Variety (Oct 1945)

52 LEGITIMATE Wednesday, October 10, 1915 Hay ward Raps Guild, Denying Agents Hurt Legit-Pix Setup; Sez Guts Needed .' -. New York. Edi I or, "Variety": • 1. read with great, interest your article on agent*; particularly my- self'and Music Corporation of Amer- ica; being responsible tor legitimate producers, particularly the Theatre Guile), being unable to protect them- selves an.d the theatre from Holly- wood raid* on their talent. As an agent I have been blamed most of my life for something wrong in movies; publishing, theatre, radio, etc., but this seems to me a stretch of the imagination that the agents are to blame for the Theatre Guilds not be ins able to either keep actors in their shows or find them. Taking the two cases you name, specifically "A Bell for Adano" and Music Corporation of America s "Dear Ruth." vou don't make .sense, "\ Bell for Adano" brought from Hoilvu-ood to N. Y. Fredric March. He signed a standard run of the play contract until last June 1 and his remaining with the play, is purely Ills own desire. Incidentally, en that pay a financial penalty for doing so. In the Theatre Guild radio show that is now on the air they have repeat- edly tried to get stars and actors to work for..them on the theory it is a prestige, to- appear, for the Theatre Guild on the air and it is not like, a regular commercial radio show. The fact that U. S. Steel is the sponsor for this show, and is far from a philanthropic-organisation, and that the Guild is getting a profit out of this show either in the form of sal- aries for Lawrence Languor, or Theresa Helburn. or otherwise, doesn't affect what they want to pay actors for appearing for them. I To return to "A Bell for Adano," I I fail to see what advantage I, as an | agent, had over anyone else. 1 was i not the agent for the property, or for John Horsey, and had to make a contract with another agent for the rights. I secured Paul Osborn as dramatist, who is a client, and Fred- ric March as the star and H. C. Pot- ! I ter as the director. However, I do not believe even the Guild is naive anccd with his good deeds, and to tip the balance towards Heaven he must find life "three gifts of pure virtue." The stor.v then is of his wanderings on earth to find them. Schwartz plays the lead role ex- cellently and he has paced the .show well, too. with his direction. Joseph Rumshinsky's music .maintains the mood of the performance. Kahn. l*oloiiai*i» •ri U: Hi.ii-.i.'f Hrhnii<ll:iii|i (hi lisSiil'iul hill Hurry ' lilniViml-'lih pnntm-l fiitl uf tip.*l. •Sty I r* -l:iii Klt'iuil.*:) irnil .\i:ii-li. Kn'i I'lin iitii.^,; iiuse i.uniii'ivm, I- mi'I 'T,llilii ll!:iIMtin-hinsNii. in r.'iii».|it,it, with tHi-rt>i-itimiM' liy '..loliil' l.a- •li* - ttpltiltiitili and Hl.tlfci'il. hy Iiiks hy lliiiva u.i \ : i> Ur;m!': rlmf.vsniiOly . U.\ icll-fi t I! i..'us. linn \V:,IU* i x liiiU-1 niiiif; ii|»"ii,>,r al . ii. ' IS: *n inp. - brck H. C. Potter to direct he did the play many legitimate pro- ducers, including the Theatre Guild, have been alter him to do another plav MCA financed the production of - Dear Ruth" for their client Nor- mal'. Krasna. and. incidentally, gave "him the best deal including a share of the profits that an author has . ever -had. How this has hurt the score I also succeeded in bringing-j enough to think those people did this it Since ! P u; J because I was their agent. I made what I, thought were generous [ deals in every case, including an in- • forest in the play for March, Osborn, ! and Potter. ! This was not philanthropy on my ; part at all., but only out of the bo- I lief that unless the. theatre is made • attractive financially for people who ; are established in Hollywood, they theatre is more than I can fathom:. ; WoiVt come back to the theatre. The To encourage an author like Norman ; very reason, that the Guild and other Krasna to Write a play and to have I I'eoPie want successful people from it turn out as successfully as "Dear ; Hollywood is for their boxotfice Ruth" did seems to me constructive, j draw or the technical skill ot a dram- Your piece is factually wrong - in at, :\°. r " d u""? c l°';-- 1 therefore, can- other details. There is nothing to ! not help but believe that these peo- prevent the Guild, or anybody else, ]m ',*« f cn ' lt! ^ to a sb * r <; °> tlle from signing actors on long-term"] P'ofits of the theatre, as I feel they contracts for the theatre, pictures. ( a , re contributing- a great deal 'more to radio or jiu-jitsu. It takes just one j the success of /a play than legitimate thing, a little intes'inal fortitude. , managers do m most cases, and the risk of guaranteeing an actor j • Letoiid Hay ward. payments for a specific number of i weeks a year. This, of course, is J (Ed. note: "Variety"s"_ Oct. 3 .story 4fe*>.A\ ir.lw ii « i» i » Wij tVa*a»v ^ TO ' ,i] » > and is their only excuse for sigmiu? actors to long-term contracts. It is Hsu i • B«n>i Musk- In Ki l>y Bi-onlsl.i luiii'lin: linn Anl iuinv \'i AiIIhi-;. twlill Tiy Mary I.li-liliif: i iltii-liir. M X. V„ (>.• i 'uimrln A.inhis.. r,....... ;.i Jmmh'i-iiI Wiishinmoli. ........ Cilnmil ' lliije . U-Mii'nil Tlucli^'ii-i Klwillklii S^l'Sltsml W.ai'i'U' /aluilskl,. T|Mti|ikius; .•;; ;-. SI, inii.-r. iintta-i vv.ii. Stella ilium'* Daviil : i-oli- Alvin. Plays Out of Town Beggars Are Coining lo Town . . . , Bridgeport. Oct. 5. .(War U.'iTni piiiilm-ilnit nl" iiii'linlr'tlna in line- ai-la anil H\'*> .sivn*>>* by . Tlii'inl'ii " Kot»v»'H, , I'Villlilt's fuill Kelly, l.iilln'i- Alt- I.M:,. VotolUy vrVuihiKin-e. 'S'i;»Ki*it I»> Tlnrolil I'luniiiin: tii'.-Untfil anil .1IkU1>'I l>>' .In Mi.'l/ltiHr: niu^ti-; llaynt I Sc..II, (>|tl>iii*;l al I.yi IT-. KrlilaiM.in i, tVI. 5. ?«; *H (up. M i iii i.-i'. .... ,';.... ,'. ...,. Kin lit* ., ;. . . I'd In Null .TuYnei I '.isijlia I...... . Uivv. , . Klilrrie .llpsliayV^ II l.nii,......... /liftSie.' I''i anMc .Mailianll ' .liinatlllim AVelilfy. . ,•'...... W i',<. ItrtiniM I ltii.i)iartlapii tlrtlittotl • Uluhavilsiinv .ill's Wawli-i'la. . . :.l Y Nii-U. Pali-mru. H-iiiz ,.. ; .... SkiiiniM-. ...... (,'V .'. . i i;i>i<it|» 11,-lliinl. lt.'i«li.'l' Inlliii l?iiit» , , ...Vlfri'i) l.lnil.M' , ;', . l.llllliT A.lli'i ;.. . .in .i.pii iiiitm, :.K. Uv MiliMiall pilD ..I.. r. mi ilynrt" i >■ Kiiillaup .niy OIU'hmI .. . . . ..f.ui.l lv»Uy . . .. Ilaii'l'l Yimills . . Aili i.'init* A npla , . Apitlli l'*:iii niin ll'i.'' W'all n- 'I'J in .(JlHll«l» M.ill'-'v.s ...TillH ivai- Arllttn Hfipnii'iUt lllliiri ,M. l-'Hpk." i-liini. ivali- ■Mm-uti-i. Wlailnii Vi'i'la. . . . ..' lliini'l-ir/Flii l-'illiil l':isi, I Vnlaipwsk i KnU.iiilaj. . VnlUilT. . /•i l.'sl, i. ilia V . ..I.is.'l' I ira.p •(■ .M.ulili la'Wta i,..lati Kli'pma I'ni l Hula *Uhp;y; l.uWMnn Allilll.r l.ini-iiln ..Mail in .1 ''ipki' Mali'a . KwUii ..II-pi lltni.ali'il Ui-iliiini'li.iiisl,a arvy .HanfiTsiiM- ...ina-pf lii-api-i' .i.\\ is Appli'tnti nl:-.nv TIiuiMim.i Hlllrli. f'lnllis .Car l: .■ii I.mitt il.a /..i|.-sl, t'l il|i-i's- I'l-liU'iy: l'ri.ili-nsi IVaaant Tin- •II,.' •l-h-' •I'll.' ft: misl. I. . . . . . Lull." .'! . hall I ... . Aiina ' !'.-l KXCIIAXlU 1 'I illl'l , S.« I'l-iii.a' ;.;.,. Muliu .i,\ln-i|i.. I'HSP II: l-l Ilia' AlliMP U.I-- uismii-iri ,-.M min I'l.iiiii- v..1.ai>i HiwK I., in O'Dfll- . . 7. nli.| SKkI' ivakv ;nsllK. ..I inva M-li-Ciitl ... .:..'... W.iIi.m. AppIit ....... . .:;i 'iinify --.linn'a .-.I.nla' \l iliiya . .. : . Shfl'ry Sh'riltinrnp M il Ilia tflltntii Wal'ann Ili'l iy hiu ivfiia'* ■ in-' UilVKIIS'- .Itiiili Itii-kinaii slniivn li'Hiiini .......X''r^,'l ism i.'lnfl X Ilia lia Va ll'Z .!•' i n I Ian la. Vir.ttin.ia lloillnttli.i . .ioMl t'lilli'iU'lli*. true that more and more actors gravitate to pictures and I think in many cases they go too soon before they" have really learned their pro- fession. There is nobody in the thea- tre at the present t'one who is will- ing to give them any financial se- curity of any kind whatsoever. And certainly the motion picture com- panies do takS the risk of guarantee- ing an income to the actor and in many cases give the actor an oppor- tunity that he or she doesn't get in the theatre. If anybody in the thea- tre is in a financial position to take any risks I think it would be the Guild. The net income from "Okla- homa!" and "Carousel" Would do a lot of guaranteeing. 'Unfair' I have heard rumblings, of course, about the unfairness of an agent producing a play, largely from the Guild. The theory seems to be an agent has an unfair advantage oyer a legitimate producer. This theory is ridiculous. Agents don't own their clients. " Most actors, writers and directors are grown up and mature people who are able to judge for themselves what they Want or want not to do and no agent in his right mind can mrke an actor, writer or I director do otherwise. He can advise ! them and help them carry out their wishes and secure for them an equil- able contract. History has shown i without the protection of agents ! legitimate managers and molion pic- j tuve companies like to make one- I sided deals. As an example, the Theatre Guild for years has operated | as though it were an honor to work | for them arid as though one should One thing revealed by "Polonaise" is the undisputed origin of ;, at least two popular songs.- "I'm Always Chasing Rainbows" and "My Castle was literally lifted from Chopin's " prevent. Hollywood raids on talent. It said that agents generally had an unfair advantage over producers in i the one-sided struggle of legit vs. .films. Hayward is also incorrect in I stating that nothing prevents a pro- ducer from signing actors to long- term contracts. Equity contracts can only be signed between producer and actor for a specific role in a specific show, not for the actor's general services. That was the nub of last week's story.) TiM» Til!••><> iiiUH MiiujVe Si'HwHrlS! prbtlmtinti «>r Yiddish Ai i -Th mI iv in es«Mit, ( .|-iuti uf <li a inn t-t'ariluxy iSiivhcli Mini SrhuiUl/.: slitK'-d hy SrliwarU: |iiH«ii', .1 itninshitthky; ilain t-.s «Ui^t-<| Jt\ Lillian SltijiH'iM; jn-uin^H anO ru^lnm.-s. ii. A, omtl-m lyriis. frum the works ur Pi»nMX. Al Vi(I«ii».»i Ail tli.'ali.', X. Y,, lr Nr.; *'J ili«iiin« tie! M-y.-i- t'hniin (Sim uf Joel|. Shiilii:i> t.Musii-iiinsj PRINCETON, N. J. I.e^s Hutu on** htiur frum. Nfiv York ami riilliitli'lulilu on thf clei-trtiU'il mi in line »f the IVmiH.t(vueiiu U.K.. tUU il tins nil I properly of rulliiiK: Hfi'^M Ii.ih every iitlviintiige for a Iw.wr -.I'fkinif a liivpl.v i'slj»ie. The tileat >ei(lux |iro \itti's sci Insiun and Wiitf ilerl'iil-views fn all direrliuns. >lati>: thn> Ni'hui»h and vlu'm lire nearwy', »- well as a wide variety of Mtcial ahd ■•nil oral ml \ :i ii (a«:es. The ram Minn iiue-sl i»r,v resilience of !' roanm, 4 hit I lis U designed ahmn the lines-Of a i>'pi al l'Jani|ieuh cutiave and has ewry in'.Mlern ennvenierce for roni- fnrtalile llvinif. There are two llvifite mm mix wild vvood-hiirni ur flivnl-H-es. fl hediiMiiDs, wtrli wiih . Hreplaee* dniiiiz ninin, huller's iianlry and larife • kl ehen. The hnuse in lieaf»*d li.i an nil s|eam-he-*tiii|;' unit in the aaraise willi an auxiliary heallir; anil in the niai'i Ihmim-. al-a u separate nil he Her l'«r hnl u.'Her. There i* n\<h a r<Mir-ear hrni n d KaniRre wHh seeva ills' unirters o* 2 ruoins anil liatli: elay iennis ronrt mid imi'-hiiie staraife shed. Vr'>*e, R*a,00(l, ^lare aereaue Is avaH'Htle I' desir-d. Ask %'Utlf liruker fur UsH'itf 41 KOI or PREVIEWS INCORPORATED 4* Eo>l 53rd St.. N. Y. 22. N. Y. PLaia 8-2630 I ri-Miii-h...- Mfr»*l iwiT,- or .io.'ii, I in. 1.,...... , .. I ln-l.jr\v..... Kliiii'hiin (WwliHhs i:-l. AZi i.-l (Tu'wn M 11 in WiiV Til.. |t»Mii. .; Willi- Allu.-l I lurk Ansi-I.. ....... .Illilye Snu.'riui ,.... J-'ii.st .Ttiiijff., s.*i.iiii.| .Iinlttf ^-.;..'., WliilO Sli i Mi.. Illirk S.-rll)c. \\ lilmv ViM-li]tn;i ii.ui . ...... ,' Sljin-Vini'li (Iihi-K v.i.-iini.il nun wir.-,i l-'li-si i'ra»mi -Ill i J nil (VHsiint .1 IViiRiml . iy AV.i ii M.ltiilllU* (? » lull. .. .. AUruhum T^iix ..Mlt'huel Uohlslein . . .-llusriv Ki'ikim- ...Vll.l.'l Dlil.insky I.ulm Kudttmn Bevlii Oi'filin . .\Knii-l.-« Si'li\v:n l>! ■ ■ Sum (in, t*i-». .1 lun le.s (Nihiiii ;ii.'l. .iKiil.ue KlKuri ...... I.enli MiM'cus lirtthtim 'l'i*ili-ll»:iiiin ■ I i (.lulil ... .WtiaVlirtii tUlIilil ... Viftoi' HtMjjiiiiin . .M.ii-ris Hl«»l;av»ky . . .M ix 'iVitpiliitllm hi. nl. BniixdK Mix Hiihi-ii U'-I>eci : u \\Vnih-:iiili . ... . Isi.liir i 'ii.sliiei- lwi'1, ..Moi-i-iH sti-HsHlieiK Celin I't'LiiKnn ...;>,,; Ihhui' A icii . .. . . . . ■ ir.'rnin.n Sfnilzk.i. I.i-ili KenlfCKlrt*iK ..I*»nny, CasliH-i- cliti in i.... li.ii in Auiiwincli 'f Wonder as I Wander," one of the show's most tuneful waltzes. The new musical is a costly, kiu.uhless. operetta takina place soon after the Revolutionary war. It's pleasing in some departments and should do business for a time, but it's doubtful of ever recapturing the production cost. The stars will have to carry it. Most of the scenes are in Poland and the story tells of the valiant peasants' fijiht to stave off the army of the Czar. Book of "Polonaise" is so heavy that much of it should have been dumped into the Hudson at West Point, the opening scene. The ballet numbers are far superior to the attempts at comedy and so are the costumes and decor. From out of town, where the show flourished, .fan Kiepura was rated the main attraction. He certainly had his gang with him at- the pre- miere but it was Maria Egaei th (Mrs. Kiepura) who topped him. though she was on stage so long in the first act that it seemed she'd never exit. At the start and finale General Kos- ciusko's participation in the Amer- ican revolution is touched upon. General Pulaski, also a Pole, made a bigger name in the days of 1776 but he's not part of the story. Whether there will be general interest in the events depicted in the costume miisi- j Bei riii-r uf i-uiii.... l-*n|i.-.. ..nVi-ki*:i iir..; licit SliHitifl......... I.Hvlii 11 li^ .'Brk-kjirniilll!, Hi-numi sliirkli'tiiil'it'i-.'.. .(■'irxi .liiiiui'.. j Secontl JinUt' I Mil.cli'lil. .Ch I'loltc CluliKll'ili ..Mlxcliii KIkIWImi .Siilniiii.il ■ |\ rini^> ...,.»|.'!i'|- SrflPIT . . . . ,1'nill Sleiii.M- Al.ii l is Sii:isslic*i £ .Snliiiurin Ki*nii8i' Xlul-iiM KieliilVsky . . ..Murii'l Orub^l Maurice Schwartz has come up with another boxofliee hit in the Yiddish-language "The Three Gifts." which his Yiddish Art Theatre is currently presenting on New York's j lower Second avenue. This may not be one of Schwartz's I best productions, but there's a'con- siderable beauty to the prose, and | symbolism-of I. V. Perotz's work of the same name, from which Schwartz and Melach Ravitch made the adap- tation. It has a bis cast, and Hie budget is hefty, but the hou-e is big and should be able to wind up in the black. The scenery, much of it backdrons. is effectively done. "Gifts," with a late 19th Century background, deals with a tiddler who lived in a town in Poland. His ambition was conlihcd lo just lead- ing the town b'uid. which included his eight sons. All lived in poverty. The story is of the fiddler's many loves and indiscretions, his death and his attempts, in death, to go to Heaven. His sins are evenly bal- cal is questionable. Scoring next to the two stars are I beauteous Rose fnghram, who is in good voice, and Tania Riabouchinska.-i the show's ballerina. Curt Bois has the comedy assignment, which de- partment, is the show's weakest. Miss. Inghram'.s best number is "The Next Time I Care," one of the inter- polated numbers by Bronislaw Ka- pejr, Miss Rjabouchinska scores with "Mazurka." danced to a mod lev of Chopin'nielodies. Rem Olmsted.'for- mer Coast fullback, also figures in the ballet specialties. "Just for Tonight" is the theme number, warbled by Kiepura and Miss Eggeith. Kiepura gives his pipes a workout first with "Oh. Heart ot My Country." then later with "Meadow-Lark" and "Wait for To- morrow." while another duet by the stars is "Now I Know Your Face By Heart." "Polonaise" is pianoed by Zadel Skolovsky during a rebellion scene. Bois gets something out ot "Hay. Hay. Hay." comedy number. "Polonaise" is the latest costume musical, nostalgic perhaps only to those of continental origin. That may be one reason why it probably won't appeal to the average play- goer, as do some of Broadway's pe- riod musicals that have native" back- grounds. President Grant was a bit character in the defunct "Mr. Strauss Goes to Boston'." but. ."Polonaise" reaches further back and brings on George Washington. /bee. Musical 'Volporte' Click~of the "Vol'pone" revival by a Hollywood group has inspired Erik Chaired to produce a musical ver- sion of the old Ben Joiison legend. Kurt Weill will do the score. "Beggars" appears headed for an uncharitable reception when il i.'ues to N. Y. town. A modern metier harking back to the Prohibition era. it looked extremely doubtful at its Bridgeport warnuip. What impress the entry made it owed to its top players and the Jo MieJziner mount- ing rather than the spotty and un- steady: .story.-The play tees oil' mag- netically but falls apart in-thc mid- dle act. Seems irreparable. Contrast of today's slick big-biz bislro operation with gin-vending of dry "20s provides melodrama's con- flict/Set ni the do luxe office of a class N. Y. supper club. "Beggar's" brings in Paul Kelly, ex-rum run- ner done with 14 years' prison on a murder rap. to attempt to resume his old partnership with the nitery's owner. Luther.' Adler. Latter tries to buy off the ex-con and turns the club's new cigaret girl. Dorothy Comingore. at him. but Kelly doesn't go for it. The former gunman has an idea he can take over the lough way. but by the sec- ond act he is made lo understand that night life and the booze trade are not what they used to be. and that he can't muscle into the enter- prise of his old partner. After a inizing his tlie advice of the cig girl aiid""ti'i'ms" to the straight and narrow. Which ending indicates that maybe Holly- wood can do something with "Bee- gar.'-" if Broadway can't. I Hal Wallis owns it on a $150,000 pre-production deal.) Back-of-thc-house view of club business, with its corporate complex- ities, name catering and kneeling to columnists, is an excellenl repro- duction—and probably research— job. .There is even a program credil for "Mr. Vincent Sard ft* technical, assistance for the supper scene." a champagne dinneii-foii_KeJIy andjthe cigaret girl. Entire action, in effect ivelv-lil single-set. soans six hours. Kellv paces the play with a tense, high- keyed portrayal of the disillusioned Prohibition boss who missed up on a revolution when he was in prison, and Adler is precisely riajit as the feline cafe society boniface. Latter, at this typing, has been in role only a week after withdrawal of Ricardo Cortez. Miss Comingore makes the most of a role that is nol clearly con- ceived, and she's most attractive as the leggy cigaret girl. The large company did extremely well under Harold Clurman's direction for the fust tryout, particularly * Herbert hof as the world-traveled head liter jealous of his small piece of the club, and George Mathews, as a former trigger man. Adrienno Ames, ex-films, is on for a bit. E. G. Mar- shall's bookkeeper is a slickout. char- acter jab. Cedric Wallace trio., sepia rhythm group, plays atmospheric music com- posed by Raymond Scott in the first act. Just-a Serliu splurge, > Title is from a "Mother .Goose" rhyme. Klein. i ili»nii mi. ItlHrird ■•. Sirlil.-. Donaldson and Gloria Saundersi and cook (Elizabelh Dunn) leave tie husband to sulk and get drunk willi his "blood brother-' (Arthur Loft) The resulting untangling finds the wife coming back to her husband. There are flashes of genuine com- edy here and there, but from the first act "Apple" degenerates from high comedy, through a tliird-rate vaudeville routine, to very blue and tasteless burlesque. Trucx. tries a little too hard to inject humor at times by mugging but. otherwise does vi'liat he can with the part Svlvia Field. Lueicn Liltlefield. Ted Donald- son and Elizabeth Dunn all turii in polished .performances. Others could stand for more direction from Mel- ville Burke, Richard Jackson's in- terior of a small town home is the most tasteful thm<: about the Jess Smith production. ffnts. Ailain Ale I he Apple Santa Barbara. Cat.. Oct. 6. .It's* Smiili iii:.iiliii-iloii (lii aNHiiflwlliiii with Al.;t'i-I|.iinii <i|- llu-ci.-iii-i (nm-- (IU'» »w-npW Uy Yliii-lifi-t mi/Ifpy mid l-'.-i nyn • 1,n wiriicc. yiiirfi. |iJriii»Hl 'I'i-nf'x itinl Sylyii* l''ie|il: ri»»- fm.i'j* AVllinr lAu, I.Iluriii SaimilHix, iiiWuil,. Sinlili. l,itHi»i|--'.l.,l|l|f>tIi>lii,. UnVkoll (Niltjli' Klixiiliclli i >umi><-'. T."l D.hhI.Isihi. Si.ii4,.,l hy M»lvillt> Miii-ki-: Hi'U J'lii'kMiiii., Oiiftnfif iit Lulu- Rml'itni. fill,. Ovl, '-(•' Showing only occasional flashes of the farce quality that it's supposed to have. "Adam Ate the Apple" is a thoroughly artless and unevenly written legit effort by Herbert Bud- ley and Fanya Lawrence. In an efforl to combine certain elements of "The Male Animal" wilh "Junior. Miss." the authors missed the good fun of both by a long shot. Ernest Trucx and . Sylvia Field portray a married couple whose wed- ding anniversary celebration is dis- ruplcd by the return of an old flame of the wile's. He moves in on the family to write a new novel, and his attentions to the wife drive the milk- toast husband into a frenzy of jeal- ousy, which he sidetracks into an effort to prove his willpower by giv- fng up smoking. The nervous ten- sion brought on by lack of the weed and the presence of the sophisticated author (Haskell Coffin) finally cans;' a blowup and wife, children (Ted Legit Follow-Up "SI AKINKA" (Bui..vino re, N. Y.l Jerry Wayne and E'.iilh Follows are now. the young lovers in "Ma-; rinka-." which shifted during the past, week from.the. Winter Gardenm the Barrymoi e. They've replaced Harry . Stock well and Joan Roberts; Both give as good performances as possible under the circumslances; the book remains one of those in- adequacies thai fails to measure' up to "Mayerliiiy." the tragic story from - which the current version was adapted. The story hew is mtisi- eomecly. . with a happy ending, where the .original terminated in what pur- portedly was a double suicide. The entire show lacks pace, excepting for the ensemble numbers, which are excellent. Miss Fellows, who'will be recalled as a child film star, has grown into a blonde .looker with a thin though ' pleasant . voice. She reads linos nicely and even' does a terp step or two in the continental manger. Wayne is making a return to the Staee. frum whJcJ^ ^be's been -1'l^eiif ■ • having' occlTpiea''Tiini "pTifnarTl?t"TtTe" * '. shows a stilledness in mannerisius from the acting standpoint but his are faults that could be corrected by direction. He is casual and .easy- going, and his voice is pleasant, and he wears the uniform of an Austrian officer with dash. However, the show's main ingredi- ent is comedienne Luba Maliua. The madly mugging Russian beaut really stops the show with the couple of numbers that she does, particularly . that "Shah" tune. Romo Vincent also goes over in a comedy part as . well as handling his tunes well. Kcrfm. "THE VOICE OF THE Tl/RTLE" (Morosco. N. Y.I "The Voice ot the Turtle" hasn't been weakened appreciably by the latest of its cast changes. After 78 weeks. John van Drulen's three- character nugget continues lo be a sparkling, smart play. It's doubt- less the lines. It's surely, too, Elliott Nugent's continued valiant contribu- tion of the honest, off-hand GI. And also the femme replacements, Mar- tha Scott (vice Betty Field and Flor- ence Ricer for Margaret Sullavan, and Vicki Cummings for ^Audrey Christie. Miss Scolt lacks Miss Sullavan's ethereal quality. conveying the young, eager girl with more buoy- ancy, but she's friendly and appeal- ing, and has the wholesome attrac- , tiveness of Miss Sullavan. She also has tatter's naivete. Miss Cummings lacks somewhat. Miss Christie's fi- nesse, timing, change of inflection and brashness, but she plays the role with | less of the "common" suggestion, a good performance. At first Misses Scott and Cummings aren't suffi- ciently contrasted in voice and man- lier, but the situation soon adjusts itself. And the play goes off in high. Bioit. SAMUEL FRENCH ... MM'K ih:;« Play Brokers ami Authors' Representatives SR Wnl 4r.ll. Slr«Ht. N>« Vork RI I WmI :Mi Slrrrt. Ai*«le» Playhouse des Artistes 9 West 67fh Street '. A Niiutli Tlieiilrc Sfalltix AVitllfttile r«f relionrsHl!*, IryrOlllH, plv. . PHONE MR. DAISLE ENdicott 2-6700 WRITER TO DEVELOP MU- SICAL COMEDY BOOK FROM ORIGINAL IDEA. Stat* Background. Fee Balis. Hl>* Kill. i-l I ((III SI.