Variety (Oct 1941)

50 LEGITIMATE Wedn^aj, October 29, 19.H Plays Out of Town CLASH BY NIGHT Detroit, Oct. 27, Drnma In two ncla (eevon wenos), by ClirronI Odcln. SInrs Tollulnh Bnnklicnd; fcDtuKS Joseph SchtldkrAUt, L.«e J. Co1jb. Knthrrino I>Kkc. SlnKCd by 1*0 Stmab«ic. pottlngs by llorln Aronnon, pn>s«ntrd by Billy Hose, nt Wllion, Detroit, Oct. 27, '41 i jrk:lO tOD. Jerry \Vllcniil<l !.»• J. Cobb Joo W. Doyle Rotwrt Hynn Mao WllcrskI T«llulah Bonkhcnd PPSffy Coffey Ktttbcrlno I^iocke Eorl Pfelfter Joseph Sctilldkruut Jerry's Fnlher John F. Hnmllton Vincent Kress Selh Ai-nold Mr. Potter Ralph Clwmbers Tom. a Drunk An Smith T\'nUer William N'ann Man Harold Grau Abe Horowlli Joseph Slmtlue': Usher '..'.. .Stephen Bufiene Cole Resting on three strong props in. Miss Bankhead, t^ee 3. Cobb and Joseph Schildkraut, the eternal tri- angle takes on social significance here in ClifTord Odets' 'Clash by Night' to emerge as rich theatre fare. The play, lusty and powerful in characterization, carefully trapped in scenes, seeins a. hit despite Incon- clusiveness at the curtain aifd at mo- ment or two of introspect moraliz- ing which gets underfoot in the di- rect action. Crix were loud in their acclaim, although 'feeling some ju- dicious combing of the second act will pull it together into even better ■fare. . There's a wealth of contribution all down the line, keynoted by the top performances of Miss Bankhead, as the wife, who, while not in her most tinsel role, sinks into place deftly with the emphatic roles of both Cobb, topnotch as the cuckolded husband, and- .Schildkraut, as the other man. There are fine embellish- ments on the central characters in both the work and roles of Katherine Locke, Seth "Arnold and John. F. Hamilton to preserve the intensity of the drama. . Sunk into a strata of society where Odets can show the shoddiness of aimless lives in an age without values, Cobb becomes his chief sym- bol as the FOlack husband who brings home his loose-ended friend. Basically what happens is precise- ly what you'd expect, but the old story moves out of the diche with the insight both of the writing and ' the playing. There is an elemental hunger beyond the sex brought into focus by the ^ase of the playmg, the Interplay of characters and even the movement of the story through shabby beach home, beer garden and the final unusual set of the film pro- jection room, where Cobb chokes to death the man who stole his wife. A lightness of touch along most of the way. enlivens the drama. There's no place along the line "Where there Is too much of a striv- ing for 'significance,' and in view of the soundness, of the whole pro- ceedings such spots In which the 'author s meaning becomes murky .\(ill' submerge in the general vital- ity, particularly the inconclusive ending, where a spotlight pencils down to spot Miss Bankhead as the wife who 'dreamed of eagles and found the world full of nervous spar- rows' and she takes the occasion of the murder of her sweetheart to par- . eel out some advice to the young couple contemplating marriage. Such spots stick out like bandaged thumbs and wiU, doubtless, submerge in the sock show. Pooler. SPRING AGAIN Philadelphia, Oct. 28. A now comedy .In tbreo acta by Istucl Lolshton and Uertiam Boch. Staged by Outhrle McCllntlc. Setting by Donald Oonalaffcr. Presented by 'McCllntlc nt the 'Walnut Street theatre, week ot Oct. 27, Ml: $8.30 top. Halstead Carter C. Aubrey Smith Noll Carter « Grace GcorRC Elizabeth :9etty BrockenrldRe £dltli fVeybrlKht Ann Andrews ' Olrard Weybrlxht Richard Stevenson ' Mllllcent Cornish Joyno Colter Tom Cornish John Cmveo Belt Boy Joe Patterson Robert Reynolds Ben Lackland Dr. Lionel Carter Robert Keith Joe Crumb / Michael Strong L. J. O'Connoi* Lawrence Fletcher William AuchlnschloBS.. .V Joseph BuIofT Arnold Greaves William Tqlmnu Bringing their combined 96 years of theatrical experience to 'Spring Again,' Grace George and C. Aubrey Smith troupe magnificent^ in this comedy, which seems to have been written especially (though we under- stand it wasn't) for them. Portray- ing a pair of married oldsters, across whose lives has extended the ghost of General. Epiphalet Carter—the best general in the Union Army,- ac- cording to his son—^they bring grace and skill and excellent timing to their performance. However play is too wordy and its success is prob- lematic. Smith, of course. Is the hero-wor- shipping son. For years he fias been attending 'unvelllngs' of his famous father, and his wife by now Is a bit fed up with the old general, having remembered him not so kindly as her lord and master. In addition, family troubles complicate the af- fair. The oldsters are living in re- stricted comfort largely on the largess of their socialite daughter, who missed the '2P crash by marry- ing a wise broker. There is also a granddaughter who has married a yoiuuc radio script writer and actor whom mamma-ln-law is trying to boot out of the family. Grandma and the radio scrlpter begin collaborating on the history of the general, turning up some of his unpleasant traits to the radio pub- lic. When the series goes over and is bought by Package Foods, Inc., they can no longer conceal the way they've been blotting the family es- cutcheon. The battle 'that is pre- cipitated is long and funny, but eventually Grandpa is won over when he realizes that Hollywood is interested In his famous sire and willing to pay $60,000 for the rights. At this time a good sentimental twist is introduced. The belligerent cou- ple decide that for anyone to enact them on the screen—for their ro- mance looms heavily in the general's career—would be sacrilege and de- cide to drop the matter. Except for the fact that at times one has difficulty hearing her, espe- cially when upstage, Miss .George is droll as the matron who takes a fling in explosive literature. Smith, with his grand pompousness, his bent for irascibility and his fundamental sense of comedy, is a topnotch part- ner. Joseph Bulofr does a show-stop- ping role in the third act as a Holly- wood producer who tries to buy the rights to the general^ John Craven and Jayne Cotter t^ke care of young love; Ann Andrews plays the second generation lady, who cannot figure the generation before, and Robert Keith, Richard Stevenson and Betty Breckenridge capably fill other prin- cipal roles. Donald Oenslager's single setting— altered during the action to show the emancipation from the civil war—is an artistic Job. Woters. MACBETH New Haven, Oct. 23. Maurice Evans' revival of the Sbnke- spearenn tragedy, presented In association with John Haggott. Stars Evans and Judith Andenon; staged by Margaret Webster; settings. Samuel Love; costumes. Lemuel Ayrea: Incidental music. Lehtnan Engel. At the Shubert, New Haven, Oct. 23-23. '41: tS.SO top. First Witch Grace Choppln Second Witch ....Abby Lewis Third Witch William Hansen Duncan, King of Scotland Harry Irvine His sons: Malcolm Ralph Clanton Donalbain William Nichols Noblemen of Scotland: Mentelth Ernest Graves Angus Philip Huston Lennox Erford Gage Calttmess Walter Williams Flcanco Alex Cournay Sergeant John Ireland Ross Henry Brandon Genera hi: Macbeth Maurice Evans Banquo Staata Cotaworth Lady Macbeth Judith Anderson Mcasenger John Straub Seyton Irving Morrow Porter William Hanaen Macduff Herbert Rudley Old Man '.Gregory Morton Page ....Jackie Ayers First "Murderer John Ireland Second Murderer John Straub Lady Macduff Viola Keats Boy,'son of Macduff Richard Tyler Doctor Hnrry Irvine Waltlng-Gontlowoman Grace Coppln Young Soldier.' Atcx Courtney When better Shakespearean pro- ductions are played, Maurice Evans will probably play them—and Mar- garet Webster direct them. If ever there was a slmonlzed presentation of 'Macbeth' this is it. Playgoers who go in for the bard wiU find plenty to feast on here. While 'Macbeth' Is a bit ponderous for a- public assertedly confining It- self more oi^ less to escapist enter- tainment, they have managed to in- vest this presentation with such an atmosphere of fine artistry and com- pelling interest in the various per- formances that the weight of the vehicle is overshadowed by its gen- eral appeal along quality lines. Miss Webster has again employed a familiar technic in her manner of using gorgeously costumecL players to produce a lengthy series of stage portraits. The effectiveness of her groupings in this respect is note- worthy. Her direction carries with it a rapid pace, a minor fault being that, in some cases, the pace is so fast that a few of the lesser scenes are almost too lightning-like. Stag- ing of the witch scenes rates among the best efforts noted in past pro- ductions of this portion of the play. Evans' performance Is easily on a par with previous renditions in the reoertoire of this Shakespearean vet. At all times, actor makes sure that his voice reaches every comer of the house—and clearly, too—a feature that makes the sometimes hard-to- follow lines of the bard a s"-.- case of assimiliation. His timing Is superb and his thorough feeling for the role enables him to project to the audience a fine picture of the lustful Scot. Aside from a brief blank spell that slightly marred her first scene, Ju- dltn Anderson's interpretation of Lady Macbeth li a fine exhibition of histrionic skill. Her sleep-waU[ing scene, though somewhat inaudible at times, is her top moment. Close sec- onds were her scenes on greeting Macbeth's return early In the play and the passage where she urges him to murder the elderly king. Herbert Kifdley's supporting role of Macduff brought him a hand sec- ond only to the leads. He offers a sterling Job, virile and emotional. Staats Cotsworth's Banquo likewise comes in for praise and similar com- ment goes for Harry Irvine's dou- bling as Duncan and the Doctor. A second doubling Job is capably handled by Wiluam Hansen as the Porter and one of the witches; Grace Coppln and Abby Lewis register as the balance of the witch trio. Viola Keats' brief portrait of Lady Mac- duff is fitting and a standout bit is turned in by Richard l^ler, young- ster who plays Macduff's son. Com- pany as a whole rates close to the top. Show Is a heavy one production- ally. Condensed Into two sets, the 19 scenes represent ah eyeful from the flash angle. Technical stunts, like lighting against a scrim-to convey a foggy effect and a tree setting sym- bolizing a witch's claw are inter- spersed among straight settings, with a series of steps for a basic founda- tion. The raised portions allow for some telling ensembles, as well as a flne background for several of the more dramatic speeches. Incidental offstage music which runs throughout the play contributes importantly to setting and jpalntain- ing moods. Score carries an appro- priate bagpipe strain. Several spots, however, require toning down as they drown out dialog._ Bone. They Can't Get You Down Hollywood, Oet. 27 Musical comedy In two acta (23 scenes), presented by Jack KIrklond. Dwlght Deore Wlman and the authors. Henry Myers, Ed- ward Ellflcu and Jay Oornoy; book, i>tIcb and melodies by Myere, EUscu and aomey; musical numbers, staged by Danny Dare, book by Mortimer Offner; settings by Fred- erick Slaver.' Coat: Jan Cla>'(on. Jimmy Grlffltb, Ed- ward Emeraon. Beml Gould, Peggy Ryan, Eddie Johnson. Douglas Wood. Eleanor Fryne, Cheater Miller. Kenneth Patterson, 12 show girls and 12 chorus men: nt Music. Box.. Hollywood, Oct. 27. 'il; $'-'.20 top. F.-ii home-made book musical to be projected across foots here in years shapes up as worthwhile entertainment. Conjecture among flrst-nlghters was whether it will duplicate success of its predecessor, 'Meet the People,' both pieces authored and muslcallzed by same trio, Jay Gomey, Henry Myers and Edward Elescu. Play has better than even chance making rtui of it, but for purposes of touring or a Broadway stand it needs tightening and stronger leads. While lacking some of attributes of 'People,' it rates as better production, and music by Gorney has lingering quality. While 'People' was domi- nated by such talent grabbed up for pictures as Virginia O'Brien, Lois Sanson,'Fay McKenzie and Bill Orr, this tale of colleglates and pulp writing is better joo of casting, but lacking any cast standout Evidences of considerable prepa- ration are noticeable and setup Smacks ot more than usual amount of coin tossed Into local venture. Among bankroUers are Dwlght Deere Wiman, Jack KIrkland, the three authors, Homer Curran, lessee of Music Box, and Clare Brunson, owner of the house. Jan Clayton and Jimmy Griffith, as boy and girl, are unknowns hereabouts and make good old college try, but lack finesse for usual such requirements which call for singing and romantic motivation. Berni Gould, late of 'Pins and Needles,' gives suave performance as phony fortune hunter and Peggy Ryan proves fast tapper and pert comedienne. Eddie Johnson scored in two. production numbers remi- niscent 01 'People/ Chorus Is young and frisky and put through snappy routines by Danny Dare. ■ Play has unique takeoff, with man in box questioning customary boy- meeis-girl denouement. What hap- pens after that he want<> to know, and play takes up from there, with offstage interrupter constantly offer- ing advice to youngsters trying to make go of it. Best of Gorney's tunes are title number, 'Love WIU Settle Everything,'.'25 Bucks a Week' and 'It's No Fun Eating Alone.' Play has enough promise to warrant building up weak spots and make try for eastern legit strongholds. Helm. Plays on Broadway CANDLE IN THE WIND Orama In three acts presented nt the Shubert. N. Y., Oct. 22, '41, by Theatre Guild and Playwrights Co.: written by Maxwell Anderson; Helen Hayes .starred; staged by Alfred Lunt; settings by Jo Mlelzlncr; $S.30 top. Fargeau Philip White Henri ..Benedict MacQUorrle Desexe Robert Harrison Charlotte Lconn Roberts Mercy Nell Harrison Madeline Guest .Heldrt Hayes Molele Tompkins Evelyn Varden Raoul St. Cloud Louis Borell German Captain ;..Harro Meller Gorman Lieutenant Knud Kreuger Col. Erfurt John Wengrof Lieut. Schoen Tonlo Solwart Corporal Uehrena Miirlo Gang Modame Floury ^.Mlchetetto Buranl M. Floury '. Stanley Josaup First Guard Brian Connnught Second Guard FerdI Hoffman CIssIe Lotto Ijonya Corporal Muoltor ', Joseph Wiseman Third Guard .George Andre Fourth Guard Guy Monypenny Corporal Schultz William Malten Captain Bruce Fernatd New Maxwell Anderson drama drew great business during five try- out weeks,' but It wasn't the play tliat attracted crowds. Helen Hayes was th* boxotfica magnet. Ttjat's the way it should be on Broadway, with the aid of the timely topic. 'Candle in the Wind' has a sharp war background, yet its ^ dramatics ore mild In comparison to 'There Shall Be No Night,' authored by Robert E. Sherwood, Anderson's as- sociate in the Playwrights, or- the intense interest of another hit anti- fascist play, Lillian Hellman's 'Watch on the Rhine.' It doe.? express spreading repug- nance to Nazism. That comes late In a quiet performaiice, the heroine bitlngly telling the German heeid of a prison camp near Paris that 'the cold wind of hatred is blowing from all corners of the earth' upon Hitler's swastika-infected legions. She is just as spirited when she declares that the race that only understands bru- tality has 'trampled many peoples, but conquered none,' also that man has fought beasts many times' and man has always won. 'Candle' is a romance so far as its story goes. Madeline Guest, a Holly- wood star. Is in love with Raoul St. Cloud, former Parisian journalist, who, after being saved from the sea when a French destroyer was sunk, is Incarcerated in the Internment camp. She often goes to the prison office, appealing to Col. Erfurt on behalf of Raoul. For a long time-he will not'even ■permit'-hej-to-see-the- young Frenchman. .Madeline attempts to win his free- dom by means of bribes, but, when everything seemed to be arranged, the inevitable German doublecross and the Gestapo keep her lover be- hind the bars. One ot the under- offlcers finally relents and Raoul es- capes, sent on his way to England. "The colonel ahd'his strong-arm men quiz Madeline. His threats do not break down the will of the girl, who then speaks the play's strongest lines and faces the possibility of being put in a concentration camp. War plays are regarded by some onlookers as propaganda, especially persons with isolationist and appease- ment complexes. 'Candle' is in that classification, but it should surely meet with popular approval, as atrocities ot Hitler's fanatics appear Increasingly In the public press. Whether that Is good theatre Is questionable, but the picture of Nazi methods Is strikirig, if not as com- Slete as could be. 'There are so many eeds abhorr.ed by free men com- mitted in every German-invaded country that what is set forth in this play Is comparatively trivial. But by. the sheer force of her per- sonality Helen Hsyes gives to the play a strong lure. Her Madeline has the quality that has made the star one of th^ best actresses on the stage. Except for the final minutes she does not g$t much chance to dis- play emotion, but she has audience appeal every moment she is on the stage. In support there is Evelyn Var- den, friendly adviser- to Madeline and quite a help here and there. But it is the male support that the au- thor has developed more effectively, particularly those enacting the Ger- mans. John Wengraf, a Viennese ac- tor, plays the prison commandant ex- cellently and is easily the strongest ot those characters. Tonio Selwart is good, too, as a lieutenant spying on his superior. Louis Borell,' for- merly on the French stage, plays Raoul, having replaced Stanio Brag- giotti. He does well, but it is doubt- ful it the change made any differ- ence, for there is not much chance to develop the character. Miss Hayes has not been fortunate in the new plays she has graced in Uie past few seasons. 'Ladies and Gen- tlemen' was not highly regarded, yet it scored a run with her on Broad- way. Last season she appeared In 'Twelfth Night' with Maurice Evans. Settings for 'Candle' are splendid, Versailles garden scene being espe- cially attractive. Ibee. GOOD NEIGHBOR Drama In' throe acts (four scenes) by Jack Levin. Staged by Sinclair Lewis, settings by Frederlcli *Fox. presented by Snm Byrd. ot Windsor. N. V., Oct. 21, '41: 43.30 top. Tankol Barron Gufltav Shackt Hannah Anna Appet Hclnrlch Howard .Fischer Whltoy Albert Veee Mrs. Jacobs Edith Shayno Mrs. Kurtmonn Grace Mills Officer Clydesdale Donald Arbury Luttier Arthur Anderson Bessie Edna Mne Harris Miss Jolly Helen Carter Barney Lewis Charles Miss Jaffroy Susanno Turner Messenger Boy Leslie Barrott Doctor... Wenry Sherwood Hlldle Marcella Powers Dave Sam Byrd Leader of Cavaliers Wlnlleld Smith Second Cavalier John A. Steams Although th^ theatre is notoriously unpredictable,' in the cases of Sin- clair. Lewis and Sam Byrd It Is be- coming uncomfortably consistent, if no less perverse. Both novelist and actor had made unfortunate stabs at the stage in recent seasons, but In ioining forces to present 'Good Neighbor' they encountered sheer disaster. For Lewis, the venture Is doubly painful, since he's reportedly nicked for about $25,000 of the production's more than $30,000 cost, besides hav- ing to take the rap for the stilted- staging. Novelist not only admits he's stagestruck, he's even tossing away his bankroll to prove it. In Byrd's case he also takes a two-fold kicking. Besides being the producer and sinking $1,000 of his own coin (Continued'on page 92) Current Roadshows (Qpt. 29-ffp tt, 8) • 'Ah, Wilderness' <Harry Carey)— Cass, Detroit (29-1); Royal Al~ andra, Toronto (3-8). 'Arsenlo and Old Lace' (Erich von Strohelm)—Plymouth, Boston (2j. 8), •Banjo Eyes' (Eddie Cantor)-. Shubert, New Haven (7-8). •BUthe spirit' (ClUton Webb Peggy Wood)^National, Washington (29-1). . 'Blossom Time'—Temple, Birming. ham (29); Bijou, Chattanooga (30)- BIJoff, Knoxvllle (31); Woodland Aud,, Lexington, Ky. (1); Cass, De- troit (3-8). 'Boys and Oirls Together' (Ed Wynn)—Hartman, Columbus, o, (29); Mem. Aud., Louisville (30-1)' American, St. Louis (3-8). ' 'Clasta..by night' (Tallulah Bank- head, Joseph Schildkraut)—Wilson, Detroit (29-1); Marylond, Baltimore (3-8). 'CtondU* (Lila Lee)—Selwyn, Chi- cage (29-8). •DOflloT'a-.JMlemnu' (Katharine Cornell)—Grand Opera House, Chi-" cago (29-8). 'Uelltapoppin'—Worth. Ft. Worth, Texas (29); Melba, Dallas (30-31); Aud., Wichita Falls, Texas (1); Aud, AmariUo, Texas (3); Shrine Aud., Oklahoma City (4); Convention Hall, Tulsa, Okla. (5); Forum, Wichita, Kans. (6); Mun. Aud., Kansas City (7-8). 'Hold on to Xoar Hats' (Al Jol- son)—Masonic Aud, Rochester; N. Y. (29); Erlanger, Buffalo (30-1); Tatt Aud,, Cincinnati (2-S); Hart- man, Columbus, O. (6-8). 'Hope for a . Harvest' (Fredric. March, Florence Eldrldge)—Klein Aud, Bridgeport, Conn. (8). 'Johnny Belinda'—Nixon, Pitts- burgh (29-1); Lafayette, Detroit (3-8). 'Junior Miss'—Playhouse, Wilming- ton (31-1); National, Washington, (3-8). ' %Ue with Father' (Margalo Gill- more, Pery Waram)-^Haiina, Cleve- land (29-1); .Paramoimt, Toledo, 0. (3); State, Kalamazoo, Mich. (S-6)| Bijou, Battle Creek, Mich. (7-8). 'Life with Father' (Dorothy Gish, Louis Calhem)—Strand, Ithaca, N. Y; (29); Empire, Syracuse, N. Y< (30-1 >; Colonial. Utica, N. Y. (3-4); Temple, Rochester, N. Y. (5-8). •LIUle Dark Horse' (Cecilia Loftus) — Playhouse, Wilmington (7-8). ' 'Louisiana Pnrchase' (Victor Moore, William Gaxton)—^Erlanger, Chicago (29-8). 'Maobeth' (Maurice Evans, Judith Anderson)—Colonial, Boston (29-8). 'Hale Animal' (Otto Kruger)—El Capitan, Hollywood (29-8). •Mamba's Daoghters' (Ethel Wa- ters)—Geary, San Francisco (29-8). 'Mikado'-Majestic, Boston (29-8). 'Mr. and Mrs. North'—Lafayette, Detroit (29-1); Erlanger, Buffalo (3-8). 'My Slater Eileen'—Cox, Cincin- nati (29-1);-Hartman, Columbus, 0. (3-5); Victory, Dayton, O. (6); Co-' lonial, Akron, O. (7); Park, Youngs- town, O. (8). 'Native Son'—American, St. Louia (29-1); Hanna, Cleveland (3-8). 'Papa' Is Air—Nixon, Pittsburgh (3-8). 'Play with Fire'—McCarter, Prince- ton, N. J. (8). 'Bltfg Around Elizabeth' (Jans Cowl)—Walnut, Philadelphia (3-8). 'Elo ElU' — Forrest, Philadelphia (29-1); Community, Hershey, Pa. (3); Playhouse, Wilmington (4): Court Square, SpringBeld, Mass. (5); Bush- nell Aud, Hartford, Conn. (6-8). 'Separate Eooms' (Alan Dinehart, Anna Sten, Lyle Talbot)—Wilbur, Boston (29-8). 'Slin Sala BIm' (Dante)—Curran, Sdn Francisco (29-8). •Sons ot Fnn' (Ole Olsen, Chic Johnson )-^hubei't, Boston (30-8). 'Spring Again' (Grace George, C, Aubrey Smith )—Wolnut. Phila- delphia (29.1); Ford's, Baltimore (3-8). 'Student Prince'—Academy of Mu- sic, Boahoke, Va. (29); Lyric, Rich- mond, Va. (3-1); Forrest, Phllodel- phla (3-8). rrheatre' (Cornelia OtU Skinner) —Harris, Chicago (29-8). There Shall Be No Night' (Alflred Lunt, Lynn Fontanne)—Carolina, Greensboro, N. C. (29); Carolina, Charlotte, N. C. (30); Aud., Colum- bia, S. C. (31); Miller, Augusta, Ga. (3); Mun. Aud, Savannah, Ga. (4); Grand, Macon, Ga. (5); Erlanger, Atlanta (6-8). They Can't Get Ton Down'— Music Box, Hollywood (29-8). Tobacco Road'' (John Barton)— Metropolitan, Seattle (29-1); Temple, Tacoma, Wash. (3-6).