Variety (Nov 1939)

B8 VARIETY LEGITIMATE Wednesdaj, November 15, 1939 Dick Rodgers New Monte Carlo Ballet Suite Draws Broadway Mob Engagements mu.tir. ■ MIrlirl \'jt»l:ili« BACCIIANALE SiiMinil.i nnJ aconory by Pnlv.-i'lor Dnll, ba.—.1 mi Ibe •niiccnnRlIu' from "I'mlnhnu- aci-; niusli'. Rlcbnnl WnRncr; cbiirooeni- l,ln-. I.eonliln SI.T.HSIne; co-Miimos pxoruti'rt bv' Mmt. KnrlnKba from auffseMlIuna Uiall; Nov. 0. 'S'J. ronipany: Mia Slavenaka. Alexandra r>'iiil<uv:i, NIkI 'I'bPllmle. Alli'la Markovn. Niilbiill*' Kra!*:lovskii,. MurinH Krutu-a. I.u- iiDV K.tidiiiiko. Talianii CrantJovii. Elca- nm-n Marra. Knsolla HiBhtouor. .Icannoile l.auiil. .Mlladu Mlndova, K'alle GelczliDVa. Vh'clnia );t>S!»on. .Mupl Novlkovn. NoittR Wllllaii)!<, TaHana Chainle. Nnllinll* Kclop- i>\*j»l;a. MIIOB. Lai-i-R, Poiirmcl. Vallon. Kor- Jhislsa. l-'Kital. r.plHnovn. .Orbiva. Rklllzka, Si-ai-poA'a. I-ow. Kthertjge. Frederic Frank- lin, rtoland Cuernrd. Castmir Kokltch, i harlea Dli-Uaoii., Slm»n Semcnolt. I'aul tliiUk ,' Ilobcrt Steele. Jatnea Slarburk. 'I'bonwis Amour. Michel Katcharoff. In-n Oll>nntA(t> t^W*tnndcr OoudovUch. Nlrholiis H»>repo(T. Marc PlalofT, George Zorltch. ChrW Volkoff. Andw FKlevsky, Me.<*!>ra. .Mllfon.. Irwin. VolkotT, Bocchlno. HcljHty. KaiL'bar«IT. Uodkln, Steele. Kobe. Broadway took over the Metropoli- tan Opera house, New York, Sunday night (12) for the preem of Richard Rodgers' first real attempt at hifih- brow composition, the American folk _ _ ballet, "Ghost Town,' by the Ballet t;„„z Aiicrs: oit. 30, Russe de Monte Carlo. Scattered through the lower floor and the cele- brated 'Diamond Horseshoe' was not only the regular first-night, society mob. but also a glittering cross-sec- tion of the New York theatre. Besides the name actors, dancers, play- wrights, directors and coinposei-s, there wore even a few agents, look- iiic; puzzled and vaguely ill at ea^c. And there was the usual army or long-haired, white-faced, deep-eyed and intense balletomanes. In short, it was an Event. Broadway is notoriously senti- mental, of course, so the occasion was pretty emotional. It was a dramatic moment when the lights dimmed and Rodgers mounted the conductors stand in the pit, but that was nvld compared to the excitement when he joined the dancers and Marc Platofl. the choreographer, on stage to ac- knowledge the solid ^aPPlau/e and cheering at the finish. Not often does the old Met \*itness such an ovation. As for the ballet Itself, It is the first all-American work ever done by the Monte Carlo troupe. 'Union Pacific,' produced several seasons ago, had an American theme, but its score and choreography were by foreigners. But 'Ghost Town' not only has a typical American sub- ject, but its score and libretto are by one of the most successful Broad- way musical comedy composers, the chorocographer, Platoff, is native born, as is the scene and costume designer, Raoul Pene du Bois, who likewise has a Broadway name. Rodgers, this time working without Lorenz Hart, previously composed the music for the ballets in 'On Your Toes,' but this was his first try at straight ballet. 'Ghost Town' doesn't rate an equal of several other ballets in the Monte Carlo repretory; its score is a trifle light, in the musical comedy vein, and the choreography is still not comoletely developed. But its colorful theme should have wide ap- peal for U. S. audiences, the dancing is lively and at times humorous and offers a vivid spectacle. It also pro- vides a welcome variation from the too characteristic choreographies of Leonide Massine, who conceived nearly all the other Monte Carlo routines. The score will likely be heard occasionally on the .radio. 'Bacchanale,' which the company preemed the previous Thursday (9), is an' interesting novelty, chiefly be- cause of the surrealist setting and costumes designed by Salvador Dali, who did the 'Dream of Venus' under-water- ballet at the New York World's Fair. To the familiar score from Wagner's Tannhauser,' the ballet includes such oddities as midgets, dancers wearing fishes' fins and having plants growing out of their heads, etc., all of which is per- fectly logical, since the story deals with the hallucinations of a para- noiac. But it's all wacky enough to startle an audience and cause brisk ,. word-of-mouth. The choreography by Massine is fairly orthodox. 'Rouge et Noir,* another produc- tion preemed during the Monte Carlo's current engagement, is an impressive baUet to Dmitri Shostako- vitch's first symphony. It's rather symbolic, but has extraordinarily striking costurhes designed by Henri- Matisse and is brilliantly danced, particularly by Alicia Markova. 'Igrouchkl.' with a score by Rim- sky-Korsakofl and choreography by Michel Fokine, is the final new of- fering of the engagement. It's short, graphic and rather on the cute side, with a humorously romantic story. Ale:candra Danilova, who remains the outstanding virtuoso of the com- pany, dances and mimes tastefully m this number. It's hardly a m.ajor offering, but shotild serve as a sparkling novelty. ; Tlie Monte Carlo, which is In- variably a standout boxoflice draw, is continuing to "pack the commodi- ous Met at every performance, with never less than a couple of hundred standees. It can hardly fail to mop up on its forthcoming tour, and is undoubtedly a potent factor in building the audience for the entire Ilurok concert subscription list. The credits: IGROUCHI ('The Russian Toys') !n one scene by Ali.-hcl Toklne: )lmi»k>--Konakn(t; chureoeraiiby. K.iK-me: ncencry and cosliiinc!*. (cli.Trova; orcbeslra conducted ■M. by Catheryn Laughlin, 'Swingln' the Dream.' Marietta Canty, Louis Smith, Richard Gregg, William and Nellie Staplelon, 'Ring Two.'. Martha Scott, Richard Ainley, Robert Carven, George Beban, Jr., Guy de Vestal, George Macready, Leon Janney, Damian O'Flynn, 'For- eigners.' Rosalind Ivan, Bennett Chaltis, Violet Reming, Jane Wyman, Wal- ter Abel, Leo G. Carroll, Eda Heine- man, Katherine Emmett, John D. Seymour, 'No Code to Guide Her' (complete cast). Franciska Gaal, Colin Keith- Johnson, Cecil Humphreys, Jessa- mine Newcombe, "The Woman Brown.' Morton L. Stevens, Lalhrop Mitch- ell, Clifford Dunstan, Cledge Rob- erts, Edmund Dorey, Victoria Home, Hays Out of Town DuBarry Was a Lady New Haven, Nov. 9. Krunlrnl camedv lit two nvlt (10 •i:eneH>, by Herbert Klolda and U. O. I>« Sylva; staged by De Sylva: stars Kthel Merninn and Uert I.abr; features Uetly Grable .ntid l^bll. Ker.nn; music and lyrica, Cule Porter; ilunccH. llobcrt Alton; cOHtuniea and scenery. Uaoul Pene Duliol"; book sinRCd by lOdgar MuctJrcKor; orchrsli-a conducted by Gene Sal/.er; orchealrallon'*. Hans .spluK'k «Md ItusMCll Ki'Muctt: I lioral nrranRcutents, Huitti .Martin; voiflt urrangooienta, Tony Ivonuinu; iiresenlod by Do Syhn; nl tlie Sluiliert. New tlaven, opening Nov'. V, '30; top. Caat lion T.alir, ntbol Merman. Betty Crablc, riiil ItCKon. Uonny linker, Mabel Todd. lIUBli runioron, Jobnny llarne.H, Kay Sulton. Audvev Palmer. Ilnn>ld Cromer. Tony Uomiini>, Tllo Kiuiuldo, Waller Arinlii. Doiitrlas Hawkins. IVter Ilnlllday. Ilobert Ut'rrllijr. fiui Nichnlaa. c;eraliiinc Sprerkcla, rtetly Allen. Ann Graham. Janice hremann L'arier, K'lcne lleynoUl.i. MaiKUcrlio Uenlon. Buddy De Sylva has a strong con- tender for ace musical honors in the making here. OIT toi a fast start, „ , _ ,., r, A • , show maintains zip throughout two Evelyn Barrows. Aileen Poe, Anane stanzas, and with contemplated cast Allen, 'Aries Is Rising:' . John Beal, Helen Claire, Haila Stoddard, Edmund George, William Hansen, Reynolds Evans, Edward Broadley, Hugh Banks, Doe i)oe Green, Virginia Chauvenet. Frank Brown, "I Know What I Like.' Inside Stuff-Legit Baltimore is regarded as a one-week tovn, but it has two legit houses and, not infrequently there are opposed attractions, yet the friendship between the' two theatre managements hardly makes for actual rivalry. Currently the Playwrights' 'Madam Will You Walk,' with George M. Cohan, is at Ford's, which Is booked by the United Booking Office, while George Abbott's 'Ring Two' is at the Maryland, which books independently. Both new plays premiered Monday (13) night, with the Cohan show draw- ing the critics, but that did not annoy the Abbott outfit, which said they'd 'Welcome somebody from the sports department to review the show.. Situa- tion is reversed on Broadway, where attempts are made to avoid open- ing night conflicts, particularly in the past two seasons. Ford's is supposed to get the breaks in bookings, but that does not always prove true. Recently 'Life With Father' played the Maryland and grossed around $11,000, while Thunder Rock,' in the UBO spot, drew small money. Maryland is operated by Leonard (Chum) McLaughlin and the house has always been favored by Abbott for tryouts, even when Ford's is available. John Little manages the UBO spot. His brother Con, for- merly in the box office of the Ziegteld theatre when it played legit, is treasurer. There are three papers in Baltimore and when there are con- flicting presentations, columnists are usually assigned to second string. changes and revised scenes, should be even belter than as unfolded at the- premiere. Production is well balanced as to book, music and terps and mounted in eye-popping color. Producer is .said to have siink belter than $100,000 in this' show and it certainly looks it. The Bert Lahr-Ethel Merman combo is sock from start to linish: Role of the nite clulS washroom at- tendant who dreams he is Louis XV, is a natural for Lahr, and he milks it copiously. Has two standout scenes, one in the gents' roprn with Benny Baker, and the other a clown- fest, when the royal physician re- moves from the king's derriere an arrow that^has landed there by mis- take. Both sketches are good for howls. Lahr is consistently funny, even wringing laughs from common- place line.-;. ' The Merman touch Is just what the doctor ordered for the flippant, risque tone of the DuBarry role. Singer has her every situation well in hand, delivers catch-lines wilh a wallop and puts over her songs in standout fashion. She and Lahr also collab in a comedy duet that bowls 'em. Of the featured Betty Grable-Phil Regan pair, the former does the bet- ter job, pleasing with looks, dancing and warmth from acting angle, the last somewhat of a pleasant i-evela- tion. Regan is in good voice as to clarity but lacks the volume to punch his numbers across, despite having on his menu one of the show's hit tunes. Tendency is to play the role too stiffly. Another Hollywooil expatriate in the cast is Mabel Todd, who fails to go anywhere with a not- too-juicy part. Benny Baker comes in for some laughs in the washroom scene with Lahr and also later as the Dauphin in the dream sequence. Comic adds a neat tap routine with Harold Cromer, pint-sized Negro, who scores twice, hoofing with Baker and to a vocal chorus by Miss Merman. Johnny Barnes clicks in two tap specialties and Audrey Palmer also steps through a couple of nifty dance routines. For en- sembles there's a colorful dance 'battle' between the gavotte and swing, a ballet opening the second act competing with a trio of typical floor show workouts, all gqpd. Cole Porter has done a good job on the score, hopping cleverly from comedy to hot numbers and inter- polating enough sentimental ditties to round out a varied lineup. In several instances, comedy lyrics border on comfort-station poetry, but they draw laughs, which seems to be the main idea. That goes particu- larly for 'It Ain't Etiquette' and 'But in the Morning, No!' Shaping up as show's two top tunes are 'When Love Beckoned' and 'Do I Love You?', both excellent. Miss Merman's 'Katie Went to Haiti' is likewise due for Ad of Lew Brown's 'Yokel Boy' (Majestic, N. Y.) In Sunday's (12) edi- repetition. Just to make jiure the tion of the Journal-American Carried the names of Rogers and Hart an4 better tunes will sink with the audi- George Marion, Jr., who were erroneously credited with the show's author-i ^nce, there arc four renrises in the ship. That trio did 'Too Many Girls,' which George Abbott presents at the Imperial. They are so credited in the ad copy of 'Girls,' but inser- tions for the Brown musical make no mention of its authorship. Whether the mistake was made, by the agency, or in the publication's composing room, management of 'Boy' will, deduct the item from the weekly advertising bill. Tour of 'Golden Boy' has been anything but humdrum, especially when the show was traveling from Birmingham to New Orleans recently. One of the cast's most docile members appears to have fallen for some high power corn liquor and it is reported that he ran amuck during the trip, with one fellow player slightly injured. It is said, too, that the lad of- fered to take any and all of the company on in combat when the show reached New Orleans. 'Boy.' is being trouped by the Legitimate Theatre Corp., playing guar- anteed one-nighters, with regular road dates in between contracted stands. Management inquired of Equity what should be done to discipline, the alleged offender and was told that the association is not responsible for the conduct of members outside of the theatre. Equity claims the inci- dent was unimportant, explaining that a letter from the show's deputy asked the' association to 'pay no attention to reports from the Southern front." Passing of the widow of Leo Ditrichstein recently recalls an Incident when the actor was one of the best known leads on Broadway. In 1918, Ditrichstein, rated an enemy alien, was checked up by a Department of Justice agent, who called on David Belasco. Showmen were steamed up at the time over the fact that the actor had left his management and went to Cohan & Harris. Agent recalls that Belasco said he was rather glad to get rid of Ditrich stein because the player was difficult to handle, and the same went for Mrs. Ditrichstein, who passed on his plays and the parts assigned to her husband, also sitting in at rehearsals and attempting to dictate how the characters should be enacted. During the talk with the operative, the showman exclaimed: 'Lothario, Casanova, The Great Lover—tied to his wife's apron strings. Nuts.' The Great Lover' was one of Ditrichstcin's biggest successes. GHOST TOWN KOUGE ET NpIR ('Bed Slid Black') Ballet In tour movements and one scene, to music by Dmitri Shostakovltcli; rlioreox- rtpliy, I.eonlde Mosalne; «cenery snd cos- tumes. Henri Matisse; orchealra comlucted by Errere Kurtz: Oct. 28, '30. ' second frame. In addition to the principals who sell the vocal end ot the show, a male rfiuartct and a femme sextet add to the proceedings. Like the lyrics, the book is full of blue lines. The introduction of a DuBarry character into the setup al- lows for plenty of leeway in that direction. Some of the dialog at the opening . virtually had eyebrows shoving toupees out of place. Plot gives a slightly now twist to the old one about a lowly character dreaming he's a bigwic of a former generation. Louis Blorc (Lahr) washroom attendant at the Club Petite, wins $75,000 in a sweepstakes. -Play opens with an authentic news- reel shot showing actual sweeps win- ners being interviewed, then cuts into Louis' comment on how he will spend his sudden wealth. Scene shifts to stage setting of the club where Louis tries to use the coin to win May Daly (Miss Merman), club warbler and his secret passion, but he gets nowhere fast when Alex, her Teariove, appears on the scene. Louis attempts to waft Alex out of tjie pic- Robert Garland is again reviewing shpws, being, on the staff .of the turc via a Mickey Finn but the (jrcenwich Village Bugle, a weekly that has been published for about four! classes get mixed up and he downs months. Sheet is half the size of a Ubloid and gotten out in.ofTset printing.! ^^'^ drink himself. The attendant Former criUc of the World-Telegram, N.Y., he handled special publicity '^„J''J:'°"^^,,^^''^ ^ ^^^'^^ Ray Brodcr, who was general manager for Vincent. Youmans' produc- tions, is back on Broadway after a considerable lap.se, being company manager of 'Margin for Error,' which opened at the Plymouth, N;Y., Fri- day (3). For several years he was out of legit and was connected with Associated Talking Pictures, Ltd., in London and that Arm's New York representative. He then became trustee for a bankrupt candy concern, which work consumed 16 months. Broder was originally on the staff of the late Charles B. Dillingham. Theron Bamberger is p.a. for 'Error.' P. Dodd Ackerman, one of the best known scenic designers In the legit field, has left New York for aii indefinite stay in Florida. He was ill for some time and doctors advised a change of climate. Artist is residing at Ft. Myers, where he has built a house with quarters for vacationers. Ackerman wos a specialist in stage interiors and designed most of the American Folk ballet In one scene. proloK and e|>lloe. with score and llbreltii by KIchnrd RodRers; orchestrated by Hnna S|il:ilek: choreocraphy. Marc Platoff. set- tlHRM and costumes, Bnoul Pcne Du nols; . »r -iir j i. " v 1.1. . j - . 0 orchestra conducted by RodRcrs; pruiuccd I settings for A. H. Woods attractions when that producer was in stride, by Ballet Russe de Monte (-nrio; pre'entnd Ackerman's son, P. Dodd, Jr., is attending the U. of Florida, by Sol Ilurok. at Mctmpolltan Opera house, ' • " N. y., Nov. 12. '30; t3.3U lop. for the Federal Theatre Project, during the past years ot its existence, Bugle is edited by Haile-Henilrix. Ads are principally Inserted by curi- ously named gin mills in the Village. and he finds himself as Louis XV and May as DuBarry. Just like in real life he still gels nowhere with her, but the dream convinces him it's bad dop« to try to snare someone who doesn't love you. When he comes to his senses, ha gives May and Alex $10,000 for Alex to buy a divorce so he can marry May. The Federal arid state tax pgehts take away the balance ot the coin and he laniij right back where he started, Choice of this particular plot is smart in that it offers a chance to blend the pep and dash ot a modern nite spot with the extravagant splen- dor ot the Louis XV period. It's done lavishly from both angles, aided by a .line of lookers who stand out both in dress and undress. There's nothing for Hollywood in 'DuBarrv,' except possibly an idea; any film adaptation would require practically a complete rewriting for a Hays of- fice nod. Botie. RING TWO Baltimore. Nov. 1,1. Compdy In tUr.'e aria by Gladys 'Uiirlbul; pre.HiMitcd and HlaKed by Cpoi-jco .\bbott; miM- tlniT, Jtdni Itool: at llie Maryland. Ilaltl- more. cponlmr Nov. la. 'a:'; f:^.":!.top. MaSRlo Uruwii I'Milli. .Van (.'levs. Grant Wllllnm Suellaiut Nellie Mary Carr Michael ('air PeRffV Oarr Ourward Nealiill rtosa Homero. .Maxine Stuart .. .'June Wnlker .Paul MrGrnlli . .Grnft Tierne,v .. .Tom Po\vel■^ .lletiv Field White .• P.lchnrd GrcRif Kmma Marietta Canlv ICmr.y Mirtln Tamos Cornier Dopey flark William Ploes Julian I.nuia Smith The Two Inkanols; William Stnpleton ami Nellie Slapletan.' A weekend in the country and it.>t attendant complications among so- phisticates are examined in George Abt>ott'.<! latest productional elTorl. The major plot is slightly worn, but a set of capable performances anil Abbott's direction help rejuvenate it in a measure. Disjointed action slows the pace, but judicious cutting would probably result in fairish comedy with slightly better-than-avorage chance for success on Broadway. Story revolves around the efforts of Mary Carr, a retired actre.ss (June 'Walker), to forget her troup- ing days and wrecked marriage. Into her rural Connecticut ret 'at comes a flock of people who soon have the place resembling the Lincoln High- way. First arrival is her agent (Edith van Cleve), who hates the country and tries to convince her that it's a place only for cows; She is followed in quick succession by the actress' ex-luisband (Paul Mc- Grath), his daughter (Gene Tier- ney), and a few more skeletons in the family closet. The presence of Mary's ex doesn't help matters. To make them even worse, her current pash, Durward Ncsbitt, an actor (Tom Powers), ar. rives with another gi^l Betty Field), with whom he's Infatuated. Mary feels strongly drawn toward Nesbitt because both had acted together, but the situation is made more ditflcult bv his interest in the child-like Miss Field. Nesbitt, faced with the young and uninhibited girl's advances, fal- ters, causing her to thro him over, with Mary catching him on the re- bound. A sudden blizzard maroons part of the household, and the ex-husband gets lost. .After a hectic search ha turns up, none the worse for wear, and Mary has decided, with the help ot the blizzard, that she still loves him. And so they are reconciled. Story abounds in counterploU. William Swctland and Maxine Stuart, as belligerent domestics, provide some okay comedy. The December- May romance between Powers and Miss Field also garners a generous share ot laughs. Some rather blue material revolves around the rela- ionship between the two. Miss Van Cleve walks off with most of the laughs, her dry delivery imparting considerable substance to even ordinary dialog. Miss Walker turns in a workman-lilte job. as do McGrath and Powers. Miss Field, in the meatiest femme role, milks every possibility from the script. Setting b" John Root makes for a pleasant background. Madam, Will You Walk Baltimore, Nov, 13. remedy In Ihreo arts by Sidney f?ow- ard; prcnented by The PlaywrlKblfl" t'o.*, atara (leorRe M. Cohan; features PcK;;y Conklln: al.-iced hy Margaret Websler; de- slRned anil lighted hy - Hubert Kdmond Jones; Ineldentiil iniialr. Kurt Weill; ni Ford's. Unltlmore, opening Xov. 15, '30; ?J.T.S 'op. Ofncer Mallnn Tcun Tully Mrs. Brodcrick ...I.uria .Seser nrodcrlrk ■ John f.. ICcarnry Father Christy.. T.loyd GoukIi ■ Mrs. Panachy .*NOra AHqoimI Jud.i;c Mosko'wlt?-. I'Moreux AniP>» .Miss Aui-hlnrloS.') Kllen Hull Delia Itulb Yurke .Mr. Dorkweller Kceuan Wynu Mafy t'oyle PcBffv Conklln Dr. ItrlRhilrc Georfe »f. Cohan Scupper Arthur Kennrd.r (Kdmund Ilowlanil Two Boys: 1 KuRene .'irhlel Alderman Coyle Lawrence C. O'lh'len ■■ •lallor I'Vank flownlni: .Sailor's Girl Rvelyn Slar.'< The MaRlslrala l':Jward Mc.N'amar.i The Clerk Maurice Mans"ii ( John Pole Policemen | Charles Chrlstenseu Sidney Howard's posthumous con- tribution to the Playwrights' list emerges a rather muddled fanta.s.v preaching rebellion and emergenct- (Continued on page 59)