Variety (Jan 1936)

212 VARIETY tCCITIMiiTC Wednesday, Januaiy 1, 1936 Plays on Broadway SCANDALS (i2th Edition) Revue In twp octs, 25 scenes (12th edition). Troducer, Georee White. Features Rudy Valloe, Be'rt Labr. WJlUe and Euffono Howard, Grade Balrle, CllK Ed■wards, Jane Cooper; principals, Hal Forde, Kstelle Jayne. Sam, Ted and Henry, Richard Lane, Stanley Twins, Shea and Raymond Harold Wlllard, Apollo Quartet, Alice Carlelon, -BMna Page. - _ ■ Lyrics, Jack Tellen; music, Ray Henderson; dialog and sketches. ■WlUlanr K. ■Wells, Howard A. Shelbler. GeorRe White: dances, Russell Marlcert; settlnno, Russell Patterson. Walter JaKemann; costumes, Charles LeMalre; conductor. Tom Jones. At Neiv Amsterdam, T.^. commenclnsr Pec. 26, '36 ; $4.40 top. ' „ • . • , Girls: Peggy Moseley, Lois Ek:khart, Claire McQulllen. Jean Gale. Vivian Porter, Helene Miller, Bert Fotfe, Alma Saunders, Eleanor LoVetto, Prudence Hayes, Roslyn Shaw. Louise Clement. Flo Ward, Myrna Waverly. Dorothea Jacksorii Rusty Anderson, Mat Jorle Dorman. ■ Renee Johnson, Dolores Devlto, Dorothy Reed, Eleanor Witt, Louise Arthur. Marjorle Conradl, Jean Mills, Peggy Body. Laura. Shevlln. Paula Manners, Charlotte . Mount. Helen Derneir, Helen Saty, Polly SturglSi Eleanor Low, Jessie Reed, Ann Collins, Grace Glllern; Audrey Hayes, June Tempest. Fay Long. Plorette DuElk, Patoy Ruth. Nancy Lewis. Ann Budlck, Vera Devlle,: Ernette. Muesler. Ann I^tpn. Verna Lonr. Like other recent productions In a show field which has lost Its best writthe talent to Hollywood and radio, this 12th George White 'Scandals,' the iflrst In a couple of years, mainly lacks humor. , The other necessary revue Ingredients are there.^ On merit it's moderate and will probably dp that kind of business. The comedy department Isn't lacking entirely in laughs, thanks —and how — to the presence of Willie Howard and Bert . Lahr in the cast. Two such comedians in one show In this'day of extreme comedy talent drought is a break for the audience. Besides which the production numbers are okay. Cliff Edwards Is another comic, but for reasons that the unintormied won't be able to understand he's held down to a few brief bits. Show's other name, and top-billed, is Rudy Vallee. According to what It^'s doing in the show Vallee Is in chiefly for box office purposes. In its femme lineup the show has iio names, but a pair of talented youngsters in Grade Barrie and Jane Cooper, both from vaudeville. The latter is the former Betty Jane Cooper, whose dancing act ^yith the Lathrop Bros, has been standard for several years. Miss Barrie handles most of the singing and very nicely; Miss : Cooper, who has changed her hair as well as her name and is now a blonde, rings ilie bell in each of her two dancing numbers. Productlonaliy, the show may be heavy, but it doesn't look it. The settings are neat, but not lavish, and most of the color is in the costumes. An effort to tie the show together with a 'theme' Is made. To introduce his numbers Whit0 uses a running 'television' gag, with two show girls walking on before each scene and ^dialing in' on elec trlcal gadgets located where the annunciator^ used to be on the proscenium arches. It's a corny idea, used extensively before in pictures and vau devlUe units^ Musle averages up well, . being/the most consistent phase of the production, and contains at least two and possibly three hits, 'Life Begirts at Sweet 16/ 'Anything Can Happen' and 'I'm the Fellow Who Loves Tou* are the most likely numbers. Routined to inake his first appearance after niile o'clock so as not to Interfere with his 8-9 Thursday night broadcasts, Vallee gets off to an unfortunate start in essaying to compete with Howard and Lahr in a comedy song number. To the tune of 'Fellow Who Loves Tou",' the three! men alternate in singing a comedy parody, each to* a girl. Opening night It was every man for himself, with Howard and Lahr manag;lng to get their share of laughs personally and despite weak tag lines. Vallee was lost. A spot between those two boys is a 'tough assignment for anybody. Later , in the show, as the number leader in •Pled Piper of Harlem,' a swell production bit, Vallee is on again and at 11 o'clock he appears solo in five minutes or so of a Fred Allen imitation, with the impersonation no good reason for the ancient gags used to illustrate It. The item itself has no place in the . show. The best of a not very generous fiupply of laugh numbers arrive in one-two order Just under the finale, iftne Is 'Soup,' a radio demonstration on making canned soup, played by Lahr and perfect for his 'sea lion' style. It's similar to a standard burlesque bartender bit, but the radio and soup departures make it different and Lahr builds it Into a howl. The other is the Howard Bros.^ 'Rlgolettb' quartet, a classic among time-honored pieces, of American comedy business and as good In the replaying as ever. That this Is by far the best that Howard has to offer Indicates how poorly he'a been equipped. iEJIs 'French Lesson' depends entlrelj*^ on an un derstandlng o£ Yiddish, and even though the wordage Is as simple as po33ible, the non-members won't get it1 Should go out, among other things, it not cllppe4 already. Show can stand a loss of 15 minutes or so anyway. Other sketches run mostly on the blue, from navy to baby, and none is a sustained laugh prpvoker. Smash specialty turn of the shbw is the colored dancing! trio, Sam, Ted and Ray. A Halle Selaissie introduction gets them off to a novel start, and from then on the hoofery, the threesome, and the personality bf the tall boy turns the trick. His work is mostly the oldfashioned slide, but old enough to look new again, and rhythm eliding has always been among the toughr est kinds of dancing. Stanley Twins, from the, nlte clubsr. In their 'shadow dance' are another ohe-humber hit. jane Cbor per, on her individual showing in this , show, should go places. She looks splendid and dances beautifully, with the best pair of femme tap dancing feet in vaudeville her forte. As a technician many pros think Miss Cooper outshines Eleanor Powell, although her style is not so showy. Miss Barrie, who does. most of the vocal number leading otherwise, gets her. solb chance with 'I've Got to Get Hot' and makes the grade with It, although the highly sophisticated lyrical number isn't Suited to her girlish appearance and manner. Harold Wlllard shows a good voice in one opportunity, but never gets another. Hal Forde and Estelle Jayne are the Support players in the sketches, both capable and doing excellent work throughout the ishow. Best of several good girl numbers Is a top hat idea, which is the only really original Item In the show. The girls are hidden down to the neck by huge silk toppers, with their torsos dressed to resemble faces; blue brassiere decorations for the eyes, large bow ties at the hips, etc. Bumps and a slight case of grinding combine to bring about some novel effects. .'Boondoggling,' novelty lyric, provides for another well-staged girl number. Dancing girls are okay on the hoof and charmingly costumed, with the usual share of White lookers among the showgirls. Among the latter Is Jean, Gale who, as one of the Gale Quadruplets, was . a principal In another 'Scandals' not so long ago. Dressing of the line is sometimes sparse, but there is no out and out stripping. That the 'Scandals' stands up better on Its Broadway debut than it did on the road means that White's lengthy -fixing experiment was not entirely in vain. But It's not a sock show, because the script material isn't there. Sige, VICTORIA REGINA Drama' In three acts presented, at the Broadhurst, N, X., Dec. 23. '35, by Gilbert Miller; Helen Hayes starred; written byLawrence HouBman; staged by producer. Footman, .Alfred Helton Lord Conynghara Ei. Kellenden-C.larke Archbishop ot . Canterbury .. Harry Pllmnier A Maidservant .....Mary Austin DUchess o{ Kent.. Babetto Felat victoria..., Helen Hayes Lord Melbourne Lewis Casson Prince Albert. Vincent Price .Prince Ernest..... George Macready Mr. Richards .....Albert Froom Mr. iAneon i Oswald Marshall 1st Queen's Gentleman; Arthur Gould-Porter A Court Usher,,.. ...Edward Martin Lady Muriel Mary Heberden Lady Grace. Renee Macredy Lady-ln-Waitlng. . . .Mary Newnham-Davls Queen's Gentleman. . .iFothrlngham Lysbns Mr, Oakley. . . , Jamea Bedford Duchess Of Sutherland.. Cherry Hardy Lady Jane ....Helen Trenholme General Grey Tom Woods Queen's Gentleman .....Edward Jones John Brown . James Woodburn Benjamin Disraeli George Zucco A Footman....... > Robert von Rlget Sir Arthur Blgge Herschel Martin An Imperial Highness Felix Brown Princess. Mary Forbes Princess Shirley Gale Princess Ilzabeth Munn elderly Queen that the first -night* ers burst Into Immediate applause. Her appearanc» i» a triumph of make-up, which, , too, applies to her aged woman (1897) portrayal, confined to a wheel chair. Third act rings some laughs when the Scotch gardener chats with her royal highness aa though she was just an old friend. Scene then turns quietly dramatic when Disraeli, Earl of BeacOnsfield arrives at her bidding. His Qevotlon to ,her Is marked when he drinks her health and breaks the glass. Miss Hayes has some sterling support and not the least 19 that of George Zucco as Disraeli. It has lio resemblance to George Arliss' Impression of that statesman, but is effective. Most'Jntefestlrf^, libweVer, Is . the appearance of Vincent ~Prlce, whose faithful adherance to a slight German dialect helps make his Albert a splendid characterization. Price Is from London and it Is claimed that this is his first professional and American appearance. H« played in amateur casts over there. Jkmes Wobdburn's John Brown, is an outstanding part. There are not so many Important feminine parts, but Cherry Hardy as the Duchess of Sutherland and Helen Trenhdlm as Lady Jane do very welL Mbnntings aroused admiration, scenes mostly being ' In Windsor Castle, Kensington Palace and Buckingham Castle. Gilbert Miller, in presenting the play, announced the cost as exceeding that of most istralght playa and that la obvious. Jhee. TAPESTRY IN GRAY Drama In thre* acta (ST scenes) by Mar* tin Flavin ; . presented by B; P. Schulberg; features Ellssa Landl, Melvyn Douglas; staged by Marlon Gerlng; set,. Donald Oenslager; at Shubert, N. Y., Deo. 27, '36; $3.30 top. Dr.' HarlUB Araold Korft Brik ............ . elvyn Douglas Iris. .Bllasa ' Laiidl Stephen. . . . . ..... ........... .Minor. Watson A Servant.' ...Henry Vincent Ballet Master..... .....Joseph Kalllnt MacManus. ..'.Jack LescouUe A Medical Corps Major..... ;Franklyn Fox Stretcher Bearer. .......... .Edgar Murdock Toung Doctor.,.. ......George Lamar Old Doctor............. John M. Kline Waiter. , ....Augiiste Araminl Edltot Frederick Forrester Steward .George Bieasdale Maid....'. Audrey B&rlow Walter; .Joseph Olney Newsboy ; . . . . .Lew. ' Danis Streeit Walker.....;....... Irlam Battlsta Hotel Porter ; ...Alan Morrill Patient. .Paul Gallo Nurse, ; ; . . . . Muriel Brassier Child tchard Von Patten Governess ..Cornelia Bell Policeman ;Jack Harwood Hospital Nurse.,,. ....Norma Downey Surgical Nurse .Helene Bush Anaesthetist..;....' .MUdred Van Dorh O'Neill Starr West. Jones Patient..'. C. Russell Sage Gunman Claude Carey Woman .'. . June Leslie Beggar. Samuel Roland Man ; Arllng Alclne Soldiers, Hospital Orderlies, Walters, Stewards, Dancers, Nurses, etc.— Jack Brooks, Herschel Cropper. Larney Goodkind, 'William Hunter, Robert Gray, Owen Russell, William Robertson. Theodore Paul, Howard Kent, Tippina Brown, Sylvia Altman, Natalie Chtlvers, Shirley Beckmnn, Hope Hall, Julian Altman, DorU Bahr, Tbelma Wunder, Alice Bherbon, ' Piays Out of Town P EVENING STAR Philadelphia, Dec. 26. Play \>y Z6* A^lns; produced by Hanr Moses; staged by I/eontine Sagan; production designed by Stewart Ohaney. At th« Chestnut Street Opera House, Dec. 25; Auctlon6er..'...........;F4ster J. Williams Ellis Charterlg...... ...Frank ;Fenton Agnea Jessey. ...Merle Maddem Auetloneer'n AsststaAt. .. ; . . . .George Justin A Womnn ....i. ......Grace Fox Amy Bellalre..;<......i..,Jobyna Howland Ronald Bland........ .. . .. Anderson Lawlor Richard......,,.,,..,. lacouren Toshlwara Dr. Wolfram... .........Hans Hansen FVau Wolfram..;.., ...Edith Andree Alice Whltridge, . . . • . ; Whitney Bourne Mr, Howard..; .........Frank Cdnnoy" Mrs. Hopper. Vera Hurst Postman . .Al. Fields Madame Marie.. ........ .Genevieve. Belasco Lilllsn Bunn ..Joan Engel Dr. Boyd. .'. . . . . , . . .James' Todd Gate Kee r at Paramount. Studios.. . Jack Ball Miss Leiand .Mary Howes Ben Martin. .. .Eddie Albert Studio Guard ..Ross Chetwynd Ed., a runner from MGM., . . ;. .Ezra Stone Assistant Director. ..... .O; Z. Whitehead Hannah ; . . . . .Ethel Intropldl Comers^ Man, ............. ...;B, D. Krans Half-breed. . .Alexander Micone Professor Edward Jephson Mr. St Edward Emerson Walter. ..... .. ............... . .Regis Joyce Edward Sotbem Paiil Edward Trevor •Victoria Beglna' further enriches Broadway, both productively and as worth while theatre. It should have ah. extensive feminine draw. It is a long play and at time seems to lag In detailing the story ot the long-reigning Queen Victorlar spanning'her life from girlhood to old age. But with Helen Hayes on the stage it la engrossing and the fineness of her acting malces 'Beglna' a standout. Much has been written about Queen Victoria but this version has her all-woman. It opens when she is awakened early in the morning to be told she is the queen. Next scene has her advised to wed and given a list of ellglbles. Before she sees any of them she decides' to ask her German cousin Albert, having fallen in love with his pliptograph. Their marriage in 1839 proves a love match and. while, there are little spats, her royal highness becoming jealous quite often during their \yeaded life ot 22 years, the coiiple maintain tender regard for each other. Though Albert -la devoted, he exhibits a mind of his own and it is his counsel that she seeks, rather than the prime minister's. It is just after he rewrites the minister's note of protest to America at the start ot the Civil War that he collapses, it being a. fatal attack. Third act, which is the shortest, Is the most diverting. There, under a tent lii the garden at Balmoral (Scotland) Victoria sits. So well does Miss Hayes impersonate th* Lots of Holly wood talent Involved in this production, which is obvious after a few scenes. It's not a Holly wood type story— anything but. It is told, however. In a sort of inbtlon picture technique, with 37 scenes, a lot of fiashbacks, some closeups and with no real warmth' oir heart. It is a sort of dummy play, with loads bf Ideas, tons of chatter, much emot Ing, but never anything more than puppets^ strutting the stage. B. P. Schulberg, former produc tlon head of Paramount, presents this Martin Flavin opus, and has invested it with a splendid and cost ly production. Marlon Gerlng, who is program credited as, having 'conceived and staged the entire production,' also probably rates a bow, although there ,is just a mite of hesitancy here; Probably the fault lies In the fact that he became so enamored of the excellent Donald penslager set and the lighting and decorative posslbllltlea thereof that he forgot all about his, actors. The set and staging badly overshadow the play. . Play is a' very Involved one, actually a trajgedy, though it passes as a drama through the fact of the death being hidden for the most part and a sort of hopeful message tagged on for the final curtain. Starts with a. psychologist being called in by a famous surgeon's wife to . treat her husband, who is suffering from aphasia. Patient doesn't want to see the prof, so the .prof suggests that the wife and the friend of the family (male) tell him something about the past, history, etc. They do, the tolling occupying a series of flashbacks, plus some switching to the central scene for thread pickup purposes. And the telling of the play is as involved. Seems that Erik and Stephen were college students together, both studying to be doctors. Ki-ik had a gift; for surgery, Stephwi.-for research. Cornea the war, and Erik one night bumpa Into Stephen's body, wounded by shrapnel. Alone In the open field he operates on his friend, performing some miraculous plastic surgery. But it's against orders, and he's punished, losing sight of the future of his pal. In the hospital, Stephen is suffering, (Continued on pago 214^ , Zpe Akins' latest play, ning Star,' goes In for that evefpopular sports of baiting Jthe cinema:' "At the same time It manages .to include a gbodly dose of this playwright's sentimentality and also her shrewd seiise of theatrical values. Although by no means faultless. It looks to be for a moderate success, especially ith the feminine clientele. 'O Evening Star* la quite obvioiialy, and without any question a story of Marie Dressier, although there are features In it that find no parallel in the late screen star's career but, instead, tally very closely with the character of a veteran stage star, still living. Play opens with a prolog laid in Amy Bellaire's Riverside drive home in 1917. Hard tinies have struck this former toast of Broadway, and she has been forced to get rid of many of her most precious belongings. Scene jumps to' Hollywood and time to 1931, with Agnes Jessey, a loyal friend of Amy's, entertaining the latter at an afternoon tea. Prominent directors, producers, etc;, have been invited. Idea being that some bf thein might be able to find a place for Amy In rlx. Instead, they all high-hat or Insult her, none of them having ever heard of her stage work. She won't impose on Agnes Jessf y any longer and leaves for destinations Unknown.' Next scene shows her in a stuffy little Hollywopd apartment five months later. She is eking out a precarloiia existence by teaching elocution, but Is down to her last dollar. "To mtake matters worse a young doctor informs her she hasn't got many years to live. . Amy puts her pride In her pocket and goes around to one of the studios to get an extra's job, having heard that there has been a call for the pioneer women type; She is chosen and when an actress playing a bit. collapses after rehearsing one scene 40 odd times, Amy gets her chance. Scepe — a meller with Indians and such — was to have been played straight, but Amy kids it and has thie whole studlb laughing. Director is inclined to get sore,, biit his boss, the producer, likes the laugh and hires .her. Last act, two and a half years later, showa Amy a very successful screen star, besieged with offers. Trouble is that she's worn out, but can't get time off for a vacation. Same doctor tells her that her end ia near, but Amy Is such a game trouper she passes up her vacation plans and Is ready to work on any good script that comes along. Miss Akins goes typically sentimental at the end and reminds of her earlier 'Declassee' and 'The Varying Shore.' Amy's son by a man whom she had known years before in New York and with whom she had an affair, is the author of one of the star's most successful scripts. On the night of a big birthday party in her honor this • lad files on from . New ■york, bringing With him a box of white violets to her from his father. Boy, of course, doesn't know, the telatlonship, but Amy kisses him on his departure and, at the end. Is gazing soulfully at the fiowers. Jobyna Howland, who once scored a,.personaI success in Miss Akins' 'Texas. Nightingale,' does a grand job by Amy Bellaire and after a week or two she'll be doing even better. Part is one of the Juiciest, with plenty of hoke comedy and lots bf straight sentiment. Latter is more or less new to Miss Howland. Frank Conroy as an eccentric and inide film director is capital and nice performances are contributed by Merle Maddem as the loyal friend, Vera Hurst as a fllm-maa scrub lady, and James Todd as the doctor. Scenes are extraordinarily beautiful; alsb faithful to type. Leontlne Sagan's staging could be improved in spots, especially in scenes where a number of extras are used, in which timing is. sometimes faulty. As in all Akins plays, dialog is sometimes given to floridhess, but there's no denying she gets her characters across in great style. I Want a Policeman Philadelphia, Deo. 27. X play by iRufu* Klnff and Ulltoii Iiazurus; produced by Francis Curtis and Richard Myers; staged by Anton Bundsmann; settings by . Cleoh Throckmorton. Presented 'at th* Broad Street theatre, Dec. 26, '86. Erio Davidson. i, ...Norman Hammond Karl Con MacSunday Fern Davidson, .....vw Judith Wodd Pollc* Commissioner '■ Baldwin . • Clyde Franklin Alfaro . Weldon Heybum .Tohn Davidson. ....... .....Eric Wollencott Jepson .Robert Bortron Donnts. Harold MofCet Charles Talbot. ., .Cllntoii Sundberg Eleanore Breen, .......... ....Wendy Atkln Lady Breen. ............. .Estelle WInwood. Cotswold. . . . . . ; Larry Bolton Captain ' Lynch. . .Barry Sullivan Arthur Semple;... rederlck Graham Here's a mystery piece that de> serves to get to first-base and ought to stretch as extra base or so. Play possessea Intelligence end. humor and, above all, tho cast has been chosen with aii amazingr regard for type and ' personal aptitiidb. On ita opening here, 1 Want a Policeman' had one very big handicap to overcbme but It was one that won't . be difficult. Show is In two acta, with five scenea In the first and six in the second. A fbrm of Jackknlfi9 stage la used and plenty of space is needed. According to the management the stage here isn't the required dimensions. Anyway the result is a series of waits between scenes out of all proportion to the length of the scenes themselves. Means an unnecessarily choppy effect and also an Impression of length that amounta some^timea almost to tedium. 'I Wa-nt a Policeman' Is fortunate in that it possesses a bubbling, sometimes effectively 'nutty' sense of chiaracterization and an easy and spontaneous ability to spiirn the more annoying and most familiar aspects of . the mystery drama. 'Policeman' haan't got the most novel plot. Of ita type that has been seen, but it does possess intelligence, a novel manner of working out old ideas and a swell sense of humor. Also it busts wide open a number of the usual so-called rulea of its epecles; Show opens with an effective scene (badly lighted here) -showing a bedroom in the~ Long Island home of Eric Davidson, middle-aged married man with an obsession that his life is being threatened, presumably by hla wife. Davidson has had a heart attack and the scene culmihatea with his verbal attack on his wife, declaring that he is sure she ia going to murder him and adding that he has aent a document to bla lawyer which. In case of his sudden demise, will definitely Implicate her. There's a scuffle with a gun at the end. of the scene, a light that goes out, a ahpt and that's that. Second scene, twc weeks later, Is at Police Headquarters. What are apparently crank letters have been received declaring that Davidson's death was not by apoplexy as tho doctor decreed. Commissioner of Police is a little suspioioiis of young Mrs. Davidson, a former chorus gal, despite . the fact that crank letter^ have threatened-.her. Two dicks are detailed to guard her. In the meantime a stepson has been questioned, aa well aa ,a young friend of the family, both of whom are among the authors' crazier and more delightfiil characters. From then on the two detectives, Alfaro and Dennis, play important roles in the action. Despite their watchfulness another murder la committed at the Davidson househjld just about the time it is discovered that Davidscn himself was really a victini of foul play. Authors thereupon openly disclose to the audience the guilty party, but in-, stead bf being harmful their plan ia most effective. Audience knows who to watch and is oh the qui vive every time the villain, gets a chance to commit his next crime. Authors also do not worry about secret passage ways s^nd sliding panels; they kid them but use 'them very effectively just the same. In the last act, recourse Is made to plenty of hoke meller but it is still Interpersed with a relieving sense of comedy, swell dialogue and corking characterizations. . Play's biggest asset, however, seems to be ideal casting. Some of the parts may have nothing much to do with the main action but all the characters are unusually Interesting. For example there's a high-toned English dame with bibulous proclivities, played up to. the hilt by Estelle Winwood. Part's a wow, although not even dimly connected to the. story. Among other characters whose roles have the delightfully Insane undertones are those played by Eric Wollencott and Clinton Sundberg. An outatander ffom the comedy angle is Harold Moffet as the dumb flat-foot, Dennis. Judith Wood is a properly seductive and glamor.ous Mrs. Davidson. Weldon Heyburn.is nicely typed as the younger and more polished dick and Norman Hammon, Con MacSunday, Clyde Franklin and Frederick Graham are most effective. >Fa(cj*.