Variety (Apr 1947)

Wednesday, April 23, 1947 Our Lan* AssociHlcrt riiijwriKhf) produrtion of flraiuii (fftlr hiusif In two nets by Tlicii- dori- Wnril. Ktasca luifl deslifnpa by I'.d- ■R-nvii n. Miti'hell; muair urraiiKed ami dhvcterl by .losliua T-pe. At Henry Street PlaylHiuHP. N. y., April 21, '4", 10(lf?av l»rire.,. <;abe IVUler Kniunnpl fMlce I'atsy lloss.I.. Joe Itoas; ♦ <'ha ]-lie Hettow...... Kllen, his fliiufeht'"' JameB. Kclmund .1, CambridRe . . .John W. Smith ....Ohavles ffehree ... .Theresa Hlne» .Jay Brooks ....... Service Bell Taterie Blael; .. .Harold Conlilln JJadUy SykM............ Luther Henderson Ko-fonrt.i .MarRo Washington Delnhine. .Muriel Smith Beulah .Dolores* Woodard l{\ith .Martha Kvans Tom TaKKerl.,.......k..<'lar^nce Wiliams Sarah, hia wife...Estelle B. Evans Joshnah Tain..... ..William Veasey Cieorgana, his dauKhter Hileary Clover : Dosia . Edlth-Atuka Reld Ollle Webster , .iouia Peterson J^em. ChauBcey RejTioWs Chester ..iutts Murphy Hank Saunders, overseer.Charte.<! Lillenthal Caytaln Bryant.. KranV MoArdle liibeth ArUarbanel......... ..Tennie Bretnes Oliver Webster,........... ..lohn Harwooil Yank Serseant William Gerahfck Yankee SoUliers. .Howard Ijexki*'. Charles Uosen. Bob ilayo, Alan Fiesler Cai'tain Stewart IV>b Fierman- John Bnrl^hardt. A planter. ...lack BecUor A Cotton Broker , I'anI Hoft'man l.-it Kebel Soldier .- Nathan Adler 2nd Reb?l Soldier Stuart Hoover "Our Lan'," last of the Associated Playxirrights' offeritlg$ ibr this sea- son, is a powerful piece of Stage- craft, powerful enough to merit be- ing lifted out of the obscurity of this lower east side theatre to a Broad- ~ way showcase. Penned by a promis- ing young Negro dramatist, Theo- dore Ward, the play is an honest, se^nsitively-wrought folk drama of the'Civil War period with a con te'T!ijorary relevance. Play tells an authentic story of hcv-' a group of liberated slaves were settled on their own plot of earth by tl!2 Union army only to have their, hopes blasted in the end by a cynical conspiracy of northern politicians and southern landowners. Parallel to the main line, a subsidiary love story is woven into the play's fabric which, though somewhat-, trite in conception, succeeds in adding many poignant moments. As enacted by the predominantly Negro cast, the play becomes brilliantly alive, with the pride, suffering and courage of a -"btnerged people fighting for dig- v-'- •: "ot least of the play's merits are tl-e Negro spirituals which echo hauntinglj as a kind of tragic obbli- gato to the dramatic action. ■ It would be difficult to. match any- where the throat^gripping eittotion 6f one scene in which the Negroes, learning of President Lincoln's death, rehder an exalted requiem to his memory. Cast, besides being spontaneous individually, comprise iji their totality a superb vocal ctnirus. Standout thesp^r.in the group is William Veasey, who gives an in- spired performance as the freed- men's leader. Muriel Smith is ex- cellent as the female lead, bringing to the part her exceptional dramatic and singing talent. Other cast mem- bers who perform with special merit are Valerie Black, Edmund J. Cam- bridge, Jay Brooks. Luther Hender- son and Chauncey Reynolds. Edward R. Mitchell, director, also desiTOed the single setting, which is notable for its detail and realism. Joshua Lee's arranging and direct- ing of the music are flrstrate. Berm. months in the West End, .where it closed last month. Only difference in the play as seen here is the change of locale to an apartment in Gramercy Park instead of one in London, There are five in the cast, one an added bit which doesn't help at all; it's virtually a two-character piece. Through most of the performance two women, one whose first name is Margaret and the other who uses it in writing novels, bicker over David, a publisher, just killed in an accident. Result is a per- formance of trouble, which certainly isn't diverting. Stephen, who was David's partner, tries logic to pacify the distraught women, but only here and there is the dialog interesting. Adeline, the fictitious Margaret, estranged from her mate Robert, had been carrying on an affair with David for two years. Margaret, wed to him 15 years, had no inkling o£ the affair. When Adeline discloses the relationship to the new widow, she explains that It's only because there's to be |i baby. The Margarets argue it out, and at one point the wife nearly pushes the younger woman from the terrace, which has a defective railing. Robert agrees to return home lor a while so that it iould be assumed the com- ing infant would be legitimate, but he, unfortunately, falls to 4iis'death from the terrace. Noise of the am- bulance, by the way, is loudeiii than anything in the play. Solution comes with Adeline agree- ing to give the child to Margaret. It seems that David's last words were: "Give my love to Margaret and thank her for all she's done for me." The girls' main argument is for whom was the message meant. Stephen makes it appear that it was meant for his wife. Mady Christians, as the legit Mar- garet, and Miriam Hopkins, as Ade- line-Margaret, are the wives with verbal swoi'ds. Latter's part fits bet- ter than Miss Christians, who has been much more effective in charac- ter assignments. 'Roger Pry or does the best he can as Stephen. ,-^Peter Cookson, a personable, new actor, makes his debut ag a principal in the part of Robert, and he'll stick in a better play. Ibee. (Closed Saturday (19) ofter five /performances.) Plays Out of Top, Laura Hartford, April 15. H, Clay Bluney (in association with S. P, and Hoy P, Sleekier) pfoduetlon ot mystery in three ants and three scenes by Veta C'as- pary and George Sklar. Stcrs John Loder, K, T, Stevens, Hugh Marlowe and loni Ruthcrfo'ra. Setting by Stewart ChBney; .stagoa by Clarence Devwent. At Bushnell Metaorlnl.Hartfovd, April IB, '4T; »8 top, J. C. Nugent Dies Mark McVhersori.... Danny Dorffan..... Waldo Uydecker... Shelby Carpenter,, Bessie Clary,..,.,, Mrs. Dorgan. , A Olrl.;..,, Olsen...... .., • Hush Afarlowe Tom Walsh John Ijod^r ..Toni Rutherford . .Grania O'Malley ...Kny MacDonald ...,:.K.,T, Stevens .Doniila A. Meyers ; Continued from page 49 , As a film, "Laura" fared well. On the road last year, it survived 16 weeks under the guidance of Hunt Stromberg, Jr. This year H, Clay Blaney is fathering the whodunit, with intentions of eventually reach- ing Broadway. In its present con- dition, mystery will find difficulty sliding into first base on its content, though rep of pic and book would aid as b.o. hypo. , ^ Plot is well known as result of the pic, produced by 20th-Fox. It's abtfut a dick investigating the shot- gun penthouse slaying of a beautiful femme huckster. Turns out a case of mistaken identity with gendarme falling for dame after she turns up. Play, opening night, was off to a weak start, building up in second and third acts. However, an ex- tremely weak anti-elimax, bit be- tween the detective (Hugh Marlowe), and the-returned-to-life-gal (K. T, Stevens) leaves the aud where it was at opening of show, very limp. Bit leading to a curtain-closing love scene, after murderer has been re- vealed, gives an unnecessary stage wait to an already weak production. Acting is capable, Single-set pent- house, by Stewart Chaney, is good. John Loder, .as Waldo Lydecker, the middleaged aesthetic, highspots the acting ^department. Others turn in well-rounded performances. Ecfc. Blrtlimark London, April 8, Knvoy . Productions, lild., proitucUon of new play in throe acts by A, K. RawUnson Ulrocled by John .Counsel!, At Braliasay theatre. Margareth Petworlh ..,t^ui,se Hampton Janies Dartle, ., . John I'arles Mom Oeraia Dartle.,.., Martin Cbbb Klaie Dai'tle,,...,.........,Winifred Hvanii -Waada ,., ,Miij'y Kerridg* Sir Stephen Gattton .......H, », Stoker Dr, Althelm...... I'redcrlck Scl)lll«r Mrs. Ruling f...,... ,Bulh Goddard Postman .W, leaser Brnnner The. Flies (LES iWOUCHES) Dramatic Workshop of the New School production of dram;i in three acts by .lean- Paul Sartre; IranMated by Stuart (JUbert, Staged by Paul Kanaoni; supervised by Er- wln Plwutor. At PresWent theatre, N, Y,, April a*, '<T. ^ Orestes Dan Matthews Tutor. .Neheniiah Persoff trliot Boy............. Fred Halpern Zeus .Jack Burkhart 01(1 Woman .L.eola Harlow l'Jle(-tra .Carol tSustafson Clytemnestra ,. .J^'rances Adler Mother. .Naomi Feigenbaum Child , Richard Rosenfeld Nervous .Robert Schwartz Sentimental Man........... .Bert Neil Average Man. .................Harry Adler Cynical Mah .Joseph Sargent Segestea, Thom Carney Nidaa. .Bernie Schwartz Other Men.,.,Syd Parfx-ey, Hari-y Heyman, John Lehne. Steve Gottleib Young Woman... ...Mala Abllea Another Woman. Helen Bernstein 1st Officer.............. ..John Miller and Officer ..David Miller Soldiers Paul Bi*owne, Harry Bergman. Paul Pheniey High Priest Gerry Cohort Aegistheus .Alfred Linder A Young, Man's Famey Philadelphia, April 15. Henry Adrian production oi: comedy by Harry Thursphweli and Alfred Qoldeh. Staged by Robert E, Peixy; scenefy and llghtiftg, Ralph Alawang; costumes jiuper- vlaed by Tjou Hisle. At Locust St., Phila- delphia, April IS, '4T; *3,25. Sylvia Wilson,.., , .tynne Carter Harold QreSnley < ....Bill Talman Dr. Spee Hugh Kellly Dorothy Bennett, ,, Joan I,awrenC6 Duvie ....Richard T*eone Grlliy,.... ...Donald Hastings ^okey Stephen, Roy Sterling Buddy Bart Roe Helen Greenley...lienore Lonergan Faith Joan Shepard Dickie Crnndell,,, , Ronnie Jaooby Oliver. Crnndell Raymond Bramley Mrs, IBary Crnndell,... ,Ijee Carney Miss Weatherhead, .Alyrtle Ferguson Camp Trilliy Bo.v,. ....Mickey CamU Otiier Campers...". Collelte MacMahoh Ronnie Smith I Message for Margaret Stanley Gllkey and Barbara Payne (In as- Bociation with Henry Sherek. T.td,> produc- tion of drama in three acts (one scene) by James Parrish. " Stars Mady Christians and Miriam Hopkins; features Roger Pryor. Staged by Elliott Nugent: setting, Donald Oenslager, Opened at Plymouth, N, TC., Auril Ifi. '4B; *4.80 top, M.irgaret Hayden Mndv Christians Stephen Austin Roger Pryor Adeline Chnlcot... Miriam Hopkins Roltert Chalcot Peter Cookson Maid. ■ Janice Mars Presenting English dramas on Broadway has always been hazardous, despite their favorable London rep- utations. "Message for Margaret" is the latest such import, and it hasn't a chance, although it played six Year Roand Residence \jSenti«in«ii'8' (arm, 45 tntleii from New Xorb, SO-nCre private Itike. California MitiaiAn liontie< S rooms, 8 batlig, service quarters,' caretakers cottage; beautitnlly situated in liilis of Sussex County, N. J. 800 acres, orcliards, farm buildings, Indoor and outdoor furniture, boats, farm equip- ment. Taxes approximateiy' $350,00, low iiplieep — Cost $350,000; price 5!15,0OO, Call Miss Andrews, Main 4-8S50, Write Box S04S, Variety, 154 West 46tli St., New Iforlt 19, N. \'. IToiiiig', Aow <m terminal leave, un- usually fine wrliolastlc!' bacbsround, 2% yean) of aetlve pmctlde With iop law Arm. Interested In aU aspects »t theatrical nnd tuitl-tnist lanv Xx- P«rlencea In tax and c«r|H>nite mat- ters. Desires association, wltii Inn* ilrni or otlierwise, in above iieids. Box .815, Variety, 154 W. 461h St., New York 19, N. IC, Though an ambitious. Worthy at- tempt of this semi-pro group to tussle with the intricacies of Jean-Paul Sartre's "The Flies," some good per- formances, Erwin Piscator's expert supervision, and Paul Ransom's adept sts.ging can't salvage this for any- thing more than experimental pur- poses. The author's "No Exit" was tried commercially earlier in the .sea- son on Broadway. Sartre has delved into the Greek myth of Orestes and Eleetra. He has pointed up that superstition and fear can rule mankind. Play depicts an invasion of flies as punishment to the sinners of Argas and the struggle of the gentle-reared Orestes, son of Agamemnon, to rescue his sister, for- mer princess Eleetra, from drutigery of a scullery maid when Aegistheus, her mother's paramour, polishes oil the king and takes over to rule with a tyrannical hand, Orestes returns to murder his mother and her lover and take over his father's throne. But after his butchery the sister de- nounces him and he's practically back where he started. However, he has convinced the sinners that the dead remain dead and do not make annual excursions to avenge misdeeds of their kin. The linal curtain descends before this is really clarified. Dan Matthews turns in a moving performance as' Orestes. Carol Gus- tafson is attractive as Eleetra. Alfred Linder and Frances Adler, profes- sionals and of the New School facul- ty, inject required villainy to roles of the royal pair. Jack Burkhart also rates a nod for his fine portrayal of Zeus. Others of the large cast do neatly. Edba, Sayviile (L. I.) Opener Jun; 17 Sayville, L. I,, April 22. SayviHe Playhouse's second season starts June 17 for 12 weeks under Joseph Kramm's direction. V "A Young Man's Fancy," tried out briefly earlier in the. season (Wil- mington and Boston) and then taken oflf for rewriting and restaging, now pops up again here. Just why the management wanted to bring it out right now is hard to figure. It's a lightweight comedy, lacking marquee names, and it's coming along ,at the tailend of the season with business in general spotty all over. It hasn't much' of a chance. Although "A Young Man's Fancy" follows in the general footsteps of "Junior Miss," "Kiss and Tell" and "Janie," it places much more empha- sis OH the strictly juvenile angle than any of them. Here the grownups are pallid people of quite secondary im- portance and interest, and the show lags lamentably when they're on. Fortunately these are brief, and most of the action of "A Young Man's Fancy" deals with the pranks and didoes of a group of youngsters at a summer camp in New England. In building directly around the kids, the authors are trying a "Pen- rod," but they aren't Booth Tarking- ton in their knowledge of juvenile psychology or in their-comedy sense. The boys and girls in this play are pretty stereotyped. Most of play's laughs stem from a feud between a newcomer to the canfp, a wealthy man's son immedi- ately adjudged a sissy by his bunk- mates, and these four healthy youiig heathens. Egged on by a girl coun- sellor, the newcomer turns the tables on his tormentors and makes their lives miserable with his succession of practical jokes. He then takes a hand in trying to arrange the romance of a pair of the counsellors, but this backfires because he doesn't under-^ stand some o£ the terms and passages in a book on neurological atlmehts which he gets hold of and tries to use to spur on cupid. Play is compact enough now (flnal curtain at 11) and has its quota of laughs although most of them arise from obvious cliches and rather puerile Wisecracks, „ However, the kids in the oast do their share very well, Ronnie Jacob.y succeeds in making the precocious sissy funny without being objectionable, and Joan Shepard is amusing as his co- conspirator in the scheme to aid ro- iwance, Richard Leone, Donald Itast- ings, Roy Sterling sftid Bart Roe are the four young ruffians who finally admit thcmaelve,'? licked by their In- tended victim. Waters, Maurice Kelly has been named dance director for the 1947 Star- light Operetta seaijoa at Fair Park 1 Casino, Dallas, "Night Stick," "The Breaks," "Past Service" and "The World's My Onion." In 1929 Nugent went to Hollywood in triple capacity of actor, author and director for Metro. He appeared in many films, including "A Star is Born," "This is My Affair," "It's All Yours" and "Give Me A Sailor." The last play which he wrote and starred in was "That Old Devil," produced in 1942, but his last Broad- way appearance was last October in "The Playboy of the Western World," which starred Burgess Meredith. • ProUMc Writer Nugent's writings on the theatre were sage philosophies closely fol- lowed for more than 40 years by people of the craft. His ability to discourse on any subject within the theatre was far-flung. On censor- ship, for instance, some years ago, when ■ Broadway was embroiled in a situation involving "Wine, Women and Song" at the Ambassador thrf*- atre, Npgent significantly wrote for VAftiEiYr "Plays are neither old-fashioned .n.or modern. Neither is acting. It is simply either good or bad. Being vile does not make a play. Being chemically clean does not make a play. It must reveal life. But Amer- ican plays may'reveal a cleantr life because American life is cleaner. Plays do not inspire a country, they reflect it. OUrs is a more hopeful, unsullied, youthful and ideal loving country, just as youth is more hope- ful. Ideal loving and unsullied than old age. "There is hope for our native plays, and for our native stage. Ever and anon it^wlll receive a setback as some opportunist dwtroys all the advancement we have made in the public heart by launching some dra matic foreign inspired debauch of nymphomaniacs and degenerates and pro^tution to the harvest of a few heavy weeks from the morbid minded who flock to anything which panders in their inherent degeneracy under the name of real 'art,' but the reaction will come, and "Will, even- tually, be permanent." BelMiVlorismi His views on actor behaviorisms were also widely quoted. In the 1946 Anniversary edition of Variett, for instance, he wrote: ". . . the mediocre artist, wearied with' waiting for success, usually tries some magic crosscut. Usually he expects that, perhaps, by cul- tivating the society of celebrities in expensive cafes this may give him the right connections. Many also look to their organisation to help them to that success which can only be' achieved by simple merit. Sim- plicity is the soul of perfection in acting. . Also in directing. Sur- rounded as it is in the popular mind by magic signs and symbols, and hidden knowledge, it is in the last analysis, simple commbnsense. "There are other things which keep even talented artists back for many years in reaching any consid- erable recognition. This applies more to traveling companies and stock, rather than to New York companies, beoaiise in New York when a re- hearsal Or performance is over, peo- ple scatter to their various homes, and only meet during hours of duty at the theatre, thus avoiding the formation of disorganizing cliques and clans. The reverse of this is true in overseas companies which travel, eat and sleep together, hi unusual personal intimacy, and al- ways surrounded by strangers. Their great danger is falling into one of three groups. The most dangerffus ot these three groups are the anarchists, meaning those who are continually finding fault with the management, the play, the direction, some fellow actor, or actress, the discipline enforced by the Army, or in shorter words, those who are always finding fault; "The opposite group are the syco- phants, or what we used to call the 'front door fellows,' who try to Curry favor with those in authority, or power, prestige, hoping thus to gain some advantage over their fellow artists. I have known many be- longing no either one or the other of these two grotips, Vand known them for a period ot over 40 years but they are always changing groups. None of them lasted verv long. They were of that ill-fated class of undesirables. "... There is always such a group in any organization, those who mind their own business, study their lines carefully, remember the direction, keep the hours and the rules laid all things that an actor's success does not lie in important connections or in decrying the management, or the less fortunate actors, or in 'roasting'' the deficiencies of their-organization, or anything else." Plays Abroad If Hitler myths and fanciful theo-' • ries of the Nazi gang's last hours.in the Berlin chancellery prove palata- ble to present-day audiences, this should find its own particular cli- entele. On the screen, it might he turned into a sensational production. Idea depicted is that Eva Braun, ele\4pnth-hour bride of the fuehrer, escaped and later gave birth to a son. She marries a British officer, his death is encompassed and she goes to England (posing as a Czech) to her husband's home. His widowed motherv having lost her three boysin the war, lyelcome* the couple with open arms." Her nephew, a British Intelligence officer, believing the girl to be Ger* man, tracks down her history and the poor grandmother (and the audi- ence) is left mystified as to whether the' child is Hitler's or the dead sol- dier's. Tlie only chance of proof van- ishing as the young mother, on the verge of exposure as to her nation* ality, dashes out into the storm and dies. The only clues, a peculiar birth- mark which could be accounted for as pre-natal influence of Adolf's bomb injuries, and the question as to •' whether the infant was prematurely. born, are left unsolved. High author- ities, dreading the possibility of a new leader being acknowledged and worshipped by German's under- ground movement, beg the harassed woman to bring up the child as bet' grandson to avert future trouble. They win their point' by stressing the , jossibility the child may really be ler own flesh and blood. This is a grand role for that fine artist, Louise Hampton, ahd she gets every ounce out of her opportunities, Mary Kerridge's handling of the sulky mysterious daughter-in-law, convincing, while Martin Case as the ruthlessly investigating official, is excellent, Clm, My Fileitd Lester London, April 16. . Envoy ' Productions, Ltd., production (In aasooiatlon With Arts Cbunull) ot haw oomt edy in three acts liy Alec Coppal. Dlrectei by -Wallace Douglas. At Embassy theatrt, London. Miriam Hudd .Linilen Travers Chalf ont Sydney Km« I-es-lar Hufld ..,..,.Rk'hard BlrJ . Tolo Pat smylia Lynch Jaclt RItchIo Andrews.. John SharJ Mick...., .Charles Ooldner This sophisticated comedy has a dream denouement to gloss over its grosser moments. It's doubtful if the unsavory theme will be accepted gen- erally. A successful dramatist married to ? popular stage star is struggling to complete his latest opus. He appeals to a Winchell-type columnist to sup- ply details and reactions of a street- wallfer eficountering a prospective client. Columnist suggests the author collect one and get first-hand knowl- edge. Following his friend's advice, he returns with an almost dumb blonde who "takes her things off. The girl goes into, the bedroom, an Italian cotngs in, fires a shot, col- lects her clothes and silently with- draws. Faced with a naked corps* on his hands, the distracted husband hides the body in his garden work- shop and frantically thinks up WW? of evading discovery on his wiies return. Meanwhile the murderer re- veals himself, explains the victim was a girl from his sporting house. He rubbed her out for disobeying oi-ders by going to men's homes, ano promptly buries tfie body in tne garden. Playwright half-discloses W» dilemma to his wife but making w as part of plot for his play. „ Richaid Bird and Linden Travers make an excellent couple, ei<l *y?- ney King gives the newshound row a nice take. Standout, however, w Charles Goldner's rich characterlza tion of the house operator. , Production is commendable, ano audiente. greeted the gustier imes with roars. cien*- Burke Staging 'Touch' Melville Burke will direct John Morris Chanin's production of 1"= Magic Touch," a farce by Charles Baddook and Charles Sherman. It's due to open in Buffalo May J - . .. - — 13, withj^Broadway pxeem skeddeo down for them, and remember above for June^, with house not yet set.