Variety (Aug 1941)

52 LEGITIMATE Wednesday, August 27, 1941 Strawhat Reviews BALALAIKA (AMERICAN PREMIERE) St. Louis, Aug. 25. Play with niuNlr. In tlirct' aciM (nine Bcoiu*.**). bt'iil! iintl lyrics by lOric Mnsfhwlt?:. niuHlc liy liciH'KC PtiRfoi-O iinil Uornnn) Griin. SotlinK^, \\':ilM)t) ]lii|'ratl; chop uKr;iphy, TllCdilur AiiulphUM. J^rcHcnlcd lit Muiilcllml Opcrii, Kurcsl rnrk, .SI, Louis, .\utf. 'J.'i, '41. Alcxcy Vii:'HlIyovllch Bitli LuHionre Coliinpl lliiliiklicv Willhiiii O'.S'cal Cooh'H Uutili* .T:iiiics I'dliick Po.><lcnnl Seller IJiiillcy Harder lira. Morrison 1-lelcn lliiyinonil Rnndnll r. .^'.tt^rlsolt \'Jncciu Vornoii Taxi Driver Viirvara Fedora Madame Pclrova Ib'or Serveraky.. Foilya Nick I Hasha Lydhi Miimkov Count Peter Karagln. Prince KaraKin Man lev Professor Marakov eiaRO Dlrei'tor Call Uoy Benlkov .Tack Dunohuo Bergel AVIlllum Mercer lat llcvolutlonary Lynwood Crowes 2nd. Revolutionary. .Frederick S\-hneidcr, ,Tr. Premiere Ballerina Vivien Fay .Edward Kniwll Ijlhcl Taylor Maryon Dale Ituth t.'rhiin Lcruy UuKch .Kandolph Svmonette William Lynn VIoICL Carlson Nancy .McCord \rlhur Kent .. I'^rederick Pcrs.son Bnill Waclilcr ...Josciih Macautay Wllllnm Meadcr .Edwin Kleinp American preem of 'Balalaika,' produced in London five years ago, was a click here tonight (Monday ^ but it is doubtful whether any pro- ducer will risk the coin necessary for another presentation because of its filming a couple of years ago. An all-time opening night record was hung up wtven 10,800 jammed the al fresco theatre in Forest Park and paid an estimated $4,500. Fine cast with a fine collection of warblers and sock sets designed by Watson Barratt helped the piece go over. Nancy Mc(Jord, as Lydia, Arthur Kent, as Count Peter Kara- gin; Bob Lawrence and William O'Neal carried the burden of the signing chores to click. William Lynn, diminutive comedian and Violet Carlson, equally small, were heavy socks on comedy, with Helen Raymond, as the American traveler scoring swell in a drunk scene. Others in support who scored are- Joseph Macaulay, Frederic Persson, Ruth Urban, Ethei Taylor, Maryon Dale, William Mercer and Jack Donohue. Intricate terping routines were cooked up by Al White, Jr., with Theodor Adolphus and the line winning lots of palm-pounding for their execution. Vivien Fay anii Edward Caton won the mob with their dance specialties. Eric Maschwitz's original script, which was changed a trifle for the flicker, was easily recognized by those who saw the picture version. Libretto, dealing with the White Russian era of pre-Revolutionary days, then the post-v/ar days, has retained much of the charm that must have been part of the original.. 5ahu. LOTTIE DUNDASS Santa Barbara, Cal., Aug. 26. Drama In three acta (Ave aceneiu by Knid Baftnold; presented by the David O. Selz- nlck company at the Lobero theatre, Santa Barbara, for Ave performances, opening Aug. 21. '41; directed by. Vladimir S'oko- lott; stars Qeraldlne Fllzfterald Tylth Dame May Whitly and Joanna Roos: production designed by Kate Drain Lawaon: sons com- posed by Edward Llndaay-HoKg and Adrian yanderhorst; mualc arranged and conducted by David Raxin. Cast: Oeraldlne Fitzgerald, Dome May whitty, Joanna Roos. Clarence J. Straight, Boyd Davis, Walter Williams, Norma Var- oen, Bertram Tanswell, Pas Walker, Evan Thomas. Ben Webster, Janan Evans, Faith Brook, David Bacon. Second summer play venture by the David O. Selznick company at the Lobero theatre could have stood further tightening before opening. Generous talents of Geraldine Fltz- gerald, Dame May Whitty and others 1 the cast gave Tottie Dundass' an NORMAN HARRIS and SYLVIA SHORE _ Featat«d WUb CEOBOE WmTE'S 6CAMDJUL9 Ulnneapolla—^Aiur. £9 THEN—ON TODB ' ' > Usn^iKauntrWlL KENT '' ''' lT7a •Bmd#ay ■ - Ktm rwfc interesting debut before the elite of Hollywood and Santa Barbara, but because of the need for tighter writ- ing it was a restless audience. £nid Bagnold, author of 'National Velvet' and 'Serena Blandish,' did her best work on the second and third acts, but can find plenty of polishing to do in the first act to speed up the char- acter establishment and get the play 'down to business. concUiable as Molnar seems to sug- gest, and whether it would be best or even possible for one to merge with the other is completely out of ordinary. Thus, play faces unpre- dictable future, testifying to author's and producer's courage. Paul. THE BEGGAR'S OPERA (REVIVAL) New Hope, Pa., Aug. 11. rtnllad opera (new version). In three acts <7 sconesj by Jolin (Jay; music ar- ranged by Frederic Austin; settlogs, Itow- nnl Day; stagInK and musical direction, Lehman Kniiel; prescntwl by JHucIcr County Plot is laid in a small English i Playhouse, .New Hope, Pn., Aug. ll "■■ town and presents Miss Fitzgerald as ' " ' ' ••- ■ Lottie Dundass, a girl who yearns to .be an actress but is prevented by illness. Neurotic creature also has a streak of insanity, inherited from her murderer father, now confined to an asylum. She gets her oppor- tunity when a travelling company finds itself without a leading lady. Lottie's friend talks the producer into giving the girl a chance, but 10 minutes before curtain the troupe's regular understudy appears. Lottie strangles her in much the same fash- ion as her father committed his crime and makes her debut success- fully. The murder is discovered by her friend and mother, and the lat- ter, when Lottie suffers a heart at- tack brought on by the excitement, withholds her medicine and Lottie dies for the final curtain. Miss Fitzgerald is splendid as the strange girl, the play marking her second appearance on the American stage, having previously done 'Heart- break House' for the Mercury The- atre before entering pictures. Dame May Whitty gives an assured per- formance as the mother of Lottie. Joanna Roos as Lottie's friend makes the most of a strong part. Boyd Davis, Norma Varden, Bertram Tans- well, Pax Walker, Evan Thomas and Janan Evans excellently contribute the second act's comedy as members of the travelling show company. Faith Brook, daughter of Clive Brook, is good as IiOttie's victim. Others of the cast show well. John Houseman and Alfred De Liagre, Jr., produced for the Selz- nick- Company, and Vladimir Soko- lofl directed. Kate Drain Lawson did the production design, achieving a novel eftect in her treatment of the backstage set. THE KING'S MAID Gloucester, Mass., Jtafe'.-'25:" Dmma In two acts, by Fercnc Molnar. Features Sam Jaffe, Teresa "Wright. Staged by Oscar Serlln. setting by Ralph Alswang. Presented by Martin Manulla end Henry T^vln. In nsfiorlntlon with Oscnr Serlln, at Uass Rocks theatre, Gloucester, Mass.. Aug. 2S. '41. Ellzn Marilyn Ersklne Anna Teresa Wright Rosenbaum ...Sam Jaffe Kts. Ballant Leslie BInghnm Herman ; Knrl Maiden Dr. Szllassey Duane McKInney Lieut, of Gendarmes Edward Raquello Gendarme Arthur Marlowe {William Hughes Jack Daley Gilbert Saulllace Jeannette Juliette Langdon Eschewing theatrical artifice to tell simple story of goodness and faith, Ferenc Molnar has written unusual play, one which may represent moving religious experi- ence to some onlookers and may strike as thin drama. Controver- sially. Inflammable to boot. 'Maid' hardly more than long one acter with intermission, is about a devout servant girl reared in con- vent who tries to console ill-treated Jewi^ peddler living in Hungarian rooming housi. Recognizing Christ- like kindliness in old man, played by Sam Jaffe, Slavey (Teresa Wright) reads to him from New Testament and shows that unwittingly he has been upholding precepts first ex- pounded by Jesus. To Jaflee it comes as revelation that poor and downtrodden are encompassed by Christ's love, and pride fills him that the Great Prophet and teacher was also a Jew. Hungarian Christian community, however. Will not allow the Jew to claim' Christianity, and the maid's fiance, angered by what he considers presumptlousness, strikes the ailing old man a mortal blow. Uncon- ciously following in Christ's foot- steps, Jaflee forgives his murderer and lies that he himself provoked injury by insulting name of the Lord. Molnar has writtei) with deep con' viction, and the Oscar Serlin tryout has been given benefit of flawless performances by Miss Wright, who justifles glowing predictions, and Jaffe, investing humble role with dignity. Duane McKinney, as doctor attending dying Jew; Karl Maiden, as fiance responsible for his death; Edward Racquello, police intiuisitor Leslie Bingham, the cynical land- lady touched in spite of herself by martyrdom, and Marilyn Erskine, as her precociously mancrazy daughter, as well«as lessers, all contribute feelingly,-giving evidence of Serlin's perceptive direction. Single Garret interior is atmospheric. Set against background of war. just over the border in Poland, maid's attempts to show pointless- ness of theological and ideological strife may stir-, up dissension, rais- ing question, among Jews and Gen- tiles whether faiths are basically re* 41. Cn.sl: Jane rickens, Waller Cassel. llleh- ard Hale. ICdIth KIiik, Wulliiee Acton, Dor- othy Johnson, Itorjerl Challeiier. Curt Con- way, Jnines Gregory, Zonia Porter, Car- men Gagllnrdl, Otio llulett. John Harrold, Samuel Uff, David Weiss. Mitchell Agruss, Garry Davl:., lloUert Sliaw, Sieve Jlroily, Emily Buckley. Inez Harris, llerniee Sher- man, Vivian Hloeh. Josephine .Silver, Ruth Frcmonl, Kloanor Knapp, Shirley IJrown, Julia Huffman, Margaret Wallace. Eighteenth century classic, given a smooth and integrated production —which this one isn't—should stand up well as a novelty revival in the strawhats or similar legit showings. Maybe Lehman Engel, who staged the show in addition to taking care of the musical end, was bending over backwards trying to prove that a musician can have just a» much ^e- atre sense as a Broadway director. At any rate, he's filled John Gay's lusty old comedy with too much irrelevant, distracting and corny business. But it takes more than poor direction to murder a good property, and when the actors stand still long enough for the audience to hear a few lines, or a song or two, the bawdy old opus clicks. Plot concerns the adventure of Macheath, the highwayman, pursued by Polly Peachiim and Lucky Lockit, who both want to marry him, and by the lassies' parents, who want to turn him in for the reward. Charac- ters are among the coarsest set of trulls, vixens and sneakthieves in dramatic literature, but it's all done with a light touch—or should be— and makes for good, dirty fun. Book is replete with off-color lines; it registered as well at Bucks County as it did in London in 172B. Score was compiled back then by one Dr«Pepusch, and rearranged by Frederic Austin for Nigel Playfair's London revival, which ran ^or a long stretch in. the '20s. It's still fine listening, fresh and tuneful and with mweu.y.ocye. tbaj> .the music .Kurt Weill wrote for his 'Threepenny Opiera' version, seen briefly on Broadway in '33. Cast is mostly snowed under by the direction, but Jane Pickens, as Polly, shines like a good deed in a naughty world and had the talent scouts on their ears opening night. A looker with a flne voice, she has complete command of a difficult style and part. Walter Cassel man- ages to turn Macheath into a stooge by his lack-luster performance and Richard Hale, Edith King and Wal- lace Acton ham unforgivably. Next to Miss Pickens, Dorothy Johnson and Curt Conway get the best re- sults by playing their parts straight Shirley Brown, as Lucy Lockit shows ' |>romise as a singing and dancing comedienne, but her Martha Raye Imitation doesn't belong. The chorus is sloppy and amateurish both vocally and dramatically. Settings by Howard Bay are in the groove. SORROW FOR ANGELS . Cambridge, Mass., Aug. 25. Comedy drama In three acts, four scenes, by George Batson. .Itars Ruth Chatterton; features Barry Thomson. Staged by "Wylle Adams, settlngfl by Andrew Mack. Pre- sented by Cambridge &\immer Theatre <Lec Falk and John Huntington) at Brattle Hall, Cambridge, Mass., Aug. 2fi, '41; $l.es top. Stanley Corwln .-..Wilson Lchr Mllly Marjorle Pcgge Ernest Mordaunt Robert E. Perry Angola Mordaunt Helen Gillette Margaret Mordaunt Ruth Hermnnacn Kent Wallace Robert Wilcox Carrie Nina Wontworth Clnlre Fenwick Ruth Chatterton Waldo J. Corwln William Mendrck Dennis Rjardon Bart>' Thomson 'Sorrow for Angels' is Joy for Ruth Chatterton, but sad news as a b.o. prospect While George Bat- son's Writing gives of" a bright glow in spots, he has an eminently un- original plot. He merely sketches his characters and passes the buck to the players. Eveiv with a more proficient cast 'Sorrow' would go limp. Cast as a zippy, truant wife re- turning from 18 prodigal years in Europe to look over the old camp- ing grounds in a stiff, starch Con- necticut homestead. Miss Chatterton affords some very pleasing theatrical moments. Equally good when ban- tering with her spineless husband, sparring with his sour, disapproving sister, or keeping her- distance from flirtatious gentry on a weekend visit, %he far exceeds the vehicle. Star has a brief, sobby scene when she deals out advice to her 18-year- old daughter, but her lighter se- quences are so much more enjoyable that she leaves a good over-all Im- pression. It takes no sage to figure out that the prodigal wife won't re- turn to the fold, that her daughter will not repeat her mistake, but marry the writer itistead of the old family businessman. The character of Waldo Corwln, Which Batson merely introduces here,'as played by' William Mendrek, is a very llkeabla middle-aged sport, hamstrung by a stralght-Iaced son. Mendrek provides much of the fun and easily stands out in the support- ing lineup. Ruth Hermanson breathes quit* a bit of life into the snippy sister character, and Robert Perry carries on well enough as the husband who lacks the fizz of the Scotch-and-sodas he drinks. Wilson Lehr and Kent Wallace do well enough as the losing and winning suitors for the daughter's hand, while Barry Thomson is under par as a gay-dog Irishman sweeping Miss Chatterton off her feet. Most unfortunate casting is Helen Gil- lete as the ingenue. Direction of Wylie Adams is noticeably better than usual for a strawhat such as this, posi'ibly ex- plained by the note that Miss Chat- terton supervised production. Fox. Walk Into My Parlor Glen Rock, N. J., Aug. 20. Drama In three acta by Alexander Creen- dnlc; pro<Iuced and stagod by I.ulher Greene; settings, Mordecal Gorellk; at Glen Rock Playhouse, Glen Rock, N. J., Aug. 18, '41; $l.CS top. Theresa Roslna Galll Carmella .\mella Romano Illo... Silvio MIncIotll Salvatore Guy Tliomnjan OIno Nick Conto Gmee Hnrtense Alrten Nick Robert Simon I,uIr1. ..., .Toscph ne.Snntls Hn^e , .Hlldegnrde Hnllldny Aurora..: Itachel' MInclottI Dndlsh Joseph Julian Phy Out of Town THE WOOKEY Washington, Aug. 25. Drama In three acts (live s<-cnesj by Froderlck Hazlitt Brennan; staged by Rob- ert U. Sinclair; settings, Jo Miclzlnrr; pre- sented by Edgar Selwyn at the National 7'hentre, Washington, D, C, week of Aug. 23, -41. Ernie Wookey (George Sturgeon or t Charles Gorman Aunt Gen Carol Goodner Mrs. Wookey Norah Howard Primrose Wookey Heather Angel Constable Simpson Henry Mowbray Walt Olbbs.. Nell Fitzgerald Mr. WodUey Edmund Gwenn Bury McSwIggln Horace McN'ally t'liusln Hector Victor Boecroft Mt. Archibald Byron Ruh.-4ell A. R. P. Warden Roland Bottomly Dr. Lewlsliohn Everett Ripley l-'Irst Roy Allen Slmw Second Itoy ....Gilbert Russell Third boy John Moore Fli-Hl Girl Grace Collins Second Girl Cora Snilili The Vack I,»dy Olive Rceves-Smlth 'I'he Curate : S'ean Dillou Flrst-Ald Man Harry Sotliern Messenger Allen Slmw Subaltern Gilbert Russell Colonel Glenn Charles Frnncia Navvies (John Trevor (Milton Bluiuenlhal After a stormy week at Sayvllle, L. I., summer theatre, where play aroused irate citizens to call in the police to stop 'indecent' performance, Luther Greene brought 'Walk Into My Parlor' to Glen Rock, N. J., Play- house for another week of break-in prior to scheduled Broadway open- ini; in the early fall. Reception In Long Island caused Greene to preface first curtain with plea that all customers with weak stomachs apply for immediate refund at boxoffice, rather than go flouncing out during the play. Producer called 'Walk' a realistic slice of life as lived by certain Italo-Americans in Chi- cago, with no intent-to shock or trade on blue appeal. Speech, while shrewd showmanship-since it glued audience to the chairs, seemed scarcely necessary, for play, although realistic enough, raised hardly a sin' gle New Jersey eyebrow. Author Alexander >Greendale was ore of iirst recipients of Dramatists Guild fellowship in playwriting, given for 'Walk Into My Parlor,' in- dicatine committee was on its toes when It made the award. Play is tense, dramatic, and trenchantly written study of Italians in America struggling to eke out a meagre ex- istence. Production Is first rate, with Greene's direction getting most oul of the tense momenta. A bit of re- writing might not hurt in occasional scenes where dialog becomes a bit pompous, but otherwise Broadway chances are fairly good. Picture possibilities, however, are limited be- cause of specialized appeal of sub- ject matter and censorship difficul' ties. Rosina Galll is standout in excel' lent cast, giving warmth to the es- sentially unsympathetic role of Mama Sorelli, unusual characteriza- tion for this type of play. Nick Conte also Impresses as Gino, although his Group Theatre posturings become a bit tiresome as the play goes on. Guy Thomajan is inaudible at the begin- ning, but works into likeable char- acterization as the dumb, but honest, Salyatore, Hildegarde Halliday, from radio and revues, on for hilarious bit In the second act as gabby daughter of the Sorellis. is socle comedv bit in otherwise serious play. Others in the cast Robert Simon, Hortense Alden, Silvio Minciottt, Amelia Ro- mano, Joseph DeSantls, Rachel Min- ciottl and Joseph Julian, all give good accounts of themselves. Mordecal Gorelik's set makes strik- ing first impression, but closer in- spection reveals some curious angles; for example, part of the kitchen is shown onstage, but the rest of it, to judge from view through stage win- dow, either doesn't exist or rests on thin air. Denham in N. Y. With New Broadway Script Reginald Denham,- co-author of 'Ladies in Retirement' and 'Suspect,' returned to New York by auto from the Coast last week with the com- pleted script, of a new play for pos- sible fall Broadway production. He hasn't revealed the title or subject matter, but the scene is understooti to be New 'York, the first time he has localed a play in the U. S. He hasn't decided whether to produce it himself or turn it over to someone else. Playwright went to the Coast last spring to collaborate with Garrett Fort on the screen treatment of 'Ladles' for Lester Cowan. The" completed picture Is scheduled for release by Columbia in October. Denham has another picturg deal in the works. Frederick Hazlitt Brennan has conceived an excellent theatrical character in 'The Wookey,' but, at this moment at any rate, he hasn't developed the character sufficiently. He has something, definitely, in his portrait of a Cockney tugboat cap- tain, who : rails at his Government but finally' takes part in the war. That something, however, isn't brought to the fore clearly in 'The Wookey.' Formerly titled They Fought at Arques,' 'The Wookey' is being backed by Metro^ with which producer Edgar Selwyn is associ- ated. Brennan received $30,000 from M-G as advance royalties on film and stage -rights, Brennan's play is acted splendidly by Edmund Gwenn, Heather Angel, Carol Goodner, Norah Howard, Hor- ace McNally and a number of others. It has been provided a handsome physical mounting by- Jo Mielziner. And directed with understanding by Robert Sinclair. But it talks in- cessantly long after it has established its point—that the Briton will be brave. With a new, or at least a refurbished, third act, one designed to end the chatter when the in- tended stage of character develop- ment l&M achieved, play should be highly tiramatic. (ientral figure, "The Wookey,' cer- tainly Is one ai'diences will love and admire. A tough, independent Cock- ney tugboat captain is Wookey, one who is fed to the teeth with his Ooy- ernment's wishy-washy attitude. At the outset he isn't going to join that government in any blarsted war that could have been avoided if Downing street had listened to him and shown a firmer hand a few years pre- viously. This is about the extent of the first-act exposition, which also could do with a bit of doctoring. It winds up with 'The Wookey' in trouble with his Government because, v^ith a sneer for its belated interest In his safety, he has lost most of the family gas masks and given his shelter to a neighbor. Second act is the one that moves, dramatically and physically. Turn- ing a deaf ear to a broaticast plea for boats to send reinforcements to France, "The Wookey' only crosses the channel to Dunkerque when he Is told by his sister-in-law that her husband needs rescuing. After 17 trios, one with a disabled British de- stroyer in tow, Mr. Wookey returns to have his tug libeled be(:aiise he owes a bill for gasoline and oil. This Is what arouses him to the point of sendlne off a curt letter to Winston Churchill. In the midst of his dic- tation there is an air raid which paps an incendiary bomb through a win- dow and right into the Wookey par- lor. That's eoing to startle audleiices no end. Clirriax of the 'Tetter caj)s the scene, Mr. Wookev ending his complaint by offering his service?. The raid which opens the third act leaves the Wookey home in the IJondon dock area in shambles, with Mrs. Wookey dug from the debris as the family's first Hitler victim. "The Wookey' is fighting a war on two ' fronts by this time, still stubbornly shouting against the Government's management of the war effort, while doing his bit. All of this, however, could be pointed toward more telling dra- matic effect, perhaps, with British- German confltct made a more per- sonal affair of Mr. Wookey's. His central character seems the sort who would go out and throw rocks at bombers breaking his windows with incendiaries. Still 'The Wookey' is not beyond aid, for the Gwenn. performance in the title role is topnotch. He has a lot of play to carry, but he man- ages to do it. Others, with no ex- ceptions, lend sturdy support, whip- ping off Brennan's rich Cockney witticisms easily—more easily after the listeners' ears are tuned to the Technically 'The Wookey' is a superb piece of workmanship. Miel- ziner's four sets are realistic to a high degree and completely effective. Same can be said for the elaborate sound and lighting effects which are used to .enghieer several air r?ids during the course of the action.Mac.