Variety (Oct 1939)

44 VARIETY LEGITIMATE Wednesday, October 4, 1939 Plays on Broadway SEE MY LAWYER <;iime(ly li\ llirc(> ncUi l>y nii haril Mnll>a<im •11(1 Harry Clork; ivrcsciucil by (.juurk'U Alil)Oi[; smK.'il by Kr.ri Stone: bpiUiik, CIrker & Itubbliu; al ihc BiUmoro, N. V.. B"i)i. 2T, •»:>. F.\y FranliOl Arilmi- I'Ce Joseph O'l^uurko Pelcr Itiiflso.. ^lorrls ychntorcr Scyiiivro Tyler IrvliiK Trankvl ClinrMo TelnphonA ].lno.<iinuii. Ili>berl Cnrllii........ lehlru Iviito 6. U. .Initie.ion.. Voslern t'nlon Boy.. Shi^i'sblne Uoy. Blo^aiMii Lo Verne.... A Man Police Off leer M.-vry Knife lllUon lierle , ,.Mlll.ir<l .Miii'li<-ll c;ar^* Merrill Teilily ll:irt ...LMviil Hunmiin ,...Nnrn»nn Tnl*.nr ... ;Hol)ert Crirtllli , Itulpli Uell ,.lidilift Xuucnl ....UeorKO lllriiae ....rieinlnc 'VVar.l UlelmnI J.ce ...Walitr .\\usner .. .Itoltin UayinonJ ; John >*liellle ..Can-oil Asbourh First Straight play of the 1939-40- ■easoii, 'See My Lawyer' is a laufih show, and -while it has faults, should serve fairly well during an autumn on Broadway that is brisk with trade bat too light in stage fare. 'Lawyer,' first called . 'Bright Shingles' and 'I Want a Lawyer,' is played in one well-devised setting. It is distinctly farcical, possesses three good comedians and although repetitious, the giggle content of the third act measures up with the earlier sections of the performance. Two coast writers. Kichard Maibaum and Harry Clork, contributed the script, but George Abbott, who!s pro-- ducing, provided the pace through Ezra Stone, who is credited with the staging. It's his directorial debut. Localled in a 2.2d story office, bi- sected by the quarters of the re- ceptionist, play starts with the prob- lem of three young lawyers without a client. Out of the blue comes _the type that every barriisler seeks, a fellow with plenty of coin but with a penchant of getting into trouble. Most first-nighters giggled without realizing that the wastrel was sup- posedly based, partially, on the much-married Tommy Manville, so those in the know got an extra kick. . Manville was there and seemed to enjoy what went on more than most others. The Robert Carlin of the play is an amiable screwball and bears no resemblance to the asbestos heir except that he's a big spender. Fay, the office sec, is engaged lo Arthur Lee, No. 1 man of the Arm. Her brother, Irving, is jarred by Carlin's car and the gay lad comes to square the rap. He ends up by en- gaging the legal trio to represent him; so things in the office of Lee, Russo and O'Rourke start to hum. In the end the assignment is too tough for the young lawyers and they settle for plenty after Lee rescues Fay from the top of the building where the curious Carlin had his car lifted by means of the freight elevator. In the outer office the outfit has a notary, one Morris Schneerer, also hungry and willing to take any kind of client. It is this character that builds the play's comedy. Among the nutty angles is that which has one of the three attorneys posing as a window washer. There are some raw bits, particularly that after the envelope opener is used to spread mustard on sandwiches. Milton Berle makes his leglt debut In 'Lawyer.' Audience opening night was somewhat surprised that the vaude ond nitery comic did not range all over the place. As Lee. he gives an excellent nerformance. Re- strained, perhaps, Berle stands out, givine the impression of following direction closely. His timing was ex- cellent. Berle cannot command the salary here that films, cafes or presentation houses afford, but he has taken a step forward neverthe- lesi. Teddy Hart Is the harried Schneerer. Comic is responsible for a goodly percentage of the play's laughtvr. Millard Mitchell, lean funster, has his innings several times as the phoney -window-washer with ^ an Idea that saves the firm from ■ ruin. Eddie Nugent Is the lad with ~ the ooir>. hnnd^iome and impossible but for his good looks and smile.' Audiences must take Nugent as a mythical playboy or else. He turned the trick at the premiere. There arc but two girls in the cast, Mary Rolfe, as Bcrle's fiancee, and Robin Ray- mond, as a somewhat disappointed vamp. Broadway's laugh shows at this time are mostly musical, so the new farce has a better chance than ordinarily. ^bee. The Straw Hat Revue Intim.ile muslenl In two pnrm. enneelved anil yi:iK"''l by Max I.lelMnnn: presenieil by nil' Straw lint Co. (wUli Slmbcrl bnekinsl; .vki'tclies niiiKtly by I.lcbinnn: niiwlc nnll lyrli-.H. Salvia Tine nnil James .Shellon; innoes .Teroine Andrews: at the Ambas- sa.lnr. N. Y., Seiit. 21), "M; »:t.:io top. fast: hnoRone t'oca, James Shellon. Nan rtac. Manile Davis. I>aiiny Kayo. Alfred Drake. .Mela Mntn, Olio Ilarl. Porotliy IlliM. Jcrnnie .\ndrews. 1,1111 Sanilon, Albia Kavan, (JertruJe tioldsmllh. 1*0 Broily. Uobert r.nrlon. nmhanna Boris. Herbert Shopnr,1, Harrlelle IlenahiE, Alfred Drake, raneho SeordI, Deloiese Grnnafel, Vera Volkenau. AIITUHR wek* rooiwmtlon from HU I nun rnersrtic iirmoii or iiro- ■notcr to arRnnlze produrdon nt orlK- Inal, uiiuHDnl motlerii ilrninntic tiliiy (romnlet« ivKli liniKirliiiit miiktc vrore); Terr (Itnely idfnilfitic tlirme; rendy for hig producllon. Vnrt time jol> nuirirlrnt U enoiiRli Inltliitlvo. I'arty mIioiiM lie experienced In tliU fleld nnd Imve tlieutre cntinerllnn!). No iiIuT bmlcer*. Box 25, VAKIETl, NKtV YOnii. The Shuberts dug this little revue up in the sticks, specifically Bush- kill, Pa., v.'here there has been a summer camp, for years. Talent scouts appear to have passed it up, but Harry Kaufman, Shubert aide, was impressed by tlie odd mixture, which might have been turned into a better show with more prepara- tion. Chances are for moderate grosses. ■ There are some good things . in Straw Hat,' but most of the worth- while material is jammed into the first part, leaving the second some- what lacking. For about 30 min- utes the little revue looks like it will deliver a surprise sock. Then the going becomes such that there is no' mistaking its origin. 'The Great Chandelier,' much too ex- tended operetta travestv, at the first- act finale, stamps the show. Most of the first nighters liked it. though it seems very much little theatre. Two or three highlights in the sec- ond act are topped bv Anne and Marie Clark, former clicl: team in v.nudeville. Girls are now billed as Nan Rae and Maude Davis. Miss Davis (Marie Clark), coming from the front of the house, wh.nms 'em with n double talk version of 'Alex- ander's Ragtime Band.' 'With an- other similar bit. the girls just about stooped the show at the premiere. BuslPst Tjlayer in the show is Imo- gene Coca, a comedienne who has been around in several intimate re- vues and some night snots. She has suffered in the nast from lack of material. That still partly eoes here. She U exf-ellent as a child -nfcture star. Working with James Shelton, Danny Kaye and Robert Burton, she also scores in other comedy bits. The latter male trio, by the way. travpsties the three girl harmonists iii "rb<» Streeti! of Pnrls' and amuse with "Three Simple, Hicks from the Sticks.' Shelton. who is a contrib- utor of material In the revue, has his best chance with 'Our Town.* a number that stands out as one of the show's best songs. Musically, though, thp revue Is not stroni*. Meta Mala pnd Otto Harl. are very good comic dancers. There Is also some food toe work by half a dozen damsels. Kaye Is the Drinclnal come- dian and should develop. His hand- ling of 'Anatole of Paris.' which has the girls comin? on with nuttilv de- s<inied hats, rings the bell. He Is also excellent as an excitable wpiter. Miss Coca again lands at thp close, Imnnrsonating the rage of 'Streets of Paris.' Carmen Miranda, singing '.''olith American Wav' with dialect, •''he's mode un to look verv much 'ikp the Brazilian fireball. Bronson Dud'ey, young tap stepper. Is on briefly, and while okay, does not eaual his work in 'Set For Music' last season. A willowv brunet. Del- nrese Granafel contributed attrac- tivnlv In the dance department. 'Straw Hat.' \a up pgalnst .strong rnustcal comoetitlon. does liot pre- tend to be heavyweight but should get by. Ibce. They Knew What They Wanted (REVIVAL) Comedy drama In three, act^ by Sidney Howard: preaented by I.eonard Slllman as seeond In series of revivals of Nexv York Drainu Festival; features Douglass Mont- Romory, Juno Walker. Qiuseppo Slcrnl singed. by Hobert Ross; setting, Lemuel Ayers; al the Empire, K. Y., two' weeks opening Oct. 2, ■31); $2.73 top. Joo Douglass Montgomery Father MeKee.. Charles Kennedy Ah Oeo ', ,.Petor Chong Tony Giuseppe SlernI Tho R.l-'. Philip Huston Amy June Walker .AngeVo : Joseph Conway Olorglo TSverett r.lplcy The Doetor Charles 15. Maxwell 1st Italian Mother Dolores-DadalonI Iter Daughter Marylln Wahl ii\ Italian .Mother Miriam ^atllsta Her .Son > Edward Nayor Artiiro Anthony nosltn I'letro Giovanni Doln) What They Wanted' to the Main Stem seems to be a winner on at least one count. Winner of the Pulitzer prize dur- ing the 1924-25 .season, when pro- duced by the Theatre Guild, the Howard drama still is fresh and ab- sorbing, bencAting by good production and an excellent cast headed by Douglass Montgomery, June Walker and Giuseppe Sterni. It is the second revival in the series presented by Leonard Sillman as part of his New York Drama Festival. 'They Knew,' like the tecoff 'Journey's End' and the rest of the schedule, is set for two weeks, with possibility of a third should biz warrant the holdover. It's basically a story of age versus youth in the love sweepstakes, set in a backgrotjind of the California vine- yards. Sterni plays an elderly Italian vineyard owner approaching senility. He seeks a wife and, from a Frisco joint, through a correspondence courtship carried on for him by proxy through Montgomery, a shift- less migratory whom he had be- friended, he lures Miss Walker, a spaghetti slinger. Tony's (Sterni's) accident, in which he breaks both legs the day that -Amy (Miss Walker) arrives, th^ir marriage, her seduction by Joe and the forgivance by Sterni-when he learns that she's to have a child are' given excellent characterizations by the featured trio, particularly Sterni. Miss Walker has a fine emotional quality,. with Montgomery playing the migratory excellently. However, it remains for Sterni to eclipse the pair, with his diverse moods, comedy and drama. His profanity is in- offensive, being believable in the character, while his dramatic values are considerably enhanced in the final act when he learns of Amy's infidelity. Pauline Lord played the original"Amy.' Glenn Anders was Joe and Richard Bennett. Tony. Direction by Robert Ross has brisk tempo and Lemuel Ayers' single setting is iti the groove. SALVATION Drnma In two arts (H acenos) by Mnurica Schwartz, adapted Troin ihe nowl ot the snnie name by Shototn .\m-U; presented nml taged by Schwnrlz; fenturcs Sc^iwnrlz, Leo Puch9, Miriam ltl.>ic:ic. Murk Schweld, Biiriha Gersten, Anna AppM; sottlnRa. Alex Cheriuv; dances, Lillian Srhapcro: music, .Sholoin Sfcunda: nt tlio YId'llsh Art the- atre, X. Y., ouenlns Sept. IIS, '3'J; $L*.'JO tup. Rabbi Mendole Maurice Schwartz Psachyeh M. Schorr Doruch Moydcho Abrahuni Tcltclbaum Jechlel Loo Fur4is Schloyme Wolf Isidore Cashier Malko Anna Appet Belsel Miriam Rlaelle Priest '. Julius Adler Thief Leon Gold Stephan Zoeo Scoolcr Pan WydawskI Gusiav Schacht Kabballst Zvee Scooler Rcb Israel Morris SlrasHberg Reb Sellg Maurice Schwartz Sarah ; Tterlha Gcrslen Rolsel Mhiaiu Jtleselle Since the revival of Broadway hits Is nearly always a pre-concelved idea to stir a sentimental nostalgia—let alone a few kopecks—the return of the late Sidney-Howard's 'They Ki^ew Play Out of Town TOO MANY GIRLS New Haven. Sept; 28. Munlcnl comedy In two actif (nine scomch); prosontoil nnJ atnKOd by .t^ertrtfo Abbott;, book. UcorKO .Marlon. .Tr.: music, lllchnrd llnilKei'u; lyrlca. Lorcnz Hnrr; :iQlllnRa. Jo Mlclzlncr; danre.n, Itobprl vMlon; costumes, Unoul Pens l)u Uols; foalurca Marcy Wes- coit, Itlchnrd Kollnmr. ilnl I.croy, .Mary Jiino Wnlsb. Dlnsa Costello. DchI Arnuz, ?Mdle Bracken; on.1io.Htni conductor. Marry Levant; on-hcHtrHtluns. llliiis Splalek; vocal arranKciiients. }\\iKh Martin;' nt'tho Shubert. New Ilaveh, Sovl. :!3-2U-30. '311; iX.30 lop. rirst rttmin -rToo*.... Second Itobln llooj. Third Jtohln Hood... Fourth Itobln Hood. •Clint Kelley Mnt. I'ewktibury Manuelito :\ KlTHt Coed. Second Coed Thlid- Cocil Pourtll Coed l'"itlh Coed... Sixth Coed Jojo Jordoii ■ Al Terwllllser Harvey Casey Mr. Lister Consuelo Casey .^Iierirc Andalu/,. Robert Arnold ...Ijnii'n Wilkinson . Konioln l>l S|>lrllo Wllllnni Monde ...Richard Kollinnr Ivy Scott Di'sl Arnnz Mildred I.aw I.etinor Sola Verno IjUi»lon .Diane Sinclair Key Taylor Vera Kern I'JUdle. lirnchen Hal. Irfrox Clyde I'^illmore Hans Itobert Marcy Wescoii .Uyron Shores ..I.a b:ilc6n diers Mary Jane Wnlsli Sue I.etla Krnst Talullali I.ou..- ' -.... Niidino Ctae Sludc.nt Van Johnson l*epe. '. IM0S41 Costello Doverly 'Wftverly Jnn^cs MacColI Deputy SherlfC ......Wlilla Duncan Cowboy -. ..Kdlson Ulco Hawker Harry Jackson In 'Salvation' Maurice Schwartz, whose capabilities as dramatist, di- rector, producer and actor are a legend in the 'Yiddish theatre, has for the second straight year employed a best-seller work by Sholem-Asch ioi dramatization. Last season he opened with Asch's 'Three Cities,' an episodic drama that seemed to weighty a tome to fit stage limita- tions. 'Salvation,' dealing with the Jewry ot an early 19th centuiT Poland, again shows the trial and error of attempting a capitalize a heavy, though excellent work of literature into a drama that at times is dull. But there's much to recom- mend 'Salvation,' as a play, and with tightening, it may achieve some b.o. success in these times. The mysticism and practices of the orthodox Jewry of the Napoleonic era may seem remote for a present, Anglicized Yiddish audience caught in the wheels of social evolution. But the leading character of Jechiel is a Yiddish actor's dream, and Leo Fuchs has for the first time laid aside comedy for the role of the de- voutly religious youth. The sheer force with which he dominates tlie character is particularly notable be- cause of big gap between his usual comedy roles to that of the mystic. Through the over-long and oft- times tedious two acts and IB scenes Fuchs is outstanding, first as the chassidic student timid in his amor- ous approach to Reisele, daughter of an innkeeper. Their marriage, the rpread of the news of his divine ppwers, the sacrilegious abuse of his power and his subsequent, pclanty, Reisel's death in childbirth, all tend to become incidental to the late scenes in the second act, where the story really comes into its own. Much of the.Jirst act could be cut, particularly during the opening scenes, while the second, also at the beginning, could stand a slash. The second part's meat concerns the re- appearance of Reisele, in name and soul, in the body of a young girl, startlingly like Jechief's dead wife. The wish o( her father to marry someone of his choice, her love for a Gentile and the subsequent tragedy that accompanies that love are stoic- ally played and directed. Opening nights performance ran three hours and 20 minutes; a. SOrminute slice, fit least, is required. Schwartz has staged the play ex- cellently, surrounding himself with. George Abbott has considerable of a good show with this, his first musi- cal, of the new season. The defici- encies suggest a fairly simple job of doctoring which ultimately should place 'Too Many Girls" in Broad- way's more popular bracket. Pres- ently, the first act has slow spots, with the second being better except for the final curtain. Opening night windup had the cast looking almost as baffled as the audience nt its abruptticss. A rich comedy vein in Act 1 seems to run dry in the second stanza, however. Abbott has followed his usual method of relying on entertainment value rather than names to sell his show. Aside from the Rodgers and Hart magnet, there's little to draw the crowd in advance, but once the word gets around as to its merits,- show should do biz. Abbott has re- frained from book participation, ex- cept the usual changes allotted to directing. In this connection, a major part of the play's first scene, in a tavern, could be deleted without loss. It has little to do with subse- quent events, beyond laying.a foun- dation, and it uses up too miich time doing that. Score involves 14 tunes which hit a generally high average. Typical Rodgers and Hart sentimental, melo- dies that register are 'Love Never Went to College' and 'I Didn't Know 'What Time It Was.' 'Too Many Girls' also rates as an ear-caresser. *I Like to Recognize the Tune' takes a poke at swing harmonizing while 'Spic and Spanish' and 'She Could Shake the Maracas' are hot num- bers. Hart has put some of his best comedy lyrics into 'Pottawatomie,' 'Sweethearts of the Team' and 'Give It Back to the Indians.' 'Cause We Got Cake' serves as good ground- work for a novelty cakewalk-can- can. Outstanding dance routines pre- dominated at the premiere. Com- bined with some nifty costuming, terp ensembles carry variety, flash and novelty. Act 1 finale, aside from being too long, is an effective curtain-dropper and gets a good hand. A sextet of femme toe-and- heel flippers do some nice work in specialties as do the dancing prin- cipals. For this production Jo Miclziner has limited the number of sets to comparatively'fcw for a big musical. He goes in heavily for lighting with good results. For something differ- ent in a traveler, designer has worked out a sort of vertical Vene- tian blind that operates in sections, moving in slots inserted in the stage. Seems ponderous to handle at times but offers a chance for unusual ef- fects. Sets, on the whole, are grade A. ' 'Girls' concerns Consuelo ' Casey (Marcy Wescott) wealthy deb, who goes in for headline hunting. Father is an alumnus of Pottawatomie Col- lege, Stop Gap, N. M., a jerkwater university where all the virtuous among the coeds are distinguished by little freshman-like caps called 'beanies.' Ostensibly to please the old gent, the daughter agrees to at- tend the place but in reality it's to be near an English sweetheart who has prearranged the thing. Pere Casey takes, no chances on further es- a strong cast. As In last year's 'Three Cities,' he has relegated him- self to the background, with two comparatively minor roles, but he cuts' a wide' swath, nevertheless, whenever he's on stage. Miriam Riselle, who also plays two roles, as Jcchiel's wife and as her reincarna- tion, continues to show the promise first indicated when she made her legit bow last year in 'Who Is Who.' Of the others in the large cast, all of whom take care of their roles to the hilt, there are several standouts, namely, Mark Schweid, Bertha Gers- ten, Anna App£l and Isidore Cashier. Alex Chertov's settings are nifties while Sholom Secunda's incidental music is in keeping with the moodsj capades on the part of his offspring so, unknown to her, he hires four bodyguards who happen to be all- American football stars. Clint Kelley (Richard Kollmar), whom the authors,'one might suspect, have named from Clint Frank anil Larry Kelley, former Yale All-Americans, but have, compromised by sending him to Princeton, turns out to be the bodyguard who goes for Consuelo romantically. The boys become heroes when they put Pottawatomie on the foot- ball map, beating the country's best, but the day before the big game Consuelo discovers they've been hired by her father and she figures the Kelley romance Is just a business deal. She breaks the thing off and is going to disrupt the team by forcing the quartet to accompany her back east, but repents and the col- lege football honor, as well as the wagered relief checks of the nearby . Indians, are saved. Casting comes close to 100%. Troupe has' youth, sprightlincss, looks and talent, plus ability to. use these.attributes. Miss Wescott make.s ah attractive millionaire's daughter and sings sa,tisfactorily. Opposite her, Kollmar has personality and a rcs6nant voice that stands out. In- cidentally, a swell chance for these two to harmonize, in a chorus of 'What Time It Was,' is ignored. Mary Jane Walsh gets the show's best vocal break with the produc- tion's most popular light tunes. She knows how to push every line across the foots. Hal Leroy combines light comedy acting with his original brand of hoofing and is one of the show's best clicks in a single that displays his . rubber legs to good advantage. Nadine Gae docs a tap number with Leroy and an eccentric single, the latter a particular click. Diosa Cos- tello anil Dcsi Arnaz ai-C out of nite clubs and into their first stage pro- duction, the former with a throaty warble and lively dancing, the latter with hoofing and a personality that should attract the femmes. Miss Cos- tello is something of a letdown, par- tially through poor spotting and partially because her high-tempera- ture style of shim-shamming is ap- parently being kept under wraps. Eddie Bracken adds a comedy flair and does okay with a novelty tune. Clyde Fillmore fits as the wealthy parent and he and Hans Robert put over the laugh duet, 'Pottawatomie.' Ivy Scott is in for one isong. Harry. Jackson features In a couple of dance ensembles and a male quartet fills in some harmonizing. Bone. Hollyw'd Deal .Continued from page 41. that in mind, but whether they would collectively invest is not clear. Few are believed to have enough surplus to purchase percentages ot productions. In. any event, 'Holly- wood would hardly figure such in- vestments as opposition to picluro financing of plays. Broadway brokers have financed shows wholly or partially in many instances, but very little of such . backing has been noticed in the past seven or eight years. Joe-Leblang was perhaps the most active In that direction, principally to protect his theatre interests—the Cohan and tha 48th Street (now the Windsor)—but he also aided indie, producers. Mc- Bride's has occasionally backed pro- duction and in 1931 went overboard in helping out a number of managers who were virtually wiped out by the depiression. Kaufman Active Harry Kaufman of Tyson's (for- merly Sullivan-Kay) currently is the most active showman-broker. He Is associated with Lee Shubert and di- rected 'Hellzapoppin',' 'The Streets of Paris' and 'The Straw Hat Re- vue.' Kaufman, however. Is not in the guise ot a backer, though he owns a percentage of all three at- tractions. The confreres who are striving to consummate the Hollywood-Broad- way alliance have ope leading jwint that has held up the works. It is a new method of disposing of picture rights to the filnvbacker, calling for a down payment prior to production and a percentage of the gross to be paiid on a weekly basis throughout the engagement. -There are three other methods provided for In the basic agreement that has bcerr- In force since 19.16. One is .the outright sale of rights after production., with the author and manager splitting 60-40; royal- ties on the picture grosses in part or whole; contract calling for royalties in part or whole to be made at the same time the backing agreement is made, prior to production. The minimum amount of coin which the film end would be required to pro- vide for production has been the main, $tumbUng block. , .j