Variety (Sep 1935)

56 VARIETY I. EC! Yl M ATE 'Wednesdaf, September 11, 1955 Plays Out of Town AT HOME ABROAD Boston, Sept. 6. Revue In two fti;ts_5rcgec{(>fLJt>x..the_)3hai< ■BVrfsrproflucea'Vy Vlnuente MlnnelU: book ahj muslo by Howard Dletz, Arthur Schwartz,,-wllb .contribution's by Raymond Knight; d'onrea Ly Gene Snyder and Harry Loeue, dlaloe HtOKbd' bV 'rhomhii Mitchell. At Shubert Theatre, Boston. Cast; BeatrlPO Llllle,-Ethel Wa.ters. Herb Williams, Eleanor Powell, Reglnnia Gar- . fljuex,. Paul ..''Jiuavori -i5«ki.*«-Fc*, • Sri r As unfurled on the fourth show, after much scene jiigglingr and de-. Iptlng, 'Abroad' . shapes up, as a >-gooti- -evue; largely- Wnoiigli top- line names in cast, but in this phase o f Hb d c vcl u piuBiil iiul a ' aouk ul- traction. Plowever; for Broadway, in view of the Main Drag's dearth of a' good hew revue for many months, thls'U undoubtedly start out at a smart pace. Founded on "Going Places and Do- ing Sings,' produced a year ago at B^ck Hills Falls, Pa., by Ray Knight and taken over by the Shu- berts, thlis revue has been nurturied iand manipulated by the Dletz-' Schwartz ,combo into its' present state^, HardJy any of Ray Knight's material remains. Idea: of the book takes characters Into Various European cities and eVeh into Africa; as transitions between some of the scenes, blown- U.i cablegrams from a-voyageur. to a friend in tT. S,, wr' ten in humor-; ous vein, carry the audience frbm one iatmosphere to another. Here, again, Knight's humor is missing, his original cablegrams were shelved, and others "written. Miss Iiilile will have to carry the show; Miss Powell's ifans will be both pleased and disappointed at her. scenes; Herb Williams gets laughs in his figs, but lets down dismally on lines; ,Ethel Waters troupes magnificently, but has only two possible numbers, 'Hottentot Potentate' ■ an^_ 'Skoi., ft;. .BrAJl'-.tlew, Siiit.' Latter sounds likie the hit of the show. Other musical possibilities are 'O Leo,' for tricky lyric stuff, 'O. What a Wonderful World' and 'Love Is a Dancing Thinr' for ballads. Doubtful: if "tlfere' 18 a smash hit in the lineup. Staging is lush In spots, never cheip, seldom sensational; costum- ing is not remarkable; dance en- sem*jift3, -of-:' n-toUl, h'jj^le-.^ quate. What will probably get most word-of-mouth for its suave, charming humor is a scene shifter by Reginald Gardiner, in one, which iapproximates a show stopper. Gar- diner, in his jest Londonese, gives Impressions ,of inanimate objects. To get his listeners in the right juvenile. Imaginative frame of mind, he starts off with vocal Impressionis of designs of wallpaper and furni- ture; They're slightly bewildered at the first sample, but It's no time be- fore they get It and howl at each new interpretation. Most of it re- lates to trains, climaxed by Gar- diner's imitation of a French loco- motive whistle as an effeminate toot. Sounds silly on paper, but for those with a kindred sense of humor it will be remembered long after the spectacular stuff is forgotten. Bea Llllle\gets laughs in every- thing she attempts, but gets the best reception in her French musical eulogy (with English break-Ins)" of 'Gay Paree'; and her swell satire on the merry widow in 'Toast of Vienna.' Another clicker Is a de- partment store scene in which she garbles words in ordering a double The Best In 95 Saps ''VARIETY" '•yARIETY/^AU&UST 28 ^^ ROXY.N.Y. ". i . T. Bradley Martin, formerly Tomrriy Martin, provides the novelty touch with his sleight-of-hand work and cigaret nn.anipulating. He's an easy and clever worker, and takes rank with the. best i his line. Martin is here for three weeks, this being his first. Seems to have a big bag of tricks, but might do well to save a couple of new ones for the next two weeks." Bige. THE PROOF From Sept., 1934, to Sept., 193$ 47-CONSECUTlVE WEEKS-47 BRADLEY A R T I N Jiist Completed Three Record-Smashing Weeks ROXY, NEW YORK Available for Theatres arid Night Clabs Direction NAT KALCHEIM dozen damask dinner napkins. If shortened this might sell better. £9eanor Powell's, beat bet is her 'Lady with, a. Tap' number, in which she Impersonates a femme spy rifling a desk for secret papers and finally escaping Ih a tap-dance ruse. Whole idea, unique, is line-less aind. carried out entirely by the star's and chorus' taps. Set is unusual in that'it YeatureFa ■ffduble-'de'cR'Yipuse with front wall cutout so audience c4h peek at .the spy at wprk- An- bthei- Powell scene (("Wonderful World'), In which she is assisted by iSddle Foy, Jr., is more notable for thfl roarJpactto.-dog.^ ttie: i)rJntiipalq fuss ^yith than for their dance routine.' Marionettes appear in opening scene of the show, 'Get Away From It- All,' • iand the idea is So clever •that - *l>ii .tvusto-iners ^'■•e^ not quite jji:§ji%ts4._5.ci_.fiai:Jy-in_ili£-JicQaefi^ ings, to accord it the response .it deserves. Gent in a mammoth bed, centre stage, is assailed by a diream (dramatized in niches on the wall in back of him by puppets imper- sonating nationally known figures and well-known advertising blurbs) until he jumps out of bed and scrams. Scene then blends .into a bon voyage set to start off the world cruise motif. Ace ensemble numbers are 'Get Yourself a Geisha,' with a lyric that might be takeif home and chortled over at leisure; and the niountaln climbing scene which climaxes the 'O Leo' number. Palul Haakon , is most favorably seen In his 'Death in the Afternoon' ballet, a . colorful, sustaining pro- duction in .which he, as a toreador, girds himself for battle, amid inter- ruptions from his sweetie. His other numbers lack the quality of this one which, fortunately for him, coines late in the show. Herb Williams gets his best breaks in 'Homesick Clinic,' where-. In he takes a big dose of Times Square noises to bring him back to normalcy on foreign soil; and earlier as .'Tricky Otis,' a niost In- genuous siiipboard cardsharp. A low bow goes to the Six Spirits of Rhythm,' obscurely billed, for their excellent instrumental backup work for Miss Waters in 'Hotten- tot.' lAhbey. NIGHT OF JAN. 16 Philadelphia, Sept. 10. General consensus of. opening night audience 'at the Chestnut Street Opera House was that it was very much of a shame that.PhlUy's legit season of 1935-36 hadn't ened with Al Woods' pjfoductlon unhis murder trial melodrama by Ayh Kand, Instead of 'Portuguese Gal.' Pretty nearly everybody agreed that 'Night of January 16' Is one of the slickest .melodramas.and .clever^ i. «st :''<Mt*VnpI'9C''«>I' «i£s»risfeowu.iiTM Wtr' seen here In some time. It is the trick ending Idea that giyes this Woods production,its ele- ment of/.novelty. ' Otherwise) it Is merely a very good courtroom thrill- er, but' not much different from its predecessors. " That end, however, IsJ strictly, showmanship, and some body deserves a strong hind. Having the Jury selected froitii the audience (but, of course, on the first night pretty much hand-picked by the management), having them on the stage throughout the action, paying them the stipulated $3 each fo-i" their services and having them render their sincere decision on thC guilt or innocence of the gal on trial is not only great for publicity angles, but appeals to the audience. Opening night's Jury was comV posed principally of first-nighters, a couple of newspapermen (it was an all-ma,le jury, by the way) and others whose names, when read out, were recognized by a good percent age of the audience. They did not come out to their seats between acts, but convened back stage and, according to one of their number, discussed the play thoroughly Naturally, the time element kept them from having much of a chance to consider their verdict at the end (curtain didn't fall until 11:20), but- they were asked to take a single vote. Last .night's was. 7 to B for acquittal, without anybody con- nected with the show advising.. After they file back on stage ahd th", foreman announces the decision, the judge, from- the bench, declareis that he cannot say. that he thanks. th6m for their verdict, but since they have made it, he will have to declare the prisoner' free. There are. a couple of lines by other members of the cast; with the gal saying" a brief word -of thanks to the jurors and then the curtain. When a guilty verdict Is handed down this last three or four minutes or so will be different. One of the amateur Jurors who heard the other version last night declared it didn't sound as strong a dramatic end as this one. Audience seemed to likt^ the 'not guilty' vei^dlct and applauded; Also hissed when the judge made his pro- nouncement from the bench. A clever lead-up to the rtnale is to have, after the jury has filed out, a darkened stage with the faces of various witnesses: being briefly spotted as they repeat Important pieces of their previous testimony. That's also excellent theatre. As for the play itself, legal minds could probably find plenty of holes. but, on the other hand. It Is evident that the author knows plenty about courtroom procedure. There are a few minor slips, but riot many that the average auditor will note. Gen- erally they are caused by the neces- 8lt>- to cut for timing and, even now, the earlier acts have to be trimmed a little. Cast; definitely lacking In big neares, ■ pvov m-\ys Wf6p-■noTfn-.-Wtir dlflerent ones having their Innings from time to time. Edmpnd Breese has thfl longest'role, that .of the dls- - trict attorney, arid although he funi- bled some opening night, he's prop- erlj suave and unctuous—:a qartt.lnjsr lawyer of The btd school type. Wal- ter Pldgeon, who' doesn't' come, on until the end of Act II,.ha3 a whalei bf-nt-scenfe on the witness stand In the final act, and he's as likely as rtot to- bG^'tlifc ■shtt-.v's scuaatiari Clyde Fillmore, back -vvuuQ, lii u fit'strrate bUiilii<!ss' man, and Sarah Paddien has one meaty bunch of testimony that Is plenty hot and that she delivers In swell style with a Swedish dialect helping. Instead of hurting. In the earlier scenes Robert Shayne seems too youngrarid not impressive enougli as the defense lawyer, but he too cracks through in okay style in the end. There is some difference of opinion about Doris Nolan's per- forrhance of the prisoner," bvit that: depends on Ideas of how the role was Intended to be interpreted. Cold brlttleness of her testimony seems quite correct and she shows real feelings as a contrast at the end. Plot's too Intricate to. go into heavily, but it seenis this gal, Karen Aiidte, is accused of having killed Bjorn Ffiulkrier, famous Swedish financier (play gives him " many parallels to Ivi^n Kruger, match- king) by tossing him over the bal- ustrade of his skyscraper, pent- house. It Is proved and admitted that she has been his mistress as well as his secretary for years. His wife (society girl to whom he had only recently been married) testifies and everything is going the D.A.'s way. Then, as Act II curtain, comes a commotion as 'Guts' Reigan,. a no- torious gang leader, rushes in and announces to the prisoner that Faulkner Is dead. Audience has thought so all along, but it seems when the. succeeding testimony is given that it had all been a trick on the part of the notorious finan- cier to make the world think him dead and that the body thrown from the penthouse was that of a gang- ster, already deiad. Then, Regan tes- tifies, the plan went awry and Faulkner was really killed. Party ha aociises of the act Is Faulkner's father-in-law; Weight of evidence now swings back and forth, with rival attorneys having brief triumphs. D. A. says 'forget later death and escape plan and go back to first, principles.'. -In the body of Faulkner from the pent- house or not? First night jury said 'no.* There were many in the audience who be- lieved that a 'mistrial' would have been immediately called whdn Rer gan's sensational testimony was In- trodticed. Incidentally, all the wit- nesses come up from the audience and go out the same way. 'Night of Jan. .16' should have an excellent chance as a stage play, and also as film fodder. Waters. celluloided, so the proapects In that direction are not any too bright.. 'An Inadequate cast doesn't give this tryput any too good a break. Lillian Foster, billed above the title' overplays the femme lead, and sev-' oral other roles Just don't fit. Most natural iierformance is turned In by Sherman Riley, who makes a juve ^character.; fi:.on.vin.cinff..... Prori^ietk.tr-"'- 4s too unfinished^ with players sud- denly appearing on the stage as though. Thurston had pulled them put of a "hatf PreseKfeCfion 'as a" whole is not up to par considering some of the earlier plays put on hera.tbls.jioajfGP,,...- lay is a treatise oh the divorce evil, primarily concerned Ith its effects /on 'custody children';' those unfortunate kids who draw annual sentences of ^Jx monthri with each pareK. Oliver Brlgh*»- ^cthor "ot „'' I Olivia- haa—dtworced Marlanna: Bright and married Liza, divorced "Wife of Theodore Nichols and mother of ' Ted, Jr. Time being Oliver's six months to have custody of his daughter, he is about to take her along to the Philippines to share his honeymoon Svith his new wife. Liza figured three will be a crowd, but maybe four won't, so she ar- ranges to have Ted conie along as a sort of convoy to Olivia, leaving Liza to enjoy her honeymoon In peace. But. it doesn't work out that way when Ted's father appears and claims it's his six months to look after Ted, whom he tries to bundle off to a "w.ealthy aunt in Salem. Adolescent pair, Ted arid Olivia, don't go lor this shuffleboard situ- ation at all and, incidentally,-they discover they're mixed up in a casei of love at first sight, so they sim- plify things for themselves by slip- ping off and getting married. They wire a benefactress, Mrs. Klrk- patrlck, that they'll arrive at her Southampton home that evening and, when they get there, they find their various parents already on the spot in a friendly-enemy conference as to how to straighten out the mess. Elders decide they will have the marriage annulled and Olivia is on the verge of returning to her mother Whin the riiother admits she is about to re-riiarry, thus, complicat- ing things still further. Kids let loose a few opinions on what fine examples the parents have set them to follow and, while the parents go into another huddle, "Ted and Olivia make a ilying exit as the final cur- tain leaves the parents, and the au- dience, with a handful of unfinished business. Play takes Its title from the situ- ation of the youngsters, seeking some moitil support from their elderly pal, Mrs. Klrkpatrlck; be- ing handed some ready cash which, unwittingly as far as the donor is concerned, turns out to be the 'im- moral support' that finances their . :"ljaiJ£i"7ii'JMi'iifawndaa*;4HS*>'eu^ abrupt leave-taking. Production Is nicely staged tech- nically, with, an excellent. third act living room set. BoJie. IMMORAL SUPPORT (STONY CREEK THEATRE) Stony Qreek, Conn., Sept. 6, Drama Iti three nets and four scenes by Jessy Trimble. Staged by Brace Conning, with sets by Francis Y. Joannes. Present- ed by Stony Creek Theatre, week Sept. 2, '35. OUvIa Bright ,...Jnne Blftssom Marlanna Bright .Carolyn Kennedy .Oliver Brisht...;.... Enrl McDonald Liza Bright...... ....Lillian Foster Ted Nichols , Sherman Hiley Thcodoro Nichols, .David Bern Mrs. Klrkpatrlck Anna Cleveland Alan Johnson.... ...William Dorbln Delphlno.... PcBgy Bates Walter,.... Frank "Weir Kingston ^\"llam. Willis Duncan Back in 1932 this same shoreline spot tried out this same play for Milton Shubert. He took a good look at it and told them tp put it away In the trunk. As far as its present Broadway chances are con- cerned, it's still in niothballs. Prob- ably just another sleeping dog they should have let . lie. Its only pos- sibility for an outlet Is through plx. and similar plots have already befen TWO GREAT PROBLEMS of LIFE Life insurance, if maintained at full value, will help to solve the two great financial problems of life; DYING TOO SOON LIVING TOO LONG Let us show you how to play safe—how to provide an income for the futul-e—for any emer- gency—that will be paid to you as long as you live—or to your beneficiary. IT WILL COST KO MOBE TO OWN INSURANCE AVHICH FITS YOUB CASE PERFECTLY THAN TO BUY MISriT INSURANCE. For Further Details, Write JOHN J. KEMP 551 Fifth Ave., New York City Phones: Murray Hill 2-7838-9 Service -from Const-to-ConHt I. MILLER Leading producers find the prices, in ou;- new theatrical departments, pleasant surprise. SUjAL ^U^^, 1552 BROADW'AY- C,.. nil -j-.. ^^