Variety (Sep 1942)

50 LEGITIMATE Wednesday, September 30, 1942 Plays Out of Town THE EVE OF ST. MARK Boston, Sept. 24. iIiMin.1 In two ncl8. 12 Hcenen. Uy M;ixvM'il .AtidiTHiin; pro^onlei) by the Piny- ui-i^lil^ ('<•., <Ui'i^-lr(J by L'*m Wunl: pro* «liiriii>n ib*!<i»:ii. llnwnril Uuy: llghltnK, Muo 11.11 k. At W'iltiur thontre. D4>alon. Sept. DI-iM. .1. ]>i-^-ktii:ii) W'r-nt Mutt Crowley L'v Crovcr nur>:L'sa N-ll \\\M Aline .MaiMnhon NVil Curl (lofl<* /ip Clifforil Cari>en|i'r Krilph W*>>i Kdwin Crtt>per IVi'i T'-llor Stanley (!. W'o-id J;in.i PeiiiM- Mary lliilie Viivnie Qiiizz \v.\.it Wlllinm Trlnro Tiiwire Thoni.-is Miilv.^roy. .. . I'MJIp O'She.t I'rivnI.* .^Iievlin Pivitl PreasnKin Cfiiioijii T.iie C*»:tr:es M(>n>Ilek rti\;ili» rranris M:irii)ii TnmM rijv.Tle llhiika M.TTtln Ritt S'MUi-ant Ituliv (Jcori;,* Muthe-.VH .s..i u.' inl Kriv. ii Kobe' l Wlllla.ns I.Ill r.iil Jonnn Dol.in ItiKi Tom K:'v.>r ■XV;.li.i rharlM Kills I''fh Dnrolhen Fret»il Ihn-.rilf. IJfntrlcO Mnnley A Kent .^.InnlH r pii.i jov.'n r;. Ri>i:i Taking his second crack at a war theme, this time on the too-close-to- home-for-comfort slant of the draf- tee before and after Pearl Harbor, Maxwell Anderson has turned out a slick sort of dramatization of the 'Dear Mom' genre in 'Eve of St. Mark,' which will probably prove to be to women what 'Wake Island' is to men. As such it should go over on Broadway if its ideology (which is pretty thin) and its hokum (which ' is pretty thick) ever gets by the crit- ics. But it has plenty of laughs, an abundance of rich (and very salty) language, and it does have its mo- ments of strength. Written for college dramatic clubs, for which it is a natural, the play is supposed to be easy to produce notwithstanding its round dozen of scenes. As given here on a revolving stage, without flats but with simple sets and superb lighting, the produc- tion easily stole the show. Howard Bay, who designed it, and Moe Hack, who lighted it, are unquestionably responsible for much of the play's total effect. Craftily fabricated around the boy- loses-girl Idea, the play is to all in- tents and purposes plotless but teems with tried and true situations. Quizz West, an up-state farm boy selectee, comes home on a brief leave, plights his troth with Janet Feller, goes back to camp. Although temptation is thrust at him, he nobly steers away from the flesh-pots. On a second visit home, he and Janet are about to consummate their ro- mance when he is called back to camp. Pearl Harbor sees him on an island off Corregidor, and there he persuades his buddies to stick by him in an inevitably fatal delaying ac- tion, but not till he has had a con- ference via a dream with both his mother and his girl. Play continues after Quizz's martyrdom with a re- cruiting broadside when Quizz's kid brothers join up. Although the dialog In the army camp scenes is outspoken and very funny—there's one monolog on sex that may cause plenty of comment— the general tenor of the play is ex- cruciatingly pure, while the family and love scenes are often embarrass- ingly virtuous. It is not a name cast as such, but It is aptly chosen. Aline MacMahon, in the feature billing, has the sec- ondary role of Ma west, a saccha- rine character. The central role of Quizz West is splendidly handled by William Prince, who treads a diffi- cult gangplank very gingerly, going overboard only in the dream se- quences, which would throw any- bod.v. James Monks, who recites (under Are) the legend from which the title is derived, is generally ex- cellent as Private ■ Marion, whose principal function is to quote poetry, tempt the hero with women, liquor and gambling, and supply the spring- board for the play's principal moral ('it's all right for us to be horizontal, if those who remain vertical remnin fi(e'). Eddie O'Shca and George Mathews stand out in tough-guy rharacterization.'!. while Joann Dolan and Toni Favor, playing tarts, reg- ister heavily in the play's best scene. Other rhaiactci? are right out of the slock room, but are well played. Giving no evidence whatever of a tryout. the play went off in two acts like a shot, the direction being crisp and imaginative. The play was very cordially received by the audience, which demanded more curtain calls than the east was able to supplv. Elic. acts arc concerned. Most of (hem, Barto and Mann. Charlie Withers, Radio Rogues, Hardcen and Harry Reso, are from original Broadway production and, of course, new to the hinterlands. Otherwise, how- ever, it's the same format with a few new faces. Carrying the load cur- rently ,ire Lew Parker, from vaudc, and Jackie Gleason. who's been do- ing picture work on the Coast for the last year, and they're both okay, handling the show with ease and as- surance, working well together and ncady maintaining the tempo 'Hellz' needs. Dance numbers, staged by Dick Burstow. arc flashy, including a pa- triotic first act finale that out-George M. Cohans Cohan himself, and fresh score by gammy Fain and Charles Tobias doesn't include any hit pa- raders, although one number. "Where To.' may have possibilities. Costum- ing looks very recent, incidentally, and chorus of 21 girls is great deal better-looking than the one that came around last season with Billy House and Eddie Ga.rr. Otherwise, however, 'Hellz' is pre- cisely what it's always been—vaude and blank cartridges, burlesque and blank cartridges, stooges running up and down the aisles and hanging over the balconies and blank car- tridges, auction night and blank car- tridges and just plain blank car- tridges. In other words, gags and gunpowder. Old hands from Broad- way show all click, particularly Barto and Mann. Reso, withers and the Rogues, although they could bring their material a little more up to date. Among the newcomqcg, Biltmorettes, three femme acrobats, score heavily in one spot; Kim Loo sisters, trio of cute Chinese kids, handle the singing chores nicely; Jean Baker, of Biltmorettes, rings the bell in a couple of solo dances, and Mary McNamee, leading femme in sketches, is okay, looks included. Obviously 'Hellz' is pretty much of an imperishable property. Sounded and looked like that here anyway, what with opening night mob screaming as loud as ever at same bits they've been roaring at for last two seasons. One other change: in- stead of 'Boomps-a-Daisy,' it's the 'Hellzapoppin Polka' now, with the ensemble streaming down into the aisles and dancing with the male customers, rolling up their trousers legs, lip-sticking their faces and even marching them up to the stage. They loved it, the guys picked and the customers, too. Cohen. weekend and they promptly fall for a couple of giddy dames who live upstairs. The home is completely up- set by the antics of the women and, as George puts it, he has been liv- ing in a hamburger hell for weeks. Cook leaves the fob and is replaced by a former metropolitan warbler, a fairly funny idea. An aging expert from Washington comes onto the scone, interested in George's inven- tion, but the AWCS think he is a spy. He Is hog-tied when the wacky women think he is trying to escape. The part is made far too farcical oy having the a.k. paying the rent of one of the girls upstairs. It is a question whether Ferrer is the right choice for farce of this kind, as his George is hardly the at- tractive character it should be. Miss Hagen is the comely Vickie and does well by her assignment. Taylor Holmes is the amiable husband of the screwball who leads the wom- en, having a part that starts prom- isingly and then fades, but it isn't his fault. CoUetto Lyons, usually in musicals, is the flirty one of the girls in uniform. Mme. Margaret Matz- enauer, the ample songbird formerly in grand opera, plays the warbling new cook who refuses to be flred. Frank Conlon rather disappointed as a plane spotter. Charles 'Halton, who knows his way around is the unbelievable man from Washington. Mildred Dunnock has a rather tasteless part as the leader of the volunteers, but Ed- mund Glover and Red Buttons are amusing as the boys in khaki. Ibee. Wine, Women and Song X'AUilc-burlenk rf^vuc In I wo nclB i,rc» seiiicil by ShuberlH. )/zy Hei-k niul Mux Llcbinnn: stiiru Jimmy Snvo nml MurKle Mm I: special songH by Irv Graliani: en- seniblea by Truly McGet: decor by Tivd- erlck Fox: ortheslm conducleil by Murray l-Vicdninn: at Ambassador, N. T.. Sept. '4-': top. Cost: Jimmy Save, Mnrgie Hart. Wo8- SAii Bros. (2), Pinky Loo. Herble Fay, Marinn Miller. Isabelle Bi^'wn. Nurl Toy, Don RItz Favoretten (41. Murray Brlwoe. Kvelyn Farney, Ruth Mason, Billy A Huh- ler Bumell, Murray White. I'J cltorlnes, eight showgirls. Plays on Broadway VICKIE Farce In three actn prenented at the Plymouth. N. Y., Sept. 22, '42. by Frank Mandcl: written by 0. M. Herzig: eiageil by JuM Kerrfi- Hnd Mundel; setting by Ernest Glover: $3.30 top. Vickie Rnltert)! ITi a Ha gen Geoi-ge Kobei Is Juse Kri'i'er Mr. Dunne .'...Taylor Holmes Blanche Gvelyn Dn\'ls Mr. NoonHH Frank Conlan Mm. Dunne MlldrM Dunnock Amy Colletie Lyons Prlvaia Coolej* Kdmund Oloveit PrlVBle Corter Red Buttons Karen Gerry Karr flandru I.ynna Carter Orel.n Mine. Margaret Mutzensuer Tnxl DrUei Ueorce Spelvin Key Harkeii Wynne Boze Mr. CurliHM Chnrlea Hallon Mrs. Fry** lOlonnor Gifford Mr». Arihiir Mrttcelhi Marklmm Mr. Hnt'li ; Oel Hughes Mi(i. C*orllj.N S;iia S<:':Kar NEW HELLZAPOPPIN Pittsburgh, Sept. 22. Re', u'' in twn :iols .mil 21 scPm*s. Pro- diK-oJ liv .''^liuboru :M)il OlMCn A .Tohndon. Willi T.'""* Piik'-r. .?ii< k (ilt'iison. Jlinlo & Miinii. 11;iilio Uocii''>. t.'Imiic!* WitliPrfl. ThPO. ll.irUcrn. Ilnn-v Blllnini-^^ttop. O'he Cuiniimnili,-'. Kliii I.oo SIslcrs. Sipiihon els'*!'. li'Mftli & .Mnitic, >frai-y M«'N:\mee. Piltpv DiPre. .T**.-!!! Bnkcr. BoM>y Biirry. Billy Afl.DMH. Tlni,k by Olncn & JnhnRnn. Music .11)11 lyriid by S.'iitiiny l*'rtln Ch.TrlPH Tubi.nf. rroducllori slnecd by l-.M\variI Dllr- ypn Dnivlins:. Dnn(-p.>t nrninsPd by Dick B.iralftw. C'nslljlnc.t (JC]«lf;ncrl by Fred AVIt- top. At XlKoii IhPalic, PlttsburKh. lor iipven pcrrorinancc.t bpRlnnlnir Sept. 22. '42; $.':.!I0 lop. A.s far as road is concerned, 'New Hellzapoppin' is partly that at any rate, but only insofar as the specialty The newest comedy with local war atmosphere was over-touted out of town. While it proves a laugh play, first night impression was that it has limited appeal. 'Vickie' is spotty. It starts like a cleaner-upper, then slides. There are spurts, but the pace is too un- even. Perhaps the directional fault may be'traced to the leading male player. Jose Ferrer, who handled the staging, and the fact that his wife, Uta Hagen. plays opposite him. Frank Mandel. who comes back to Broadway in the new play, also fig- ured in the direction.. Play's chances ieem to hinge on whether the average playgoer will or will not be offended by the ridi- cule aimed at women war work vol- unteers. Claimed that out of town that was not a factor, especially in Wa.<!hington. where many femmes in uniform who s.tw 'Vickie' are said to have thought the idea funny. Yet there are many homes in which such volunteer work is regarded so seri ou.sly that levity such as this is not acceptable. Story unfolds In the living room of Vickie and George Iloberls. an en!»ineer-invenfor, who is the sub ject of his wife's first aid respiration practice, a bit that .scores laughs when the colored cook demonstrates in jitterbug rhythm. Vickie is a member of the AWCS, who feed sandwiches to soldiers whether they want them or not. Flinty woman leader of the outfit, who takes George's plans of a war device to wrap up the eats. This bit doesn't register well. Another women's organization, the EGGS, have quartered two comedy ' soldiers in the apartment for the It's unusual to see something like this so many weeks before Thanks- giving—and in N. Y. at $1.65 top in- stead of 40c. Unabashed burlesk, de- spite Mayor LaOuardia's ban on such entertainment, this is hardly a good argument for an official okay to revive such entertainment. Its b.o. is limited, due to the fact that price is way above the average bur- lesk fan; and the entertainment is way below the tastes of the regular legit-goers. What it may do, how- ever, is bring an unfavorable reac- tion not only against itself, but also against Michael Todd's 'Star and Garter,' which is $4.40 burlesk but in such good taste as to make this look aU the more the turkey. Nor can there be any comparison of this 'Wine' with the original show of that title produced first as a Co- lumbia Burlesque Wheel show. It was first presented over 30 years ago at the Columbia, N. Y., now the Mayfair, and was so good that it was withdrawn from the Wheel and spotted In the Circle, now the Cos- mopolitan, at Columbus Circle, where it was a b.o. smash. Alexander Carr, Lew Hearn and Bonita were fea- tured. Carr's Tablitsky' sketch, based on mixed marriages, was one of the outstanding clicks of that 'Wine,' and is believed to have cued Anne Nichols' 'Abie's Irish Rose.' Izzy Herk, who is associated with the Shuberts and Max Liebman in this venture, is a veteran burlesk producer (of the Columbia Wheel, in fact), but he hasn't even come up with fair burlesk here. The show is a tired, slow-moving succession of girl numbers, spaced by blackouts and specialties. None of the black- outs is good, but a couple of the acts manage to. inject some moments of lite, notably the impersonations by the Wesson Brothers, standard in vaude; Evelyn Farney's dancing, and the jitterbug hoofing of Billy and Bu.ster Burnell. young and good- looking mixed team. Other special- (Contli.ued on page 52) Engagements Louis Calhern, Dorothy Gish, 'The Great Big Doorstep.' Nancy Carroll, 'Stage Door' (neigh- borhood). Phyllis Avery, Karen Morley, Barbara Bel Gcddes. Arthur Franz, Erik Martin, 'Little Darling.' Leona Powers, Hussell Collins, 'Mr S.vcamore.' Rae McGregor, Duke Norman. 'Let Freedom Sing'. Paul L. Wendel. Bert Lawrence, 'Time, Place and The Girl.' Robert Wpodburn replaced Jack Greer, 'Junior Mi.ss.' Ann Andrews, Michael Rosenberg, Jayne Cotter, Ben Lackland, Richard Stevenson, Douglas Gregory, Edmond Ryan, Charlotte Bemis, John Elliott, Robert Aliv, John Mitchell, Lucieif Self, 'Spring Again.' Cora Sue Collins, Peggy Romano, Robert Allen, 'Junior Mtss' (Boston Co.). Myron McCormack replaced Leon- ard Elliott, 'The Damask Cheek.' hside Stnff-L^ Current edition of 'Life' out last Friday (25) devoted one full pictorial page and four half pages to 'Janie,' Miller, N. Y, Magazine has a depart- ment to highlight Broadway, but heretofore few if any shows have been accorded such gratis publicity so quickly after premiere, publication reach- ing the stands two weeks after the opening. Day and date ad in the dailies called attention to 'Life's' coverage. Bill for stage hands was >90, contrasting with the cost for 'Star and Garter,' Music Box, when the same mag gave that revue photo coverage There are 40 in the crew for the latter show, 25 being under pay at the insistence of the union, their pay for the magazine trick being $387, men being on the job over four hours after a performance. Pictures appeared in 'Life' about four weeks after the revue's debut. Union put over the photo rule last season, taking the position that if pictures are taken for any publication carrying advertising, its men shall be paid for the time consumed, whether needed or not. Advance extra ad campaign for 'Janie' cost $373. Columbia Pictures financed the convedy and when the bill was presented to the firm's auditor he was surprised. He figured it should have been higher because much larger space is often used for film exploitation. George Abbott was busily engaged in rewriting the first act of 'Beat the Band' in Boston last week. Richard Rodgers was summoned to the Hub for suggestions on revisions, but not in connection with the Johnny Green, George Marion, Jr., score, highlighted by The Steam Is on the Beam,' rated a better number than the 'Winsocki' ditty in 'Best Foot Forward. Robert Alton was also called to redirect some of the dances. 'Band' production was budgeted to cost $70,000, Abbott putting up $10,000 with Paramount Pictures, Isabel Juergens, W. J. German, Howard Cullman and brother, Carl Fisher and Burwell M. Abbott investing like sums. Dorothy S. Norman and Sylvan E. Weil bought interests for $3,500 each. Edna Jacobs and Lynn Salsbury have $1,500 shares. Revisions of 'Count Me In,' also in Boston, are being made with' a bunch of masterminds on the job. New first aci finale, with a new set of cos- tumes, goes into the show Friday (2). For some time Channing Pollock has been muttering because his brother John' doesn't spend weekends at the former's estate at Shoreham, L. I., and sometimes sends the missing guest nasty letters about it. Fact is that John Mlock is general manager for John Golden and is back with Claudia,' St, James, N. Y., which plays Sundays. Therefore the best he can do is to slip across the Hudson to his home at Leonia, N. J, where he mayored tor a time. Channing, the writing end of the Pollocks, likes guests to test his wife Helen's ability as a mixologist. She attended a bartender's school and he claims she knows how to concoct all kinds of fancy libations. Michael Mycrberg rejoins the ranks of legit producers with Thornton Wilder's 'The Skin of Your Teeth,' a play with a cast of 40 headed by name players who should be a draw in themselves. Myerberg has pro- duced several plays, including 'Candide' in 1B32 and 'Symphony,' 193S. Showman has also been handling the business of Leopold Stokowskl and managed the American Youth orchestra's South American goodwill tour. Leads in 'Teeth,' which is In rehearsal, are: Fredric March, Tallulah Bankhead, Florence Eldridge, Florence Reed, Montgomery Clift, Phyllis Thaxter, Frances Heflin. Elia Kazan is the stager. Alex Yokel, who plans a season of stock at the Forrest, N. Y., opening there with 'Three Men On a Horse' next week, states that the Shuberts are not financially interested in the venture. He says that he has a silent partner, who Is represented by Milton R. Weinberger and, because the latter is a Shubert lawyer, the impression got around that they were concerned. They do, however, operate the Forrest. Play' to succeed 'Three Men' has not been decided upon. 'What Price Glory' and 'Is Zat So' are possibilities. Through the American 'nieatre Wing, Broadway legit showmen joined the War Bond drive last week at the request of the picture people. Wing supplied speakers and those who sifted through the audience to take sub- scriptions and checks for bonds. In two nights, bonds to the value of $25,000 were sold in the legit houses, considered a satisfactory figure in view of the number of theatres open. It was virtually a one-time shot, most of the houses being visited on the same evening. Bushnell auditorium, Hartford, Conn., which played musical stock for three weeks this summer, will have a 10-week season of operetta revivals next year. Recent showings were regarded as experimental and there was a loss. Figured a $2.20 top was too high and next summer the scale will be $1.65 top. Subscriptions will be campaigned for next summer. Local business men who backed the recent venture will again be interested. Settings and company of 'Lady in the Dark' were sent to Philadelphia last Thursday (24), four days in advance of the opening Monday (28) at the Forrest. Show's four revolving stages require unusual stage space and, as it was the first road stand for the musical, starring Gertrude Lawrence, the crew was assigned to set up tjie show well in advance. • Show rehearsed in Philly for the balance! of the week. Under Equity rules the players received sustenance pay. When Guy Robertson, who is in the Chicago company of 'My Sister Eileen,' heard that Audrey Christie would marry Donald Briggs imme- diately after getting her divorce decree, he immediately enlisted in the Navy. Robertson was in that branch of the service during the first World War. New groom is in the Army, but was formerly a stage, screen and radio actor. When 'Strip For Action' opened its additional tryout date in New Haven last Thursday (24) an almost entirely new second act was presented. Play is slalect to make its Broadway debut at the National tonight (30). ATAM, MANAGERS WILL CONCILIATE PAY DISPUTE Showmen and the Association of Thealtical Agents and Managers will attempt to adjust the union's de- mand for salary increases by means of conciliation this week. At the request of Sidney Cohn, counsel for ATAM, John R. Steelman, of the Federal Conciliation Service, of the Department of L'abor, has appointed an arbiter who will listen to the contentions of both sides. He is James William Fitzpatrick, former head of the defunct White Rats and previously of the vaude sketch team of Madden and Fitzpatrick. If the argument is not settled by that method, it will probably be placed before the War Labor Board. ATAM says its pay scales have not been changed since 1938, and from that time until the present the cost of living has risen, so their pay scales should be raised. Producers, through the League of New York Theatres, take the position thai agents, company and house man- agers s^re amply remunerated for the hours they devote to their jobs. This matter is the final union problem for the managers to adjust, they having given pay boosts to sev- eral stage unions, including stage- hands and musicians. Last week the League conceded higher pay 1° treasurers and assistants, who asked for 10% more. They accepted slight- ly less, the increase being $S weekly, so that treasurers are now getting $90 and assistants $65.