Variety (Oct 1938)

50 VARIETY UBGITIMATE Wednesday, October 26, 1938 Plays Abroad Bobby Get Your Gun London, Oct. 12. Musical comedy In two acta by Guy Bol- ton, li'red Thompson and Bert Lee; Uie- sented by Jack "Waller. Staged by ■\Viniam MolUson. Lyrics, Clifford Grey. Bert Lee, Daamond Carter; music, Waller, .Toaeim Tunbrldge; dances and ensembles, Freddie (rarponter. At Adelphl, London. Prunella Lockwood Bertha Belmore li ma OlUe Franks . Clarice Elaa Tee | Bruce Lockwood Max Oldaker ■ Bobby Lockwood Bobby Howes Vetttck 'VVyllo Watson Horace Manning Carl Bernard i Pablo George Pughe Flash Tomklns David Burns Ijupo Gertrude Nlesen Hltu ;Diana Churchill Molloy Michael Carr Program credits seven authors and composers for 'Bobby Get Your Gim.' Sometime ago mention was made that Walter Hackett was writing a new piece for Bobby Howes, but his name is not included among the seven. On form this piece looks like a success. Howes is at his best here, with excellent material and his usual supporting comnany augmented by Diana Churchill. Settings are in splendid taste and direction is good. N Postponed through the war scare, show consequently was in thorough working order when it preemed in London after out-of-town tryouts. Plot consists of adventures of Cam- bridge undergraduate, who, having .inherited an earldom, is informed 'there's a flaw in his claim, necessi- tating production of his birth cer- tificate. This is unearthed after some difficulty and right is done by our hero. Cuban scenes supply colorful back- ground and sinister-liu-king figures eager to grab loot known to have been secreted by an outlaw, revealed as Howes' father. In addition, there are dancing girls who undulate gen- erously. Howes is his agile, pleasiilg self In the title role, with Wylie Watson giving good support as a faithful re- tainer. Diana Churchill, as the heroine, who grabs the hero, and Gertrude Niesen, the American singer, oozing appeal as a gangster's moll, are splendid contrasts. David Burns is good as a gunmaii, and Bertha Belmore- plays the haughty spinster well. Jolo. Wben We Are Married London, Oct. 12. Farce In thrte acta by 3. B. Priestley; fresented by Basil Dtsan. At St. Martin's, .ondon. Ruby Blrtle Patricia Hayea Gerald Forbes Richard Warner Mrs. Northrop Beatrice Varley Nancy Holmes.... Betty Fleetwood Fred Dyson Alexander Grandlson Henry Ormonroyd Frank Pettlngell AldermaA Joseph Helllwell..Lloyd Pearson Maria Helllwell ..Muriel George Councillor Albert Parker.Raymond Huntley Herbert Sbppitt Kmest Butcher Clara Soppitt.' Ethel Coleridge Annie Parker Helena Plckard Lottie Grady Mai Bacon Rrv. Clement Mci^cer ^ormain Wooland Mayor of Cleckleywylce....H. Marsh Dunn the occasion is a triple anniversary. They are the focal point for many farcical situations. Slow tempo is the play's weakest point. Cast is good. But there are several incidents that contribute nothing to the plot's progress and these, plus the slow pace, make for some tiresome patches. Jolo. Agents^ Bite Remarkable how much farce the author has gained from the hack' neyed situation of a married coiiple who find on celebrating their silver anniversary that they are not really married at all, since the- clergyman who performed the ceremony was not duly ordained. In this instance, J. Bi 'Priestley takes three couples; Australian and New Zealand Thea- tres, Ltd,, Managing Directors''Frank S. Talt, S. S. • Crlcki G. B. Dean, Present?— VIOLET CARLSON B» tlie Star of "ROSE-MARIE" . ROYAIi IHEAT&E SYDNIS]:, AUSTBAUA (Continued from page 47) New York offices. Equity could see no objection to agents devoting most of their time on the Coast and per- mitting subordinates to handle the Broadway end. Further argument in favor of that, is that the actor gets the benefit of wider coverage and chance for engagements either in films, or the stage, or both. Claimed that too many restrictions were urged upon Equity by the com- mittee. One was that none but TARA members be licensed, and the coun- cil steered wide of that idea, which would give the agency group control of the field. Known that several of the most active agencies are not members of TARA and have no in- tention of joining. To.rule them out of the It git casting field was deemed inequitable. Suggestion of one class of permits or licenses, which carried with it the tilt of from 5 to 10% commish, was thought to have gotten the nod from the coimcil, but it got - thumbs down, too. Bond Idea Out Committee's report included the idea of TARA arbitrating disputes, 3Ut the council thought that unnec- essary. With that idea was a rule that all agents file bonds of compli- ance and, in the event of forfeit, the agents would split the coin with Equity, after expenses Were paid. : Equity figured that would be going into business with TARA and, if adopted, might furnish fertile ground for damage suits. Another suggestion which would have involved Equity in a mass of detail w?.s the suggestion that the pei*mits or licenses be reviewed and renewed annually. When issued, permits have no time limit, but are revokable, and agents are checked up now and then. Moral effect of an annual inspection was one factor in that idea being shelved. Instead of winning, as indicated earlier, it. appears the agents lost face with the council. Arthur Bjrron, president of' Equity, so in- timated in a statement the day after the committee's recommendations were torn to shreds. He forecasted drastic tightening of agency regula- tions, after allegations were made of irregularities in the fees paid and the use of unaccredited casters by Equity members. Byron pointed out, how- ever, that at no time was any evi- dence submitted to bolster the con- tentions. Byron's comment concluded with:. 'If any actor or agent has knowledge of such-yiolations, let him submit proof to Equity and the ^as^- sociation will proceed to act upon it immediately.' Equity concedes that any number of actors pay more commission than the rules require, but that it is diffi- cult to check up on such violations. Current Road Shows (Week of Oct. 24) «Amphltryon'-'Sea Gull' (Lunt and VFontanne), Chestnut St., Philadel- i>hia. , ^ <BlQssom Time,' Grand Opera House, Chicago. 'Golden Boy' (Luther Adler-Fran- ces Farmer), Plymouth, Boston. 'Great. Lady' (TuUio Carminati- Irene Bordoni-Norma Terris), For- rest, Philadelphia. 'Herod and Marlamne' (Katharine Cornell). Nixon, Pittsburgh (26-29). 1 Am Different' (Tallulah Bank- head), American, St. Louis,. Id Bather Be Right' (George M. Cohan), Hanna, Cleveland. 'Leave It to Me,' Shubert, Boston. 'Night Must F.1II,' Queensboro, Elmhurst, L. I., N. Y. 'Of Mice and Men,' Selwyn, Chi- cago. 'Pins and Needles,' Cox, Cincinnati. 'Red Bumble Bee,' Curran, San Francisco. 'Shadow and Substance' (Sir Cedric Hardwicke), Wilbur, Boston. 'Soliloquy,' Biltmore, Los Angeles. 'Susan and God' ((Gertrude Law- rence), Harris, Chicago. 'Tobacco Road,' Ford's, Baltimore. 'What a Life,' Masonic Aud, Roch- ester (24-25); Erlanger, Buffalo'(26- 29). 'Whiteoaks' (Ethel Barrymore), Lo- cust St., Philadelphia. " 'Women,' Case, Detroit (23). Tankee Fable' (Ina Claire), Co- lonial, Boston. ♦Yes, My Darling Daughter,' Shubert, Brooklyn, N. Y. (25). 'You Can't Take It With You,' Pal- ace, Flint, Mich. (24); Temple, Sagi- new, Mich. (25); Gladmer, Lansing, Mich. (26); Michigan, Jackson, Mich. (27); State, Kalamazoo (28); Keith's, Grand Rapids, Mich. (29). May Irwin (Continued from page 49) YIDDISH PUY DAVID AND ESTHER Musical drama in two acts (10 scenes) and prolog by Louis Frelman; presented by Julius Nathanson. Staged by Max Henlg; settings, Alex Ctiertov; music. Ilia Trilling; lyrics, Chalm Tauber; dances. Judith Altermani At the National. N. T., Oct. 10, '88; $2.20 top. Seamstresses: • .Belgelman Sisters Sossel GItel SteIn Tzlppe Anna Lillian Oshcr .Sam Kasten Mordecal Leon Schachtcr Lelzer Ellc Leo Fuchs Esther Ola LUUth David Julius Nathanson Shclndel. . Anna Mills Yankel , Irving Grossman Rabbi Max Ilenig Cantor Kurt Kesylcr Sonla....' Flora Frelman Chanlna ?am Josephson Ruzhe lana Goldberg Cecelia Anna Loeb Llosha Jerry Silverman OF ^ CENTURA m A drama of dramas, shredding the ast vestige of one of the oldest ■ hemes* in the Yiddish theatre, is presented with a new, forthright savor by Julius Nathanson in this latest musical by Louis Frelman. David and Esther' may be an out- moded theme, but in. its presentation Dy Nathanson's excellent, enterpris- ing troupe the play takes on. a keen lustre that by far eclipses its antece- dents. It has been a lo'ng time siftce the cloud of drama has been as pene- trable as in this play. But the ray that pierces that cloud emerges in the ubiquitous Leo Fuchs, One of the best comedians treading the board of Second avenue. This isn't a Fuchs piece by any means, sinqe there are many in this cast who give him a close race, but he certainly emerges in the van. A comparative newcomer to New York's Yiddish theatrical circles—he came here from Warsaw three years ago, where he played' in the Polish theatre—Fuchs needs none of the processed, grotesque makeup and ill- fitting garments that many Yiddish comedians require for laughs. He doesn't sing well—^yet does it en- gagingly; his dancing staggers—^but there isn't anything to work with: his contortions, sly smile—they all are part of the most engaging per- sonality, to come to Second avenue in years. Of course, too, there's Ola Lillith, also recently from Warsaw, whose acquiescence of a parental demand to give UD the one she loves for a husband of her father's choice gives her excellent chapce for dramatics, and she does it well. Nathanson is the boy she must forsake, and he, too, is excellent, particularly toward the end of the play's 50-year caval- cade. Other excellent performances are turned in, namely, by Irving Gross- man, Anna Mills, Flora Freiman, Sam Josephson, Diana Goldberg, Anna Lillian, Sam Kasten and Leon Schacter. Music is lilting in most respects, with Miss Freiman and Josephson clicking best in a duet. Grossman reverts from type in one spot and sings a couple of English songs Dl6asantly, though they aren't ma- terially relevant to the play.. Set- tings by Alex Chertov are adequate. ner, Edith Kingdon, David Belasco, William Gillette, James Lewis and some of the veteran comedy players of that day. Her engagement was a sensation in theatrical circles; her triumph a great surprise to the many who regarded her as merely 'one of those variety actresses.' Following her engagement with Daly, which to some extent held her back because of his rigid a'dherence to the stock system, .she went to Charles Frohman, appearing in 'The Junior Partner,' 'His Wedding Day,' and 'Poets and Puppet.' Reverting to the more flamboyant comedies, she played in 'A Straight Tip,* with James T. Powers, and with Peter P. Dailey in 'A Country Sport'. Thereafter she headed her own com- pany in 'The Widow Jones', 'The Swell Miss Fitzsweir, 'Courted into Court,' 'Sister Mary,' 'Mrs. Black is Back,' 'Mrs. Wilson Andrews,"Widow By Proxy,' 'No. 33 Washington Square,' and finally (in 1919-20) 'On the Hiring Line'. In most of these she introduced a number of songs and was the first to sing Charles Trevathan's 'The New Bully,' gener- ally credited with being the first syncopated air.- She had her pick of the season's songs and was regarded as the No. 1 song plugger. She was paid a royalty running as high as two and three cent^ a copy on all of the songs she popularized. It was while she was playing in her first starring vehicle, 'The Widow Jones', that she was asked by the Edison company to pose for a kissing scene in that play with John C. Rice; leading man for. many seasons. They made a 50 foot pic- ture, credited with having been the first close-up, and 'Th|e Kiss' was featured on every picture bill. It was strongly objected to by the prude societies of that day, but it was too valuable a property to be suppressed. She receiyed other picture offers, but not at a figure that looked attrac- tive to her, and 'The Kiss' was her only contribution to the cinema. It is now part of the collection of the Modern Film Library in New York. Among her intimates Miss Irwin was renowned as a great cook.' She liked to put it on when called upon to demonstrate her culinary skill. She retired in 1920, going to her farm in (Clayton, in the Thousand Islands, and since then had. made fancy farming a fad. It also served as a..jetreat for her sister, Flo, a sufferer from tuberculosis. She was first married (in 1878) to Frederick W. Keller, who died in 1886. In 1907 she married her mana- ger, Kurt Eisfeldt, who survives. It was one of Miss Irwin's treasured memories that she gave what was practically a 'command' performance before Woodrow Wilison. Her press agent sent an open letter to the newspapers suggesting that what the President, worried by world war, needed.was a good laugh, and nominated. Miss Irwin as the laugh creator. Shortly, afterward sources close to the Chief Executive inti- mated that he would be pleased if she would include Washington in her tour. She immediately rearranged her bookings and came to the capital. The President and most of his cab- inet attehded a performance, of 'No. 33 Washington Square'. The follow- ing day she visited the White Housci and was created unofficial Secretary of Laughter. 'CANDIDA' $22,000 IN 2 L A. WKS., THEN FOLDS Los Angeles, Oct. 25. Ann Harding's 'Candida' pulled surprising business and checked in with a good $22,000 for its fortnight stay. Second stanza matched the opener's $11,000. Company disband- ed after local engagement'and 'Solil- oquy' took over the house last night (Mon.) for two weeks. Biltmore then goes dark until Dec. 5, when revival - of George Kelly's 'Torch Bearers' comes in with cast of locals. Estimate for Last Week 'Candida,' Biltmore (2d-last week) (CD-1,656; $2.50). Matinees strong factor in $11,000 take on windup week, but despite heartening biz Miss Harding closing her brief Coast tour in the Shavian revival. WPA 'Run Little Chillun/ Mayan. Com- fortably settled for a long run and doing smash biz at all performances. 'Two-a-Day,' Playhouse (Holly- wood). Opens Oct. 29 as one of the project's most ambitious undertak- ings. 'Alien Corn,' Belasco. Gives way to 'Volpone'. at month's end. Take It' Big $12,400 In 2d Detroit Visit Detroit, Oct. 25/ With last four performances s.r.o., 'You Can't Take It with You* wowed 'em at the Cass here on its second visit here in less than a year. Not as big a grosser as 'Golden Boy* was xi opening show here a week ago, Dccause of differential between $2.75 top for 'Boy' and only $1.65 top for 'Take It,' but latter dragged in more patrons than its predecessor. Result was a smash $12,400 for nine per- formances. Current is 'The Women,' at $2.75 top, which also played Cass last sea- son. House is booked solid until well into December. Estimate for Last Week Tou Can't Take It,' Cass (1,900; $1.65). Given rave notices; s.r.o. last four performances to grab hotcha $12,400 on low-price scale. Current is 'The Women' at $2.75 top. OAKS' STURDY $7,300 IN BALTO Baltimore, Oct. 25. Legit season, late in starting, and rather sparse as to bookings, boomed most favorably last week. Ethel Barrymore, 'in 'White Oaks,' chalked up a most satisfactory $7,300 in four performances at Ford's. Figures went higher than strong response of week before for 'Abe Lincoln in Illinois,' which garnered heartening $6,500 at Ford's, and tryout of 'Window Shop- ping' at the indie booked Maryland, which drew satisfactory $5,400 for the week. 'Tobacco Road,' currently at Ford's, Is a third time repeat and off to good advance and steady demand. Nothing else immediately listed, except two day date for Cornelia Otis Skinner at Auditorium, Nov. 4. Estimate for Last Week 'White Oaks,' Ford's (half week) (1,900; $2.78). Opened bigger than 'Abe Lincoln' week previous, and built strongly thereafter to most satisfactory $7,300 for four shows, Sell-out biz for upper floors every ' performance. $10,000 Advance Sale For St. L. Little Theatre With its treasury well upholster- ed with $10,000 obtained from sub- scriptions and individual advance sales, the St. Louis Little Theatre's 12th season gets under way tomor- row night (Wed.) with Maxwell An- derson's 'Star Wagon' and a rosy fi- nancial outlook for the season. Other pieces to 1)6 presented ar« •Blind Alley,' 'The Front Page,' 'Loy- alties, and a modern comedy to b« selected from current New York suc- cesses. 2 Shows Out Another brace of fast, fiops on Broadway are 'A Woman's a Fool- to Be Clever,' which stopped at the National last Saturday (22) after sev- en performances, and 'I Have Been Here Before,'' which closes at the Guild at the end of this week. Both drew imfavorable notices. A WOMAN'S A FOOL—TO BE CLEVER Opened Oct. 18, 1938. This, too, was rated as unable to stand up. Watts (Herald Trlb), 'An innocent but well-meaninff bore.' Mantle (News), 'Story is never really worth telUng:.' 'Before' was brought from London and is leaving after two and a half weeks of low grosses. It will tarry in Canada for a week or two and then sail back. 1 HAVE BEEN HERE BEFORE Opened Oct. 18, 1938. Critics agreed this wouldn't last. Whipple (World-Tele), 'It's a confused and oonfusinff' play.' Coleman (Mirror), .'Diffuse and frequently dull.' Anderson (Journal), 'Has the same rela- tion to the drama as a dollar watch has to the Greenwich Observatory.' • 'Lightnin',' at the Golden, also leaves this week for a road tour. Leonore Coffee East Hollywood,. Oct. 25. Leonore Coffee is en route to New York for rehearsals of her new play, 'The Birds Stopped Singing,' starring Gertrude Lawrence. Miss Coffee just finished a writing job on 'Red Cross Nurse' at 20th- Fox. mm