Variety (Sep 1942)

50 LEGITIMATE Wednesday, September 23, 1942 Plays Out of Town BEAT THE BAND New Haven, Sept. 17. Mimi-Ml »ui»u-il> In iwo iiris. 14 wcri-'s. !■>■ ('.■•uiKf .M-.;ii'>n. .Ir.. nml ttPoi-go .M>liit1(: nni--*if. .r,ilii>ii> t;rci*n; lyncn. tlfordi' .M;l- . I i.ii). Ji.; tl:ii.!'<>>. l>.i\'l<) l.lrhino; .HCtlliUH. Sriiuiifl l.ovo: rOH!uin''M. V'roMy WUtop; v.it-.-il nriniic<*>'>**nt?'. Hu^h M.\rtln and KHil4i Ilhino: orrheHlrntlonii. Onnnlri Valkoi-; or.-h'^slrn con-lui l'^r. .Xn-tilo JMry^r: xl:iR>Nl hnil pn^HPnlfil I'V GoorE" A''l'OH :it the Shliln»rl. Now Xnvon. Soi>l. 17-1'.'. tUL.IO Inp. KuHliT <la TusM Romii VInrcnl KIr.iC Clionl Tcriv Kflly S«unil riicnl I^Klinre Hue Thir.l riicnl Il.>\rrly Whllnr-y lino DilllnKli.iin leiry I.i-.-"l<T Willi,iv \VIII,iii::liliy Tiinl Ollm^m \"oroniri Juan CnuincM Tiunipi"! ri.i\<-r I.'nnartl .Siios Hand flill Kunlfc Hoaloy Drummer Inllnnv Mn<k Pnninn PllllnKliani Imli Whltlnu ill-. I'irosli Hall* HunUor .l,»-Klla Kvelyn Hr.inka I1.)r,rni,in. I.Tiiio- T.rinc ihiinll.i Jn.nniM Ju:ivcz QiiPi-l,|:i Suann MHIcr Hotel Manat-i flirt Duiii-tnn linn nnmln;:(i .. . .Wcri'll M.irrI* Fii-t nen>fil\e Ilrlan CnnnaiislU S'l nn.l Dolc llvo More Plan Pell cllil Dnria D-Avllntf A l.,ilinr Kxprrl.. John fl.irlie DiMlnKham'a h.in.l (in men). ilnncInK clrla (l.-il. aincinc elHa ("1. ilanrlnt Ixiya (!li who drew a laryngitis break on opening night; Leonard Sues, with a trumpet novelty; Johnny Mack, in di-um-tapdancc feature; Evelyn Brooks, song - and - dance; Juanita Juarez, vocals. Ralph Bunker adds an amusing bit as a deaf music pub- li.sher. Abbott has again picked a line of lookers, both for dancing and singing girls. Show gives little indication of priorities on either set.s or costumes. While not so elaborate as some past Abbott musicals, production u.'jcs to good advantage what material it has. There's a sock boiler.room setting for the 'Steam' sequence; a colorful framework for the beachcombing ballet, and a couple of flat pieces that give perspective illusion through clever designing by Samuel Leve. Costumes range from the demure to the snappy, working in a wide spread of color. Boiic. Whether or not 'Beat the Band" becomes a smash hit depends largely on how much assistance an other- wise satisfactory production ulti- mately draws from an at nre.sent ex- cessively dull literary department. Carrying the weakest book Abbott has offered in any of his recent mu- sicals, show contains few laugh lines and chuckle situations arc among the missing. Based on the ancient wheeze about a handsome juvenile who adopts a baby, sight unseen, only to have the •baby' turn out to be a 20-year-old eyeful who eventually snares him, story barely gets by as a background for song-and-dance fare. Only mod- ern touch is the fact that the juve in this case is a leader of a hot band. Similar theme was u.sed previously in a Sonja Honie pic. There's a wealth of value in •Band.' but it's going to take skill to mould it properly. Abbott's show- manship should bring it through. Turning from the script liability to the production's assets, there are a number of features which can be used as groundwork on which to build a click musical. First, and un questionably the show's top sock, is a jam session titled 'Steam Is on the Beam' which will get plenty attcn tion. It's sensational stuff that heats up practically everything right down to the audience chairs. If a musical can get by on one outstanding fea- ture, this is the one to turn the trick A later calypso takeoff on the 'Four Freedoms' also rates favorable men- tion, although it suffers by following the 'Steam' knockout. Both numbers are pegged close in the second stanza, leaving act one devoid of this kind of punch. Opening frame, in cidentally. is where the heavy re- vision mu.<:t come; it's top dead- weight. Other assets In the terps division are a picturesque ballet about beachcombing, featuring Marc Piatt and Doris York, and the tap specialties of Eunice Healey. Score is tuneful and includes some good commercial prospects. Due for a rush are 'Every Other Heartbeat.' 'Proud of You' and 'Let's C6mb Beaches.' Johnny Green has done a corking job of composing that far surpasses its vocal rendition. There's not a standout voice in the whole cast. Lyrics run from ordinary to topflight, latter category getting larger percentage. Melodies are aided by some nice harmonizing from an eight-girl choral group. * Cast features Jack Whiting, Susan Miller, Jerry Lester and Romo Vin- cent. Whiting, back in musicals after a straight fling with 'Arsenic and Old Lace,' Is suave baton wielder and as such he does a competent job from the personality angle and also fits into several vocal efforts. Miss Miller brings youthful freshness to the role of Whiting's 'god-child.' Added to physical attractiveness is a nice voice. Her solo on 'Song of Two Islands' is a glove-fltter. Lester works overtime in his comic chores and manages to wring the most out of a lame script. Vincent, the John Bunny of song-and-dance, puts enough action into his songs to give them vitality. Others contribbing individual piecework are Toni Oilman, warbler. FRANKLIN STREET Wilmington, Del., Sept. 19. CoMifily In Itirto acu by Arlliiir Slicfk- nian nnil K. O. and A. O. Ooou; alaeeU by' Oeorxe S. Kaufinnn: aeltlnic by llow- alil Day; cualumes by Paul iluPont: fca- urc.< Dorolhy I'eiemon anil Hevnolila Kvnne: preaenled by Max Clurdon at tlic I'layhouar. Wilmington. Ucl.. Sept. 1S-1*J, ri: ll'.M lop. Pri-Mdie Smli Tommy Lewis Mr». Ijidd Doirtlliy Pfisvaon Ilniol Arnold Shirley Polrlor rolLdon S<-hhnnioI hulh l")oro Wlllard Carroll KuRene Srhlel Adele Stanley Jacqueline Guicley Homer Conway Buddy Buchlcr Maude Balnbridgc Belly Bncoll .Mr. Slatz Joe VordI Prof. A, Lincoln Lndd Iteynalda Kvana Mra. Burkhnrdt Irene Callcll Carrie Burkhnrdt Rosemary Illie Mr. De Coata Kranlt Otto ABBtha De Coata Joyce Oatea Syd Englondcr King Caldcr nillle La Tour norenro Sundst.on) Mr. Conw.Ty Joseph Olney .Mra. Conway Pegey Conway JiKlge Derndhoff William J. KVlly A Strange Man 'ohn Lo^enz \ Coarhman James Mnore Mi.i. Dinwick Dorilt Kelton Rdgar ninwiik Rnn.ibl Relss Joe Hurley Calvin Tham.is Strawhat Reviews HEELS TOGETHER Scarsdale, N. Y., Sept. 16. Muali'jl cunicily In two acta by Harlan TliiHniison: iiiualc by Harry Ari<irr; lyrics by Thoinpaon and Gladys Shelley. Based on play. 'l.Utle Jcsale Janioa.' by Thomp- poM. Directed by HiUar Mactireuor; dances by Dan Eckley; setting by KIw.'ll; nmalc •llre<,lcd Ijy Alan M,irn>. 1'rc.Hented by the Olncys at the Scnradalc theatre, Si-nradale, .N. Y.. .Sept. I.-.. -Vl: f-i 'io top. Tommy Tucker I-ec Dixon I'aul Revere Donnld llurr .<-•, Blu.-I, Waller Arniln .-^Kt. Wm. J. Pleive Juaeph K. Oiirdon Jenslo Jamlcaon t 'oaii Bolierts Juliet Pierce POKgy I'Vench ileialdlne riawer Uuby Mercer .Mis. Fiower France.-* Coinstock Mrs. Jamleaon I.uJ.th Fonneabe<-k (Mhera: The Vasa Trio and Constance nowllnc Sa'.ly Oracle. Maria Harrlton. I'reilcrica Ciey. I'ulsy Lu Ralna. Tllta Ilrmvn. Kveljn Day. Jeanne Henipel. In its present form, 'Franklin Street' will offer little for Broadway. Despite George S. Kaufman's top- notch direction and .an excellent cast, the comedy fails to attain the nostalgic charm necessary for suc- cess. In fact, some general rewrit- ing is in order before 'Franklin Street' braves Broadway. Kaufman's touches are evident and throughout the first two acts help to keep the audience interested in a plot which becomes boring through too much repetition of the same general situ- ations. The authors evidently believe that here they have an 'escapist' play for wartime audiences. The basic idea is good. A broken-down, bombastic, ham-actor conducts a dramatic art school in Philadelphia in the early 1900's. He is a good-natured liar, a hypocrite, and windbag. He fools parents of would-be-Bernhardts, cheats his patient but ever-loving wife, and finally prevents politicians from closing his school by threaten- ing blackmail. As played by Rey- nolds fivans. the 'professor' is an engaging character. Evans even can be forgiven for a bit of scenery chewing, as it's all in character. The role is an actor's holiday and Evans takes full advantage of every opportunity. Dorothy Peterson from films plays the wife and makes a good impression, although she - has little to do. Fine characterizations are offered by Florence Sundstrom as a 'fancy' lady; William J. Kelly, as a judge, and Dorrit Kelton in the role of a doting mama. There also is a flock of juveniles, but their antics embarrass the audi ence as much as the professor. How ard Bay's setting of a 1900 living room is outstanding, and Paul du Font's costumes are authentic in style if not graceful in appearance. Near the close the play gives evi dence of careful craftsmanship, fine direction, and ^ood theatre. How ever, by that time it's too late to please the paying customers, except those who wish to be reminded of dramatic schools of the old days when they were drilled in vowel pronounciation and deportment by an assortment of crackpoti. Klep. (Management announced plav's tuithdratuat Saturdav (26) for script revisions. Boston booking cancelled.) Harlan Thompson's modernization of his hit of 19 years ago, 'Little Jessie James,' doesn't come off quite successfully. Three members of the cast arc garbed in the khaki of our present army, but the gags and situ- ations are nothing as streamlined as these uniforms. Before 'Heels To- gether' can become a sound pros- pect for Broadway it will have to undergo plenty of doctoring and also get itself a few more cllcksome tunes. About the only sock touch of this opus as unveiled at the Westchester Cfounly summer spot was the in- genue, Joan Roberts. Hers is the role that Nan Halperin created in the original. Not so long ago out of the chorus. Miss Roberts might be regarded as a find. Her assets start with a cute flgure and plenty of looks and include an ingratiating verve, a keen sense of comedy, a wealth of self-assurance and a knack for selling a song. In this case her personality and talent classified her as a show-stopper. The high point of the musical's laugh ado is a disappearing bed with the added utilitarian significance of being a bomb-shelter. The lines throughout the show specialize in the double entendre and occasion- ally take some sharp dips Into the blue. The heaviest splurge of the latter persuasion occurs during the early part of the second act while the spectators are waiting for a young couple to make their reap- pearance, on the bed from out of the bomb shelter.' Except for the dis- appearing bed episodes there is lit- tle to keep the laughs at even a mod- erate pitch, or maintain an absorb- ng attentiveness in the plot. The story deals with a pair of camp buddies who become more deeply involved as they seek to ex tricate themselves from multiple complications that came with an automobile crackup. The car wasn't theirs and the accident took place while they were AWOL. One of the soldiers adds spice, if not a touch of complexity, to his predicament by importing into his apartment the wife of the sergeant in charge of the camp's m.p.'s. To Lee Dixon, cast as one of the soldier buddies, is left the task of sparking the comedy. Considering the quality of the material, he does fine job. Dixon also dishes out some sparkling tap routines and puts over a lyric nicely. As his com- panion in the game of marital deceit, Peggy French is fast on the situation uptake. Her part in the original 'James' production was created by Miriam Hopkins, Donald Burr, as Dixon's pal, figures as an expert straight and a capable purveyor of romantic ditties. Ruby Mercer makes a pleasant prima donna. A delightful complement to the vocal proceedings at all times is the Vass Trio. The little girls have grown up and not only can they harmonize, but they decorate a stage with lots of fresh pulchritude. Out of the score of 13 songs, only three seem to have something on the catchy side. They are 'Wonderful' 'Who's to Blame?' and 'How Did It Happen to Me?' 'Gotta Have a Man Around the House' also took with the customers, but that appeared to be due more to the clever Interpre tation of Miss Roberts than to the quality of the lyric. The same could also be applied to Miss French's de- livery of 'Rainy Afternoon.' Odcc. JOHN BARTON Tlianking all my good friends for llieir kind wishes upon my opening at the Forrest Theatre, New York City, in "Tqbacco Road." Not forgetting my good pal, Irving M. Becker. Film Rep. BILL WOLFENDEN 9730 Wllsbire Boul. Beverly Hills, Cal. BLACK NARCISSUS Maplewood, N. J., Sept. 21. Piania In three acts, three R<-ene8. by Humcc OodOen. adapted from her novel •Ulack Narcissus.' Preacnled al the Miiple wand theatre. Sept. 21. '42, by Cheryl Ci'inxroid In assoclatkin with John Wild- liCKt and the .Vorlh Shora Plaveis. Pro' duiilon hy Lee Strasherr. ?'eature« Cor nelln Otis .Skinner. ticlllnKS by Herber .Snilrews: t2.*20 top. \.>"b Esther Junge •^■'I'la Wnaantba Wona Singh ■'•'""chl Joale Johnson '*''^ti I>cnl8 CV-'«en iSeiieial Ttiila Hal Kumar Gnabiil .•^m-r . ClodiiBh Cujnella Otia Sklnnai Sijler rhilllppa Dornlliy Patten Sialer Pilnny Marie IjOUla<^ Dana siHicr Jloney Ucatrlca De Neettaard .■iiater Ruth Thelina Schnee •let II r^kahiMl Wana Slnith Ynunn General Dlllp Ral Philip flordun .N'allvc Mother Juliana Taberna .Vallves: MInnksbl Iloy. Kama Chattb pah>aya. Trpnk De Sllva. Leie Vantl, ICale Deel. .N'orman Rose. Mornle Wechrer, H<- celin DaniMlan. Rhodelle Heller. Charlotte Keane. Florence OdelR. Balerle Bayan. 'I'ony Darnay, Eleanor Raton, Thomas Barry, In its transition from a novel to the more astringent province of the stage, 'Black Narcissus' realizes most of its inherent dramatic potential- ities, but the play's basic thematic weakness, its pedestrian pace and repetitious qualities, portend it as a dubious Broadway entry. Rumer Godden, in adapting her 1939 best-seller to the stage, displays keen sense "Sf^catre, but the play needs judicious pruning and much sharper character delineation. In its present form the play is rambling and its two-dimentiqnal characters, more often than not, are tripped up on their own verbosity. 'Black Narcissus' tells the story of five Nuns representing an Anglo- Catholic Order, who settle at Mopu, in the Himalayas, and establish their Convent of Saint Faith. Scene of the convent is the pplace, once a Notorious harem, (lonated by Gen- eral Toda Rai, an "altruistic poten- tate. Transactions between the Sisters and the General are carried out by Dean (Denis Green), the General's agent and the only local white man. Dean, a bibulous cynic, becomes the focal point for the attentions of the Sister Superior Clodagh (Cornelia Otis Skinner) and Sister Ruth (Thlema Schnce), a frustrated psy- chopath. Sister Clodagh. torn between her religious convictions and the ever recurrent memory of an abortive love affair in the dim past, is con- tantly bedeviled by the gibes of Dean, who considers her a martinet. Matters come to a head when one of the Sisters administers to a native baby, who dies. The natives revolt and Sister Ruth seizes the oppor- tunity to rush off to Dean and pro- fess her love for him. He spurns her and she returns to the convent, in- furiated, and attempts to murder Sister Clodagh by pushing her over the side of a mountain. In the en- suing struggle, Sister Ruth loses her balance and plunges to her death. Shortly after, Sister Clodagh, after being exonerated by the Mother Su- perior, is instructed to close the con- vent and return home with the other Sisters. She leaves with the knowl- edge that her experience has. soitic- how, fortified her spiritually and that, despite her failure at the con- vent, she stands at the threshold of new and greater heights. Miss Skinner gives to the role of Sister Clodagh a penetrating insight and wapm understanding, albeit the part is far from being one of her best. As Dean, who carries both his whisky and the whMe man's burden with equal facility, Denis Green is properly protean In a characteriza- tion that is far too vacillating to bear the stamp of conviction. Thelma Schnee is a standout as Sister Ruth and plays her part to the hilt. Re- mainder of the cast is adequate. Jona. ON THE HOUSE Scarsdale, N. 'Jf., Sept. 9. Comedy in three acta, six scenes, by Ivor Novello and adapted by Ituth Full. >'rr- aentod by Blackwell A Curtla. I'eaiurea Ruth Weston. Kdllh King: alaxed by Don- Id Riaekwell: aotling by Elwell. At Scara- dale theatre, ijcundala, N. Y., Sept. 8, 'U. Lola Lacy Ruih Weston Maud (a maid) June Brehm Jrynne Rodney Edith KInR ''Ohn John Harvey Archie Lacy Hunter Jardner April Harrinmon Anna MInot Charlie Emory B. Richardson Mr. Rosenblatt Rolte Sedan Judge HanlnKton Frederick Howard Detei'tlve-Inapector... Raymond Van Sickle First Policeman Edward Dlmond Second I'olkeman John Forsylho On the House' is a simple little anecdote that's stretched out to the point where it becomes an unmiti- gated bore. Gags, situations and plot are pretty sophomoric. In any event, the script's entertainment is extremely limited. The action (and that's broad ex- aggeration) eddies around a dizzy dame of the Mary Boland type. A widow, with a grownup son and with a theatre background, she finds her- self in financial straits and decides that the easiest way out of her pre- dicament would be to convert her home into a gambling casino. As legal cover for the operation, she gets a city permit which obligates her to contribute the proceeds to charity. The permit is limited to a single night, but that doesn't stop her; she merely erases the date and writes in another. Romance of a wacky sort abounds throughout. One of the casino's ad diets and heavy losers is a young girl of the horsey set. The letter's widower father, a Virginia judge, comes to investigate, but discovers that the gambling joint's operator is a musical star that he was 6»tty about 20 years before. The old yearn- ing is revived but he arranges a fake raid on the place so that she will be cured of her devious ways and marry him. . Considering the nigh hopelessness of the material, Edith King does yeo- man services in the part of the dizzy widow and wherever possible she makes the laughs covmt. Ruth Wes- ton Is cast as the widow's sister ad- dicted to s phoney invalidism and unable to decide whether to go back to her husband or to work. She flnallr settles on the husband and he's played nicely according to the book by Hunter Gardner, Anna Minot gets by as the horsey-miss; John Harvey makes a handsome son, and RoUe Sedan Is hard put to get- ting comedy out of his dialectic as- signment. Odec. Cnrrent Roadshows (Sept. 23-Oct. 3) •Angel Street' (2d Co.)—Royal Alexandra, Toronto (23-26); Hanna Cleveland (28-3). 'Arsenio and Old Lace' (Isl Co.)-. Curran, San Francisco (23-26); Bilt. more, Los Angeles (28-3). 'Beat the Band' (tryout)—Shub°rt, Boston (23-3). 'Best Foot Forward' — Erlanger Chicago (23-26); Studebaker. Chil cago (28-3). 'BUokonts of 194S' (vaudc)—El Capitan, Los Angeles (23-3). 'CUndU' (1st Co.)—Geary, San Francisco (23-26); Metropolitan; Se- attle (28-3). 'Corn Is Green'-Locust, Phila. delphia (23-3). 'Count Me In' (tryout)—Majestic, Boston (23-3). 'Eve of SI. Mark' (tryout)—WiU bur, Boston (24-3) (premiere). 'Franklin Street' (tryout)-Na- tional, Washington (23-26). 'Good Night Ladles'—Blackslone, Chicago (23-3). 'Guest In the House'—McCarler, Princeton, N. J. (3). 'HelliapoppIn' — Nixon, Pittsburgh (23-26);'Erlanger, Chicago (28-3). 'Jnnlor Miss' (2d Co.)—Harris, Chicago (23-3). 'Lady In the Dark'—Forrest, Phil- adelphia (28-3). 'Life with Father' (2d Co.)—Bush- fiell Auditorium, Hartford (1-3). 'Magic' and 'Hello, Out There* (tryout) — Walnut, Philadelphia (23-26). 'Merry Widow' (stock)—Flalbush, Brooklyn (23-27); Windsor, Bronx (29-3). 'Moon I( Down' — Cass, Detroit (23-26). ''My Sister Eileen' (2d Co.)—David- son, Milwaukee (23-26); American, St. Louis (28-3). 'My Sbter Eileen' (3d Co.)—Court square, Springfield, Mass. (23); Bush- ncll Auditorium, Hartford (24-2(>); Ford's, Baltimore (28-3). Native Son' (stock) — Flalbush, Brooklyn (29-3). 'Papa Is Air—Playhouse. Wilming- ton (3). Pirate' (tryout)—Hanna. Cleve- land (23-26); English, Indianapolis (28-30); Taft Auditorium, Cincin- nati (1-3). 'Porgy and Bess'—Masonic Audi- torium, Rochester, N. Y. (28-30); Erlanger, Buflfalo (1-3). Priorities of 1942' (vaude)—Ford's, Baltimore (23-26); Nixon, Pittsburgh (28-3). Show-Oft' (stock) — Lafayette, Detroit (23-3). 'Spring Again' — Shubert, New Haven (1-3). 'Street Scene' (stock)—Playhouse, Providence (23-26). 'Strip lor Action' (tryout)—Shu- bert, New Haven (23-26). 'Sasan and God' (stock)—Windsor, Bronx (23-27). This Is the Army' — National, Washington (28-3). Watch on the Bhine'—Biltmorer Los Angeles (23-26); Curran, San Francisco (28-3). Dick LaMarr joined A.&S. Lyons agency in N.'V., in the legit depart- ment. Met. LOO CLATXON o/o Variety, Hollywood AND KING THROW A POSEY TO Clifford Fischer for proving vaudeville never died. Direction: Wm. Morria