Variety (Jan 1939)

188 LEGIT Third of a Century VARIETY Anntveraary hsue Wednesday, January 4, 1939 Plays on Broadway Everywhere 1 Roam Diama In' three acts preacnted at the National Dec. 2S). '38. by Marc ConneTlj' and Bela BInu; written by Arnold Sund- (taurd and Connelly: stafced by tntter: plioral nrrunRMiients and atagtnR by T^eh- m«n Knsel; dances by Felicia Sorel; songs by Fr«V Stewart. W.SO top. School (stress Vern p«nne Jwrcinv Koypc Blackburn Snmiirt Oi-motid Lrdoa Prudence -. May tlrtmes [Dorothy Uttlejohn Pupils - Kathleen SlaKle \ Frank Westbrook The Mnn > T>ean .JnSBer The Wife Kalherlne Emery Johnny Appleseed Nomtan Lloyd Clinton nob»n ColUna Barrel Rollers. fPhll Brown i Wl I'tlllain Mnton» J Charles Clarke iKoberl Breen j|n» PaaV Huber I^udv..... Jo.-tn Wettnore Gentleman Ertk "VValz LltHe Boy Royco Ellackbum Sxndntan Fmnk Maxwell jKy Arthur Barnett Metvor Rarl Wenthertord f Robert Brern Martv I Frank Westbrook 1 James Burrell iPesBT Anne Holme.i Continental PbH Brown <«yius Robert Po.rterfleUl Joseph Robert H. Harvey (VtP Tony Kraber Jacob.' Bl" Benner Voice ol the Stesl Call Fred Stewart jr!»[> Kathleen Single Swedish Rlrl Kallt* Hamphreys Swedish Bov DaiiBla» Stark Norwegian Girl annah Lee ChUds Norwegian Hry .TuJson Best Halt Danish Girl Ortmlllo Hull Danish Boy Jolu^ DiC*-.ens Train Announcer.. Meredltfi Johnston Train Guards J Charles S. CTarke (Jon Xrrbon. Jim .Tr . .Ji»y Owen. Jr. Ji»y Jr, Fred I^wrence Jo. ,...John A. Kennedy Travel Agent HSarl "Wenthevford Actoantant Robert GolUna Gloria Camilla Hull Perry '. > •..Judson Beat Hall Deco"nitor William Howell Proce.oB Server Fratik Maxwell The Merchant of Yonkers Furce In four actsj by Thornton Wilder, lx»sed upon comedy by Johann Nestroy, In turn based upon an ISnsllnh original; stars Jnne Cowl: features June \VaII;er. Percy Waram, Nydia Westman: production by Mox Relnhnrdt. assisted by Moria Solves; settlnRs by Boris Aronsnn: musical arrnngre- mci ts by .Mesondcr H^fas: prwented by Hennan .'fiumlln at Guild theatre. N. V.. Dec. 28. ••"►3. J.X.TO- top. (51.41) opentn?;). Horace Vandersrelder Pci-cy Wnram Amt»rose Kemper Knrtlett RoWnswn Joe Scanlon Philip- Coolldw Gertrude Carrie Welter Cornelius Hackl Tom Ewell Ermengnrde Krnncea Harrison Melchlor Stack Joseph Sweenej'. ^, ^. Mrs. Levi Jnne Cowt^ "OUCSOme Bnrnnbv Tucker John CM Mrs. Moltoy June Walker Minnie Fay NydIa Wcstnian Cabman Mward F. Nannary RuSolph l>*ax Wlllenz August , Peter Struwel Cook Maldft Rende MI93 Van Hu.M)": Inna Phillips •Everywhere I Roam- is the most ambitious of Broadway's holiday caret, a dramatic pastoral generously peopled, but of indicated limited ap- peal. Marc Connelly and Bela Blau team in the showing. They have a record of going in for the unusual, especial- ly the former, whose dramatization of 'The Green Pastures' developed an amazing appeal. But in that novel drama there was much of the humorous, which quality ehides the new play, a symbolic display of the develdpment of lands of the mid- west. ♦Roam' may be classed with the cavalcade type of drama, for it covers 100 years. During that span the principal characters remain the same in dress and age as part of the symbolism. Play is one of several done in summer theatres and now migrating to Broadway. *Roam' comes via an arrangement with the Barter Theatre, Abbingdon, Va. It has a patriotic theme, and the chorals include 'My Country 'Tis of Thee.' Story sketches th6 success of people from all lands who come to the land of liberty. Only when the toilers permit avarice to sway them do they suffer and lose all. Finally they again look to the soil for re- capture of contentment. Against a blue-white background most of the action occurs. Use of lights is depended on more than settings, with the general impression of the farm and prairie lands excel- lently simulated. The coming of the railroad, the reaper, and the modern trends are indicated, since the cover- age is too wide for actual scenes. Young man and wife, as acted by Dean Jagger and Katherine Emery, settle on the virgin land, with ad- Vice from Johnny Appleseed, a sym- bolic character who discounts their rise to affluence. He especially warns them against Jay and Jim, top-hatted capitalists, whose gener- ous dividends are paid the couple, while others are robbed (the moguls in the end are submerged by the market tollapse). They leave sons •to- carry on the system, the author's reminder of the manrier in which American millionaires hold their fortunes within the family genera- tion after generation.^ There are some direct asides to the audience and some of the com- ment may have come from Connelly, who worked on the Arnold Sun- gaard script and is co-author. Such lines are by way of warnings, and could be inferred as aimed at the prasent spread of the intolerance fallacy. Essentially, however, 'Roam' is pretty much down to earth. First act is distinctly the best, and there are stirring moments punc- tuated by songs and folk dances. Some of the ensemble movements' are exceptional, particularly one in which dynamite is supposedly used. The leads, in addition to Jagger and Miss Emery, are played by Norman Lloyd, as Johnny, and Paul Huber and Arthur Barnett as Jim and Jay. Impressive and impressionistic, the play seems more of a lesson than a diversion. Ibee. Having cooped last season's Pulit- zer Prize with his masterfully weepy 'Our Town,' Thornton Wilder now brings this outright prank based on an old Viennese comedy. Here he is kicking up his heels in a farce of sheer make-believe, of frankly un- realistic charade. In Max Rcinhardfs ima^hative and impish production it provides an evening of beguiling the- atrical magic Or of baffling kitten- ishness—depending .on a playgoer's taste or humor. Certainly Wilder will enjoy no such success, either artistically or commercially^ with 'Ths Merchant of Yonker^ as he did with 'Our Town,' It may be doubted -^'lat he ever ex- pected or particularly cared to. This time he's obviously out for a romp and is turning the playhouse topsy- turvy with fanciful skylarking. Play will hardly have a mass draw, but may apoeal to the class trade. Jan-e Cowl's name should hypo the boxoffice, while the fact that 'Merchant is on the Theatre Guild subscription list should give it a good chance to become estab- lished. In short, it may catch oh, but a moderate run seems more likely. Ingenuous little fable of the early '80s tells about a substantial mer- chant of Yonkers who goes to New York to find a wife, while his tear- ful niece, two bumptious employees, and widow adviser follow to carry out their own various romantic ad- ventures. After they've all tumbled over' each other in Manhattan and entangled their affairs and identities, the antic subsides on a droll note ol story-book happiness. Reinhardt, who has been noted in America for his lavish and occasionally ponder ous spectacles, has given Wilder's yam an intimate and inventive pro- duction. Amusingly stylized stag- ing, with its frisky playing and its conifldential asides by the actors, en- hances the flavor of Wilder's script. Most of the players catch the spirit of the farce, but one or two seem unable to scamper through it with the necessary agility. Al- though she' is a gifted actress and a dynamic personality, Jane Cowl is unsuited to the part of the scheming widow who maneuvers the merchant to the altar. Or rather her style is unsuited to the play. She not only has trouble remembering her lines, but she plays too forcefully and with a too determined gaiety. Then, ap- parently realizing she isn't right, she strives all the more strenuously— and that is fatal. Only briefly in the last act does she achieve her nor- mal effective simplicity. It^s extraor- dinary to see a topnotsber of Miss Cowl's talents and experience ap- pear so disadvantageously. In conlrast,. nearly all the others seem imbued with the piquant humor of the piece. June Walker, in particular, is bewitching as the little milling, while Nydia Westmart is just right as her perplexed but willing assistant. Vesey Waram \& dryly gruff as the sorely-beset merchant, and Minna Phil^s is an admirably ftighty aunt. Tom EWell has an ingratiating cas- ualness as the merchant's romantic chief clerk,.and John Call overplays the wide-eyed apprentice. Joseph Sweeney is a hilariously philosophi- cal and meddlesome old sinner whose explanations of his vices enliven the whole third act. Carrie Heller gives an appropriately satirical portrayal of the weepy ingenue, while Bart- lett Robinson is satisfactorUy fierce as her swain. Boris Aronson's chromo settings and the comic-valentine costumes heighten the atmospheric quality of the production. Ho be. BRIGHT REBEL Drama In three acts pceaented at the Lyceum Dec. 2T, *S», by William Kllcullen; wrltte* Stanley Touns: staged by the prodacer. 93.30 top. Harrlnston Francis Swsnn I^chey Mary McCormack Fletcher Robert Vivian Mrs. Byron..; Jeanne Caselle Tom Moore...'. James MacGuIro John Cam Hobhouse Maurice Manson Scrope Davies Mlchnel Wills Lord Byron John Cromwell Annabelle Milbanlce Francesca Brunlns Lady Caroline lAmb Janice Hnnford Lord Melbourne Lewis L. Russell I^dy Melbourne .Beatrice Terry Lord'EIdone .Charles Atkins Lady Oxford.' Helena Glenn Lady Jersey Dana Dale Jarvis Richard Aherne Nicholas Kondjplls Daniel Krewo Augusta Leigh Ann Ijorlng Mrs. Minns Marie de Becker Dr. LcMann Henry Vincent Dr. Mlllengen , li'Fani'ls Swann Colonel Stanhope Richard Aherne Socialites, such as have figured in the reputed production set-up for 'Bright Rebel,' have fared rather well in the theatre at times, but in this instance the chances are nega- tive. English poets seem to intrigue au- thors, and Lord Byron has occupied any number of dramas. Here that genius is the main idea, a hero of sorts, despite his shortcomings. But his doings eventually become tire- some on the stage, in this instance because the character is, among other things, on too long. That he was bom with one short leg and Plays Out of Town DEAR OCTOPUS Boston, Dec, 29. Comedy In three acta (six scenes) by Dodle Smith; presented by John C. Wilson; staged by Ulen Byam Shaw; decor super- vised by G. E, Calthrop: at the Plymouth theatre. Boston, Dec. Itt, '38. $:i.T5 top. Charles Randolph ^Reginald Mamn Dora Randolph.' ....Luclle Watson Hilda Randolpti Phyllis Joyce .Margery Harvey Phyllis PovoTi Cynthia Randolph Rose Hobart^ Nicholas Randolph..... Jock Hawlcfns Hugh Randolph.. Peter Robinson Gwen (Flouncey) Harvey Shtrloy PolrJer William (BI1I> Harvey Warren MMta Kathieen (Scrap) Kenton .Helen Rcnce Edua Randolph. Ivy Troutman Kenneth Harvey Robert Craven r.4iurcl Randolph Naomi Camnbell Belle SrhlesRlnger Margaret Date Grace Penning (Fenny) lilltian Glsh Nanny Alice Belmoro Cllffe Gertrude Georgia Harvey 'Dear Octopus* hits a high level for family plays. English in spirit, perhaps, it nevertheless has a gen- eral appeal because of a remarkable combination of brilliant playwright- ing, directing and acting. Dodie &nith has brought to America neither a run-of-the-mill drawing room talk marathon nor a hoked up, false-front comedy. Instead she has created a large, charming English middle-class family who talk, act and react naturally through a week- end j-eunion held to celebrate the golden wedding of Dora and Charles Randolph (Lucile Watson and Regi- nald Mason), heads of the houses hold. Almost entirely deVoid of action, and composed of several minor, fit- possible club foot is also emphasized too much. Byron is here made the victim of his political views and defence of the down-trodden. Enemies, mean- time, seek to make scandal out of the poet's affection for his half- sister Augusta Leigh, the one Woman who was in complete sympathy with him. Militant poet's defense of the underdog may be true of . the Eng- lish, but hardly matches the popu- 'lar conception. Period or costume dramas seem often to be a managerial hazard. 'Rebel* is no exception. The garb of the men could be acceptable, but that of the women is unattractive. In fact, the feminine contingent in the play looks below average in gen- eral appearance and appeal. The dialog for that end of the cast is hardly a help, either. Lord and Lady Melbourne are cordial and friendly to Byrbn, siding with him in conflicts of opinion with Lord Eldone, the Tory leader. But they hardly do the poet a favor by steering him into marriage with their narrow-minded and rather dowdy niece, Annabelle Milbanke. In fact, why a man of perception like Byron should sue for the hand (Continued to page 196) SEASON'S GREETINGS ALFRED LUNT and LYNN FONTANNE ful plots, the play's strength lies In its dialog. Instead of swapping gags and epigrams all evening, the char- acters simply converse with eaqh other in various" moods. Through these utterances their personalities develop with such complsteness that those beyond the footlights believe them by the end of the first act, know them at the second curtain, and. reluctantly bid them goodnight at the flni^. Dora Randolph, the 70-year-old matriarch, is a wise old lady who knows how to sooth her daughter Cynthia. (Rose Hobart), .who has been a prodigal during <he seven years she has lived with a married man in Paris. In her off moments Dora is a 'job-flnder'—thinking up all sorts of odd chores for her family to perform around the house. Her devoted husband, Charles, has, in fact, given up his business many years ago just to putter around at the beck and call of Dora. Fenriy (Lillian Gish) has been Dora's companion for 10 years, dur- ing which time she has become seri- ously in love with Nicholas Ran- dolph, a bright bachelor in his 30's. At the weekend's windup Nicholas recognizes Penny's secret adoration and pops a marriage proposal, read* ily accepted. Hilda, an unmarried daughter, has a complex about shutting up flies la books; Margery,.a married daugh- ter, is a .buxom, hapoy-go-lucky specimen; and Edna, a daughter-in- law, meddles in the Nicholas-Fenny affair. Then there is Belle Schlessinger (Margaret Dale), a peppy old gal of uncertain age, who comes to the an- niversary celebration to renew flirtations with old Charles, her perennial flame. In addition there are charming grandchildren— 'Flouncey,' 'Scrap' and 'Bill'—around 12 jrears old, who exchange notes in a nursery scene on the new bad words they have heard. Hugh and Laurel, a young married couple, do not impede the play's motivation, but they are superfluous. Alice Belmore Clifle and Georgia Harvey, as governess and cook,' re- spectively, also bring their charac- ters to life without resorting to over« acting or scene-stealing. Kenneth, a sori-in-law, has a little flirting with Fenny, and is, in general, charm- ingly innocuous. Fimdamentally, this is a play for the naive and sophisticated alike. Perhaps the naive will assume from the title that it's an underseas meller, but that assumption should easily be dispelled. • 'Octopus,' of course, refers to the unescapable tentacles of a big family, such as the Randolphs. To Director Shaw goes credit for assembling a great cast and draw- ing from them the keen interpreta- tions which playwright Smith's lines demand. The three sets are of the same quality as the other factors in this production—and the lighting Is very good. Fox. Angela Is Twenty-two Columbus, Dec. 31. Play In. three acts' written by Sinclair Lewis in collaboration 'with Jfay Wray; pre- sented by John J. WUdberg; staged by Harry Wagstail Orlbble; settings by Fred- erick Fo.x; stars the author; at Hartman, Columbus, Dec. 30, '38. Dr. Ellis Plum .Barry Sullivan Rosa Cromer Ichnrd Kendrick Nina Cromer Mnry Howes Angela Quayle Flora Campbell Dr. Sago Joaquin Souther Dr. Hilary Jerrett Sinclair Lewis Price Dixon .' Royal Bent Mls.s Starr Barbara Thatcher Martha Ann Garrett Sinclair Lewis, star and co-author (with film actress Fay Wray) of 'An- gela,' unveiled that opus here as his first stop in a personal tour through the midwest. Personal touring is what 'Angela' is best suited to, any- how. It's not Broadway, and neither is Lewis much of a histrionic heavy- weight. When the performance was over, Lewis got his plaudits as author of 'Main Street' and not as the Dr. Hilary Jarrett lead ii^ 'Angela.' Play otherwise was commendable for Flora Campbell's role as Angela, tasteful settings by Frederick Fox, and nice gowning. Lewis made a curtain speech ex- pressing his belief that the American theatre is due for a renaissance, and said 'Angela' was 'my contribution to that movement, whatever that contri- bution may be.' Bliss. Morosco Claims letty' Name; Sues Greenwood Los Angeles, Jan. 1. OlivM Morosco has filed suit against Charlotte Greenwood for ownership of the name 'Letty' in stage productions. He charges Miss Greenwood, star of 'Leaning on Letty,' with pirating the title from his 'So Long Letty,' produced m 1915. Morosco asked the court to re-- strain the use of the word 'Letty' and to order an accounting of the profits of the play.