Variety (May 1946)

LEGITIMATE Wednesday, May 15, 1946 Plays on Broadway On Whitman Avenue Canada l.ee ami Murk' Mnivln i.ro'liii tlun, til ll*HCH'lnlll>n AVltll Cvni'KO .\lil.iiin. of drnimi hi nvo ri.-ln (one sii'iiel l.y Alaxlno WihkI. Features Canada l.f". Will tlwr. Terry Wilson, Krnexllno Harrier. Hilda Vnuglin. SlilKrtl ■•>■ Mmioi .li.ne>: teluiiK by DuiiuM *.h-iiKl:iKrr. ' opcm-il in furl. N. T.. May H. ' IU: 5:1.1m lop, Johnnie Tllilcn Kale Tilden Ed Tllilcn Owen He nncll .... Gramp Henm-ll.. Hpiiiioh . .... Bornlc I.uihI Aurne Anderson.. Cora Heiuiell Tolll Tllili'ii Diivlil KenncLl... Jeff Hnll Ttrlle Hull. "Waller l.lliitl.... Klll'll liUIHl ... Wilbur lived Edlm lteed.. . .Martin Miller ... .Krnesli-ie Harrier , .Will liecl .,. .} l ,l!'hui-d Wiilianis. .\ii;;iiMuh Smith ...... \'tv : ennf llaber KenU'-Ui Terry KillllL Vllll^llll Uil.ic M'.tcln-ll ....... iVi'i-ry Wilson ........ .Canada Lee ........ rhilip CliirUe .-.ijetty d-ecue- l.title '.Hoben Simon '.'.... .-.lean Cleveland Stephen Huberts .1;mIH1:i .Vlbus Seasons cycle of mixed-cast dramas having to dp with the so- called Negro problem was Completed upon the arrival of "On .Whitman. Avenue," a doubtful addition to the list, although a very earnest treat- ment of the theme. . If the new play doesn't click. "Deep Are the Roots'" will be the only win- ner among the mixed-cast plays having, to do with intolerance. Margo Jones does a generally good direc- tional job with '•Avenue,' working with a cast that certainly under- stands the author's intentions, but there is a tendency to over-empha- size lines that are not" important.'. First act is easily the best, second part being repetitious. Questionable whether the performance provides diversion for the average playgoer, for it's a protest if not a preachment. Canada Lee. colored star' who is co-producer, sounds the drama's key question, asking why some people develop hatred for other humans be- cause their skin is black. But the author doesn't give the answer. While that particular query isn't especially pertinent, other phases of racial antipathy discussed by dra- matists this season haven't been solved cither, and that the stage is used for such purposes appears to be a vogue. The well-mannered, intelligent col- ored Bennett family moves into the upper half of a two-family house, in an exclusively white suburb 0'. De- troit, the home being owned by the Tildens who live downstairs. David Bennett had fought in the foxhole next to the Tilden GI and that, is one reason why the girl Tbni Tilden had rented the upstairs to the col- ored people while her parents were away. Girl is in college, e liberal, an advocate for equality. Her father Ed backs up the girl but Kate the mother, is somewhat dubious. She is acquiescent until the neighbors protest violently, then ex- plodes after fight between the Ben- nett's youngest boy, her kid Johnnie and a neighbor's boy. Result is that Toni leaves home, expressing hatred for her mother, as the colored people move out. An old maid-who lives next door is the only neighbor who sides with Toni and her tolerant dad. Lee's conception of the young col- ored man is excellent, giving a re- strained performance as the frus- trated David whose pent-up feelings boil over at times. Will Geer is dis- tinctly likeable as the elder Tilden. Perry . Wilson plays her most impor- tant part as Toni and will move up. . Ernestine Barrier does well as her mother; Hilda Vaughn as the friendly neighbor delivers whatever comedy there is. Others white and colored who count are Vivienne Baber, Rob- ert Simon. Philip Clarke. Abbic Mit.- chell, Augustus Smith, Richard Wil- liams, Kenneth Terry and Martin Miller, latter three being kids. Ibee. ■II, to the stage and reviving it so well. Shakespeare lovers will be grateful, and the curiosity of legit- goers in general satisfied. Even if the drama strictly doesn't warrant re- vival. A weak paraphrase of Part 1, the piay is' disjointed, episodic, lacking much of the excitoment of its coun- terpart. It is slow, heavy, and- a little dull. Not suen in N. Y. since 1867, when James H. Hackett did it, the drama's neglect is unaers.iuidablc. It belongs back on the shelf. But the play has its dramatic high- lights, though they are few, and it has some wondrously comic mo- ments, and these the Old Vic empha- sizes in a manner to marvel at. The death scene of Henry IV, with much o. the dialog between Icing and crown prince, has high drama, while FalstaA's banishment, scene, at the end of the play, has the touch of Greek tragedy. The' low comedy scenes especially are a trc.it. Ralph Richardson again dominates the drama with his rare, rich portrait of Falstaff. The scene in the tavern with Pistol and Doll Tearsheet, the scene with Justice Shallow muster- ing up his men, are broad comedy in lavish strokes, so that the poignancy of the final scene is startling con- trast, and a measure of Richardson's high skill. Laurence Olivier, whose fiery in- tensity as Hotspur in Part 1 is sJiely missed from this production, shows amazing versatility in the. brief, though brilliant characterization of wizened. old Justice Shallow. Make- up and acting are a masterpiece, with Olivier's flair for comedy a distinct surprise! Treat of the evening is Joyce Red- man's portrayal of the trollope Doll Tearsheet, her blowzy appearance and rowdy performance in the tavern scene making' it unique in comedy annals. Subordinate roles of Old Vic stalwarts, are equally effective in maintaining its amazing ensemble quality, such as Nicholas Hannen's King, Michael Warre's Prince, Cecil Winter's Chief Justice, . George Relph's Pistol and Ena BurriU's Mis- tress Quickly. • : Roger Fruse's costumes. John Sul- livan's lighting, Herbert Menges'. in- cidental music, and especially Gowcr •Parks' sets, help Old Vic to lift a pedestrian play to high points. • Bron. OTHELLO Equity Library Theatre's staging of "Othello", at the Hudson Park library, N. Y., is a typical example of how far this group can moke a little over $100 go. Considering the budget outlay, the cast; aided by ex- cellent settings, costuming and light- ing, performs a minor miracle, The scope of the drama is fully encom- passed; credibility is maintained un- brokenly; and the onlooker is drawn to the center of the tragedy's vio- lence. What the production lacks in the way of polish and thespic ma- turity it makes up for by its integ 1 rity and enthusiasm. "dthello" was a wise choice from the Shakespearean repertory. The canvas of the play is relatively small, while the lines are not clut- tered by too many arm-long solilo- quies insurmountable to the average acto'r. And the attitude displayed here is-sane. The Bard is respected, of course, but his poetic grandeur doesn't awe the players into an elo-. cutionary stiffness. The lines are spoken with ease and intelligibility— and for this much thanks. P. Jay Sidney, who also directed and produced, plays the central role of the Moor with rough power and conviction; although his resources don't quite match the range needed for this extremely tough part. Jay Barney's portrait of Iago is well drawn along conventional diabolic lines, filling in with wit where the depths are over his head. Joan Cope- land's playing of Desdemona is standout, bringing to the part grace, beauty and a speaking and singing voice of remarkable purity. In the lesser rol.es. Kay Parker as the nurse and John Burgess as Roderlgo rate strong nods for consistently fine per- formances. Rest of the cast also contribute greatly. Plays Oot of Town ; Uncle Vanya (REVIVAL) QM. Vic Theatre Co. production of drama lii three Avta (three neent»s) l>>- Anton Chek- hov, t ran Hinted by Constance C-miett. StHKed by John Burrell. Scenery and cos- tume*. Tuny a MolselwU«ch: lli;hiin?. John Sullivan. Sponsored by Theatre. Inc. At Centufy, X. Y... Muy 13, $0 lop ($12 opening nlKht). Mtirlnu Enn Durrlll ■Aatrriv ; I>.iurcm'<sOlivier* Voynftwky .Hnlph Hlrhiiidison The Professor .Nicholas* Hannen Yelenn .Mnrearol I-elfchton Sonyu .Joyce JUdman Tolyegln.., , ,(;oorg«- Ilelph Muryn VoynlUky. Uyroiiy C'hapuum. Yoflm William Monk Lady Honey Louisville; May 8. Dlueprnfs Theatre. Inc.. production" of win- play In throe acts by Miu-Klnlav Kan- tor. Feuturos FruncCH (ireei. .StAged by John Ireys; setting Syrjsilu: production di- rector; William C Hodapp, At Xiitloiml, Louisville, May 7. '40; ¥2 top. ......Hlrhnrd. Cnmp Rolierl - Cnrroll .......Dminlns .liny .........John AkeiH l'V:inces Orecl ., Vhiln Rimche CIoHk Sti-uock .. lfarm-il tHvon. Jr. , William Drake . ; Lew In Martin ....Louise Klrlland .Robert DaRRelL l-t. Isaac Knvlnaky.,, .Ski. M'atklne......... Twerp... J.......... .... Garry........ Lady- Honey Gram. Cpl. Muim Rlchnrds.-. Fit. Off. Blatchford... agt. Tx>ckwood Archer... .'. , Mrs. Stlckney Vicar... Sgt. Re Ob I id .luhn Iioys Henry IV. Pari II (REVIVAL) Olil Vlr T)ic:il|-c Co. lirutllirlidn of (lrn- wnilc rcvlvul hi throe ut-iH l<y Willum Shnko»iio:i|-o. Sluevil liy Jnli'n J'.un-fll.. C<iH- tumoii. nnKCt- l-*iii>e-/Hco)ipry l (lowpr l*nrkn; llslulnR, John KiiUlvim; imisli: by HcrliPrt ilcnRe^. wlni ironilui'loil. SjHiii.'.Qrcil lty Tlio aire, Inc. At (\-iuui-y. N. Y., Aluy 7, '40; $0 lop <9U' opening ]ll|;llt). . Rumour XW-'rilr-llr ]{<-t-i::inl KIiik Henry IV Xliholis Ilinili Pl'lllLO Of Willi'!..... Mli:lllll<l W'lllTP John or l.:inc:isK-r Ituliin l.loyil Duko of t'l;i'rPiu-(. .Coui'Ki' JUi."C Humiiliroy of <:iouiTMev..lohn (liu'ley Karl or Wiinvirk ..., .JCoiini'lll Kilwimls Eal'l of AVeNlniori-lnnfi... .... .. .IVIp,!- C'niilfy Lord Chief Justice LV' il Winter Hla Servant... ....Mux- Hient Fane .Vnilik Diiuciin Snure Joseph James Gower Kenneth I'MwunlK Eurl <if N'oiiliumhrrliinU Mllcb MnllOHnn Lltdy Northumberland Hryony Cliapman Linly J'erey ...Mnrearol t.eiKhlun Truvei7i. Morton Archbishop of York... Lord Mowbray .-,, Lord Hasting* Lord Ttnrdulph Sir John Cnlevllle Sir John I'lilsliitt His l'liu'e SllstresH Qitlekly Rudolph Polnu Petn Doll Tcur&heet Platol..... Frnnels Justice Shnllou'.. Justice Silence Mouldy Wnrt. Ghndnw Feeble Bui:enlf ., ..Uoblii I.luyd .roter.' Copley .....Harry v\lnlrews ....William S'diilrc . ....Diivbl Kentish <lcon;o ltose Sidney Taller . .ltulph fllch.'-rdsou Urlan Tarl<er lOna Hurrill . .. .lllclun-l H.lKhan ..,.. ,SI:ltiey Tafter .......CfniKe Hose .Joyce Kc'lnian ..... .Geoice Helph Ji'hii Garley .. .I'.iaii'i-'iiet. trtivler ..Miles M'lll'Sim '. ,0""r*:e llvse fiilm fbirley .... .b'raiik Diiacini ..'.. J)aviii K"nlish ,.... .Joseph James The Old Vic company rates a hand- shake for bringing "Henry IV," Part For the third play in its current Broadway repertory, London's OldVic company, is reviving Chekhov's study of a group of unhappy, maladjusted Russian gentry, "Uncle Vanya," which hasn't been seen in N. Y. since Jed Harris presented it 16 years;, ago. The play is a slojv, actiohless drama about frustrated, unimportant people. With a possible exception or two, they fail to arouse one's interest or deep sympathy. And although Old Vic's versatile players invest the drama with a great deal of fascina- tion, they aren t completely success- ful in the presentation. Perhaps the play's inertia defeats them. The play does have its charm, with frequent feel of definite mood, and occasional flashes of deep drama or emotion. The characters are a neu- rotic group in the main, each one unhappy about his or her lot, and quite voluble in proclaiming it. Fi- delity of such weaknesses :n nature is a : little too apparent to be quite comfortable. And the way Old Vic takes these characters in hand, one can't quite laugh them off. While most of the time they are very good Russians, occasionally the. actors are a little too English. But Laurence Olivier does lend stature to the country doctor Astrov, and in a love scene with Yelena. does strike Are to the stage. Ralph Richardson's Vanya is a pathetic characterization, not nearly as striking a portrait as his Falstaff^ but a creditable one nevertheless. Margaret Leighton brings color and beauty to the role of Yelena, while Joyce Redman is a little less forthright as Sonya. Nich olas Hannen's Professor; Ena Bur rill's Nurse, and George Relph's Tel yegin are. good support, Costumes and sets are striking. • What impresses about the Old Vic troupe in a niinor Chekhov master piece is again its ensemble work,, and this time its versatility as well. Con trast of Richardson's Falstaff and Vanya, Olivier's Hotspur and Astrov. and especially Miss Redman's Doll Tearsheet and Sonya, vividly points un the group's wide range and i-rtis- trv. F.-ir that alone, ''Vanya" is '••^rtli seeing. Bron, understanding of the characteriza- tions to compensate for space limita- tions. A little cutting is still needed in some spots to eliminate some slight drags but that should be fixed up within the next performance or so. Herbert Wittnker's set designing Is standout with the scenes . being broken up by a cleverly contrived moving background. Christopher Ellis does a sock job in the title role, the only thing seemingly missing be- ing that progressive agedhess creep- ing up on the mad monarch. Alfred Gallagher's Earl of Gloucester is almost spine-tingling in the restrained interpretation, with Seymour Greenman as Edmund: also registering big. There's little to find fault with the thesping, the Shake- spearean prose being delivered ef- fectively without oft-found over- dramatizing just for effect. . Charles Rittenhouso. has done a good job in the script preparation.' The costuming, effects, general presentation are all tops. Laza. House Reviews S Continued from page S3 55 . HKO.BonIub and carries on, letting fly—as indi- cated—many a fast crack in Italo that by no' means escapes the audi- ence.- . Band does "Brooklyn Boogie," "Angelina," "The Deacon," "Jose- phine, No Lean on the Bell" and "Hey Bop-a-Re-Bop." • Last-named time, late in the show, brought a couple of urchins (not planted, either) onto the stage for an im- promptu dance routine 'that floored the house and Prima, too.. Did four choruses for them and finally had to throw them out. . Vocals are done by Jack Powers and Lily Ann Carol. Powers does "Prisoner of Love" and "Gypsy," very nicely, and Miss Carol, looker, clicks with "Porgy/' "Come Closer to Me" and others. Both join for neat duet on "Apple Blossom Time." The Barretts,, standard dance team, wows in original versions of tango. Cakewalk variations to standard dancerics. and the . Pitchmen click with kazoo stuff in instrumental imitations. . The Prima band, big, well-schooled and well-heeled with sharp arrangements, supplies' nice background for acts and breaks loose with its own stuff, Elie. Olympla,Miami Miami, May 10.. Cy Reeves. Harrison, Carroll & Ross, Joan Adair, Frank Paris. 2 Jacks, Les Rhode House Band (13); "Kitty" (Par). . MacK.in.lay Kantor's first play marks Anal presentation of Bluegrass Theatre's 10-week stock season at the National. Play is a war story, based on experiences of American and British flyers who are house guests at home of Lady Belden-Ware near Networth, England. Time is Sept., '43. ' " .-..■' Play is pretty talky, failing to build to any sustained climax. It's mostly rehash stuff, as recorded by a war. correspondent, and reaction is that it's best to forget those harrow- ing days when a bombing mission returned with personnel and. ships missing. ! Even Kantor admitted in a pre- curtain talk that "at. a time when people are trying to forget war, it s difficult to write about it." Kan- tor has utilized some frank wordage, probably typical of^ Air Force men and women thrown together under stress of war. Frances Greet gives an intelligent- performance in title, role of an hos- pitable Englishwoman, a widow, whose RAF officer-husband was killed while on a combat mission over Europe. A brace of love affairs teams Lady Honey with a middle- aged correspondent, well-played by Lewis Martini Youthful love interest Is intro- duced through Gloria. Stroock, femme corporal, and Richard Camp, as a flyer who is killed on his last mis- sion prior to their Wedding. Lighter moments are injected when neigh- boring vicar and wife pay. a call to protest the "indiscriminate hospital- ity" dispensed by Lady Honey. John Ireys, who directed wpll; also acts, minor part of Sgt. Redbird. Set is fine. Hold King Lear (REVIVAL) Montreal, May 7. Surprise of Montreal's legit sea son comes with the "King Lear' production of the Montreal Reper tory Theatre's Shakespeare Society Play, which preemed Monday (6) is set for a weelt's run. : It's an ingeniously stated, superbly acted job that will likely do two primary things for this town: (a) revive Interest in, Shakespeare and thereby hypo, the potential b.o. of the Stratfbrd-on-Avon Players due here in a few months, and (b) make some of the top professionals spe cializing in the Bard look to thei laurels, * Playing at Moyse Hall, director Pierre. Dagenis didn't have all the space required for this difficult Shakespeare piece, but he obviously has injected into. the''.players a keen Fairish layout here this week gar- ners nice returns from the steady va- riety fans who come back week after week for the only view of nets they can get in this area outside of the nitencs. .. . ' No names to lure the-payees, but they come anyway, and Cy Reeves, comedy topliher, heads up the talent in nice fashion'. Some of the gags are painfully familiar, but his slick delivery makes 'em register for laughs. Joan Adair, doubling from the Blackamoor on the Beach, shows up in top manner what with a big band to handle her arrangements. Sultry looking brunette, with plenty of oomph, ballads "My Bill, a gypsy medley for change of pace and blends in pops to good effect for hefty nut- ting- Frank Paris, another nitery act (Clover Club) clicks with his mario- nettes. Ranges from tango dancers to a. high stepping ostrich in the ballet style and better than most acts of the type seen here. Harrison, Carroll and Ross essay some comedy dancing, plus boogie- woogie pianlslics. Act builds to good finish. Two Jacks project some ex- pert pole, balancing. Patter is too Tieavy and they should stick to acro- antics. Les Rhode and orch overture with a, Gershwin medley and back up show adequately. Biz good , when caught. Lary. less manner with a ballad, remini- scent of Rudy Vallee in the early days, that gets neat response from the distaffs in the house. Pleases with "Day by Day," "Just a Day in June," "Talk of. the Town" and Vic tor Herbert's "Thine Alone." Roy Benson's comecy-maglc act is a fast, smooth offering, with not too much patter and all of the risht kind. George Guest does things with a marimba that go big with those who go for the; instrument. '. Oiig- lnally with Washington's National Symphony, Guest does a Bach to boogie routine that is tuneful and different... Loti-c. Apollo, N. Y. Buddl/ Johnson Band (16). Redd Fox, Wingfoot . Turner, Arthur Prysocok, Jansleys (3). Ella Joliii- soh, Derby & French}/; "Smooth as Silk" (Unit).). Layout, at the Apoiio this wopk ' adds up as amusing 75 minutes. Headed by Buddy. Johnson's band, bill is nicely paced and winds to a sock finish. Johnson's band, back on one '61 their periodical repeats, offers mixed brew of both sweet and swing. Sepian crew of 16 give out' in okay style with- stress on solo work by trumpet and tenor sax. Brass solo is muted, sweet and rhythmic and registers with authority. Sax work lacks the . brilliance that the reeds can produce resulting in a pedes- trian pace. Johnson who keys the ivories has a pleasing, imperturbable personality which scores with the audience. Band plays "Fine Brown Frame," "End of Time", and "AH She Wrote" with the latter canto neatlv carried, for the most part, by a quin- tet of instruments, . Showstoppers are Derby & Ffenchy. Derby handles most of act with some smooth tapping plus a takeoff on Bill Robinson. He mixes footwork with some gay chatter that registers. Gal's tcrp assists arc ef- fective. . Ella Johnson, songstress, offers three indigo numbers in small but insinuating tones. Singer has a trick of punctuating purple' phrases with a long-drawn wail that causes excitement among the habitues. Tendency to lose her when the band gets brassy is major drawback. This, was most noticeable in her first two songs, "Stand Back and Smile" and "Since I Fell for You." Her 'last. "Stuff You Gotta Watch," piped with gyrating hips, is best of the lot and garners strong mitting. Other singer, Arthyr Prysocok. pitches a nifty baritone into "Gypsy" and "They Say I'm a Fool" for nice returns. The Jansleys click with their standard rlsley act. Redd Fox's terp- ing and lowdown warbling adds up well. Wingfoot Turner does some gaudy iron jaw work (New Acts). Toscy's Tele S Continued from page 1 ss through with La Scala in order to push -the project. He has turned down many offers to do more con- ducting in Europe, among the nixed invitations being those of the reviv- ed music festivals at Salzburg, Baden Baden, and Lucerne. The only trip Toscanini may make, when he is finished' at Milan on June 27, is a short one to Palestine,. to conduct one or two concerts with the Pales- tine Symphony. Next to his NBC Symphony orchestra in New York, the. Palestine Symphony, which he founded and trained, is closest to the maestro in sentiment. Just how Toscanini plans to over- come the Petrillo ruling is another , Capitol, Wash. Washington, May 9. Manuel ytcra, Ted Laterie, Georpc Guest, Roy Benson, Mack Triplets; "Draoonuii/ck"' (20th). Capitol's layout this week is un- pretentious vaude, boasting no show stopper. Hcadliners are the Mack Triplets, Washington gals who are climbing fast. Trio getting to the top via radio, discs and vaude, and have just made Aim debut in Columbia short. A junior edition of the Andrews sisters, minus the gags, girls meas ure up nicely. Eye Allers to begin with, they have plenty style with a number, and perform with ease and freshness. Despite an overdose of "Shoo Fly. Pie" here, gals get this number over with more than usual flair. They follow with "I'm a Big Girl Now," and "Seems Like Old Times" for plenty more salvos. .Opener, Manuel Vjera, with two monkeys who play miniature instru- ments, Is standard fare on the "cute" side. Ted Lawrie, young baritone from local church choir, clicks in song stanza. Lad has a pleasant, effort- War Note—Literally Acclaim of Arturo Toscanini at reopening of La Scala Opera House in Milan with a sym- phony concert last week recalls fact that the music-hungry Italians, when Allied Military Govt, gave them ■ lumber last year to use for much-needed housing, devoted it to rebuilding their shattered opera house in- stead. As Toscanini gave, his first concert in Italy in 17 years Sat. (11), It Was reported that the 79-year-old maestro would re- turn from the U. S. to open La Scala's opera season in Decem- ber. matter. NBC wouldn't dare trying to buck Petrillo's edict, even if Tos- canini wanted to—and it's certain the conductor would not attempt to use- non-union .musicians. Two courses are open. Ho may approach Petrillo and ask for a special ruling —and Petrillo, for all his alleged toughness, might accede to such a request just to show he is as much interested, in art as anyone else. The other course is to back the opera singers with recordings.; In that case. Toscanini would act hot only as conductor for the singers, but also as a disk jockey, cueing the platter turners.