Variety (Sep 1937)

60 VARIETY LeeiTIMATE 'Wednesday, September 8, 1937 Summer Theatres CASSANDRA KELLY - Matunuck, R. I., Aug. 31. TUo Thcntrc-by-Uic-He.-i, fn iifnocl:it on ■wWh .Sidney Harmon and Wmiion A. )>i:iki'. pn-.si'i)t.s Jes.sle Uoyce l^nndlH ln_ C <H»aiulra Kally, a now comedy by gifnd Dfti'lon. .StUBCd by fti-ltlnRs by Rugenis Ijnrry. Ralph an.1 Ku- HuUlcd WcllcH, TiUc. Krncst Wiioilivarrt /. Noll li'lynn ....Ann Mcril ...Calvin 'J'homas A. William PucUor Uobert do San M:u-/.ano Jessie Jloycp Lnndls .Millard Mlldion r.roK'Ty I'oiilo Sprond Walter.... Harold MlrliPlnian Tl»lrd Walter ^...Kobert Hulclilrtsoii nieva'lor Uoy I'rtsary Mnxery PiiMdle Hob; Ciissandra... Bin First Walter A little bit of everything has gone into the making of this new comedy, •S^basically that , of the smart variety. 'Perhaps that is its chief detriment. The authors take a crack at practi- cally everything of topical nature. The^teel magnate and his hypocritical stand against labor is raked over the hot coals; the armaments manufac-. turer comes in for some direct and caustic criticism, and pot ■ shots are taken at a-financial tycoon with a Romeo complex. Between all these the play .tells of a celebrated opera diva, now, in decline, and her efjforts to wed millions so as to provide a future for her son and daughter. Tliere is much that is good and much that is n. s. g. in 'Cassandra Kelly.* Fortunately the good points • overshadow the bad ones, and with the proper application the play can be salvaged for metropolitan show- ing. The angles which merit consider- ation are principally the sundry amusing situations and some really funny dialogue. Because most of the characters'are tough to handle rhuch depends on the cast. Fortunately, the cast did a fine job at the Matunuck opening. Miss Landis in the title role was particularly good. The story is that of a much-mar ried opera singer with a son going to Oxford and a daughter matriculating at a finishing school. The singer, Cassandra Kelly, is about to marry " a multi-millionaire with vast steel interests. Her New York apart ment appears to be the rendezvous • for a- set . of daffy people who are quite frank in their talk and actions. On the eve of Mrs. Kelly's wedding io millionaire Emery, Freddie, the Oxford student, and his sister Peggy, come home. Freddie is all for the wedding. Traveling with his mother in her hey-rdey as an opera star have, left him weary of the uncertainties of life.. iSister Peggy, the silent and.dc mure type, frowns upon her mother throwing herself awiay to the Emery millions. This same attitude is main- tained by Bob Emery, the play-boy son of Emery. Mrs, Kelly is quite happy at her sacrifice until Bob starts stirring up a mess, combination of preachment and sentiment. • Mrs. Kelly begins to see things in a different light, but she is still determined to go through with the marriage. It isn't until she has a heart-to-heart talk with her future Jiusband about money, steel and ar- maments that she begins wavering, When ex-husband Kelly, a pla-'- wright, enters the scene she is all for giving up the scheme and run ning away. She does, but she returns in time to hear Kelly putting Emery on the pan, and unwittingly bringing about the solution to the complicated situ- ation: It is a' hectic thii'd act, but stretched a bit too far. Play needs at least 20 minutes' pruning, and when this is done it may improve things. Miss Landis gives a spirited char acterization and has excellent sup port in' Calvin Thomas as the tycoon in love with her; Millard Mitchell, who makes the playwright in*edible, and Robert de San Marzano who steals several scenes with his well done madcap son of the idle rich Marc Worse Things Happen Suffern, N. Y„ Sept, 2. C'lifnedy In three afl.s (thfoe scency) by Kt'lih Winter, presented by Ilobert 1''. Cut- l.>i' uuder the direction of Follx .l.-icovca at the t'ouniy theatre, iiulXern, N. T,, Aub. 31. I'jihVHrd Brett Juines 'JVuex lOllon Hope Maffiraret Perry liin.'y Itrcii,, Viola Roache Koniil 1 Viiuelian .lose Ferrer .^ir Maurlco Stanley, Charlie Arnt Jolin t John O'Connor I.aura C'u.nnln(;liani Xondaa MetcaUe 'Worse Things Happen at Sea' can be very easily turned into a play that will earn its keep. At present it stars out btavely enough, goes good in the second act but slows up in the third where instead of carrjr- jng his story to some sort of a logi- cal, conclusion the author devotes the closing stanza to a rehash of what has already happened in a conversational rampage between two of the characters, Lucy and Laura. Replace some of this blather with a few bits of action and there'll be a play. 'Worse Things' is choclc full of witty lines and laugh- producing situations, but that third act must be fixed. '■. Lucy Brett is a widow sufficiently wealthy to maintain a large _house in Sussex, England. She is afflicted with a high art complex to which she gives expression by protegeing ::ionald Vaughn, a novelist. He's been doing pretty well as a lowbrowish hack, out she inflicts her better things influence on him in an endeavor to raise his batting average. They plan a script to top all other tomes. The pair put their heads together to concoct hifalutin sentences and when they hit on one it goes into the book via Ellen, the handy, ever present sec. There's little causual sentiment on the part of . Lucy but its overwhelmed by her art and besides Ronald does not re- ciprocate. Incidentally Lucy's son, Eadie, is a victim . of his mater. Against his will she tries to make.a painter of him and the place is strewn with his abortive efforts. Then enters. Laura, the practical sweetheart of Ronald, and puts the kibosh on all the monkey business. Her foray results in the scrapping of all ideas and ideals of Lucy. The waste basket gets the manuscripts. The paintings are slashed and Ron- ald vows he'll write a book with a monster for a hero while Ed gets a job as an auto rhechanic. So ends the second act. And .the flop comes. Laura and Lucy go on a gin bust and during the consumption of a quart or so recount their experi- ences, as they grow mellow. Two things in favor of the play from a commercial angle is the small cost of production, employing one set and small cast. Miss Roache as Lucy stood away ahead of Tthe balance of the cast. Craw. And why should an alert theatre group produce it? It would be difficult to imagine a script with less relation to the con- temporary scene than 'The Drama- tist.*^ Author can write well, and oc- casionally delivers a phrase or coup- let Which tickles the fancy, but on the whole her attempt to breathe life into outmoded forms and char- acters never comes off. Best thing in 'The Dramatist.' as staged at New- port, is a synjbolic • 'Dance. of Mar- riage' performed by members of the Hanya Holm troupe. Story concerns Pierrot Smith, carefree adventurer who lives only for the moment and is constantly playing a part, the nature of which depends on his fluctuating moods. In one of his sober interludes Pierrot decides to abandon wild ways, so gives up his chorus-girl mistress. Co- lumbine Miller, and marries the wealthy and aristocratic Isobel .Van Rensselaer. But Isobel 'lives in prose' while Pierrot 'lives in poetry.' Their natures clash. Pierrot leaves Isobel and returns *o his old exist- ence. He dreams of starting. anew some day with Columbine and the child .she was ab^ut to bear him when they parted. Years pass; 111. and in poverty, he meetS' Columbine again. She tells him that their "hild, their 'Pierrette,' died a long while ago. As for Colum- bine herself, she is happily married to a successful merchant. Still the dramatist, Pierrot salves his wound by pretending that Annie May, the little dancing student from down- stairs, is really .his daughter. Gay and debonair to the last, he goes out to a 'party' given by Death, and his brilliant butterfly career comes to an end. Isobel, impelled by a sense of duty to seek her worthless hus- band, finds Annie May weeping at his bier. Annie May says she is mourning the death of Pierrot, he* 'father.' Isobel, lonesome in her con- ventional orose life, takes the girl home with her as a daughter. Thus, even in death, Pierrot has acted his role of dramatist, creating a false sit- uation which Isobel and Annie May ac(!4^t as true. Alexander Kirkland handles the Pierrot assignment with a certain bouyancy. Mirian Jordan, recently back from England, portrays Isobel with cobl blonde aloofness, and there are creditable contributions by Philip Tonge, Joanna Roos, Nell O'Day, Franklin Gray and others. Somehow, though, the rhyme scheme gets In the way,- and the actors never seem quite genuine or completely at ease. Poul. ■ Dr. BalnbrldRe ....,. .WUUnm Uoehrleic I'lintosraplier. Jlarold- Wax Boll Hoy William Swollnnd Oharabernnald Frances Benedict THE DRAMATIST Newport, R. I., Sept. 2. romady In three acts by A'oby Merchant, Sta({i>d by Agnes Morgan; settings by Uniellne 'Jlarke Roche. Produced by the Actor-.Vanagers. Inc., at the Casino thea- tre, Newport, K. 1.. Aug. 31, '37. Harlcfiulu Jones. Franklin Gray .S(.'arainel, a chauffeur Philip Tonge Columbine Miller ......Joanna Rooh A .Sacristan Rdgar Kent Isobel A'nii Rcn.saolnpr Miriam Jordan .\unt Van Rensselaer , Elisabeth Dean Furrar Pierrot Shilth Alexander Kirkland TiOrd Barrowc.Iuff Charles Trcxler l.ady Barrowclult Heltina Cerf Sir chiirlos Topham Jliiyden Rorke l.ady 't'ophain Hathaway Kale Annie May llcgan Nell O'Day A Priest. Ju.s Addiss .Mtar Boy.'3,,.James Ilonnen, Thomas Dunn I'oet Philip Gordon (Mownl Edward Class Iiovcr ' TjOU Ro.sen KIsliwite Kleanor .StaufCer I'rudo Henrlotla Greenhood Coquette , .UUzabeth Waters Chief reaction aroUsed by this nlay is one of mild mystification. Why should anyone in 1937 turn out a rhymed fantasy about Pierrot, Pier- rette, Harlequin and Columbine? •*••••. .••.*•••• 66 p H in p 9 99 / And I. Miller creates » chic new version on our \ famous "Roundie" last... with graceful surplice / /' line... in black suede with Patent. . . . 13^^* \ ■ /rMILL£fe\ 562 FIFTH AVE. 450 FIFTH AVE. 49 \V. 34th ST. 1552 B*V/AY • X^ayJ^J^ejj/ •• • • •• • • • •* NEW FACES OF 1937 Dennis, Mass., Aug. 31. Revue In two acts (37 acene.sl; book by_ ISverett Maroy and Leonard SlUniah;' music by Baldwin Bergerson, Irving Graham and James Shelton; lyrics by June SiUman. Irv- ing Graham and James .Shelton. Additional music and lyrics by Morgan Lewis, Paul McGraln. Low Kesslcr, Louis C. Bellln, Robert Bllder, Is'evell Fleeson, Ted Fetter, Al Slillman, George Walbridge; additional .sketches by Mort Lewis, Ijawrenoe Riley, Irving Graham, H. *6hn Friedman, Luther Davis, John De Vries, Rags Ragland, Rich- ard Lewine; ide.-i suggested by Ham Fi^lipr. .Settings designed by Mercedes, realized by Riigene C. Kitsch,. Staged and produced by Leonard filllman at the Cape playhouse, Dennis, Mass., Aug, 30. . Ca.1t: ■ ISi-lka Mann. Rags Ragland, Lotte Goslar, Leone Sonsa, Michael Lorlnp, Mildred Todd, James Shelton, Joseph Beale, Kdna Russell. Jack and June Blair. EH.oa- bctli Wilde. June SlUman, Mara Alexander, liou Biiblan, Bowen Tufls, Peter Renwick, Van Johnson, Grace (Jjllern, Claire - Kills, Paul Ro*>crts, Vera Deane, Henry. Arthur, Henrietta Boyd, Johnnie Tunslll, Remi Martel, the Johnsons). Bright future seems assured for this third edition of Leonard Sill- man's annual revue. There is good talent and mediocre, good material and bad; but happily, the good pre dominates. Fact that the show at present is overloaded augurs well With .iudicious cutting, a brisk and generally agreeable entertainment should be whipped into shape for the new season. Partial list of highlights would in elude, first of all,, such attractive tunes as 'Croupier,' 'It's You I Want,' •Rinka Tinka,' and 'Train Time.' Then there ax*e at least half a dozen top notch skits, among them 'Decline of Vaudeville,' 'Glee .Club.' 'Whither America' (this in particular is s masterpiece of t^bgurdity), 'Decora tor's Dream,' /and the eccentric dances of Lotte Goslar. Miss C^oslar, by the way, won critical notice in last season's ill-fated 'Pepper Mill, produced by Erika Mann. Miss Mann is also in the current 'Faces, but her talents are pretty much wasted in the weak connecting scenes which are supposed to hold the re vue together. The Sillman showcase is perhaps a little crovyded, what with some 30 oersonalities jostling for recognition Edna Russell, Michael Loring and June Sillman stand out. Miss Rus sell has a vigorous, almost violent comedy scn.se and isn't afraid to let herself go. Loring and Miss Sillman both know how to pro.iect a song, and the latter is responsible for lyrics to several of the best numbers. Among other performers who merit attention are Mildred Todd James Shelton, Mara Alexander, the dance team of Jack and June Blair. Elisabeth Wilde. Rags Ragland, Leone \Sousa, Peter Renwick and a Negro contingent made up ot Johnnie Tun- sill, vocalist, and the fast-slcpping Johnson.s. Seltinffs and costumes at Dennis ."we oki\^'. without ofTcring much that is eye-filling.' On tilt' debit side of the ledger are several sketches which don't seem to get anywhere: 'Are We Comfy? , for example, and 'The Little Art Film Gr6up.' 'Button, Button,' and 'For- give Us Odets' need better payoffs. James Sheltoh sings three of his own songs, when one would probably suffice. And there are evidences of borrowing from other shows. But all in all, 'New Faces' is good fun, and there is.every likelihood of its being more so by the time it reaches Broadway. Poul. DEARLY BELOVED Ogunquit, Me.,. Aug. 30. Con>edy by CharlCH . Beaban and Robert Buclincr. Produced at the Playhouse, Ogunciult, Mo., Aug. 30. Arabella Love Jean Mulr Marshall Grayson.,. Laura Wilson. Lotus (leorgB Best... Ronald Clay... KunI Lollle t»ayi , .Donald CooU ,,..Barnu Ostcrtag .., Rvelyn Chevlllat ..Carl IJenton Itcid .Damlansio O'Flynn ,. ,¥„■ Colin Dawson .MAdelliie lloolye If last week's premiere of 'Dearly Beloved,' by. Charles Beahan and Robert Buckiier, is any criterion this trite little piece will be given the cold shoulder if it ever ventures out into the cynical limelight of Broiad- way. Founded on a rather hackneyed plot, embellished with a few bright lines, and more often larded with stage and screen lingo which will zoom over the heads of the average lay theatregoer, 'Beloved' stars Jean Muir and Donald Cook, but gives them thin pickings as to script. From all the slow-paced business Cook gleaned considerably more meat than his leading lady, although Miss Muir had her nioments in a fairly convinc- ing bedroom scene which closed the play. Arabella Love (Jean Muir), an ac- tress, has been playing the road in 'Cyrano de Bergerac' for a few. sea- sons, has been starving between en- gagements and leaning heavily on the helpful arm of her roommate, Laura Wilson (Barna Ostertag), who works for the telephone company. Arabella meets a wealthy young son of a railroad president, outside a phone booth. They have lunch at the Ritz and soon become enamored.- Marshall Grayson (Cook), the young man, proposes marriage and a Euror pean honeymoon. Arabella accepts the sailing proposition, but declines the ring. She wants to pursue her career. Their friends assume they are wedded, and the whole world takes it for granted when she finally lands in Hollywood. She goes Hollywood, takes on Laura as her personal sec- retary, affects all,the poses, is hotly pursued'by'an author, who urges her to get a divorce. Dizzy from the Hollywood merry-go-round ride, Arabella thinks maybe this is a good idea. At this point Grayson arrives from New York, where he had camped for months after a lovers' quarrel, pre- tends to approve of the divorce, but points out that they will have to get married quietly to engineer a wide- ly-Dublicized divorce. Miss Ostertag, given most of the good lines, was a standout in the cast with her comic relief, fii'st as the watchful, sisterly roommate, later as the blunt-spoken personal secretary. Lollie Payson, played well by Made- line Hooley, is a gushy columnist with four million circulation. Fox. WPA An Evening of Short Plays Chicago, Sept. 3. Four one-act plays p-esented hy the Fed- eral Theatre at the Pi-lncoss. Chicago, Sept. .1: 'Blocks,' 'Love and How to Cure It.' 'The Long ,Tourney Home" and 'The End of the Beginning.' LOVBJ AND HOW TO CITRR IT Comedy In one act by Thorton Wilder. Sla/red by Kay Kwlng and Harold Koppl. Rowona Violet LeClaire T<inda Fannie I'illen Joey. George Hoskvn Arthur Warburton... , .Tom McDerniott BLOCKS .\llec;ory of w.ir in on" act bv Mollv Dav Thatcher. Staged by Kay Ewing anci Har- old Kopol. The Cirec'M Worker '. ..Sluart lian.gley ,']■''« /■''■'"<'" ^la" , Charles lleilv I he Ian Worker .• Jami^s Dlohl 'Ibe Tan Man ..; Waltor Krouse THR KND OF THIO BfOGINNINi; Coniedy in one act by Sean O'Cusey. •Sliigod by Art .Smllh. Diirry Jf;rrlll Art Smllh LIziiie Borrlll Vivian Holt Larry Dcrrlll -pat Devlin TUr; LDNCr VOYAGK HCMW Drama in one ac: bv Eugene U \elll ."Staged by Robert .Mlltbn, 1'':it Joe. .\lck.-. , Mag..- DrlMMill Cocky Ivan... (ilsoii , Fredy .. Katv" Two Houghs.., Gcor.^e Duylon I'li-crott Min>«iall ;Kale tJratlot Victor .Sulberhind '.. .Put 1 )pvli)i Ili'rbcrt .Sluinnr \rt Smllh •i- Ruth T'.i.qi> Krancf.s Jliu-rl.s Arthur OUo, Wlllliim Jin- duction are all oh a high plane. More, the wisdom with which the choice ol plays was made, shows that there ia real theatre in the Federal theatre and will help greatly in bringing the one-act play into public conscious- ness. Oh opening night, the piece de re- sistance, Eugene O'Neill's 'The Long Voyage Home' was omitted, sup^ posedly because of the illness of a player. 'Love and How to Cure It,' a back- stage piece which takes a London music hall of 1895 as. the place and time of its setting, is, by far, the weakest of the group. Devoid of plot, its theme is that of the effectiveness of the elusive in love. The sparse story concerius a young dancer spurning the love' of one who is too easy, only to place herself in the reverse position with another man. There is a question as to whether the grouD should . have done this play at all, • Even those who have an intense dislike for the allegoric form must admit that 'Blocks' is good theatre; Perhaps good theatre is all it is' certainly preaching against capital- istically conceived war belongs to the flag-waving play class which brin.gs 'Bravos' from the audience, as this one did on opening night. In its WPA presentation, which iis also the first professional showing for the play, 'Blocks' was smartly done. Actin.g was good, lighting ex- cellent, and the sets, in modern cubic style, were ,in keeping with the rest. Yet the play is hot smart. It is not subtle, and it makes no attempt to hide that its puroose is to show ir- rational and illogical aims in those who supposedly direct civilization. This is not the first nroduction for 'End of the Beginning.' Sean 0'Ca!?ey's version of the Willie West and McGinty house wrecking vaude- ville turn, done in an interior and with dialogue. Presented with the-^e other plays, its hokum comedy is a.oart from the other moods of the evenin,4, and adds something of pop- ular appeal to the bill. Loop, VIRGINIA (Continued from page 58) with 'If You Were Someone Else,' 'You and I Know' (also some Stall- • irig lines), 'Virginia' and 'My Heart Is Dancing.' Donald Graham at times duetted with M'iss Booth and was liked as a Virginia ranger. Mona Barrie as the governor's daughter attracted atten- tion though her face was too immo- bile at times. Gene Lockhart as the actor-manager was amusing in his way and had' that solitary giggle line, a reference to his Romeo smelling like a horse this night. Bertha Bellmore as his wife quite okay, but Nigel Bruce as the governor did not seem to know what it. was all about and had the misfortune of fumbling some lines. His performance was curious since he is rated a real comedian. Per- haps it was just the part. Buck (Ford L.) and Bubbles (John W.) and . Avis Andrews top the colored contingent. Bubbles solo- hoofs to kill a wait but he should have covered those spindly shanks. Miss Andrews leads the colored warblers in 'Send One Angel Down' and again with Buck and Bubbles plus the choir, there was 'I'll Be Sitting in de lap O' de Lord.' Bub- bles registers in the most liked 'Goodbye, Jonah,' plus choir. Patricia Bowman, the twinkle toes of the Music Hall, easily scored and the ensemble toe dancers added more pleasing sight stuff, particu- larly in the drum number with the mugging Valia Valentinoff—a hound for making grimaces. There was more ensemble in 'Jack and the Beanstalk,' a portion of the second act which was distinctly juvenile. Partly so too was the county fair, with Ajax the fire-eater, James Rey- nolds, an aiiroit pedal juggler and George Prentice, with slap-stick marionettes, which drew adult gig- gles. The Colonial army on the march with its flags and rockets was a rousing effect on an elevated tred- mill. The first nighters were in re- • treat, for it was going on to 12 o'clock. Doubtless there will be more enthusiasm at subsequent per- formances, when the show . is tight- ened up. The sscond night saw '25 minutes chopped out. House and show being under t\\e same management, is a set-up favor- able to 'Virginia's' chances. Ibee. In producing four one-act plav.-^, two of which are staged profe.s.si6n- ally for,the first lime, the WPA i.s making a real contribution to the Chicago theatre. There is little use going into the accompJivShments ol the Federal the- atre since its establishment here. Su[- fice to say, from a beginning frau£?ht with crudenes.s; it has bocomc, with 'The Lonely Man' and this pro.qram. a theatre of which its executives and its patrons alike may well be proud. Direction, pcrCormaiice, and pro- Mgt.: LOU CLAYTON Berkshire Hotel. New York