Variety (Jan 1942)

16 PICTURES Thirty sixth USrIETT Annivenary January 7, 1942 FROM THE BROADWAY MEMORY FILES yeteran of 5,000 First-Nights, a Broadway Reporter for Moire than 40 Years, Records Some Sage Impressions By Kelcey Allen The late Rennold Wolf once said. In a jocular way, that I . possessed $6,000,000 worth of worthless Information about Broadwc7, and maybe he was right. However, that brings up the question of what is valuable Information so far as ■Broadway is concerned and, frankly, it is one I can't answer. Broadway Is a district of nunors, gossip and news, and to separate the reliable ihforma- ' tlon from the phony is a feat I fear nobody oan attempt successfully. But, be that as It may, I have been on Broadway more than 40 years as a reporter, dramatic editor and critic. I believe I have attended theatrical open- ings more times than any other living person here in New Yorli. My. record Kelcer All«a Is more than 6,000 first-nights. Burns Mantle, veteran dramatic critic for the N. Y. Daily News, may be able to challc up a few more, but, to do so, he will have to add shows he saw as a reviewer in Chicago and Den- ver before coming to New York. All those I have witnessed have been Broadway openings. While I am shooting at records, permit me t<. say I have been present at the first performances in at least 60 flrst- dass New. York theatres. I was on hand when the Empire's doors were thrown open for the first time, the attraction be- ing The Girl I Left Behind Me,' and there hasn't been an opening of a new theatre In the district since that I haven't attended. ' The theatre has attracted me since I was a youngster in short pants. My first newspaper job was that of play re- porter for the Tammany Times, now'out of existence. I was In my. 'teens then and got the job because I suggested the publication diould pay some attention to the stage. The- N. Y. Clipper came next and then Women's Wear Daily and the Daily News Record. I am' still the drama factotum on the two Fairchild publications last mentioned. I foiuid it difficult earlier in my career to get on the first night lists of the theatres. The press agents weren't In- clined to consider my papers,' which have been classed In the trade' division,. worthy of flrst-niglit representation, so I evolved a scheme that solved my problem.' I began get- ting out annually a printed list of critics and drama editors and this I distributed. free among the theatrical publicity men.' They found it convenient In sending out first night tickets. Natiirally, my name was on the list and I was in- cluded In-the distribution of the pasteboards. Nowadays the press agents send to me for copies of the list if,. by any' chance, I have'failed to mail tiiem out In Individual in- Etances, .■ . ~ . I When 48tli St. Va»/Way Uptown | The theatrical district has undergone , very many changes Uhce I began going to plays. Due to my long experience on Broadway these changes probably are more visible to ine than to others who frequent the street less frequently. I re- member one time, when Harry H. Frazee had finished build-. - Ing the Longacre theatre, on West 4Sth street, a friend in the show business.shook his head and said: 'Harry, you're too far uptown. They'll never come away up to 48th street to see plays.' They did, of coursel They went as far as 63d street to attend shows at the Century and Daly's OSrd St. theatres. And between 48th ^d 63d about a dozen play-, houses have been built and most of them have drawn good crowds when they have had attractions worthy of patronage. Looking the other way—down Broadway—I can see in my mind's ey& plenty of theatres that have passed on. Many a pleasant evening I spent at the Bijou, Daly's, Weber & Fields Music Hall, the Standard, Wallack's, the Garrick, the Gar- den, the Herald Square, the Broadway, Knickerbocker, 39th Street, the Casino and the Savoy, where George M. Cohan starred in The Governor's Son.' All but the Savoy have dis- appeared and It is now a picture house. And 42d Street's Changel | Then take 42d street, west of Broadway! At one time, about 10 years ago, it was the most famous and popular the- atre thoroughfare in the United States and there were more first-class playhouses on it than either Ctiicago or Boston had. The theatres still are there, but not a single one Is in - the legitimate class now. They are all given over either to films or burlesque. At the present time there are'"only two first-class legitimate houses south of 42d street. They are the Empire and the National, the latter comparatively new. Up to several months ago Maxine Elliott's theatre could be classed with the Empire and National In their district, but it has been taken over by WOR and the Mutual Broadcasting network and thus has it passed out of the theatrical picture, I Dramatic Criticisni May Be A Great Blessing or a Menace Dramatic criticism 1^ the most potent factor in the play producing business and always was, so far as I can remem- ber. It can be either the greatest blessing or the greatest menace to the stage, depending on the capabilities and fair- , ness of the reviewers. A good critic should be a good judge of entertainment and must make It a point to advise the public without bias on this qil^li^ of the production. 'While a review Is only one person's opinion, It can carry a punch either way for a play. I think a critic should know something about the con- struction of a show, In addition to being a capable judge of entertainment. He should know actors, scenery, and what ' goes oh at rehearsals. In other words, he should be familiar with the ingredients of a stage presentation. It, he knows what makes the' wheels go round he will know what he's talking about and can size up a play's entertainment value more readily. Thus he Is a good critici which means he is first of all a good reporter. J- have .seen numerous pla/s succeed despite adverse crltl'cism and I have seen plays that were accorded almost uiianlinoUs praise, fail.' niis Indicates ttiat; in the final analysis) the public Is the critic. Adverse'reviews can slow a stage'offering up badly and if the producer' cannot afford to cany oh, he will soon find he is through, so far as that show Is concerned. In the old days It was easier to over- come the effects of. bad notices because it didn't cost to much to continue the play. . When I first began doing reviews all the critics wrote by hand. There were few typewriters in the newspaper of- fices. I am inclined to believe it would be better if the re- viewers wrote with pencils now, since it would mean they would go slower and might have time for more and deeper thought. Years ago the matter of theatrical news was handled dif- ferently than it Is today. Now the press agents send out the news and the drama, editors or columnists merely re^ write or paste it In my early days reporters went Out and gathered it I remember the old 10 o'clock Club which used to meet nightly at 10 at the Herald Square theatre. Drama reporters mingled in a press room there and ex- changed their news Items. Each had covered a different district. Seldom did a member of the club hold out on his associates. When one did he was ostracized by the other boys. The critics of the present time are a competent lot but I doubt If their appeal is . as wide as was that of the re- viewers of my youthful days. This probably can be ascribed to the fact that the theatre was a greater center of Interest then than it is today. There were no motion pictures or radio to share the attention of the public in those times. I Bevered Critics of Old ~~| Among the men I mingled with and looked up to with reverence, because of their calling as dramatic critics, were Hillary Bell, of the Press; John R. Stevenson, of the old Daily News; Dr. Hartley, of the Clipper; A. C. Wheeler, of the Morning World, known as Nim Crinkle; William Win- ter, of the Tribune; John (Cowboy) Harrington, of the Dis- patch; E. O. Dltmar, of the Times; James Huneker, of . the Commercial Advertiser; Frederick E. McKay, of thp Mall; Franklyn Fyles, of the Sun; Acton Davies, of the Evening Sun; Alan Dale, of the Evening World; Harrison Grey Fiske, of the Mirror; John A. Cockerill, of the Globe, and Charles Phillips, of the Recorder. Burns Mantle, IjOuIs Defoe, Lawr rence Reamer, Charles Darriton, Heniiold Wolf and several others came along a few years after these I have mentioned.. • Years' ago, strange as it may seem. New Year's Eve was not a good night for the theatres. It was the custom In those days for the people to give parties at their, homes to watch the advent of the new year, or go down to Trinity Church and hear the chimes on'thi last night of the year. - Nor was New Year's Day prolific of large audiences for pla^s. This was, in a measui'e, because people used to go calling on Jan. 1. They would call on those they knew and often oh those they didn't know. Some- of them would ring the bells of absolute strangers and, when~ the doors were opened, offer' a 'Happy New Yearl' This would bring them an Invitation to enter for a bite to eat or some tea or a drink' of something stronger. iJow people vie with each other to pay high prices for New Year's Eve' theatre tickets. It Is the best theatrical night of the year. ■ " ■ I A Hay Is Always a CkunMe "| ' I hav6 been asked on various occasions If I consider a play, a good financial investment. First of all. It is a gam- ble, since there is no power on earth that can tell in ad- vance whether a production will make money. .'When peo- ple ask my advice about investing In theatricals t tell them just what I, have written in this paragraph. It's like pick- ing a racehorse to bet on by sticking a pin In your program. Personally, I have neyer invested a nickel in a show and never shall, because I am not a gambler. I wouldn't know what to do with easy money If I made any. In conclusion I would like to add my endorsement of the legitimate stage as a great means of relaxation and enter- tainment for the people. The flesh and blood drama Is a godsend to the public and always will be. The theatre will never die because It offers the personal touch and that quality is a potential power no matter where It Is found. Vitamins E and U for Post-War Fix By William F. Rodgers (Vice President of Loeufs, Inc., in charge of DiatTibutton) As Dr. Klldare might say. The role of the motion pic- ture Industry in times like these is to administer 'Vitamin E—entertainment to a public already jittery because of the emergency. Possibly I might add 'Uiat in the accom- plishment of this I am convinced the new Vitamin U, born In (Chicago a few weeks ago, will be the Industry's greatest aid towards making Vitamin E effective, for' with unity of action and understanding the road ahead will be much easier. The five-point program can, and I am sure will, serve as an effective structure on which can be built more stable industry conceived in understanding of the other fellow's problem and dedicated to the service of the public during these trying times. It is toward that goal that Nicholas M. Schenck pledged an active cooperation of Metro-Goldwyn-Mayer. We all can play an important part In spreading the gospel of 'Do your job, be prepared by following the necessary regulatory orders, and relax and go to the movies,' and if we can get over to our public that jittery nerves and production efficiency don't go together and that motion pictures are the greatest form of necessary relaxation, yre will have done a most important service to our nation, to our public, and to our industry. While, the job ahead is big, I don't believe it will be made any easier by sitting on the curb and bemoaning our fate. This emergency offers iis a tremendous oppor- tunity to prove again that motion pictures are an esse'n-- tlal industry. *YOUNG BLOOD' ByHARRY.PUCK 'Give us young blood,' say producers—managers as well, '(Kve uj young blood,',cry the agents, that's what we can sell. So you see a.show, or. twist a dial, but find It.queer, For here's the "young blood'—all successful that you'll see or . hear: Contoi^Allen—Tuckei^RIchman—Jolson—Hope and Wynn HoUz^Durante —^Lohr ond Barrvmore, the three all kin; Jessei—Gaxton —^Moore-rBoTdonl—Merman— Bergen, too, Benny —^Boland—Bums and Alien—WWteman are a few. Laxtghton—Cohan—Baker^Bemie —^Berle, Jim Barton-Hots, ord, Lunt—Fontanne—Cornell and Cowl —the Marxes and Noel Coxoard. Helen Hayes and Bankhead, Irene Rich— Mae West and Brice, Careir-Lillie— Fay—Rltz Brothers-rBillie Burke and Price. Bobbv Clarte—^Bill Fields— Kate Smith and Hmton you ttilll find Edward Arnold—^Fred Astaire and Craven come to mind. E. Le Galltenne—Halev—Vollee—^Abbot( and Costello, Olsen—Johnson—Sepal—Flippen—Lewis ond Carrillo, Sanderson-and Crumtt— Lawrence — DowUng all a hit, I could keep right on, but- lack of space uiill not permit. Now mind you, I'm for 'young blood,' for we must have young blood, true. But 'til this young blood comes along the names above wUl do. Arsenic and the Axis Theatrical Hocus-Pocus Applied to Hitler And the Japs By RUSSEL GROUSE and HOWARD LINDSAY America Is at war. The theatre has always played Its part In the nation's war effort in the past and will valiantly give every possible support to this struggle. But we feel that the theatre has something special to give—something that has .never before been capitalized and we propose to lead the way in this new field. The theatre will not be'lagging in the usual war contribu- tions.. Its actors, playwrights, stagehands—men from every branch of its activities—will volunteer for active service. Its women will serve In their own way, even if not on the ac- tual firing line. Its composers and lyricists will turn out the songs that will send soldiers on their way singing. And all will buy bonds and sell them- And every branch of the pro- fession will see. that ^e fighting forces are entertained and . cheered with camp shows. But most of these things, bankers and brokers and taxi« drivers and laun'drymen can do, too. They are not all unique coiitrlbutlons. But the theatre is unique as an.institution and we feel that it has something special to give—something that Is theatre ItseU. . Let us make ourselves clear. For example, we are the producers of 'Arsenic and Old Lace,' We have two companies—one in New York and one on the road, • - In 'Arsenic and Old Lace' as you all know there are two characters,'two sweet, charming Victorian, elderly ladies, ^who. bring peace to lonely old men by administering to them a specially prepared brand of elderberry wine, which con- tains 'a teaspoonful of arsenic, a half teaspoonful of strych- nine and just a pinch of cyanide.' - Now what we propose to do Is to send Josephine Hull and Jean Adair of the New York company into Germany and , Laura- Hope Crews and Effie' Shannon of the touring com- pany into Japan. They can be landed by. parachute, each armed with several bottles of this -delicious concoction. MPBSolini for the Mop-Up | Certainly no one would suspect these charming ladies. They could go quietly about giving sips, of elderberry wine to everyone in a uniform, "and before spring we feel sure that a large part of the enemy armed forces would be out of the way. Italy could be mopped up later, probably with a good 10c mop obtainable at any Woolworth store. Now we. h'ave in our New York • company a gentleman named Boris Karloit and in our touring company a gentle- man named Erich von Strohelm. Both of these actors have made their living for years scaring hell out of people. As Mr. Fred Allen remarked recently on the air, a friend of his named Llebowltz went to see 'Arsenic and Old I^ce' and when he came out his name was Iflebo, Mr. KarloS had frightened the "wits out of him. It doesn't sound reasonable that these two worthy scare- mongers should be occupying themselves today scaring good 100% Americans, so, we also propose -to send Mr. Karloff to (Sermany and Mr. von Strohelm to Japan. Terror has been a weapon of the Fascist nations for years. But we will guarantee that Herr (3oebbels, who is a master of terror, will run. screaming from the "Third Reich if he gets a good look at Mr. KarloS, and we have the feeling that. If properly lighted, Mr. von Strohelm can frighten the . entire Japanese fleet, off the seas. This Is just an example of what can be done If the thea- tre will only use theatrics in its contribution to the war cause. If Orson Welles could frighten ai whole nation of brave Americans with one broadcast, what could we do to the Italians who hold the world's record for running back- ward? Donble-Talking Hitler in Beverse ' | We propose that other producers make the same sacrifice. We call upon Mr. Vinton Freedley, producer of 'Let's Face It,' to release for use at once Mr. Danny Kaye, 'of that pro- duction. We propose to send Mr. Kaye into Germany at once and have him turn loose a barrage of double-talk. Hit- ler has been trying to scare us for years with double-talk. We' sho'uld'fight him with his own fire. At the proper moment we expect to ask even the dramatic critics'to ini^e their contribution, not in bonds, not in per- sonal service at the front, which we know they are all 'will- ing and' able to give, but in their own unique way. -'-At-the crucial moment we are going to ask .them all to review the enemy war effort—^just frank open criticism of. - what our'enemies are doing; That will be the final blow. We confidently expect the war to close the next day.