Variety (Oct 1938)

VARIETY nays on Broadway The Fabulous Invalid Drama In two acts, with mualc, presented ■ t the BroaUhurat, N. Y., Oct. 8. '3S, Uy y,un H. Harris; written by Moss Hart and tirforge S, Kautman; staced by latter; $3.85 „ , John W, Cnrleton Richard Gordon I'AUla Klngaley Doris Dalton Laurence Brool: Stephen Courtleltjh Tlie Valet Walter Beck The Mixld Vera Fuller MelHsh The Character Man WlUlam Dorbln Ushers KdwurU riMher, Donald Baker Oaorge Haskell William JS. BlaUe The Coroner Sydney Grant The Dooi-nian Jack Korworth mil Bruest I^awrord Cnrleton's Secretary Unrnn Osterlof; An Office Boy dward KlUo.t A Manager .Tumcs Moore Another Manager Klch«rd Woyd Saunders Percy Helton Sheridan Chnrle.<( KinR Curtis John Lorenz A Policeman Perdl Hoffman Kewsboys Alec Courtney, Jerome Thor i.'^^^J'^::::::::::::::'":^.^^ iood'titV.""ai^ but a few of the Usher Melvln Parks f Amy Kevere I'aherettes -I Toy Knthawoy I Vlrftlnia Burke 1 Robbe Arnst Prizewinners i Ada Sinclair t Boy Johnson A Boy PhlHi> Tmex A Girl Marlon Kdvrards Goidle It!ith Clay.on Mr. Jamison Jomes MncDonnUl The Auctioneer Solly "Ward JMa Assl.stant Al Amato A Vendor Robert Rhodes A Photogranher Prul Pn^ne A Ticket Girl., Elsa Ecsl SolinsUy Curds Kirpe The StnKC Manager -....Eddie Nelson Daisy LaHlft Iris Adrian A Comedian Clancy Cooper A Plainclothes Mn David Leonnrd A Salesman Sid Stone Jpssie Jeanne AVardley Annte Grace Valentine A Director Lewis Howard one of the largest casts on record. The program lists 73 players who are assigned to 250 parts. The artists hail irom every phase of show busi- ness and it seemed a prodiijious job of assemblage. Alluring Doris Dal- ton distinctly stands out as Paula Kingsley, with Stephen Couttlei^h (who was in WPA's 'Prologue to Glory') very good as Brooks, while Jack Norworth is a corking selec- tion as the other, ghostly figure. Richard Gordon, as the manager; Solly Ward, as ah auctioneer; Iris Adrian (from Leon and Eddie's night club), as a hurley stripper and other bits; Eniest Lawford, playing an old Shakespearean actor; Bobbe Arnst contributing several attractive bits; Charles King as a grind picture house showman: Grace Valentine, as a charwoman, Janice Joyce in two Fabulous is the correctly descrip- tive adjective for such a show, which virtually blankets show business from the turn of the century until the present times. There is so much that is entertaining in what could be called a cavalcade of the Broad- way stage, 'Invalid' should be a defi- nite click. The performance figures to attract unusual attention, as do most of the plays from the pens of Moss Hart and George S. Kaufman. Play is not to be classified as drama, for there is plenty of music throughout, pit being well peopled with musicians. Bits, numbers, or brief scenes from the hits^both dra- matic and musical, that were pre- sented for-more than a generation, are integral parts of the show. That called for costuming that probably cost as much as for a revue. Many of the 50 odd shows mini- «lured in this performance of reminiscence were spotted on 42d street and it i$ surprising to note the number that played the Liberty theatre, long since a grind film ihouse. Actually the authors have written a saga of 42d street—in its . heyday, when the block was the hub of show business and now a wilder- ness of neon signs, grind pic houses, hash houses and stock burlesque joints, Nat one of the 11 theatres is now playing legit. It all takes place in some parts of the Alexandria theatre, easily rec- ognizable as the New- Amsterdam, last of the legiters that went pic- tures. Story displays the decline of the stage.and how the theatre nearly passed out. Hart and Kaufman turned historians to prove the-point, but it is curious that they should arrive at that thought, beeause they have delivered so many Accesses. Some of the playing is in the front of the house, the boxes on both sides of the house being used liberally. Same is true of the rowdy 'Hellza- poppin', but there the similarity ends. Early in the play Paula Kings- ley and her husband, Laurence Brooks, are seen in their dressing nooihs at the Alexandria on the opening night of their newest hit, receiving the congratulations of John W. Carleton, the manager, and also a host of socialites who invite the stars to a supper party. But she is stricken with a heart attack and dies. Few minutes later & ^ot is heard and- her husband is found to hiave joined her in the be- yond. Thereafter they wander through the theatre as ghosts, ac- companied by the philosophical doorman, who also has passed on. They see what goes on^as the sea- sons successivelv are indicated by the* scenes from great shows from 1900. on uiitil wen into the 20s. . Frequently the trio discuss the decline of the stage, either from vantage points on the s^age or in the'boxeus. They see Garleton lose his theatre and root tor- him when he tries to -buy It back; Finally, they see the street as it is now and it is quite evident that the authors made a broad jump between the first and' second acts, for the hurley houses csOTie along some time later. In the final scenes the Alexandria Is shown boarded up, while the hu- man riff-raff that wanders along the legitlesB street mooch by—prosti- tutes, hawkers, biuns. Yet the'story does not end in. despair. A group of young, ambitious players and a fisry, youthful director- are shown on the sta>»e. Thcqr have fhe theatre and the urjre to do worthwhile thin-^s In It. In such groups, such as tL? Mfc ^'^ury Theatre, which proved It could be done, the authc^s see ttit reJ'eneration of the stage. The numerous incidents call for people who make up this extraordi- nary spectacle of show business. Word was around following pre- views that 'The Fabulous Invalid' could not miss. About 15 minutes was sliced ft-om the first act, which is still too long. The scenes from the hits are introduceil by slides projecting what resemble the front cover of published songs and these are frequently reproduced. The projections are shown on a screen in stage center, with—the characters emoting or singing on either side. In the final scenes of wornout 42d street there are real neon sighs on a shop, from the doorway of which a loud speaker blares, the announcer giving the details of a prize fight for the edification of the drifters. Certainly the play will appeal to those who know Broadway, and that means the adult end of the playgoing class; but it may also attract those of the younger generation, for the performance exudes a definite asso- ciation with the seasons when the legitimate theatre was on high and had few of the pposing diversions that have constricted the theatre to its present limitations. Ibcc. LEGITIMATE ture of Dorian Grey' is among th6 Srose classics. Play was brought ere by Norman Marshall, who pre- sented and staged the work in Lon- don and who supplied an excellent production. That the play does not win enough audience sympathy for a man of Wilde's habits, despite his I genius, is indicated. Sometimes the performance is ' monologistic in the hands of Robert '■ Morley, the English player who scored so well in the film 'Marie An- I toinette.' Wordage of the brilliant author flows so easily from Morley ! that his characterization seemed un- canny. Regardless of whether the play clicks or not, his Wilde will probably rate as one of the best per- formances of the season. Another part that stood out is that of Frank Harris, another tmusual person, as played by Harold Yoyng. In make-up and appearance he seems to be a ringer for the original. The most solid laugh came during the trial scene, when Charlie Parker, one of Wilde's young friends, is asked by the prosecutor whether he has given up such practices. Lad says he has, having joined the navy. Part is played by John Carol. Mark Dig- nam. as trial counsel, opposed to Wilde, contributed another striking performance. John Buckmaster, as Douglas, plays well, and the tyoes of fops who were attracted to Wilde are simulated with little screening of their kind. Ibee. Wednesday, October 12, 1938 Plays Out of Town Drama Windsor, THE GOOD In three acts presented at the NT. Y.. Oct. 5, '3S, by Norman and Irvln Plnci'.s: written by Chester Erskln and stngod by same; Frances Starr and Robert Keith featured; ?3.30 top. Archie Payne John Baby Rose DubrowslU lorence Sundstroni Whltey Warren Bryan Harriet Eldred Frances Starr Alice Wltte Elwyn Harvey Malcolm Eldred Robert Keith Clarabeile Wltte Eleanor Panner Rev. J. Luther Wendell Herbert Tost Israel' Bnruch,.... Frederick Kaufman Howard Eidrcd , JftrvJs Rice Francis- Duncan .....Erie Kalkhurat Norma Babcock Leona Powers Dr. Vincent Ten Broek... .Harry Bannister Ell Baruch Douglass Pari<4ilrst OSCAR WILDE Drama In three acts presented at the Ful- ton, N. Y., Oct. 10. '38, by Norman Mar- shall; written by Leslie and SewcU Stokes; Robert Morley featured; staged by. pro- ducer: $3.30 top. Lord Alfred Douglas John Buckmaster Louis DIJon Edward Trevor An Arab BDy Richard Ch.irUon i Oscar Wilde Robert Morley I An Hotel Walter Kenneth Treseder Eustace Wyman Kane A Walter Reginald Malcolm Frank Harris Harold Young Charlie Parker John Carol A Butler , : Colin Hunter Allen , /Vrthur Gould-Porter Sir Edward Clarke. Q. C J. W. Austin Mr. Justice Henn Collins .'Frederick Graham Clerk of the Court Lewla Dayton Mr. E. H. Carson Q.C... Mark Dlgnam The S'ollrltor-General Gordon Richards Mr. Justice Wills Oswald Yorke Jules Jean Del Val Americans who visited London, where the new play was shown at the Gate theatre, had a distinct dif ference of opinion over the worth of 'Oscar Wilde.' Reaction may be the same on Broadway, but the chances are its appeal will be mostly to in^ tellectuals, with a limited draw in- dicated. ' First half of the play scintillates with the- glitteringly humorous phrases of the amazing English poet- dramatist and that pace was partially held during a sustained courtroom scene, which makes up the second act. Third act saw a let-down, nat ural in light of the biographical na- ture of the play, which is stated to be historically true. Wilde, the man described as 'fas cinating the masses and amusing the upper classes,' is first shown on a hotel terrace in Algiers, he then going back to London with his closest friend, Lord Alfred Douglas, son of the Marquis of Queensberry, to score the biggest-stage success of his career, ('The Importance of Being Earnest.'; Wilde- frankly states his credo, that he doesn't want happiness, only pleasure. This 'prince of paradox' with unnatural desires, likes to ac' for 'acting is more real than life.' Cast is entirely hiale because of the nature of the . story and there is not even mention of the feminice Wilde's penchant for young men less than half his age is his imdoing, He entertains any number of young- sters with dinners in private troomSi giving them money, and presents. He drew no line on such acquaintainces —a jockey, a groom and a vale ; were among his guests, according, to facts brought out at his trial. Wilde comes a cropper after being goaded to sue the marquis for crim inal libel, when he refused to brea' with Douglas, who always basked in the brilliance of the- writer. The marquis had left a card at his club addressed to Wilde, 'masquerading as 'a sodomite,' He refuses the advice of his friend, Frank Harris, notec English editor and author, who tells him not to go to court. Wilde no ; onlv loses the case, but the evidence is turned over to the prosecutor and he is srjit to prison for two years, Thereafter,, his decline is stesidy anc the final scene' shov^s'hl'rn in a lowly Parisian bar, an absinthe addict Pby doe.s not, however, depict his comparatively eariy demise. The authors have turned out f<► ^d job about a man whose *Pic MADAME CAPET Philadelphia, Oct. 5, A new drama ad&pted from the French of Murcello Maurctt* by George MIddleton. Produced by Eddie Dowltng. Stogod by Jose Rpben; settings by Watson Horrntt. Presented at Locust, Straet, Pbllacfelphla, Oct. -1. '38. Emperor of Austria Fr.erterlc To^ere Count de Mercy Hiar»ld Gould Marie Antoinette Eva Le Gatllenne Madame de Misery Alico John Augeard Nelson Welch Rose Bertln.... Blanche Ring Sylvia Phyllla Holden li'nnette ' Carol Evans Axel de Fersen Wllllatn Post, Jr. Morle-Thereao Helew Rehee The Dauphin lana Donnenwirth Madame Brunler Merle Maddern Count da VaudreuU .Staato Cotsworth ITaron de Besenval George Baxter The Duchess de Pollgnac Mary Michael A Market Womon ....Suzanne Steel! Another Market Woman.... Diane de Brett •A. Court Lady EHxabeth Dewing Another■ Court Lady ...Merle Maddern J>"ouciuler-Tinville George Baxter Herman ....Harold Gould Fabrlclus William Sanders Chauveau-Lagarde........Staata Cotsworth Another Guard W. T. Hackett Leonard Lo Rol Opertl Count de L% Bram NoBsen MIrabcau.' , QeovRe Coulourls Miidame Elizabeth Marian Evensen SliTi«n Louis Veda Quince Marle-Therese (aged 1.^) Charlta Bauer The Dauphin (Charles) Warren Mills Tragedy has a place on the stage, but when drama details the- woes of small town folk it is hard to take. Broadway has repeatedly turned down that type of play, and prob- ably will^ditto as regards to 'The Good,' sponsored by two young aspiring managers. Upstate police records shiow that mm'orality in small communities and- rural- districts" exists in about the same proportion as the metropo- lis, and that probably includes neu- rotic conduct as clearly indicated in the play, localled some distance out- side of Albany. Perhaps that is what The Good' purported to show, but that such stuff is diversion in the theatre seems a distinctly erroneous theory. First act is deadly quiet. Second secomes highly emotional and' the author might have made a better job of it had he stuck to the main theme. Instead, he rings in addi- tional miseries, but it probably would not have made much differ- ence in the result. The Eldreds, though substantial people, are snobbish to the core. Malcolm, the father, runs the fac- tory. Harriet, the mother, is. the dau'ghter of a deceased clergyman, who is described as having been heartless, which trait she also em- bodies. Their son, Howard, 16, whom she. wishes to folldw in the footsteps of her father, is neurotic. He be- comes the constant companion of Francis Duncan, the choir leader who is 30, latter urging the lad to be a poet. Convensation between them clearly indicates an unnatiu-al affection. Discerning Dr, Ten Broek, who had lost his license over a life and death illegal operation, but whose war service regained him good standing, perceives the homosexual proclivity in the boy and advises the parents to break off the relation. The revelation infuriates the father and he turns on Harriet, blaming her for raising, the son with sueh results, The scene is violent and it is brought out that, husband and wife have hated each other throughout the 17 y^ars of their marriager—she hac fled from him on their wedding night. Third act rather side-tracks the main issue, bringing in the. case of a lad who'had used $17 belonging to the schoors publication. He insists he merely k^t the coin temporarily and intended putting it back. Har riet, along with the others on the school board, rules it was theft and the lad is expelled. He bitterly claims that they acted so because he is a Jew and, being expelled, spoils his ambition to become a doctor, Unable to get Harriet to side with him, the boy suicides by taking car- bolic acid on the street nearby. The play ends with Malcolm starting an -affair with an attractive housemaid as their son leaves hoihe to join the perverted choirmaster who had left for New York, all leaving the 'good' wife flat on the lot alone. There is a tense scene between Frances Starr, as Harriet,* and Leona Powers, playing a school teacher who pleads unsuccessfully for boy who used the money. The mother is what »Bother schoolboy calls 'ice water.' It is revealed that the teacher (Continued on. page 52) •Madame Capet' has a mild chance for a successful New York run. Pruned down from its almost three hours' running length at the open- ing night here, and sharpened and dramatically emphasized in several of its more dramatic sequences, 'Ed- die Dowling's new dramatic produc- tion should warrant considerable lat-waving and general huzzahs. Certainly no costume piece has been given a more sumptuous or sympathetic recording thpn 'Madame Capet.' Slow in starting and late in ending, this footlight Version of the tragic story of Marie Antoinette, characterized by the French people as 'that Austrian woman' cordially hated by the men and women of her adopted (by marriage) land, and considered by historians as far more responsible for the onset of the French Revolution than her vacillat- ing royal consort, Louis XVI, carries with it a very real conviction and a theatrical effectiveness far and away above most stage pieces of its kind. Eva Le Gallienne, portraying the title role of Marie Antoinette ('Madame Capet' according to the ironic description of the Revolution- ists), has a role in which she is in- termittently noteworthy. In her later scenes—the trial in the "temple and the Tribunal—Miss Le Gallienne evoked memories of such famous Continental stars as Bernhardt, Rachael and Modjeska. Really brilliant performances are contributed by George Coulouris, as Mirabeaxi (a character for some un- known reason omitted from the cin- ema version), by Frederic Tozer, as- the Austrian Emperor, by Alice John and Blanche Ring as an aristocratic lady and a hair-dresser, respectively, and by Staats Cotsworth (a Phila- delphia lad) in an interesting dual role. Watson Barratt has supplied some really intriguing stage settings, all of them enhanced a great, deal by especially beautiful lighting effects. As already stated, Dowling has given 'Madame Capet* the advan- tage of every possible visual asset. The-play's chances over here (it has long been a reigning Paris hit) will necessarily depend on Broadway's willAigness to accept a- costume dramaj played without satire, sex appeal or extra adornment. Waters. WINDOW SHOPPING Farce comedy in three- acts by Louis E. Shecter and Norman Clark; presented by Thomas Kllpatrick; staged by Bcrtrand Robinson; settings by Tom Adrian CrAcraft; nt Maryland, Baltimore, Oct. 10, '38; $2.20 top. Trudy Huber Gerta Rozan Mrs. Madden thel Strickland Janet Canfleld Ann Thomn» ,Tack Garfield Clay- Spencer' Victor Houston Richards Nurse..., Marjorle Blair Herman °G»i George Sidney. Mary Tonla, Lawton MIsa Miller Maftha MltchcU Mr, Friaby Moctiraer R, 'W«ld«ai Miss Snodgrass Muriel De Lisa Mr. Wlmpson Franklyn George Mr. Tnlbot George SKaulding Miss DoUtlle May Gerald Mr. HawkJn.i.. Alvm Dexter Photogrnpher Gcoree. Bp^lvln Molly Mvran Edith Leslie P^nrtopi* ; Kara Armfl Mr, IC^nnv Tony Lord Howard While Russell Morgnn Mr.'». Stansbury Perle Klncald MHyor .....Donald Mackenzie making the rounds of the Broadway booking offices to help pay the room rent for the apartment she shares with a chorine-pal, working at Gar- field's perfume counter between shows. Meeting the junior Garfield, via ;he girl friend, Trudy tells about icrself and the proposed picture, thus giving the college bred retailer an idea to bring customers into the old man's store, which has been slip- ping badly of late. He sells his old- fashioned father the window act as a ballyhoo and Trudy goes to work for $1,000 a week. Lots of complica- tions develop to stymie the setup, the main blowoff coming when the old man discovers his offspring in a rather unexplainable situation in the window after working, hours. The usual bust-up is straightened out to everyone's satisfaction and the store is soon on its way to prosperity again. Cast Is fairly good. Gerta Rozan, newcomer from abroad, turning in a good job. as Trudy, and George Sydr ney gagging and mugging his way to considerable laughter as the de- partment store tycoon. Rest fairly adequate. With plenty of work and astute direction, 'Window Shopping' might have Broadway possibilities and is good picture material. r Burnt. Baltimore, Oct. 11. Here Is a funny idea, some funny situations and spots of snappy dialog. Taking a> department store, its daily laughs and headaiches, and making it a background for farce has in it natural possibilities. There must be a Roodly portion of the theatre-going public identified in some way- with the business of buying and selling. With considerable tightening un am resh^run.e. 'Window Shopping' should be able to attract sufficient of this el«vnent to bring pay dirt Trudy Huber Is a Viennese actress brought to America with the pros pects of making a picture siwut a ^1 who spends a month living, in a deoartment store window. The film I doesn't materialize and Tr\idy is SOLILOQUY Santa Barbara, Oct. 7. Drama in three acts by Victor Victor, presented by Homer Curran-John Cameron- N. H. Rappftport, Oct. 7. '88. at Lobero, b'anta Barbara, Calif,; John Bcal, Helen Craig. Clarence Derwent featured; staged by Eugen Schulz-Brelden; scenery, Not-tnan Hock. Jimmy's Thoughts ) two. Jimmy Mlmma J : John Beal Ella Alimms ...KUen E. Lowa Mrs. McCorkle Daisy Belmoi-e Ann Jenkins Helen Cr»ig Eddie Page Alexander Lockwood Sidney Turleton Gwyllyn Fordl I'Mrst Neighbor Harry Holllngsworlh Mr. Danvers Clarence Derwent Lieutenant Simmons Phtll}> Morris Medical Examiner Louis Labey Mr. Braithwaite Edward Brondley Stcnographor Robert Dolun Girl at Summer Resort. .Gvace V. Howard Miss Lnllue Joan Blair Night Stroller James Varsl» Honey" Bin Ice John E. Rutherford Reporter Cruse Marvin Klein Reporter .lohnson George Reynolds Miss McUlll Ruth Meredith Turnkey Paul Marlon Al Uraumann Jack Duval Mr. Slunmn Elmer Jcroma There are several interesting things in Victor Victor's 'Soliloquy, but they don'c add up. Play is doubt- ful for the big time in its present break-in form, and for films the plot has little to recommend it. Two departures from formula playwrighting technique are its most striking features, and dQminant enough to make this almost a nov- elty show. One of them is the stac- cato scenario-style of writing, with 31 scenes in the three acts* most of them running no more than a min- ute or two. The other is the use of backstage phonograph for inner- thought 'asrides' by the leading man. John Beal. A yardstick probably would show that the phonograph does more actual talking than Beal,. by about two to one, which means the leading man is doing pantomime most of the way as a sort of dra- matic Edgar Bergen. Beal, as a milquetoast bookkeeper who has never asserted himself sud- denly breaks out, dates up the new file clerk, who steeps with him the first time he takes her out, and then murders the pregnant wife he ab- hors. He escapes momentarily when it Appears the wife committed sui- cide, but his conscience gets the best of him and -he finally confesses. The pushover file clerk takes the- rap along with him in the form of public condemnation, although she sticks with him to the end. He kills his wife by cutting her throat with a carving knife, this oc- curring at the end of the first act, and for the rest of the way there's enough conversation about gaping holes in ladies' throats and blood, blood, blood, to give the customers a good case, of nausea. That was the author's biggest mistake. The film-like- scrifrt, by which brief scenes come and go in quick succession, some containing but a half dozen lines of dialog, do man- age to .give the gruesome play a pace beyond its inhwent ratio; but scene-changing does require curtains and waits., and as. brief as they are they're still lapses. No full stage sets. Only portions of the rostrum are Used at a time,- and no stage dressing aside- from a few bare necessities, such as atmos- pheric props. Production hook- up looks inexpensive, although that may be overbalanced by the quite large cast, John Beal is good in the difficult lead role, and his screen training must be a help in the ventriloquial moments that call for mugging only. "Helen Craiff, femme leAd, is a clever newcomer whose work is fine, but who doesn't get a break on looks because of the freak lighting. ITir difficult to resemble anything but a Chost under a slen.^er...sh^iy; of elec- tricity from above aiiid on an other-^ wise sepia stage. Clarence Derwent does a slick job as the district at- torney. Daisy Belmore- in a char- acter role is the show's scene-stealer.