Variety (Oct 1938)

56 VARIETY LEGITIMAXE Wednesday, October 5, 1938 Plays on Broadway Kiss the Boys Goodbye Coniedy In three acts presented at Henry Miller's, N. Y., Sei)t. 1!8, '38. by Hiock Peinberton; written by Clnie Boothe; staged by Antoinette Perry; tS.30 top. Millard Mitchell ■\Vyninn Holmea ....Uelcn Claire , .Fmnk Wilson , .OlUe Burgoyne John Alexander I^loyd Lloyd Conductor Cindy Lou Bethany OcorRe. :■ Malmle Madlaon Breed R J. WIckneld.; Edwin Mcnnder Leslie Rand Carmel VTMle orace Rand PhlUp 01>er Herbert Z. Harner Sheldon I^eonar* 'Top' Rumson Hugh Jlarlowe Mvra Stanhope Benay Vemita Oscar Lex Lindsay Mitchell, as the director (with the burps); Benay Venuta, as Myra from Brooklyn, and Philip Ober, as the host. The two colored servants, Frank Wilson and OUie Burgoyne, may have too many lines, but they belong in this unusual diversion. Ibcc. There is enough humor, satire and laughter to insure a run- for TCiss the Boys Goodbye*; and the title is attractive, too. It's the kind of a script that Brock Pemberton and Antoinette Perry have been looking for ever since 'Personal Appear- ance,' which clicked in the same Henry Miller theatre. 'Kiss' has more substance than the latter play, with a welter of bright lines, so many in fact that Miss Perry asked Clare Boothe to take some out. It is the second sparMer from Miss Boothe, whose 'The Women' was a top draw for more than a year on Broadway. First- nighters did not agitate themselves over the new show, but that is not always indicative, and it seemed clear that the play possesses plenty of entertainment for theatregoers. With Georgia, Holljrwood and Westport as backgrounds, the author has arrayed an assortment of char- acters, including newspapermen and magazine people, ,to speak the brilliant lines concocted by Miss Boothe (Mrs. H. R. Luce). The pro- ducer selected a cast that acts the play to the full, too much so at the premiere, though there is a compara- tive newcomer, Helen Claire, who all but runs away with the show. Story really has to do with the search for a girl to play Scarlett O'Hara in the contemplated fllmiza- tion of 'Gone with the Wind.' For the stage the yarn is 'Kiss the.-.Boys Goodbye,' and the femme lead for it is Velvet O'Toole. It, too, is about the Confederacy's side of the Re- bellion—and 'way down South they still argue that they won the war, perhaps somewhat in the manner that the heroine does here. " Play, which is all theatre, starts too rapidly, the actors talking so fast in the first act that they over- lap each other's laughs. The second, act is the bell-ringer, both for action and comedy, while the third act slides along at nearly the same pace. Lloyd Lloyd, director for the Her- bert Z. Harner Productions, selects Cindy Lou Bethany, a southern, in- experienced Ingenue from Athens, Ga., for the Velvet OToole part Early in the performance the author is- rather caustic of this type of actress. Lloyd is confident that she will not make the grade, reaUy wanting to finesse his current sweet- heart, Myra Stanhope, into the -plvan job: They arrive in New YOrk and on i6 Westport for a week-end at the place of Horace Rand, magazine edi- tor. Other .guests are a publisher, who may be a composite of Roy K, Howard; a radical columnist, who approaches the size and could'be rec ognized as Heywood Broun; Harner, the fllni producer, and a- wealthy polo player/ who thinks he is the fiance of Myra, a flickle blonde, de scribed as 'a Brooklyn tramp.' The house guest^ and host start picking on the girl' from Dixie with her 'geeter* (guitar )< Cindy Lu de- cides to show Harner that she can act and when jibed over limit s'ne goes into action,, butting the cor- pulent columnist in the mid-section and exhibiting so- m'och spirit that the 'fllmite declares she is lust right lor the part of Velvet That does not end the play, for in the third act Harner insisting On his right as a producer to come to Cindy Lou's- bedroom, disrobing in fie shower, attempts a seduction and gets shot by the little (backer. Back in the livin** rooTi the diilog and action tanars. bft is still funny. Myra^ is detected after having a little session out amoR" t}ie flower beds with the .husband of her hostess, and eive.<; no 'explanation except to ask: 'Well isn't this a weeJc-end?' The direc^3J> . is canned^ so iff'-the editor, and the columriTst is on the rafj<»ed edge for "planning; a sit-r'own strike by the Newinaner fruiid. There are Southern expressions in trbduced by M'iss Claire, making for some fri»sh lin'»n on the stase. U»>-^n asking for a drink she thinks she'll go for 'slight go.' which is straight corn lini'or. Miss Claire exolains th?i her 'Covin?»ton control over my Cul pepper temoer' doesn't work when she goes into a 'snit.' The ac+ress had parts in several Broadwa-" shows, is. hi<!hly rated in radio and Is a commentator fc Movietone, par ticularly fashion clios. She main tairts that Southern accent, which is rather natural for Alabama is h^r home state. Some of the best bUs 0/ direcHon are noticeable in Miss Claire's, fine nerformance. Players who stand out include Sheldon Leonard, as the olctU'-e m-'^n: John Alexander, as the columnist; Huarh Marlowe, as the noloist: IWwin NIeander, as the publisher; Millard 30 Days Hath September Comedy In three acta, presented at the Hudson, N. Y., Sept. 30, '88, by Klrby Grant; written by Irving Gaumont and Jack Sobell; Aliaun Skip worth featured; staged by Bertram Harrison; $3.30 top. Grandma Henny Alison Skipworth Robert Barnes Harry Antrim Ellla Leyla Tyler Edward Gene Gerlcke Mathilda Julia Johnston Mr. Seam Otis Sheridan Vera Kllsabeth Wlldc Dr. Parson WllHam Crimans Mrs. Johnstone Alice Fleming Mrs. Gleason Rose Flynn Mrs. Hartford Florence Vroom Jay Carter Nat Burns Chic Collins ..; "Wmis Claire Punk David Evans Rork Thomas Patrick Dillon Kane Douglas McMuUen Interne Earl J. Briegal Drama In three acts (five scenes), by Theodore Prutl;; Jiainailzcd from his own novel. Directed by Anton Bunds- mnnn; produced by Morris Ankrum; asso- ciate iiroducer, George Brewer: settings, Samuel Leve; lighting, Feder; music, Hana Bruno Meyer; orchestra directed by Joseph lOeln. Presented by the Federal Theatre Project of WPA. at Maxlne Elliott, N. Y., Oct. 1, '33; *1.10 top. Wade Etarnett Kendall Clark Aunt Jane Barnett EHaabeth Matone liMrst Cracker Leslie Hunt Deefy George Mathews Orey Thurman Jackson Sarah IMirnett Dei-othy Raymond Celle Partin Amelia Romano Ony Mell Iturton Mallory Clay Doe Doe Green Carney Jolks EUwln Cooper Holy Holler Preacher Gregory Robbins Preacher's Daughter Ftancea Ware First Woman elba Palmer Her Husband Jack Smith Second Cracker 'illlam Gallagher Third Cracker George Probert Second Woman llzabeth Hawkins Woman with Baby Kate Cloud This affair resembles some of the shows that wander onto the boards at the fag end of a season. New au- thors, new management, but that's about all. It was more diverting noting the number of people who walked out during the premiere than paying at- tention to the conversation on the stage. A few hardy souls stuck to the finale, probably having nothing else to do. That '30 Days' brought Alison Skipworth back from Hollywood is the only thing to its credit. The ample Miss Skipworth is a clever comedienne, but is wasting her time in this stage curiosity. Play has to do with a legacy, the beneficiary of which is a youth who shoots a good game of golf, but has no coin. That he ma^ marry some sort of broker advances money on the will, which stipulates that the bequest shall not go to the lad until his mother passes away. The latter is naturally much agitated over the situation, giving her a chance for emoting. It seems that another man with a strange occu- pation re-purchases the legacy, which complicates matters. Story is not clear, either to the audience or the actors, much less the authors. One scene has Grandma Henny (Miss Skipworth) getting three matrons stewed on punch, a scene which was only funny to the players. There are racketeers, de- tectives, and so forth, in the pro ceedings, all of whom impressed as being as phony as the plot. '30 Days' is in on a rain check, for another attra-ction was booked into the Hudson before this one opened, which was a wise move on the part of Sam H. Grisman, who operates the theatre. Ibec. Thanks iFor Tomorrow Melodrama In three acts, seven scenes, by LeRoy Bailey; directed by Walter Brooks; setting by Louis Kemtel; incidental music by Jewel Bennet, Beatrice Roderick and Raymond Curtis. Presented by Walter Brooks, at Nora Bayes, N. Y., Sept. 27, '38, at 9X30 top. Bart Keeler Robert Williams Bllse Graham Mary Drayton Melley May Vokea Peter Francis Da Sales ?aza Adelynn Owens lune Keeler EJeanor Wells Jack GiaOam Ralph Holmes Joe- Morrison Frederick Manatt Jtean Del Cleveland Frank Martin Scott Moore BIG BLOW Plays Out of Town Knickerbocker Holiday Boston^ Sept. 30. Musical in two acts, two scenes, by Max- well Andersou. Walter Huston atatred. Presented by the Playwrights' Company. Music by Kurt Weill; book nnd lyrics by Anderson. Staged by Joshua Lagan; scenes by Jo Mielalner; dancea by EBwln Donby. At the Shubert, Boston, Sept. 80. 'SB; AVashlngtnn Irving Ray MIddlcton Anthony Corlear Harry Meehan TJenhoveh Mark Smith Vanderbilt George Watts Roosevelt Fvancia Plerlot DePeyster Charles Arnt DeVrlos ..John E. Tonng Van Rensselaer James Philips Van Cortnnrtt, Jr Richard Cowdery Tina Tlenhoven Je««ne Madden Brom Broeck Richard. ICoIlraar Tenpin Clarence Nordstiwm Sohermerhorn .Howard Freeman Pleter Stityvesant Walter Huatoii General PolTenbureh Donald Black Mistress Schermerhorn Edith Angold Probably everyone concerned with this is properly remorseful, so why rub it in? LeRoy Bailey, the author^ also wrote the lugubrious 'Curtain Call* of two seasons ago. Even he must know better now. Opus is about a tough racketeer nitery operator, .his blind sister ancl an assortment of oetty hoodlums and molls. There's a murder and a lot of talk about destiny, the futility of selfishness and the beauty of life— or words to that effect. It had the opening night audience in the aisles after the first act—but they were all on- the way out. Production, settings and direction are what's politely known as inade- quate. Francis De Sales does what he can with a minor gangster part and Ralph Holmes makes the Rich- ard (Himself) Merriwell hero as ac- ccpt:;rble as possible. Except for May Vokes, who overacts her part, re.st of the cast is negligible. It can't last long. Hobe. (Withdraton after ttvo peTfofm- ances. Printed Jor the record.) 'Mice-Men' In Chi Chicago, Oct. 4. Next show due for the American Theatre Society season is 'Of Mice and Men,' which comes Into the Sel- wyn Oct. 24. This will be the second ATS show, the initial offering being 'Golden Boy,' current in its last week in the Harris. Into the Erlanger on Nov. 28 comes 'Amphytrion 38' for four weeks. Lunts come in with 'Sea Gull' Dec. 26. Other show set is 'Our Town,* but dates are still indefinite. Federal Theatre project has a gripping show for its season opener. Theodore Pratt's drama about the Nebraska family that migrates to inland Florida to take up farming and becomes embroiled with the nativie white trash is skilfully writ- ten and the hurricane that rages across the stage to provide the climax almost tears down the thea- tre. 'Big Blow' is by no means a perfect work, but it provides an en- grossing evening in the theatre and should have a .satisfactory run. Naturally, Pratt's play merely sup- plies the setting for that magnificent storm. Yet, despite its incompletely worked out pattern, its disjointed plot development and its inconclu- sive scenes, the drama is studded with arresting characters. And when that wind begins to howl through the winjjs and roar across the foot- igbts, it's enough to make even a hardy spectator cling to his seat. Much of the impressiveness of the Big Blow' is due to the storm sound effects recorded from the sound track of Samuel Goldwyn's picture. 'Hurricane.' Yet the physical mani- festations of the gale are also admir- ably handled in the production. As the noise of the wind batters against the walls of the theatre, the sides of the log cabin shudder, the windows rattle and the door cringes under the force of the elements, while the players seem almost wrenched off their feet. It's sup^erb • illusion for a stage production. For the most part Anton Bunds- mann's direction shows keen insight and a deft touch. After a mild first scene, the action suddenly springs to life at the first curtain. Then in the second scene the leisurely pace and hushed voices create a slowly mount- ing terror. The Holy Roller meeting is particularly well handled, with the action accelerating to- a tremendous climax. Unfortimately. much of the momentum is dissipated by an over- long scene change for the climactic htirricane scene. Furthermore, in that scene the- action is permitted to dawdle, instead of almost .falling over itself in a pell-mell rush to «c centuate the fury of the storm. How- ever, throughout the play there is no unnecessary-movement, yet the ac tion never becomes static. While the playing is generally commendable; the performances vary. Kendall Clark has a direct manner of playing the hero. His voice is well modulated and he speaks clearly, but his timing is off. Elizabeth Malone is excellent in the shrewdly-written role of the . great aunt. It's the best part in the play and she^makes the most of a fortuitous bit of casting. Amelia Romano has trouble with the ini' perfectly worked-out, under-written part of the- scrub-country girl, though she- achieves some persuasive moments. . Doe. Doe Green is superb as the hulking, terrified Negro sought by the mob. In the stirring second scene he creates agonizing tension by hushed speech and underplayed eniotion. And' in- several bits during later scenes he- gets jiist the right effect by explosive violence. Edwin Copper wisely plays the villain straight and so avoids phony teeth clenching n6t in the part, while Gregory Robbins uses his froggy voice convincingly as the Holy Roller preacher. Leslie Hunt, George Mathews, Thurman Jackson and Burton MallxiTy are believable (arackers and Dorothy Raymond is acceptable as the sick farm wife. A weakness of the production is the welter of southern; accents, oft-and on accents and no accentS' at all. Samuel Leve's settings are simole, yet add to plausibility of the play while Feder's lighting is again outstanding. The music for the first act seems unsuited to the drama, but that for the- second and third acts helps create the proper atmosphere All of it is woefully played. Hobe. WPA's 'Nation' in Philly Philadelphia, Oct. 4. Six-month lease has been inked by Federal Theatre Project on the Walnut, midtown legit house, for presentation of 'One Third of a Na- tion,' opening Oct. 17. Show will have 125 in cast and run six eve- nings a week at 25c. to $1. Maxwell Anderson's first musical is a distinctive one, and its star, Walter Huston, is a new type for this medium. It has only two sets, no line girls and few belly-laughs, but it has a beautiful score, a com;pany of very competent singers, eye- arresting costumes and an air of re- freshing fim-poking that most play- goers will automatically associate with Gilbert and Sullivan. Show people, especially, will be interested in this novel piece of qual- ity craftsmanship, and the carriage trade will almost certainly flock to see the . first production offered un- der the impressive auspices of the five playwrights. Anderson's book is more substan- tial than most musical plots, and his lyrics are a far cry from ttie 'June Moon' days, because they are literate and assist in developing plot and characters. They are, for that rea- son, one of the brightest elements in a distinctive pattern that lifts 'Knickerbocker' well above the pro- saic plane. On the production side there is the intriguing device of planting the character of Washington Irving at a desk on a platform in front of the proscenium, at one end of the orchestra pit. Irving .(played by Ray Middleton) introduces the show in the role of author as the story unfolds. Occasionally he inter- prets developments of the plot In song, and when his characters be- come too' ebullient he steps onstage to guide them towards more placid pursuits. This particular business is so well handlied that it does not interrupt the action in the wrong places, and yet holds enough to raise the role from the minor league. Middleton performs it with the right flair. Walter Huston, as peg-leg Peter Stuyvesant, does some grand troup- ing and some adequate vocalizing and hoofing^ Intelligently arranged music and sustaining lyrics t^rmit' him to deliver his few musical mes- sages capably, while others in a good supporting company take top honors in this specialized department. As a tyrannical governor of New Ams- terdam, letting an iron fist peek through his soft-gloved greetings to the populace, Huston is a full- blooded Stuyvesant whose dictatorial dealings constitute- one of the smoothest ribs of modern, polities yet staged. In briskly courting his prospective bride, he lays down some laws for his intended household that should provide the press department with nifty material lor the Sunday pages and mid-week readers. Two newcomers who distinguish themselves are Richard KoUmar and Jeanne Madden. Kollmar is cast as the unruly young man who can't take orders; but who can think fast enough to. outwit Stuyvesant in their race for the girl. Miss Madden, who is a logical goal for any such con test. A male council of New Amsterdam politicians provide most of the com edy of the piece, and they stop the show twice with 'Our Ancient Lib- erties' and 'Ve Vouldn't Gonto Do It,* as they voice objection to Stuy vesant's tyranny. Outstanding tunes of a score that will probably outlast the run of 'Knickerbocker* arfe 'It Never Was You' (duet by Madden and Kollmar); 'How Clan Yop Tell an American?' (duet by Middleton and Kollmar); 'Will You Remember Me? (duet by Madden and Kollmar); 'September Song' (by Htiston); 'We Are Cut in Twain' (duet by Madden and Kolmar), and 'The One Indis- pensable Man' (by Huston and en semble). A good mixed singing en semble is well blended into the pro duction scheme, 'Knickerbocker* is neither raw beef nor a delicate lily. It lacks the girlie flash and bawdy comedy of some of its successful predecessors, but on the other hand it constantly effuses a warming, delightful charm. With running time clipped a half hour, and with Huston introduced earlier to his audience (a solid hour after ooeninp night curtain), the Maxwell Anderson entry appears destined for a substantial run on Broadway. The two Mielziner sets are excel- lent. Fox. MR. ANP MRS. PHIPPS Pittsburgh, Sept. 30. Comody by John Hamilton; presented by Kllbuck Theatre, Directed by Robert Alan Green. Opened Sept. 24. Mr. Skeeter John Larkln Kaith Phipps Kay Harmon Henny Phipps Robert' CarlisU Annabelle Sara H«mill Illll Hogan.. illon O'FerrIa Paula Lienile , Bula Ma^ Jackson Stephen Leslie Jay Keith Lundy For opening show of season at world's smallest theatre, 44-seat Kil- buck, Robert Alan Green has picked mediocre comedy in 'Mr. and Mrs. Phipps.' It's by John Hamilton, on play-reading board of Pasadena Community Playhouse, production here the result of Green's meeting with playwright on Coast last spring. Piece starts out promisingly, but after opening scene in first act falls apart and staggers through the re- maining distance along strictly con- ventional lines. Deals with a young couple from Indiana^ who go to Cali- fornia on an inheritance she has re- ceived from an aunt. They*re both ambitious kids, Benny wants to vrrite a novel and she*s expert at water colors. Rent a house near Malibu Bleach and find it's inhabited by a shiftless, acid-tongued, but entirely likeable young l>each-comber who gets his meals free by posing as an author in a cafe for tourists. Phipps decides he can stay when he prom- ises to • help out- in the housework and also to keep them from being taken in by the wrong people. However, wife of a imovie star who lives'nearby meets young Benny and goes after him. She's a predatory female who's been married four times and he's impressed by her glamour and empty promises that she can get him a studio writing job^ In. meantime, star's husband comes home from Hollywood after finishing, a picture and he makes a play for Mrs. Phipps. Youngsters finally re- alize that Indiana's the place for them after all and go back. How- ever, they leave behind their cousin, who has finally reformed the like- able beach-comber-guest and talked him into marrying her. People in 'Mr, and Mrs. Phipps' are nice enough, but they're too plain and ordinary and situations are all uncomfortably pat. Dialog grows pretty monotonous and when play's over, there's a 'so what?' feeling. Nothing here to suggest either com- mercial or film Dossibilities. Acting is uniformly good, with- Robert Alan Green accomplishing a nice direction job and getting bet- ter performances than the script de- serves. DUlon CFerris first-rate as the wastrel and Sara Hamill is a cute maid. Kay Keith Lundy Is a suave pic star; John Larkin has a. good bit as the gabby real estate agent, and Eula Mae Jackson gets considerable out of the role of the aging dame on the make. Young couple is done by Kay Harmon, who does an earnest jobr and Robert Carlisle, best in his., less mature moments. Setting is a model of miniature excellence. ■ Small canacity and tie^-up with Women's Club, which handles sale of tickets here (£1) assures 'Mr, and Mrs. Phipps* Kilbuck run through February. Cohen. Abe Lincoln in Illinois Washington, Oct. 3. Drama In three acts (IZ-acenes) by Rob- ert E. Sherwood; staged by Elnaer Rtce; settings by Jo MIelz]ner; presented by the Playwrights' Co.; featuring R«ymond Maa- sey; at the National, Wash., Oct. 8, '3S: $2.75 top. Mentor Graham ......Frank Andrewa Abe Lincoln Raymond Massey Ann Rut ledge Adele Liongmira Judith Iris Whitney Ben Mattllng George ChrJsU» Judge BovUng Green Arthur Griffin Ninian Bdwards Lewis Starlln Joshua Speed Calvin Thomaa Trum Cogdal Harry Levlan Jack Armstrong Howard DaJbllva Bab ■ Everett Charlton Feargua David Clarke Jasp Kevin McCarthy Beth GaJe Herbert Rudley Nancy Green Lillian FoRter William Herndon.... ..Wendell K. Phillips Elizabeth Bdwards..... May Collins Mary Todd MurJel larklond Edwards' Maid Dorothy Allan Aggie Gale Marlon Rooney Gobey Hubert Bi-own Stephen A. Douglas Albert PhllHpa Robert Lincoln John Fayna Lincolns' Maid Iris Whitney Crlmmln , Frank Tweddell Barrlck John Gerard Sturv'eson Thomas F. Tracey Jed ,Harry Leviaa Phil • Stuart MrCIurft Kavanagh;.., Kevin McCarthy Oftlcby John Trlggs Donner DavJd Cterke Cavalry Captain Rverelt Charlton New Playwrights* production combo swings its heavy artillery into play with this one and opening night re- action indicates a solid hit. Nearly three-hour humanization of how the Great Emancipator got that way is almost bereft of comedy and physical action, but. maintains a pace of un- derstatement that keeps audience tied in an emotional knot through- out. Only problem now is how to tighten here and loosen there to make its breathing practical. Show is too long, for instance, and, as mipht be expected of author-con- trolled venture, too wordy in spots, but oruning should be easy. Everything is built around Lin- (Continued on page 58)