Variety (Feb 1942)

42 LEGITIMATE Wednesday, February 18, 1942 Plays on Broadway HEART OF A CITY Dramn In Ihroo nets in-CM-niciI nl llt-nry Miller's. N.V.. Fob. i:;. by Ollltert Miller: written \*y [,o»«lpy Sii>rm; ninnptl by preeontcd; selilUKfl by Unrry Hnrnci: 93.30 top. Judy Certruil<» MunKrovp Fronchic Jennne .McNnlly Bony Terry ['ny Dubbles Vlrglnin ni»li*n Dlnnn ■.... ^ I*conc Wllwm Ann Com Smith Pftmelit Augdi'tn lluclnnd TonI Marvol GrJihamc Georce Pheltnn Knnii(:j« Valerie Frnncea Tnnnohlll Pnta>' CnroMne I". h Rosalind Ili'verly RoliertK Joan. Vir :lnl:i V> \nf Loo Saddle (L.S.) ncnnlx lluey Tommy f.lnyd (tni>Kh Mr% Good lierihu Oelmiir*^ Anna .Mlrhm '"uMl-i Gloomy VIrtor It. rrm'l First Pilot Orrirer Teier riovno 504,* rather thinly, having no micro- phone aid. Also the-e are The Lon- don I Love' and a bit of 'Lambeth Walk.* All but the latter are by George Posford, Eric Maschwitz and Harold PurceU. ibec. Second Pilot Orflrt^r Third Pilot OITIcor.. Czech Officer Fourth Pilot orrit cr.. June Fifth Pilot orriipr..., Boh PollHh Officer Wing Commander.... Group Captain Sergeant. .Det'irnm Tanswell Fred Ste'-vnrl .. .Hlrhnrd .'^trven.i ... Kilwnrd r.inKley .. . Hnrdii .N'lirmnnn Joht rreyf ... Uoilney S ''WHrl ... Jnntilhim I hirrlh .Ilohrri Wlill^^hfJMl ... Au.HtIn ralrmnn .I^uls Mehlln Paul Lundy nirhmd Alnley They Should Have Stood In Bed' Kiirre In thrco acta preHentcd ai llio MnnMileld, N. T.. Feb. 13. '42. by Sum H. (Jrlnrntin In asuoclntlon with Alex 11. Othrn; written by I^o lllfkln. Frank Tarloff nml D.ivhl Sh:i\v; Kt.iK'e^l by f.uiher AdUr; Ml- linscK by SnmuiM La'vc; ?3.30 lop. Shows in Rehearsal IVKhoat Love'—Theatre GiiUd. •Johnny 2x4'—Rowland Brown. 'Love, Laughter and Teari'— Eddie Dowling. 'My Dear Pnbllc' — Irving Caesar. 'A Kiss for Cinderella' (re- vival)—Clieryl Crawford, Rick- ard Krakauer. A1 llnnmnn I'.iii'n<»y SntHlPker.. Snm Slmpklnn •Mr. rtH»!i(*r ll'irry l>rlwoll.... Vlviitn I.owc Hpnry Aneor OurKC Jcnnon .lulluH 1>. Cluiirli'lil A Pollrcmmi Klllor Knnp Grnnt Rlchnnli* Jack alltonl .SAi>rord .Mclsnor ... Ltnol Opcrll Uuwwil Morrison , Florcnre SundBlrom Edwin Phlllpi* John Cnll RIchnrtI Irvlnt: Robert WIMlaniH Tony Cnnionerl Wllllnm Foriin A war play, the first since America entered the conflict, but set in Lon- don, is well produced and acted. In- teresting, though episodic, 'Heart of a City' ordinarily would get across, but impression is that it costs too much to operate in intimate Miller for more than a limited engagement. There !sn*t much in story content, but atmosphere abou. ds, illusion being that of a musical show amid Nazi bombings, yet it is a melo- drama. Most first nighters liked the performance and departed from the theatre with, the idea that the people of Britain can take it with chin up. That goes especially for the band of actresses in the little Windmill, which is accredited with being the only theatre in London that re- galned open throughout the blitz, ecent reports were that most thea- tres are now lighted. 'City' has the ■how going on without interruption, ♦ven when there were but two front rows -occupied. There was some facetious com- parison betwem Miss Storm's play and The Wookey,' which fared well imtil the Japs raided Hawaii. While there Is the same constant threat from the sky, the two works are en- tirely different. 'City' is essentially a girl show, femmes predominating In the revue, as indicated in one little setting that slides away at the opening and bacic again at the close. Curiously enough, another war play, 'Journey's End,' with an all-male cast, was a sock success, also at the mier. Principal scene is the dressing room of the femme principals back- (tage at the Windmill. In wander Tommy, stewy composer of the icorea, who is smitten with Rosalind, the star, Saddle, the carry-on manager, and George, the call-boy. Now and then the wardrobe mistress, comically cockney, tells the girls of what is happening, and there is the spirit of There'll always be an Eng- land,' although that phrase is taboo. . Tommy pleads with Rosalind to mary him, but the girl demurs. It is when she meets Paul Lundy, one ol the R.A.F. aces, that she falls in love. It is a fast romance, a feature of the story that will probably have more audience appeal Scene in the officers' mess at a bomber station is animated and introduces a number of fighter.pilots. Fact that they do not reappear thereafter, with one exception, seems a fault of the play. Either the author wastes her charac- ters, or did not find a wav to write them in further. In the end Tommy strolls to the pub at the corner, with Judy, the soubret, going after him, and both being killed by a direct hit. Scenes whc:i raids are on may be authentic, though the sound effects are not as emphasized as in 'Wookey.' Courage of the girls when bombs tall nearby and their promptness In rescue work is inspir- ing from the front. Hollywood and London are well represented in ' the cast. Beverly Koberts is the pretty Rosalind, easily the most pleasant of the revue girls, and her love scenes with Richard Alnley, the flyer, are very good. He Is a personable English actor, little feen on Broadway. From over there ) Gertrude Musgrove, making her r.S. debut and scoring distinctly. Margot Grahame, who scored in The Informer' and other Coast-made films. Is always bowing In on ^road way. She has some o the serious lines and h:mdles her part with surehess. Dennis Hoey, who has been on this side for many seasons. Is the likable manager of the thea- tre. Lloyd Gough is Tommy, giving another good performance. Frances Tannehill 'ls amusing as a girl given to affairs with varied men: Virginia Peine is decorative .but her part is limited; Bertha Bellmore also gets laughs with her chatter. 'niere are 31 players listed in the program, a majority having speak- ing parts. Production seems excep- tional for such a play, with the oper- ating cost certainly above average, lliere are four songs in the perform- ance, but the numbers are incidental. Miss Grahame sing's 'Goodbye Picca-. diUy' end Miss Roberts does 'Room .11 ,1' \»iin,» ITIKV rhitnclil Knlhfrlne MMklll Announcer nnn<lolph PrMlon Ileforee...^ ArnolO Spcctor rinil Mnn .Gconre ilullh»w» Sorotiil Miin Morlln RItt Tlilnl Miin Norinan Budd Hon?tilon-er Top|M»r Jordan There may be a public for this new farce, but it is probably not one that will pay $3.30. Tony Canzoneri, for- mer lightweight boxing champ, is in the cast and, although he was a rint magnet at much higher prices, his name means nothing as a theatre boxoffice draw. The curious title, slightly revised from the crack of an illiterate fight manager, is hardly suited to attract class patronage, while the charac- ters in the play are akin to those generally associated with the so- called fight racket, persons of lowr character. That they can be funny the authors prove. It is also likely that the double-crossing schemes of the play are no less preposterous lhan some of the reported 'in the bag' stuff that has been alleged to exist within the fistic 'profession.' Four 'wonderful characters' plan to open a restaurant, with Killer Kane the ciiamp, to be front man. One of the boys, Sam Simpkins, sells, 'hot' suits, otherwise stolen clothes. Al Hartman, the chief schemer, has desk room, so has Barney Snedeker, a lawyer without clients, while Harry Priscoll thinks he's a private detec- tive. Latter gets picture of Killer' together with Peggy, wife of boxing commissioner Chatfield, and through a little blackmail they plan to raise the coin for the cafe. They count on Henry Angel being the chef, but through a mix-up he is proclaimed a crack fighter fromrthe- sticks, and he phallengea the Killer for the title. In some way they raise 10 G's for the eatery arid each one bets the poke on the Killer, aware that Angel hasn't a chance. That leads to the play's funniest bit, which has one of the conspirators trying to jump out of the window. The pseudo dick comes along with a dictaphone which he had spotted in Peggy's hotel. Record reveals the Killer and the woman romancing, he oromising to throw the fight. That creates a-panic among the quartet on ways and means to call off the bets, placed with Big Louie- Little Louie, and Just Louie- There is a ring scene supposed to be at Madison Square Garden, but most of the go inirs-on are in the shabby office. Canzoneri has two lines in the first act, when he says he will 'molder the bum,' meaning Hartman. He has none in the second act, but makes an aopearance in street clothes. There- after he Is in ring togs. Impression was that he will never become a thespian, an opinion the producers doubtless have, too. Sanford Meisner. as the handler of 'hot' suits, is the show's main laugh- getter. He gets so exasperated that he starts through the window, after carefully removing his watch. Grant Richards, as Hartman, is in action often and gets all there is from the part. Jack Gilford has his moments as the cllentless lawyer, throwing a fit when learning his partners also ■ bet the b. r. Russell Morrison com pletes the quartet well enough. Katherlne Mesklll Is the amorous Peggy, while Florence Sundstrom Is a secretary, sweet on Angel, played by Edwin Phillips. Latter, when In training togs, looks more like a featherweight fighter than a chef. Richard Irving Is the boxing official a part that could have been comic if written in double-talk, a specialty of one of New York's fight commis- sioners. .. Luther Adler directed. Ibee ENGAGEMENTS otto Kruger, Ralph Morgan. Whit- ford Kane, Joseph Sweeney, "The Moon Is Down.' April Ames, Mark Plant Kitty Mattern, Grac6 McFornahan, 'My Dear Public' Cecil Humphries, Luise Rainer, Edith King, Doris Patstoni 'A Kiss for Cinderella.' Katharine Hepburn, Barry Thomp- son, Elliott Nugent, Audrey Christie, Robert Chisholm, Ellen Morgan, Emily, Mc^ey, Don Briggs, ."^l^^.qut Love.' OF V WE SING Revue In l«*o ni-lb <1*5 a-enos): niunlc by Genrue KlelnMlnirer. Hcftu nt-rKerson. Toby .Snrhfr. Lou Coomr. Xeil T.ehock. AlcM Norlh; lyrlCBby Alfred Hayes, Sylvin Jhrki. Lewis Allnn. Roslyn llnrvey. Mike Strnt- ton. Nnrmnn Corwin. Renlrlre Goldsmith, Joe nnrlnn. Wiill Whitman. Arthur ZIpser: nketrhes by Al Octo. Sam D. Locke. M«l Tolkin;. muiilrnl direction, T-ou Cooper: diinre dlre*-tlon. Susnnne Remon: stnued nnil directed hy Perry Bruekln; piano iie- ruuipnnlinent hy T.ou Cooper and Saul Dn- vla: prejtenled hv Amerlenn Youth Theatre. In nnoclntlon with Alexander II. Cohen, at Concert theatre. N. T.. Feb 14. •41 at »1.(", top. Cast: Adele Jerome. Lee nnrrlc. Oetty Giirrelt. .'^upnnne RemoH. Kleanore DoKely. Letty .*-*tever. Xtwry Titus. Connie Itaxter. Ann" Gnrlnn. Phil Leeili*, Perry Rruskln. John Wynn. Buildy Vnrus. Daniel Xagrln. Curt Conway. John Klemmlnp. nubert Shar- ron. nyron KCIIHcon. 'Of V We Sing' immediately sug- gests 'Pins and Needles,' the spec- tacularly successful intimate revue presented several seasons ago by the International Ladles Garment Work- ers union. It's also topical and satir- ical In flavor, also frankly amateur- ish., with the freshness, eagerness and engaging youthtulness that marked the ILGWU show. -It's likewise a t>argain offering, able to operate on a negligible budget and with a likely chance of making a run of it on that basis. After several months at various spots' off Broadway, revue was brought last week to the Concert the- atre (formerly the Filmartc), in West 58th street, just outside the Times Square theatre district It opened Wednesday night (11), but the crit- ics weren't Invited until Saturday night (14). Show Is presented by the American Youth Theatre, non-Equity group whose members have various day- time jobs outside show business. Alexander H. Cohen, associated In the presentation of 'Angel Street' at the Golden, N. Y., has a share In the production. Schedule calls for five performances a week, Wednesday through Sunday nights, with no mat- inees. Scale is $1.65 to 5Sc., Within Its admitted limitations, the show is entertaining. Some of the comedy is quite original and some of it genuinely funny. A few of the .song numbers are fairly good and many -of the performers are bright and pert, with a shining, infectious enthusiasm. However, revue sulTers from its lack of sock music, dance numbers, enough strong personalities and, chiefly, from variativ of ap- proach. All its comedy and topical comment has a sameness that pres- ently becomes monotonous. 'Thus, while the first half of the evening is lively and amusing, the second portion Is more or less repetitious and increasingly tiresome. Among the funny skits Is a trav- esty, 'NBC Goes to Broadcast,' which Is crammed with comment of radio's more ludicrous manifestations. 'Ivan the Terrible!, makes fun of an Adolf Hitler broadcast but is weakened by the inclusion of serious matter. In 'Sisters Under the Skin,' Lee Barrie, Betty Garrett and Adele Jerome suc- cessfully satirize sister acts, but in 'You've Got to Appease with a Strip Tease,' Miss Jerome and Miss Bar- rie, with Phil Leeds, fail to combine elements of the comic and the seri- ous. 'Brooklyn Cantata' is ai) amusing sketch about the ball fans' familiar 'wait till next year' slogan, while 'One Way Passage' bilingly lampoons Congressman Dies. 'Mother Love' is a takeoff of a:k. vaudeville acts, with comic references to Jessel and Jolson. 'Belinda Blue' giggles at Hollywood's trumped-up glamour; 'Juke Box' makes fun of jitter-bug record fans, and '2 Plus 2' offers ironic comment about nepotism in the film industry. There are also slightly macabre, slightly mad comedy capsules. 'News Story,' at the beginning of both acts. "You Can't Fool the People,' the show's opener, is not entirely clari- fied. 'Don't Sing Solo,' a vocal by Miss Garrett is expertly handled, but is an ordinary song. 'Freedom Road,' a plea for racial tolerance, sung by John Flemming, Negro baritone. Is also only a mild song. 'Take a Poemi' Robert Sharron's reading of a Nor- man Corwin verse, with • musical background by George Klelnsinger. fails to come' off, as does a Walt Whitman poem offered as prolog for the flnale. Other moderate numbers are 'Pri- orities,' the second-act opener; 'Queen Esther,' sung by Miss Garrett and chorus; the over-strident 'Gertie the Stool Pigeon's Daughter.' and 'We Have a Date.' Only real dance num- ber of the show is an effective rhumba by Susanne Remos and Dan- iel Nngrin although there is a 'Vic- tory Conga' closing the first act. "There Is considerable talent in the cast. Phil Leeds is a laughable comic though his clowning hasn't enough variation to cover his pres- ence as lead In almost every sketch. Inside Stuff-Legit liObby of the Mansfield, N.Y, was jammed on the opening night Frldar (13) of "They Should Have Stood In Bed,' the crush being occasioned^ people calling fqr passes (60c per pair), more such admissions beloii issued than for any debut in years. Because former lightweight boxioi champ, Tony Canzoneri, was in the cast press department thought Ita good Idea to ask sports writers to see the show. Some witnessed a pre. view because of the Billy Conn-Tony Zale match at Madison Square Gar. den Friday (13). Management used poor judgment in spotting others in the rear of the balcony on opening night Stanley Woodwarti, sports editor of the Herald-Tribune, was one who attended then. He remained for the first act only. In his Saturday (14) column Woodward gave his opinion of Tony's acting ability in one word, then went on to explain the title, credited to the late Joe Jacobs, also called 'Yussel the Muscle,' who managed Max Schmeling. Jacobs, who once yelled, 'We wuz robbed,' when a decision went against his fighter witnessed a world's series ball game In Detroit some years ago. Weather was cold and during a snow flurry, he complained: 'We should of stood In bed.' Francis Wallace heard tbe remark and relayed It to Dan Parker, sports editor of the N. Y. Mirror, who columned it humorously and thereafter pinned it on Jacobs. Woodward, saying that Canzoneri was a credit to the profession, concluded with: 'Knowing how good he was and how much he earned, we are a little sorry to see him out of character In "They Should Have Stood in Bed.' As a matter of fact he should have, they should have and we should have.' Canzoneri, who once held three ring titles, ^was reputed -to have beeo worth $400,000 some years ago. Understood he dropped most of his bank- roll in business ventures, which included a cafe, liquor and clothes stores. It's indicated he exi>ected to find on the stage a new means of livelihood. Harlow D. Savage, who died in White Plains, N. Y., last week, was an officer In a number of Industrial concerns but was thrust onto Broad, way and for a time was supposed to be a factor in the theatre ticket field. In 1931 the League of New York Theatres decided to control tickets al- loted to agencies and adopted the curious suggestion of engaging some- one entirely outside of show business to handle the job, that of keeping tickets from gyps and eliminating excess prices. Tlieory was that such a person could not be 'reached' by the brokers. Ticket men viewed the move skeptically and it was soon discerned that the plan was not effective. Savage knew none of the many angles of the agency ticket business. It was decided to give 15 agencies the bulk of the allotments and It was that group that ultimately paid off a bank loan of $25,000, with which the League financed the plan. Most of the coin was used to pay Savage's salary. The Windmill theatre, London, locale of 'Heart of a City,' which opened at the Miller, N. Y., Thursday (12), is a little house In back of the better known Lyric. It is credited with continuous performances throughout the months when the British capital was bombed day and night whether there were a few persons out front or not, and for a time was the only legit house lighted in London. Lesley Storm, who wrote the drama, states she went backstage many times, visiting the dressing room of the girl princi- pals. One of the features of the Windmill performances was the use of nude show girls. They were posed upstage in the tableaux form as used by Ziegfeld in his 'Follies.' Other London show shops used nudles In the manner originated over there at the Windmill. 'City' was produced by Gilbert Miller, by arrangement with T. Hayes Hunter, former London talent and play agent Sampson Raphaelson, who wrote 'Jason,' Hudson, N. Y., and stated that the drama critic of the play was supposed to be himself, not Bill Saroyan, has a yen to be an actor. He staged the comedy, his first directional job, and when Alexander Knox left the cast Saturday (14) It was the author's idea to step Into the part but just could not needle himself to the point of doing it. Raphaelson has told friends that he always visualizes himself, as a character In his plays. Mrs. Raphaelson (Droschka) also hankers for the stage and has under- . studied the femme lead. Phyllis Perlman, press agent for the George Abbott shows, has been ill for several weeks. She was In her office one-day last week, but was re- moved to Mt. Sinai hospital, where tests evidently did not result in a defi- nite diagnosis. However, she felt well enough to leave the hospital early this week. Marian Byram recently joined the Abbott press department Miss Garrett Is a looker with skill and style at handling a song. Other cast standouts are Miss Jerome, Miss Barrie, Curt Conway and Buddy Yarus. Sets are simple but adequate, while the costumes are effective. Htibe. Play Dot of Town UNDER THIS ROOF Wilmington, Del., Feb. 14. Drama In th>«e acts and four scenes by Herb«rt B. nhrmann. Stase<l by Russell Lawls; sotting by Perry Watklna; costumea by Ernest Shmpps; pr«senled by Russell Lewis and Rita Hassan at Playhouse, Wll- mlnKton, Del., Feb. IS-M, -42; %iM top. Oranny Warren Louise Galloway Abner Warren George Spauldlng Cornelia Warren Barbara O'Nell l^zra "Warren Russell Hardle Horace Drury Howard St. John Mora Hilda Bnico Glbeon Warren Peter Kobbs David Warren Frederic de Wilde .Mr. Gaswiwoy Harlan Briggs Senator Flower Watson White Eileen O'.Stiaughnessy...Alexandra Brackett Shawn O'Shaughnessy Waller Burke Sidney Snow James O'Neill Sincerity is the chief virtue of a new drama—in fact s^ark drama— by Herbert B. Ehrmann, Boston at- torney. The author has delved into the case history of an old Massachu- setts family thoroughly. The result is a play that sometimes- reveals fine writing, sometimes commands close audience attention, biit Is too heavy and slow moving to meet success on Broadway. It's rather badly knitted, with the audience apt to get restless in trying to follow tne not always interesting career of a woman who married Uic wrong man, sacrificing love and per- sonal honor for comfort and security. The story covers a space of 27 years in the lives of the Waren family, including the Civil War period, in which Ehrmann attempts to prove that while wars differ the problems and emotions aroused by such con- flicts remain the same. Many of the Civil War lines could be used in a World War II drama. The central character is Cornelia Warren, played with fine restraint and sure dramatic power by Barbara O'Nell. She refuses to accompany her sweetheart, an anti-slavery radi- cal, to Missouri, and marries a cousin, a smug business man who scorns ideals and becomes a success, ful Boston banker. Later their son, a pi>etlc type, defies his father, en- lists, and Is killed in battle. Banker Waren becomes involved in a shatly railroad deal and meets disaster in the panic of '73. He returns to the old homestead, and the inference i» the couple are reconciled by ad- versity. The third act is more or less static, providing a background for the author's more weighty speeches. The cast Is excellent. In addition to Miss O'Neil, Russell Hardle, ai the banker; Lpulse Galloway, Har- lan Briggs, Howard St. John, Fred- eric de Wilde, and James O'Neill are all superior to their roles. Perry Watkins" setting helps create the proper atmosphere. Play looks more like Hollywood fare of the long-suffering heroins type. Klepfer. Schneider's Condition ~ Willie Schneider, manager ol » 'Life With Father' road company, who was critically injured in an ele- vator accident in Oklahoma City, u reported as 'comfortable as could be expected.' Both legs were broken and crushed. Transfusions wc™ given him and infection has sub- sided, although one fracture is lo be reset Schneider is In St. Anthony's hos- pital.