent character, has mar | ried a local girl, and when his}. modest home is invaded by four brothers and his shiftiess father’ ‘he hopes to influence them for the better. They believe they have a mission to prove that the Fighting Carneys can beat all comers. When the talk is not about boozing, it is ‘usually centered on gang warfare, with the bully of the family comparing the respective merits. of , 1aZOrs, knuckle dusters and bicycle chains as weapons. Having failed to impress his. brothers or his father the eldest: son finds himself in the role of a ; coward, contemptuously treated ‘by the others. The wife patheti‘cally, but not too-convincingly, endeavors to persuade her husband to join in an imminent fight, so he can argue with them as an equal, but he gees out and gets 'drunk. The worm eventually turns, *too late, and in the final scene the thusband kills his young brother. whom he had hoped would respond {to his advice, and the father gets his revenge by calling in the police. In many respects this is a ter;rifying play. The vivid. dialog makes the horrible characters -come to life. The most obnoxious of all is the father, magnificently played by Patrick Magee, a man who has been workshy most of His life; with. a generous touch of the Irish blarney, he has tried to kid his : children that he is a fighting hero, whereas he is nothing but a voluble, worthless drunk. | The eldest son is touchingly ‘played by Michael Craifg.-It is the ' most difficult role in the play and he fills it with conviction.. Derren : Nesbitt turns in an almost fright‘ening portrayal as the bully who carries bis knuckle duster in his. pocket and is happy to make some : , money on the side by having /pros: titutes work for him. Dorothy Bromiley. strikes the: fright note of terror and’ despair,.j -and her performance is ‘strong: tb, enouth to match the more power-| ful and colorful male roles. The} other brothers are plausibly played: | by Dudley Sutton, Oliver’ MacScart ‘and James Mellor, while . Sear Lynch completes the cast as. a friend from the old country. | The dismal living room set, designed by Alan Pikford, admirably a. ane which is in the Theatre Workshop | ' tradition. ‘The Taming Of The Shrew London, Sept. 14. Royal Shakespeare Theatre presentation of a two-act comedy by William Shakespeare.. Staged by Maurice Daniels: decor and costumes, Stone;:. ligh ting John Wyckham; musie adapted by Brian Priestman. Opened Sept. 13, .’61, at‘ the © Aldwych Theatre, London; $2.95: top. Christopher Sly et eeceveee Roy Dotrice Hostess ...--c.eececeeas Lord o Secor c epee veence ohn Warner Bartholomew ...acces Barry Macgregor . Lucentio ........ceeeeeee Peter Jeffrey. Triano .. 0. c ec cee ee eee James Bree Baptista ..... 50.0006 Patrick Wymark Katharina ...4...:..-Vanessa_ Redgrave Bianca .. 1... cee cece eee cence Diana Rigg ' Gremio .....ccencaee b dace ctnce Ian Holm Hortensio ...-.ceesecees George Murcell Biondello ......c.scenvece Wolfe Morris. Petruchio .....ccecvecea. Derek Godfrey Grumio ...-..cceesceceeae => Clive Swift ! Curtis .....cs cece ce eeee “Edward Argent * Nicholag ......cacce0-2-0-Downer OSEPN oe ese cecens ‘Terence Greenridge Philip... cee e wesc cween James Green. CCAP nw cc ccc cereevescces Tan Cullen Nathaniel ......:...-Geoffrey Stavert | Prompter ....s.sccceeee Wiliam Austin > Boy Player ....es.e0e-¢ Howell | Pedant ..........08 Donald Pe A omith Tailor ce cemeesecvecenes P. G. Stephens Vineentio .... cece cece vece Peter Russell IdOW 2.2... ce ceccncecce Wendy Gifford | ETapsStEr 2. ccc ccccceceaccece Culle -}Huntsmen .. Alan Downer, ! Stuart Fhoyle. | i Geoffrey Stavert, Philip V: Marian ; Wenches ... Yvonne Bonnamy, Diamond, Meg Ritchie. ° With a new Katharina and Petruchio, this 1s a-re-staged ver: played last year at Stratford-onAvon, and is now in the Aldwych Theatre ‘repertoire. Although the comedy has never been much of |. a play, this production manages to play by 27-year-old irish }extract the maximum of fun from it. That is due mainly to two [splendid performances, by: Kate is . _ : " matches the mood of the play, . Myro, -: | and Petruchio and also to the {teamwork which this Royal Shakespeare company uses. | Maurice Daniels, in his re-direc tion, has approached the play with gusto, at times. excessively so. There is too much. broad slapstick and knoekabout ‘business, with characters. falling down, endlessly, hitting each other, guffawing and prancing around: ‘Much of it palls, but at least it enlivens the movement and disguises some of the tedious dialog. It also enables the strolling players’ who present the play . within the play to overact as, undoubtedly, they would have ‘done. While (this broadens the whole effect suitably, it tends to make some passages exhausting to watch. . The play stands or falls by Katharina -and Petruchio, and Vanessa-Redgrave and Derek Godfrey are a delightfully matched couple.. The interpretation in this stantly in love and that it is pride fiery. husband for so long. That is more charming and amusing than when Katharina is. the graceless virago and Petruchio just a swaggering bully. .Miss Redgrave gives.a gay and spirited performance, perhaps. over-pleasant in the early ‘stages, ‘where her shrewishness is at times little. more than petulance. But, as she ¥rows into the part she shows her full, extensive range and is both amusing and. touching. in the later scenes. Godfrey is a firstclass Petruchio, fiery, yet win cheek sense of humor. Patrick Wymark is a reliable Baptista and Peter Jeffrey as Lu-. centio, James. Brea as Tranio, Ian Holm as Gremio, George Murcell as. Hortensio and Diana “Rigg in the ‘colorless role of Diana Rigg look after the Biance subplot -adequately. brings observant comic touches to the*® role of Christopher Sly the peddler, who in this production, remains. on stage throughout, a visible audience tothe strolling players. The theatre’s revolving stage adds briskness, and Alix Stone’s rich costumes: and autumn-brown decor are attractive. Rich, Dr. Faustus London, Sept. 15.. : old Vie Co. revival of two-act drama ‘by “Christopher Marlowe. Staged by ; Michael Benthall; ' Michael Annals; music, John Lambert. Opened Sept. 14, 61, at the Old Vic Theatre, London; $2.60 top. Chor stave ce eraserecee Walter Huda Dr. Faustus oe veecccesens Paul Daneman 40) Stephen Moore [good Ang el Sic ceccceeecors. Charles West Evil Annel wwe eeemeceeneee Peter Ellis Mephistopheles “Michael Goodliffe Lucifer ....--.-.sees02| Seven Deadly Sins -. William McAllister, Sylvia Coleridge, David Bird. Emrys .James, Robert Atkins, Dobtcheff, Rosemarie’ Dunham. Emperor of Germany... ‘Empress of Germany: .. ham ae of +) °) 7 Cardinal of Lorrain .. William McAltister Others: Leader Hawkins, Brian Spink, | Brian Hawksley, Roger Grainger, Leon Shepperdson, Dona Martyn, Michael : Turner, Meredith Kinmont, Raymond. as . Rosemarie Dun 1 Old Vie Theatre for its. new sea-: som, has already been seen at: the | Edinburgh. Festival, where it was! staged in.the open arena of the! * Assembly Hall. As director, Michael. i Benthall has tucked the ‘play. be ‘and loses much’ of. the pageantry | Fit Citizen of ‘Angiers’ and. spectacle which ‘enlivened it | before. It's doubtful whether “Dr. ' Faustus” even for Old: Vie audiences, and looks © likely to :pleasée only: those ! Tw ho collect passe classi¢s. The tale of Faustus’s soul-selling “to the devil as an exchange for ; magical mastery during his life which. show up the stale contrivance of much of the plot. | Paul Daneman Jacks the proper | stature for Faustus, and tends to , be shrill and petulant. He does not ' get close to the intellectual heart ning, and with a tongue in. the. -costumes ‘and decor,: Robert Edison David Bird time is a familiar. one. Marlowe ‘tells it with fitful gusts of poetry, | rather than sullen Spirit that |; makes--her stand out against her Roy Dotrice |. 1 dia the back part. .. Maurice Good Marvis Edwards: hind. the Old Vic's proscenium, | Melun ‘setting the play too far back on ing the angels, who contend: for first-night audience. ‘Bateson and Michael Barrington. staged the original off-Broadway production, has apparently. not at-|° tempeted to elaborate the show, | fancifully, with quite a few pantomime touches. Benthall has apparently tried to hide the ‘shortcomings of the play with decoration and bold red light-. ing, but destroys. the impact by the stage and by an error in mak-. Faustus’s allegiance, sing a sort of plainchant, which brought one or two irreverent yocks from the The: Fantasticks Lorgion, Sept. 8. “Toby Rowland Ltd. Frank Productlons (UK. Ltd presentation ofmusical comedy in two acts, with book and lyrics -by Tom Jones; music bs Harvey Schmidt. Staged by Word Baker: original produetion designed by. Ed Wittstein; costumes, Rosemary Carvil and Hilary Virgo; light‘Joe David; “musical director, Raymesa Holder;..pilanos, Raymond Holder and Charles'+ Mallett;: harp, Patricia Willey; percussion, Joe Watson; orchestrations, Julian Stein and Raymond. Holder. Opened Sept. 7, “61, at the Apolio: , ‘production is that the two fall in| Theatre. London; $3. top. . . Stephante “Voss. . Sec wgaeecnbooss ‘Terence Cooper Malt -.ssecacesceceeses, Peter Gilmore Bellamy -...... Vepeeees Timothiy Bateson Hucklebee .....:. é Michael Barrington Henry Albertson....:....... John’ Wood.| Mortimer valeyeccctenccccne John. Cater Prentice ...... Aeceeeseee Melvyn Hayes There is no “equivalent of . offBroadway in London and that is one of several reasons why “The Fantasticks”. just won’t do in a big West End theatre. If it is to have any success at ali in London, which is doubtful, it would need a small theatre with an intimate stage. Although it is obviously not a costly production to mount or operate, it hasn’t much chance. The Romeo Juliet theme. has obvious charm, but is” staged with unnecessary pretention. .The ‘plot first-act curtain, but is padded. to male a full evening's: entertain-| 2 ment. The contrived nature of the second act is patently obvious, even though it has diverting gimmicks.. . Musically, the show is only moderate. There are one or two pleasant little numbers, but. none makes a lasting impression. A competent cast has been recruited for this off-Broadway itaport. Stephanie Voss has good looks“ and a fine | ( voice. Terence Cooper vigorously impresses. as thebandit-narrator,. and John Wood and JohnCater. Peter Gilmore is rather colorless as the boy next door; and Timothy have gusto as the parents of the. young couple. Word. Baker, who. with the result that Iarge areas of the stage remain unused, even though the four piece combo fills Myro. King John. ‘London.: Sept.20.O:d Vie. presentation ‘of a two-part’ ‘drama by William ‘Shakespeare. Staged ! by Peter Potter; costumes and decor, |: Atidrey Cruddas; music, Peter Racine ‘Fricker, under the’ direction . of . John Lambert. Opened Sent. .19, 61, at.the. Clarke, Leonard Cracknell, Roger Frith, | , * | Kerry Gardner, Tony Handy, Terénce 1 Bid Vie, London: $2.95 ee, Beaurica Denham. ’ Hardiman, Barry. Justice, Sally -Layng, ' 'Drince Henry ----.s ccs. Gilbert Wynne Anthonys Linford, Carél Macready, Jean * Duk “of B ctagne seers Hugh Janes Robinson,. David Tudor-Jones, Gilbert: 5) rir ot Pembiok e ot Davia’ Burd Wynne Earl of Essex ....s+eres., Stephen Moore ‘Earl of Salisbury ..... +.. Michael Turner |. This revival, which reopened the :Lord Bigot _......... ».._ Brian Hawksley : Hubert de Bergh . : Robert Faulconbridge -. Leader Hawkins Philip the Bastard........ Paul Daneman tJames Gurney ...... Anthony Linford ; Peter of Pomfret . .. Victor Winding. Philig of France INT! sees Robert Eddison. f Lewis the Dauphin....... Jerome: Willis Duke of Austria wn . Cardinal. Pandulph .. Walter Hudd William McAllister Emrys James . Charles West Chatillon French Herald «......-.0.06 Brian Spink « | English Herald 1......:.-+++. ‘Peter Ellis i Executioner ...+.+e>+..-.-Maurice Good eesanexe Rosalind Atkinson carries the. gun-powef | Queen Elinor lof the man, although he speaks-the . verse well and. gives a moving ac‘count of his.death speech. Michael achieving a fine sardonic note, and Oliver MacGreevy ; Sion of “The Shrew” which was|‘David Bird is acceptable as the Pope, although. Stephen Moore can make. little of the wearying capers of.the servant, Wagner... The chief asset of the production ate-the splendid ‘costumes devised by Michael Annals, although his set is somewhat. forbidding for a production that treats. the play Goodliffe scores as Mephistophcles, Constance { Blanch of Spain :........--e Downs Lady Faulconbridge .Syivis Coleridge Others: ...... Raymond: Clarke; Leonard Cracknell, Vernon Dortchef, -Julian Fox, Roger Frith, Kerry Gardner, Tony Handy, Terrence’ Hardman, Barry Justice, Leon Shepperdson, .. David Tudor-Jones. This musty and somewhat tedious play,. with few flashes of. Shakespeare's poetic genius,. needs better acting and staging than: it ‘receives in this production. Orig!nally produced at the Edinburgh. Festival, this revival fits better on ta the Old Vie stage than at the Edinburgh Assembly. Hall, but’ there is still clumsiness in the staging of the group scenes. The decor, as well as being unattractive, is: not helpful in pinpointing. the various locations. The dynastic. problems. of the Plantagenets are so crowded and confused in the early part of the play that it needs precise fiction. from the players to get over. their points, and this is not always. present. There is a great deal of dec drama by Marcel Aymie. ‘Villiers:. . Michael Goodliffe |. | Diego ‘Fabbri. Roger Grainger | tures, , Maxine Audley |. Jamation,. but Attle | powerful ; spe ‘Several scenes ‘come ‘off reason. ably well, such. as the early exchanges between King John and. Philip of France, the by-play be-.. ‘tween the Duke of Austria (played on the first night by Roger Grain-.~ ger owing to thé sudden’ {ndispo-sition. of Robert .Atkins) and. the ‘Bastard, the clashes. between Cons. stance and Elinor and, inevitably, ~ the touching scenes in the. Tower 7 between Hubert and, Arthur.’ ‘But the drama as a whole. Jeaves “Ja miuzzy impact. Robert “Eddison, ‘| with ‘melancholy. nobility of voice, ds an excellent .Philip of France and. Maxine Audley brings flashes of excitement to the -role of Constance. Paul Daneman’s Bastard is. a lightweight interpretation ‘but has plenty -of bravado and spirit, and. Michael Goodlife. scores as Hubert. Maurice Denham makes: a brave’ | stab,.at King John and may ‘sur‘prise those who think. of him mere‘ly as a comedy ‘actor’ in films.and . on. the radio. He is a good. actor. and, in this his debut with ‘the Old. Vic, he offers an interesting. per formance..as: John,. investing the... character with a slyness and oily ' ‘villainy which «is. particularly ef fective in the opening scenes, but. ‘which tends to ‘monotony as the Play advances. ‘ . Rich. Louisiane. (Louisiana) ’ ‘Paris, Sept. 25.. “vera ‘Korene’: presentation of ‘four. act Staged | dre music, Jean Magall James Campbell. Opened Sept. sets, Villiers: Wiener.. Stars . -Marpessa " Dawn,. -Noel; features, Bernard Noel," Barbulee,. comes: to its logical end ‘by the 22, 61, at ‘the Theatre Renalssance, Paris $3 top . . Tease. eee eeeseceacreses . Marpessa Da LOrma: ..ecccccacsscccccerecs ’ Magali Noel OF. -pecceeees ab newe gene ‘Bernard ‘Noel. Jennifer ...-....-:-« Madeleine Barbulee Richa Vee wewese ‘Robert: Party . . James Campbell’ » Jacques. Harden “After his “The BlueFly” -satirized American sovial: and . sex mores: unsuccessfully. three years ago, Marcel Ayme has turned to ‘the theme of racism in the Ameri can: South today. “Louisiane” (“Louisiana”) also fails, because’ of its forced characterizations, . slug Zish action, awkward symbolism. ‘and: general inaccuracy, provide occasional diversions as. jthe two actors recruited to help ‘lin the mock rape scene. Fhe synthetic plot. involves a. pretty mulatto girl, two southern tbigets and two northerns' who must live together on a Louisiana plantation ‘in order to inherit a fortune. The. play is overly. melodramatic, with pat” dialog: and stereotype. characters, so it. lacks conviction and force. Jean.-Wiener's’ background mute sic ‘and .AndreVilliers’ ‘direction ‘underline the uneven aspects of the drama.. U.S. actress: Marpessa’ Dawn brings a measure of feeling. . “lta: the bitter mulatto girl who had | been farmed out -by her white| mother. and had. never known her family till ‘the will brought’ her together with her sister. The other actors are: mired-in. obvious roles. _Ayme’s luridly: fanciful. idea’ of ‘the Ameriean race problem turns. the play into antiquated, -unbelievable melodrama. La c ‘oquine (The Wench) | ‘Paris, Sept. 18. ‘Simone: De Letraz presentation . of / comedy in two acts (10.scenes) by Andre Roussin;, adapted from “The. Liar’? by Staged by -Jean Meyer; sets, StanislaoLepri. Stars Jacqueline Gauthier, Jean Poiret, Jean Meyer; feaEleonore Hirt, Paulette Frantz,.. Henry: Giquel, Alain. Lionel.. Opened Sept. 14, ’61,-at the. Theatre. Palais Royal, ris: $3-top. ; Tanbeita ae ee ceneege Jacqueline Gauthier 1 Albino . ain beeen anee Jean. Poiret: AGTIANd ...ccrcceecewecsccee Jean. Meyer Elvira ......ss-e-..s+. Paulette Frantz Paola cccssccseccerocsnncs Eleonore Hirt Waiter ...cceneee secs teene Henry Giquel Valet. scccceccacccierstecee: ‘Alain Li Lioriel .Andre Roussin has haa several boulevard hits in Paris, but has. had little success on Broadway. and isn’t. likely to do much better with. “La Coquine” (‘The Wench”). This _ new play has the usual scabrous: subject matter of Parisian. comedy, but is deftly handled so as“to be droll and. palatable here. ~ American audiences -seem . to. want .more ‘stronger. characterization and more clarity of plot, however, The present work, taken from the Italian, involves a two-timinghussy who manages to keep a rich ‘nobleman: on. the string and. still preserve her marriage to a school teacher who supports. her and her. -. ‘mother. The dialog is ‘generally fiat, and the. action picks. up only in. the third act. The performances are: broad. The direction is brisk. and ‘the physical production, with » turntable stage and functional sets,. is helpful. . Mosk.