Variety (Nov 1938)

56 VARIETY LEGITIMATE Wednesday, November 2, 1938 Plays Out of Town Herod and Mariamne Pittsburgh, Oct. 26. TCiilharlne Cornell presents IierseU In a «li«ma adapted by Clemonc» Dane from the German ot Frleclrleh HebUel; features Fritz Kortner, oKay Morris. Florence Rcrd and Kent Smith; staged by Guthrie McCllntlc; eettlnfpj by Horry Hornerr tncWenlal music by Karol Rathnus, K\ th» Nlxoffi. P»tl9- burcii, Oct. 20. '38, for four days. Hvrod Fritz Kortner Joseph Peter Capell .luclah liawiwce Fletcher STubabel Arthw Chatterton I'hlio RlehnnJ Blttnpton Herod's S ' Robert C. Currier A- ."Slave James Welch Titus I.Kent .Smith t.ame'cii Joseph Holtnnd A Courtier PhlUp Carr f Vincent J. Donahue Three Prisoners { yorman Sturt (.D.ivld Snva.Te -p™. . c^^Ai^^^ (Vincent Copeland T«o Soldiers j,^^^ j,,;,!,^ Robert H. Harris Alexandrn Florence Reed Mavor oC Palace EiVjfar Kent Mliiamne Kfltharlne Cornell Attendant Ruth Mnrc* Mute .Slave PhtUp Gordon Alexandr.T's Attendant Lois Jameson Reader Slave DavJd .Savajfe Perfume Seller Roberi C. Currier Sohemus McKay Morris Sellma Porothy Ptttten Roman Soldier Novman Stuart Caspar Byron McOrath Melohior A. "WInfleld Hoeny Balthazar R. Jo»ee Chief Judge ;..Edgar Kent Soldier Frank Swann power aitd ordering the historic 'Slaughter of the Innocents.' There may be the makings of a great tragedy in 'Herod and Mari- amne,' but the Dane-Hebbel work is certainly not it. A shaUo^/ treat- ment, the whole thing is colorless and sluggish, moving at a snail's pace and never working up any dramatic Are or action. At times, in fact, play resembles Tallulah Bankhead's ill-fated production of 'Antony and Cleopatra' last summer. Best job among the supporting olayers is turned in by Florence Reed, as Mariamne's mother, plotting with the Romans to take Herod's crown away from him. Kent Smith and McKay Morris are satisfactory,^ too, but not UD to their usual stand- ards. Remainder of the cast is a mixture of just pretty good and bad. Production itself is rich and luscious, wrth costuming and lighting all done attractively, but only emphasizing the Dlay's multiole weaknesses. 'Herod and Mariamne' is scheduled for four additional weeks on the road and may improve a bit, but hardly enou<»h to insure any sort of run. It's wealc, and for a star of Cornell's calibre, a major calamity. Cohen. Katharine Cornell and her hus- band-director, Guthrie McClintic, are both wise in the ways of the theatre, which makes their selection of 'Herod and Mariamme' aU the more mystiftring. They've been fooled before by high-sounding words and rich trappings^ but never so decisively,. for Clemehce Dane's adaptation from the German of Friedrich Hebbel is dull, heavy, meaningless drama that will get no where. Star has announced it for Only 10 weeks on Broadway, but extremely doubtful of surviving even that long, Cornell prestige and alL Bad plays have stood up through actress' magic in past; not "Herod and Mariamne,' however. It's such a rigid pageant that nothing she can do ever brings the show to life. Play lacks clarity, writing is stodgy and insecure and acting is definitely out of the lower drawer. Nobody ever cares much what happens to Herod, Mariamne and the others. There isn't any red blood in their veins or authority in their actions, and even McClintic, shrewd stager that he is, hasn't been able to counterfeit in his handsome produc- • tio.i a substitute for an incompetent play. Not a semblance of dramatic order to the piece and it staggers through two long,, windy acts just an ill-assorted pamphlet of BibUcal briefs. Miss Dane's the chief .offender, though, hardly the only one. Playing for the most part, too, is stagnant, although unlikoly that anybody could do much with 'Herod and Mariamne.* Major disappointment is Fritz Kortner, exiled German actor, making'his American sta' 2 debut as Herod. He's strictly of the old scenery-chewing Continental school, flailing his arms,' twitching his fingers, bobbing his head arotmd and frequently speaking, in a throaty whisper that can't be heard beyond the first few rows. His acting is so furiously out of key with the other performances that it becomes ludi- crous. Fault seems to be the di- rector'is as much as Kortner's. Play offers Miss Cornell fewer op- portunities than she's had ip years, and her only opportunity comes in the final scene-of the last stanza,, but by that time it's too late. Confusion of *Herod and Mariami^ in general obviausJy extends to its star as well, for she's far Ixom at her best and sta^nds to lose plenty of prestige if she - takes it to Broadway, unless «ome miracle is worked; which hard- ly appears possible. In her adaptation. Miss Dane hasn't relieved the heavy Teirtonic stuffiness of the original, and whole thing is a. feeble effort to capture deep vein of classic traitedy. She adheres pretty closely to historic facts, showing Herod as a jealous ruler who refuses. to believe Mari- amne can bs faithful to him. Twice he orders trusted lieutenants to slay her should he fail td return first from a conference with Anthony in Egypt and later from battle with the Arabian tribes. Each time Herod returns safely and slays her designated execution- ers, because he. b&eves Mariamne has seduced them. Third time Herod's perfidy is too much for her/ She deliberately plots her own doom by causing the King to confirm, erroneonsly, hij oWn worst suspi- cions, knowing that he will dp the same thing over and over iagain every time he goes away. ' Herod then orders her to trial be- fore a Dacl&ed court on charges of unfaithfulness and dishonor, with instructions to his jurymen to find her guilty. .Once she has been dis- posed Of, Herod learns from Titus that Mariamne was a virtuous wife, and when word comes that a.greater king has been found that day in a man- jr at Bethlehem,. the curtain leaves Herod proclaiming his own SORORITY HOUSE Denver, Oct. 30. Comedy In three acta, six scenes, by Ma-ry Coyle Chase. Produced and directed by Walter Sinclair; settlnRS by Eric Bdrijer. At University Civic Theatre, Oct. 20. '3S; fL.'iO top. Lew AVycolT Robert F. Arehlbold, Jr. His Wife Louise La Bat Daugiitcr ...Betty Jane Preston Rud Loomis Robert Heller Helen FerRuson Alberta Bersh tJtt Laura Hantock Nadlne Bancroft LoulFe Marshall .....Ruth Lonif .Sally Lawton Lucille Holtorf May Doble Madelyn Studebaker Betty Van Orbot Geraldine Haetns Dottle Klatke Evelyn Selky Merle Harris Dorothy Mendelssohn Ida (?olby Evelyn Reed Phyllis Granthai Emma Kay Brown Janet Gelger Shirlea Blair Conway tmogebe MonteHore Brewster : Roberta Le Mon Althea Brewster Marjorle Dunning Lillian Brewster Ruth Strauss Slwws in Rehearsal 'Rineslde Seat'—Rufus Phil- lips. 'Glorlana* — Theatre House, Inc. •Good Hunting:' ('Blow, Bugle, Blow') — Jerome Mayer and Leonard Field. 'Wliere Do \7e Go From Hene'—Oscar Hammerstein, II, and Dwight Taylor. 'American Landscape'—Play- wrights. ^Rocket to the Moon'—Group. •Blaofcblrds'—Lew Leslie. ^ ♦Henry IV' — Maurice Evans and Joseph V. Reed. •Lorelei' — Aldrich, King, Hardwicke and M^ers. The Flymgr Glnsburgs'— Vinton Freedley. 'Too Much Johnson'—^Mer- cury. Plays on Broadway In a satire on sorority rushing as practiced at co-ed institutions, Mary Coyle Chase has displayed an ac- curacy of observation as its author, fuid has woven in plenty of comedy and sufficient drama to make it/ well worth producing. Deals with rush week, with the principal rushee, Betty Jane Preston as Alice Wycoff, doing a top job. She falls for the student president, Robert Heller, aftd happenings come fast until the end. Action takes a week, with rushing in all its details brought out with clearness—humor- ous to those who have been through it as well as those who never even finished highschoo]. Robert Archibold, as Alice's father (a snfall-town poolroom owner), is excellent in the comedy role,. and carries his part like an old trouper. However, each of the cast is good, evidence of the thorough direction of Walter Sinclair, who is professor of dramatic art and speech at the U. of Denver. Even tliough a biting satire, 'So- roritjr House' was given its world premiere at the University Civic theatre, operated by the U. of Den- ver on its campus and a part of the college. Many of the cast are soror- ity and fraternity members.. Attend- ance is based principally on mem- bership at $6. This entiUes them to a seat to five productions through the winter, and members can buy two sihfile tickets at $1.50 each. This play is running seven days, being the opening production this season. Action reveals the heartbreaks and heart-throbs of the first week at col- lege and is fast enough for the screen. Sex is introduced incident- ally, but strongly as a necessary part of the action. It plays on a bit of life which apparently others have been afraid to touch, but done so anyone can get plenty of laughs and not a few tears. Settings are first quality. MADAME CAPET Drama In three acts (10 Bcenog), adapted by Ucoi'so MIddteton from the French of Marcelle Maurette. Stars Eva Le Gal- Ucnne. Staare by Jose Kutken; «etttnK9 by Watson Iiai'ratt; musical arrangements by J<ehnian Uncel. Presented by Eddie Dowl- Ingr. at Cort, N. Y.; Oct. &, 'S«; $a;8U top. Emperor of Austria. .Frederic Tozere Count de Mercy. <.. .Harold Govld Madame de Misery Alice John Murlo Antoinette^ '"va Le GalUenne AuKeard Nelson Welch' UosQ Bertln Blanche RIbk Sylvia Carol B^ran3 Fanette Barbara C. Blrown Madame Brunler Merle- Maddem Count de la Marck Uram-Nosscii Count AUx de Fersan... .William Poat, Jr. Marle-Thereae (aged 10)...... .Helen- Rene^ The Little Dauphin,... lan» Dounenwirth Count de VaudreuU Staats Cot&worth Baron de Ue^ienval Ucorse Baxter J>uchfpBe de Pollgnac.. Mary Michael Lackey Haxvey Welch Another Lackey VnA Rendulic Guard William W. Sanders Another Guard, W. J. Kackett Market Woman ..Elizabeth Mun-ay Another Market Womaiv.., .Diane d» Brett Court Lady Elizabeth Dewing .'Vnother Court Lady Morie Haddem- Third Court Lady Phyllis Holden Leonard >.<........•.. Le Rol Oncrti Mlrabeau .' Geocge- Coulaurls Madame Elizabeth ...Marian Evonsen Simon Louis Veda Quince Mftrlc^Thereye (aged IS) Charlta Bauer The Dauphin Warren Mills Herman (Later president of the..... Tribune) Jose Ruben Another Deputy W. J. Hackett LaMorliere Earle Mitchell' Rosalie Anne Baxter Bault Crntg Williams Prosecutor .George Baxter Queen's Advocate Staata Cotsworth F&brlcua .William Sanders Retne Mil lot Maty Michael Count de la Tour du Pin... .Fwdcrlo Tbzcre Guard Nelson Welch Another Guard Harvey Welch Executioner WilUan Sanders Priest , Bmm Noason Bnlllff ; Fred Sears Another B)tlII Harvey Welch Guard W. J. Hackett The Girl From Wyoming Musical melodrama In three parts pre- Bcntcd nt the Amerlciit* Music Hall. N, Y Oct. 20. '38, by John and Jerrold Krlmsky' \vrltten by 'J. Van Ostend Van Antwerp.*' music by Richard Lewine; lyrics by Ted ^Tetter; staged by Robert Rosa, John Pierce and Grace Holland, Ben Longwood Philip Huston Mrs. Longwood Nellie Thome Sherltt I'otcra Illy M." Greene Sleepy , Tony Kraber Marcy Desmond , George Pctria Alkali.... ....Donald Macdonald Girl from Wyoming June- Wallter Chlquorl Anne H-unter Petlro James Ruwso Bartender Jack Goldle MY BABY'S WEDDING Operetta In two acts '(8 scenes) by W11-. liam Slesel; presented by Itzik Feld. Staged by Abe Gross. Music, Alexander 01shanelBl;y; lyrics, Jacob Jacobs; dances, Rose Gordon: settin^rs, Michael Saltzman. At Second Ave; theatre. N. Y.r ?2.20 top. Reb Israel Alter Shrlfrln Moses Feder Lealt Rae Schneler Benjamin Muni Sercbrov Miriam Miriam Krosayn Kalmen Yankel Itzlk Feld FeiRe Gneluse Anna Thomasbefsky Dickie Vickie Marcus Rebecca Donnenber Sally Schorr Evelyn Goldle Elsman Felvel Shinder Jacob Zanger Walter Seymour Rechtzelt Mike Kwekzilber Hymie Jacobson Tzlppe ;...Yetta Zwerling Tzirele .Gloria Goldstein Doctor..- Jacob Hlmmelstcln Shn mes .' Adolph Erber Student. Mlsha Zwieback Itzik Fcld's latest presentation, 'My Baby's Wedding,' by William Siegel, hits the low ebb in the Yid- dish theatre market thi season. Its stilted book is redeemed only by the occasionally good music of Alex- ander Olshanetsky and the excellent cast.. Outstanding in the cast, and she's superb, is Miriam Kressyn, whose grace, charm and excellent singing at times compensate for the play's presentation. Her sense of drama is overpowering in its simplicity. As Benjamin's cousin she must nurture her love for him while he courts an- other. Muni Serebrov is a hand- some Benjamin, inclined to overact, at times, but a click during the in- sanity scenes. Itzik Feld Is the star of the show and is his usual self—mugging, dancing, singing and acting with all the Old World characteristics. But or Second avenue he's forgiven. Two starlets are uncovered in the respective nine- and eight-year-olds, Vickie Marcus and Gloria Goldstein. The youngsters conduct themselves with aplomb and, next to Miss Kressyn. garner the major laurels. Their 'Small Girl' duet necessitates a couple of encores. Also excellent In the cast are Goldie Elsman, as the other girl; Anna Thomashefsky, • Jacob Zanger, Seymour Rechtzeit and Yetta Zwerling. Production, notably settings. Is cheap, while the chorus is somewhat starched. Round the Family Table Drama in three acts (Av-e scenes), by Nathan SlutcbkofC; presented by tbe Yid- dish Dramatic Players. Staged by Leib Kadlson. Settings, Louis Bpomberg. Musi- cal direction, Harr}' Lubln. At Irving Place. N. Y.. Oct. U, '38; *2.20 top. Kalman Yudel Dublnaky Helen , Muriel Oruber Beyle Celie Adler Sam Israel Msindet Irving Yacob Uei- .-ten Sydney , Ml.sha Stut:-itkofI Itshe-Yose Ichael Rosenberg Reb Aaron .Tacob Mestel Hymie Susman Jiidah Blelch Milton Soi ElslkofC Esther Zelda Gould Sarah-Necha .Snra Kroner Mary Elizabeth Charney Miss Fic^ld Sylvia FIshman For their initial production the Yiddish Dramatic Players have come up with a splendidly written, excel- lently cast play in 'Round the Fam- ily Table,' by Nathan Stutchkoflf. Play was taken from the radio series of the same title by Stutchkoiff. 'Family' has a dramatic appeal that socks right home, due to its forthright truisms, so closely asso- ciated with typical Jewish middle- class family life in New York. Theme, while certainly one that has been done before, has been writ- ten few times with greater pun- gency. StutchkofF knows his New York families and has painted his Hymie Susman particularly well. Hymie is played by Judah Bleich with excellent conviction in the role of the f&ther, a despot, yet one who loves his children. For Hymie Sus- man watfte Milton to become a doc- tor; he -wants Sydney a lawyer and Helen to marry a wealthy boy, in-" stead of his garage mechanic, whom she loves. Through this all are the inter- woven heartbreaks that accompany the parents in seeing Sydney learn to be a mechanic and run off with Mary; Helen marries the mechanic, while Milton, the doctor, learns that a profession can sometimes be an encumbrance, as his lack of success indicates. Bleich carries the full force Im- plied by the role while Celie Adler, of the Adler family, is sterling as the mother. Mischa Stutchkoflf, son of the author, plays S.vdnev; Sol Eisikoff- is Milton; Muriel (3ruber niays Helen, the daughter. All are excellent. Also outstanding are Mi- chael Rosenberg. Yudel Dubinsky and Israel Mandel. Stat<<ing by Leib KadUson and set- tings by Louis Bromberg are big factors in thr excellent production. Eva Le Gallienne, who has sev- eral times in the past shown a predi- lection for foreign costume plays, saw this Marie Antoinette drama in Paris, where it was a solid success. She bought the U. S. rights, had George Middleton adapt it and per- suaded Eddie Dowling to produce it. What they apparently saw in the play doesn't come across the foot- lights, however. It's a handsome pro- duction and the performance is gen- erally commendable, but 'Madame Capet' never comes to theatrical life. Limited stay is indicated. There have been several Marie Antoinette plays going the rounds the last few seasons, one of which Jane Cowl was reported to be inter- ested in doing. But the production and apparent failure of 'Capet' seems likely to stsrmie the chances of any of the others getting a showing, at least for some time. Added deter- rent will probably be Metro's current 'Marie Antoinette' picture, which should extract' interest from the sub- ject. That will also short-circuit any film sale, so 'Capet' appears headed for a substantial loss. Cue to this version of the Marie Antoinette story is the quotation printed in' the program and credited to , her mother, Empress Marie- Therese—'Will you find yourself only through misfortune?' Thus 'that Aus- trian woman' is treated sympathetic- ally instead of from the more familiar 'Let them eat cake' point of view. MoU'ie Antoinette in this play is drawn as a tragic yet coturageous figure; Not the vain and shallow woman she is . frequently pictured, but one who thouglit primarily of her people and her country—^France, not Austria—and of her children. According to the play, the revolu- tion was caused by the blind cruelty cuid venality of the nobles rather than by the royal family. As her doom approached, the queen's great- ness increased until, as the rumble of the tumbrels grew louder, she be- came truly majestic. Intellectually, that's an intriguing idea, but in this case it never be- comes emotionally compelling. Prob- ably the fault lies in the approach and the original play as well its in the adaptation, but certainly George Maddleton's writing product is pon- derous and dull. Although Miss Le Gallienne gives a competent, adroitly-v?(ried and al- ways credible performance as 'Capet,' she is unable to capture the specta- tor's imagination. One can admire the character she plays and the in- sight and reality of her playing, but there is never the compulsion to identify one's-self with that charac- ter. That is the ultimate test of any play and in that 'Madame Capet' faib decisively. Among the commendable support- ing performances are Frederic Tozere's capably-coiitrasting double portrayals of the Emperor Joseph II, of Austria, and of the valiant Count de la Tour du Pin; Blanche Ring's reasonably successful attempt to re- deem the unnecessary part of the dressmaker; George Coulouris' some what postured but effective Mira beau, Marian Evensen's sympathetic and direct Madame Elizabeth, Jose Ruben's Deputy and Anne Baxter's pretty and sincere Queen's maid. Watson Barratt's settitigs are the- atrically decorative,, particularly the autumn scene at St. Cloud, while the costumes of Helene Pons lend conviction. Jose Ruben's awkward direction occasionally italicizes what life there is in the dialog, but in gen- eral, 'Madame Capet' seems almost as lifeless as its subject. Hobe. (Withdrawnr SatKrday (29); printed lor the record.) Hocus pokus in this east side night spot is along the lines of preceding mellers with music, diversions that have kept the one-time church going for several years. The Krimskys have much to do with the show, which should fare well for it is amusing. The color scheme within and outside the place is plenty red, it being called Chez Firehouse. As for the critics, the first-stringers again attended the opening and ap- peared to have a good time. Name players are appearing here for the first time, Jime Walker top- ping the cast in the name part. It is her performance that makes the show worth while more than any other factor. She makes the girl a positive character against the more or less indefinite western parties who Srincipally inhabit Desmond's llysian Fields Saloon, with the bar painted on a drop. Desmond is the town gambler and villian. Miss Walker is togged out in white cowgirl outfit, quite the fanciest in the wardrobe.. Topped with a very blond thatch, she packs a rod big- enough for Custer, the Indian fighter whose 'Last Stand' is pictured on the front drop. Girl goes for Ben Long- wood, fresh from Harvard, who fol- lows Greeley's advice and goes west- She can't figure why the tenderfoot rouses her passion, but she sees that he gets a break from the rough guys, who think she's aces. Big scene effect is staged around what would be the balcony, a card- board stage coach being chased and held up by a couple of bandits. That hooks onto the finale, which has the Indians mowing down the stick-up guys and saving the girl, about to be blown, up by a keg of dynamite. It turns out that she is the daughter of Alkali, an old prospector, and an Indian squaw. Both the latter parts are played by Donald Macdonald, his Alkali having been bumped off a bit before. Best song is 'Our Home,' it being the nearest to a production number, led by Miss Walker and PhQip- Huston, the college boy who learns to shoot and gamble, between times reading Plato and such. 'The Dying Cowboy' is another tune liked, George Petrie the villian having the number with Tony Kraber, plus the fancy girls of the place. Anne Hunter does well with 'Manuelo,' she playing a hot dish from Mexico. Quite prominent in the proceedings is Jack Goldie. vaude single and sing- ing waiter. He has a part in the show,, but his real contributions fol- low the performance, singing old time favorites. When audiences get wise that such entertainers are sup* posed to be slipped coin, he will do okay. Goldie was in England for some time sjxd is under contract for reappearances over there. After the show, most of the first-nighters as- sembled downstairs, where there is a bar and dance floor. That is how the Krimslcys' novel enterprise has turned a profit, for the theatre por- • tlon is too small to net a real gross. Girls who wait on tables are an attractive bimch and, as formerly, warble several choruses. Olio not built UP as much as previously, the Great Cahill appearing on a trapeze over the audience while Goldie and the 'singing cowgirls' take care ot the music end. Ibce. AGMA Craceit Groqus StiU U at Odds Although negotiations between the American Guild of Musical Artists and the two major concert bureaus are continuing, little progress has been made toward a settlement. Sev- eral minor matters have been agreed upon, but it's understood neither side has been willing to make any concession on vital points. Another meeting is scheduled for today (Wednesday). Vital factor In the situation is that Columbia Concerts Corp. and NBC Artists Service must reach an agree- ment with AGMA in order to obtain licenses from the Screen Actors Guild so as to continue in the agency business in California. That's neces- sary because one of the points in the rules recently laid down by SAG Is that to be eligible for licenses, all agencies must observe the rules of any or all Associated Actors and Ar- tistes of America groups. . Both AGMA and SAG are Four A's af- filiates.