Variety (November 1961)

“Wednesday, November 1, 1961 LEGITIMATE 81 FRE Ea KERR ek Ki ioe _ Asides and Ad Libs 4 ABA B ROE R OEE ARI OIG _ Dozens of: sctapbooks, spanning the career of” Charles ‘Coburn, -who was selling programs ‘at the old Savannah. Theatre 14 years after his birth at Macon, Ga., in 1877, will be presented : to the Univ. of Georgia UW, PB. Kellam, director of. university’ s libraries, says the’ scrapbooks. are the. most valuable of the numerous items — Coburn willed it. Memo-! . Tabilia’ will. be loaned. to. Drama ‘Department on ‘a longterm basis. “ Prof. Leighton Ballew.expects to ‘put them’ in ‘a seminar roomi to. be. “named the.Charles Coburn Memorial Room. _ . In a bid. to find new legit talent: the. Fheatre Workshop’s new East Fifteen’ School of. Acting in‘London is to award: scholarships ‘worth $840 apiece to: the four most promising. young actors and actresses ‘in ; the East End of London. Auditions for the scholarships, which will be} Spot | despite a 10-week run of ‘good to’ excellent: were initiaily for two years. training. have begun. tls week. Margaret Bury, a'director | of the. schol: is-hoping to persuade local businesses and: organizations | . to augmient these scholarships and the ‘local. education authorities are. to re ommend. grants. . © ~ ‘More and more. German. opera singers are ’ giving notice to the East Berlin: State Opera. Among the latést is Margarete’ Klose, one of. this. ‘country’s top. -alto singers. She «was last seen in. ““Electra”* there Also. giving. notice:. Guenther Treptow, Julius Katona, Sigrid Ekke: hard,, Elisabeth Aldor: and. Kay Willumsen. One’ of the few: top singers ° Who: -stay is. Erich Witte. who's: a1$0 staging. opera productions. in. E-Ger, many. Rudy Vallee, whose. otiginal’ trademark back in. "1930s was a ‘mega-! -a-night, Monday. to Saturday, are ! ‘phone, uses an. invisible one-in the form. of. electronic. amplification ‘via shortwave. pickup. in his: current legit appearance. in “ow to. Suci ceed in Business,” at the. ‘46th Street’ ‘Theatre,. N.Y: . Jack Morrison, of the theatre arts departmérit of the Univ. of. California at: Los. An. -geles in. sitting in-‘on. rehearsals the. upcoming ‘tryout tour .of. “Take Her, She's Mine,” under a Ford Foundation-NewDramatists Commit-:: tee "fellowship setup. He's observing directorial methods as used by-: ‘George Abbott,. who's-staging the Phoebe and Henry Ephron. comedy. | Alice and John Griffin have a’ new legit comment show 7:30-8. p.m. : Tuesdays and Thursdays on .WNCN-TV,,. Sponsored . by’ Hammacher _ Schlemmer. Maybe they get permission’ from Howard Dietz and Arthur ‘ Schwartz to use their.‘‘Hammacher Schlemmer .I Love You” number, fr om: the first “Little Show,” of, 1928-29. as a theme. ‘The Samuel French play agency has. just: published paperback ‘acting -editions of “The Miracle Worker,”-by. William Gibson; “‘Pools Paradise,”. by Philip King; “Another Spring,’ by Rodolfo Usigli, translated by . “Wayne Wolfe, and “Good Night iuadies,” the. Cyrus Wood. adaptation of “Ladies Night," by Avery Hopwood and Charlton Andrews . ° Rodgers. and Samuel ‘Taylor musical, “No Strings,” ‘has written:2 play of undisclosed subject and title. . ~~ During: one of those long luncheon confabs last. week at the. Lobster Restaurant. N: Y., so few wealthy legiters leave bequests to: the theatre? Just for the ex ceptions who: make a‘fortune from: the stage, it's odd.and regrettable : .that more don't will money. to theatre: projects or ‘causes. That’s not, . the second-guesser adaca; the ‘donor's. lifetime. -U.S. author-critic Mary: ‘McCarthy; Ww riting for the London Observer, ‘gave a stinging pan.to “Curtains,” the recent book: of theatrical ‘essays : and opinions by Kenneth. Tynan,” the paper’s drama critic..Key com ments. included, ‘“Like. most: -humorists: who ‘have written about: the theatre, Tynan. is less.a critic: than a performer and mimé in ‘his. own right; his reviews. are exciting’ performances,” ' -and;. “The worst I ¢an say of Tynan. is that: I thought: better of him when: I began this: book : than when I finished: it” | +; By. Murray -Schisgal. ‘Richard Kiley, while waiting for the start of rehearsals of the Richard” one of .ne a-sombled backseat rivers wondered way : in:ended.‘as any :reflection. ov the various . foundations ‘established in the ‘theatre by legit nabobs, usually during : $i Toronto Restaurant To Open Cabaret-Theatre --Toronto, Oct. 31. Toronto will get its first cabaret, theatre within the next.few weeks lwith the opening of a converted. 'room. in ‘the’ Old Angelo’s down[town restaurant. The room is be-. ting turned into a 125-seater with : jchairs on three sides of a stage. It will be the first local theatre | with ‘a liquor license. The refusal [of such 4. permit last year caused “Mark Furness. to close another “Boy Friend.” Vet actor Robert Christie is staging the. opening show, an hourlong revue written and: to be performed. by Dave Broadfoot and: l wife Jean Templeton, ‘both former _Stars ofMayor Moore's 14-year-old : annual. “Spring Thaw.’ Some of. the material has been rejected by. ‘CBC-TV as “too. controversial.” John Belli, owner of Old Angelo’s, ‘is listed as-‘producer. Two shows planned,. With either a cover or a 'minimum. The show reportedly will come } ‘under American Guild: -of Variety | Artists jurisdiction, ‘including pian: ‘ist Ben: MePeek. [ ~ Show broad Dak And Lov ers . London, Oct. -20. Campbelt w illiams: (in association with Michael Cordyn & Dzvid Hall) presenta“tion of ‘a twe-att (four scenes) comedy, Stuged by Philip Saville; decor, James Goddard; lighting, Brian Curran. Features Ellen Pollock, Afichael -Medwin, Nyree Dawn: Porter, Madge Brindley; Nadja Regin, Vivienne ‘Burgess. Opened Oct.. 19. ‘61, at’ the Arts : Theatre. London; 21. 75 top. ? Yana. Latore.. Ellen Pollock see ee ewnteance ‘Mr. Beaumont -......... John Warwick . Robert Lajoie .....,...° Michael Medwin ; Lenya .Latore ......0..: Madge: Brindley Rosa Latore ...........-: Rafi Serafina ; Mana Latore.. «essa. Anes Bernelle Tanya vee ee wees eee -Nadja Regin ’Theo Latore ...........: Roy_ Godfrey 1 Silvero Lalore:........ Morgan Sheppard : Carmine” Latore ....... Romeo Berti , Alphonse Latore coeee ‘Frank Seton June Rogers . Nyree Dawn Porter Mrs. Roofers .ciceccaess Viviehne. Burgess vir, Rogers © -. 2.2.2.5. Philip Merrick . or Mrs.: Beaumont | : Wallie Mike ‘Kevin . Brennan ‘Graham Crowden wc eowees oo Audrey. Noble Royston: Hadges Frank Seton ot cet cc tec cee peusee ‘Murray * Schisgal is. a young According to an editorial note, the Observer sent a copy of “@urtains” | Arserican writer living in London ; to. Miss. McCarthy for review. The editors were evidently surprised? and this’ is his first: full-length. ‘at her unfavorable -reaction, .however, and not onlylabeled it a! legit play, It shows touches of a .“hastile” review, but. published immediately. beneath it a rebuttal, titled lively imagination, both in situa “Contrary Mary,” by Alan Pryce-Jones, who. subbed as critic.for the | I tion. and: dialog, often with sur-|. Tealistic wit, But there -is-a clash} Observer during ‘Tynan’s.. absence to’ serve. as guest. critic” for. the ; New w Yorker, : . .” .. of Styles,. especially. in. the second : , segment, .and in its. present’ form. the play seems an unlikely candi{date for a wider audience: than | that offered: by a club. theatre in! ; London or an off-Broadway house. The: comedy is ‘based on. ‘a funny “friends”: .amongthe. starideesjjdea. A’ yo (COSI: FAN TUTTE) | tried: to: advertise by. their “bravo”. away from ‘tradition yo ee oroken | With a Negro soprano, Leontyne. clamor. | up-and-coming. junior executive in Frice, of the Colon West” and in As: for her sister. ‘sung by the : advertising. But when. the Ramany Ne tenor George. Shitley, one. Lehanése ‘soprano. Rosalind Elias,: queen dies, leaving him as the new f. one lovers. in the second ‘night there. was no intimation: that the | head .of the ‘gypsies, he is torn ! pr esentation: ‘of Mozart's “Cosi Fan audience. was disconcerted from’| between the two ways of life. _ tutte, ” it would appear that Negro her voice by the. piquant-news re-{' On this slender: story framework ‘talent: ohis | it made” in substantial | Port of.a fortnight before that she: the author fits such fanciful irmeasure ‘the ‘Metropolitan -has had her social’security number: | relevancies as the hero’s~.mother Opera. : The’ yea ‘casting facts and ‘tattooed on her torso as a gesture | being convinced that her dead husP of defiance to the Soviet Union. ‘band has. returned in the form of | managing director Rudolph . Bing’s flat. aging last’ spring: to. tolerate Frank. Guarrera. did’ a debonair ;a duck, a golf lesson against a Opera Review ‘Another. Negro’ At Met /2s. ‘sensational as a cluster. of: ” further. segrégated. audiences when. | job. of: acting ‘as_ the cynical’. old : ' background of a. recorded perform bachelor whose. wager. ‘iggers the” ance of “King Lear.” the y. the Met plays Atlanta, Birmington ; g Lear. e young and Dalles will | surely form a. sig-. | plot. ho VS aon ‘man’s nubile fiancee doing a casual ‘ nificant ‘paragraph ‘in the’ final: ac-| count, when written, of the ‘Bing |. . _ regime. 5: A . The. Setura: of “Cosi” to the Met Shows on B way” “repertory: after ‘some’ years. oc— Continuea from page 80 — curred Tuesday 124),°.the same|. work being offered the: next night | “Leok: ‘We've Come oc Through. oo (25) at the: N.Y. City Opera. ‘The Met's production is.musically.an girl heroine who ‘can hardly Wait Baring eersteicy Wasted mae. to he seduced’ and fears. she'll the guests. lish. text ‘by Ruth and Thomas P. never make. it. There is a credible. The effect of all this is uneven: Martin, ‘associate chorus. master), . Portrayal ‘by Ralph’ Williams. in’ and sometimes -Philip Saville’s di-Carl Ebert's staging after the orig-j the complex role of her-mixed-up rection sags: There are -many “inal. by Alfred Lunt, the gay sets friend who discovers that he goes :-hilarieus passages, however, al-. and: costumes of ‘Rolf Gerard. and | fr, girls after all, though: the symbolism and satire is *-the rapport. bétween singers’ and | ,, ‘Zohra Lampert: scores neatly: in: sometimes confused. ‘The author ' musicians, under Joseph. Roseni the rewarding ‘part. of a sardonijs served well by the cast. Michael. stock. cau. humorous; “unscrupulous edwin, with:his hair dyed black, Shirley . ‘handled himself with! ‘yopng "attress-wite on. fhe arable ‘suggests~ . the advertising man! ‘Brace, ihe PoE. O these. eo Roberta as her handsome but dense actorPeters; repeating from some eats | diverting Zark Matalon offers a ago, was pert and delightful as the ent’ ‘agent and a a sca r u s i: worldly-wise maid: who .counsels : cceptable 1 ur eye s is. _ her mistresses to. follow Eve's exi ‘Osh e in the: small role’ of a ae tle *t eat pn foated | David tae has designed a nén e brittle, farcica = like the featherweight it is. Therein i Seseript looking apartment setting lay its attraction. rovide e “An American with nine years in, yee: cout essentially, ook: Vienna’ and Europe was’. making! eve me Through” ‘is old. ha “heft debut ‘as Fiodiligi. _ Authority meman wise with a homoand experience showed in. Teresa. sexual twist... Hobe. Stich-Randall’s performance. Hers (Closed: last’ Saturday night (28) vis a pleasant voice, though hardly: after. -fiveperformances.) ‘:innermost thoughts about love, an Jia singing. commercial :for a. candy j bar, ‘a’ ‘Workman swinging on a: broken ‘chandelier and. refusing aid: j because . it would -mean using 2! non-union furniture mover, and a“ brings ‘the right air of baffled perplexity ‘to his dilemma. _The’ gypsy family, headed. by ° ‘Elen Pollock, Madge Brindley, ‘Nadja Regin and Rov Goddard, look Plausibly raffish: Nyree Dawn ‘Porter, an attractive’ blonde fugi ; cellent as. the: bourgoise fiancee, _and Graham. Crowden is’ amusing as.an_ intense: junior-executive who ; ‘Suspects he is.a sex-maniac. James Goddard has devised a. ‘siniple: open * decor which serves , all four ‘scenes, _ Rich. : { performance quality, ~ striptease ‘while: pouring . out. her: | advertising. conference to work. out ; : Mayfair bridge partyin which the vb host and hostess swap spouses with } Bern Hoffman. ‘and Chad Block. as | | whe Unsinkable Molly | ‘better. than the gypsy, but still | ‘tive from: intimate revues, is ex-. Levit Followups Camelot. (Majestic Theatre, N.Y:) that helped get her there. “What ‘age does ‘to good wine,| AS leading man, Haive Presne}] ‘time is doing for “Camelot.” There, iS, an excellent foil, as he woos, lis now -a flavor to the Lerner-| Wins and carries to riches the of ; Shack-born gal. As a monsignor jWith a realistic eye for worldly necessities, Jack Harold gives staun:h support, MitecheH Gregg is appropriately svelle as aiy impoverished prinve whom Molly overwhelms, and Cameron Prudhomme, as Molly’s father; has gaclie aplomb for poverty or valace. Intermission chatter at the performance caught included comment about’ the difficulty of understanding Miss Grimes in some of her songs. This might be partly Lowe musical that smacks ‘pleasant meliowing, and there's no evident reason why it can't be savored for a considerable time to come. | A hefty. advance sale; plus crit {ical reception that varied from! ‘helpful to “Camelot's” potential [longevity and. were needed if this jexpensive show was to cafch on. |The. 1,626-seat Majestic Theatre has. been consistently running at, ‘or close to, capacity, however. and cast changes to date ouzht not to: ‘attributable to a zealous orchestra. ‘which tends to top sincers in solo spots from time to time. “Molly Brown” may not he im;mortal, but there’s plenty of good show there for the forsecable tu Gecr. affect business seriously. | William Squire has replaced |Richard Burton as the-sadly earnest young king, move that may have ;caused producers Lerner-Loewe‘Hart considerable preliminary | brow-furrowi ing. Squire brings to| p= ;“Camelot” an heroic quality. how. c ever, a ‘rough-hewn masculinity j ‘and. vigsrous attack. Looking some‘what ‘like Burton, which may (though shouldn’ t) have had some. thing to do with the casting, Squire — | appears ‘to feel that though he may (CARNEGIE HALL, N. Y.) ibe a lesser name, he need not be} Three reputed sellout performa lesser performer..He seems to be! ances in Carnegie Hall. N. Y. of,the «Berlin Philharmonic dramatizes the }been John Cullum for Roddy Me(growing prestige ‘third U, S. tour) Dowell ‘as the bastard brother. jenjoyed by the organization. It is 1, les inow surely one of the great orches “the Sever Deadly fsb mith itras of the world.. There was a wonsinful “plee, and is apparently in’ derful aliveness in the playing last no way shaded. by his predecessor. Friday (27) and no_ personality What “Camelot” might be withhanky-panky at all. For ail his repout its sprightly ccstar, Julie utation as a podium tyrant Herbert Andrews, happily doesn't have toy shi Karajan projected a_ cain be thought about ret. Miss An-: which was the antithesis of tems drews gives a gossamer-like per-: -perament and handled his men with ia kind of democracy not associaoan hae take consider‘ated with the old Prussian “image.” Once it was considered ques-| Each of the three works were tionable jud*ment to suggest that} warmly Satisfying experiences, Rodgers & Hammerstein's “CarouFirst came a rare indeed orchestral sel” was ‘the measure of their!sSuite of Bach with Karl-Heina earlier. “Oklahoma.” but time|Zoller as flute soloist. Chamber ‘wrought a balance. Lerner, Loewe ;music ‘with Karajan playing the and’ Hart were in a similar fix|harpsichord), this was musically 9 ‘when they brought in “Camelot” ;delight. Stravi nsky’s C Symphony nas their first collaboration after the ‘followed, rich in color and almost i phenomenal “My Fair Lady.” and: :spendthrift in virtuosity. Here the many reviews suggested that. it |orchestra's blend of delicacy and could never be as good. But heret-| force was evident, a foreshadowing ical as it may be, who knows? of the superb reading to be given Geor. '‘Beethoven’s Third. re The audience came slowly per; Ro Re 3fi ‘haps but implacably under the hbe(ST. JAMES THEATRE, N.Y.) jwitchment of a fine orchestra znd Without redoubtable perform-i4 stunningly brilliant conductor. ances by the principals. “Do Re Land. Mi” wouldn't still stack up as | much. Due to its humor. zing and } Concert Reviews om ee Berlin Ph itharmonie Sorse Belet it's a good | (CARNEGIE HALL, N.Y.) | x expense-account show, but can no’ Jorge Bolet, a talented pianist, j longer be considered sturdy com-, loves ‘sound and fury. He attacked petition for such Broadway staples; Franck, Becthoven and Liszt at as “Carnival,” “Camelot” and their Carnegie Hall. With agile fingers ‘ searching for peaks. Then he came i ‘Once. Nancy Walker has had her | | galloping down with a vengeance, ; post-intermission bedroom fling.. Over the delicate streams ‘and j “Adventure,” the 10-month old i little dells he sometimes rode musical goes into a precipitous ; roughshod. Does this make for a | gl glide-path, ares no denying, ; | satisfying evening? Not entirely. owever, that Phil Silvers an Why did Bolet choose Franck? ‘Miss Walker are 2 formidable team } This composition, repeating the 1. jon any stage. It's remarkable in| endless downward chromatic pat: fhis contrived story of the jukebox i terns so familiar in the D Minot trade, how much dimension, these { Symphony, requires the most carestars give the characters they play. ful color differentiations, the most .. The little bundle of ingenue.' subtle phrasing. Except for the Nancy. Dussault, is definitely a eal | a bold brassy passages he seemed ‘With that extra sonicthing. timid in his approach. He only singer and actress she is a. joyous ! really came into his own with the performer who does much for and: Liszt pieces. With “Do Re Mi.” John Reardon, in both ‘appearance and Voice, is a handsome young leading man, and Socata He eamebind poten oning >a good foil for Miss Dussault. | themer again as it were, impatient With due respect for such juke| to get to the heroics. The rest cf ox stalwarts as David Burns and the reading lacked the rubati, the tdiminuendi, the subtle pace changes, the tenderness that make the persoral beroi¢m. the wit. ine :@ proper Bostonian with oriental ; talents, “Do Re Mi” functions at what in business circles would be teferred to.as.the executive level. It’s that kind of show and re‘ quires: that’ kind. of performance. Fortunately. it still has it. Geor. van Beethoven. And unforgiyably, the final Coda was muddied and | zattled . With too much fortississimo. But finally came Liszt—a salute ‘to the composer's 150th birthday— -Brown ; ahd with it Bolet’s t I (WINTER GARDEN THEATRE, s trump Kean N. Y.) . . There’s. no reason to expect “The. Unsinkable Molly Brown’ to be anything. but buoyant for awhile yet. The Meredith Willson-Richavd Morris musical, currently in its 53d ‘week, .is still lusty hell-for-leather jfun and a “family show” to boot. |. The featured and supporting cast are excellent, but it’s Tammy ; Grimes, as the gaminisque rags-to| iches: girl, who .keeps the show | -headed into the wind. Miss G-imes iseemingly accepts the responsibili i“ e e ? 4 Ready ‘Chin-Chin’ for NY. Hollyweod. Oct, 31. Playwright Sidney Michaels hag been inked by Warner LcRoy te adapt “Chin-Chin,” which recently ran in Paris and London. for offBroadway presentation. LeRoy ig mulling Joan Greenwood to star. _ Michaels’ play, “The Plasiez Bambini.” last week was optioned by Martin Tahse. ties of stardom with the suave zeaf But before this. he had his bout agony, the humor that is Ludwig. ey