Variety (May 1947)

68 LEGITIMATE Wednesday, May 7, 1947 Plays Abroad Orpheus In Underworld Vienna, April 24. Vienna State Opera production ot revival ot comic opera in two acts (eight scenes) by Jacques Offenbach. Staged by Willi Forst. Book bv Forst and Kurt Nachmann. Musical revision by Willi Schmidt-Gentner, Sets, Otto Ni^dermoser: costumes, v.. Adlmuller; choreography, Hedy Ptunrtmayr. Asst. director, Georg Marisehka. V 1th Max lorrtiji, Esther Rethy, Hans Moser, Christ! Marl-urn, Paul Kemp. Auguste Punkosdy, Alf-»fl Jergeri At Volksoper, \ienna, April .88. '47. would put this "Orpheus" in the top money at the Metropolitan or anywhere off Broadway. It's a bet. Isra. It took a film director to sock Vienna and undoubtedly the world with what should rightly be the first postwar world success to stem from this formerly prolific part of the world. "Orpheus," as done by Willi Forst, is precisely what the public ordered in modernization, lightening and general streamlining of an oldtime masterpiece which seemed to have outlived .its appeal. Forst seems to have solved the biggest problem of those cashing in on the revival of the unforgettable musical scores of old' times. That's to have something going on the stage, and particularly in dialog and lyrics that wonlt have the customers closing their eyes and preferring to remember the immortal tunes with- out their ghastly book accompani- ment. He didn't really revise Offen- bach, except in the musical sense, where gingerbread and lengthy dreariness have been ruthlessly slashed away in favor of a re- soundingly robust and hauntingly me 1 odious score masterfully con- ducted at premiere by Willi Schmidt- . Centner, Viennese oldtimer' in the semi-pop field. ■■■;': Host important of all to the boff "Orpheus" registered here is the wholly new approach Forst took to the whole production. He cast it, in Viennese terms, as though W. C. Fields, Sophie Tucker, Lauritz Mel- chior and Lily Pons were in the leads. The Zeus role, played here by vet comic Hans Moser in his first opera-stage appearance, would be a lollipop in Bobby Clark's hands. It's rich in comedy, with plenty of room for free wheeling foolery that doesn't get in the book's way. The first scene, opens cold and ov^rtureless in a schoolroom where a pompous prof is expounding Greek mythology. • He .spots a- red. nos_e someone has painted on the classic bust of Jupiter on the podium. When he calls for the culprit, Offenbach comes from the house; declaiming it isn't necessary for mythology to be dull and serious. "Now I'd tell the .Orpheus story this way," says the composer, gesturing orchestra into the famous overture. Orpheus himself is presented as a ham singer so impressed with his own voice and beauty that he hasn't much time for his beautiful wife Eurydice. He's more interested in the Greek bo'obysoxers k who chase him around for autographs. Hades, god of the underworld, shows up on earth as a shepherd and after an exchange of snappy gags with Aphro- dite plays straight to the love god- dess' rendition of a sharp chanson. "Every Woman. Has a Weakness." This and at least two other songs have hit-parade potentialities despite age and previous condition of servi- tude of the music. Whenever ancient creakings of ■what vestiges of the original Orphe- us story remain, show signs of get- ting in the way, the pompous prof, Offenbach and the gods in the cast wander through discussing compari- sons between what the books say should happen and what real people ' would do. Moser's impersonation of Zeus waking up in the morning and being henpecked by wife and other gods is a masterpiece of comedy, Finale in hell, where Orpheus has been conned into going to rescue Eurydice for publicity's sake is a riot of well controlled color and movement on stage. Forst has ad- mirably handled big ballet, chorus and score or so of principals iri a fast moving, often stunning climax through which the best of Offenbach runs in smoothest melodic line, Fin- ish, after a brief flash' of a busty, stripped dame who's supposed to keep Orpheus from leaving hell, is a dramatic can-can in stunning cos- tumes, bearing, only slight reference to the conventional long stockings and garters rig. Max Lorenz, recently among the trio of Austrian opera singers who made an ill-fated trip to Chicago for the stillborn U. S. Opera Co, handled the lead with a Wagnerian hamminess, which, consciously or not, fitted the faint air of caricature Forst injected into the whole pro- ceeding. Lorenz is a heroic tenor playing Wagnerian leads most of the time. His voice was consciously lightened to handle the quicker tones of the Offenbach songs,' but lost ■ little in quality. Christl Mardayn, Vet musical' comedienne, handled the Aphrodite with a Sophie Tuck- erish assurance of delivery, partic- ularly in two strong double-entendre numbers. Moser, who holds a com- bined W. C. Fields-Charlie Chaplin status in 'his native Vienna, played his Zeus in broadest local dialect and knocked them dead. A straightaway copy of the Forst production, with perhaps slight im- provements in the ballet department, plus a smart job of lyric adaptation, Bless the Bride London, April 28. Charles B. Cochran production (in asso- ciation with Anthony Vivian) ot new musi- cal show in two parts (10 scenes) by A. P. Herbert and Vivian Ellis. Directed by Wendy Toye; costumes and.scenery designed by Tanya Moiseiwitseh At Adelphi theatre, London. Alice Charity Willow... Cousin George........... Archdeacon Gurney....... Lucy Veracity Willow.. Hon, Thomas Trout Pierre Fontaine. Augustus Willow,. Mary Willow.... Albert Willow Harriet Willow.... Nanny... Diana Beall ..Stewart Vartan ... .Gwllym Jones ....Lizbeth Webb ..... .Brian Reece .Georges Guetary Eric Fort ....Mary Clement . .James Harcourt .Hebe Bliss . .Anona Winn Ann Fidelity Joan Elvin Charlotte Patience Pamela Carroll Elizabeth Prudence Winifred Hnmmick Francos Fortitude Mildred Griffiths M-illlcent Punctuality ....Natasha Wills Suzanne Valdis Betty Paul Charles B. Cochran's first show with his new partner, Lord Vivian, scores a smash hit. He has the same team with him he had for "Big Ben," Sir Alan P. Herbert and Vivian Ellis, as writer and' composer respectively, and Wendy Toye as director. Re- sult is a topflight musical show, This time Cochran brings a new star, Georges Guetary, from France to team with Lizbeth Webb in a story patterned along the lines of "Bitter Sweet." On the croquet lawns of England, in country man- sions and French cafes, hearts are broken, to a.tremendous frou-frou of bustles and petticoats and a pretty little story told of a young English miss and her Continental boy friend. The girl is a high-born maid whose parents have a horror of anything French, and choose a nice, dumb Englishman, Brian Reece, to marry her. But when the gallant monsieur, Guetary, arrives with half a ton of broken English and. the song, "Ma Belle Marguerite," its evident there's going to be trouble in the ancestral hall and violent damage to plausibility before girl and boy go into a clinch. The boy is Guetary. He goes off to the Franco-Prussian wars, is given up for dead before permitted to return and bless the bride. Critics slammed Noel : Coward when he dared to pick on a story of similar and perhaps worse triviality for "Pacific 1860" but they have let off Sir Alan Herbert, MP., with congratulations. Perhaps Sir Alan's gift in turning a song, plus his wit and gusto, are qualities which would make any show some- thing above the average, especially when linked to the Vivian Ellis music, Cochran showmanship and the decor of Tanya Moiseiwitseh. This is a production of beauty and style in the rich pre-war manner. Guetary makes an excellent first impression and proves a show- stopper of no mean proportions. He has good presence, plenty of dash, and a voice that reminds of George Metaxas singing in "Bitter Sweet." However, it must be said 1 that his young partner, Lizbeth Webb, a Cochran discovery in "Big Ben" (who now stars in her own right) deserves equal star billing. She has a fine voice, youthful looks and self- confidence. All the voices have been picked with care. Anona Winn, who blesses and dresses the bride besides fluttering around, proves her- self a capable aide to Lizbeth, hav- ing charm and a voice to match. The big company of Cochran femmes and boys supply some rous- ing and witty choruses, and a hand- ful of good-looking ballets. With its melody, scenic charm and satire, there can be no d'oubt that "Bless the Bride" will get a good solid run. Eber. Napoleon, Nelson and the old Tivoli music hall. Leslie Henson, who makes a big comeback after a long absence from the West End, is mainly depicted as the Little Man with, bowler hat, frock coat, whiskers and umbrella. In this garb he is stamped in the mud for about 800 years by all those rude kings and things lined up against Jbim. In the end he turns up as a kind of St. George, brandishing his umbrella against the dragons of tyranny and servitude England ex- pects. These phases of history allow plenty of scope' for rowdy fun, snappy dancing and awful puns aimed against war and the princes who always go to battle quoting Shakespeare. It is witty, well- dressect and 1 strongly reinforced by the music of Alfred Reynolds, who mingles old traditional tunes with the heart-throbbing numbers of today. Cast has no names except Hen- son and that fine actress, Doris Hare, who supports him in gusty wisecracks. But Richard Littledale, who co-directs with Henson, makes a first-rate compere. Nice work comes from Henry Caine, Gavin Gordon, and a smart-looking chorus. Paul Shelving's settings are stylish and worthy of John Bull kicking himself in the pants. Ebet. The Telephone and The Medium Chandler Cowlcs and Efrem Zlmbaltst, Jr., presentation, in association with Edith Lutyens, of Ballet Society's production ot two-act tragedy ("The Medium") and one- act comedy ("The Telephone"), with music, book and lyrics by Gian-Carlo Menottl. Staged by Menottl. Sets, costumes by Horace Armlstead. Lighting, Jean Rosen- thal. Musical director, Emanuel Balaban. Opened at BaAymore, N, Y., May 1, '47; $4.20 top. The Telephone Lucy ..........Marilyn Cotlow Ben ...'...; ■ .Prank Rogler The Medium Monica Evelyn Keller Toby .......................... Leo. Coleman Madame Flora. Marie Powers Mrs. Gobineau ..Beverly Dame Mr. Gobineau..... Frank Rogler Mrs. Nolan Virginia Beeler College Play All the King's Men Minneapolis, May 3. Univ. of, Minnesota Theatre production of drama -in three acts (11 scenes), by Robert 1'enn Warren. Staged by Frank M. Whiting. Opened at University theatre April 28, '41. Al Suggs T. O. Andrus Dr. Adam Stanton Delwin S. Dusenbury Dr. Shipworth Fred Shrimpton Tiny Duffy Kenneth Senn Dr. Fairbanks Robert Knapp Governor Willie Stark. .Robert Hyde Wilson Sadie Burke. Shirley Jac Wagner Jack Burden Richard D. Spear Anne Stanton Marion English 1066 and All That London, April 25. John Buckley production of revival of his- torical satire in 25 scenes. Stars Leslie Henson, with Doris Hare, Gordon Little, Richard Littledale, Gavin Gordon, Wallas Eaton. He^ry Caine, Philip Howard, Patri- cia. Gaunt, Anna Claire, Arthur Lucas, George Dale, Henry Worthington, Diana Dell, Stanley Braithwaite. Based on book by Sellar and Yeatman; book and lyrics by Reginald Arkell; music bv Alfred Reynolds; ballets and ensembles by Beatrice Apple- yard; production by Anthony Parker, Peter Mather; staged by Leslie Henson, Richard Littledale. At Saville theatre, London. Significance may lie in the Univ. of Minnesota Theatre's. current world premiere of "All the King's Men" due to the fact that its author, Robert P'enn Warren, a professor here, is noted both as novelist and poet, and this is his first play. Added interest probably accrues from the further fact that ..the play is unusual in sev- eral respects, one of these being that, reversing the usual procedure, it antedates his bestseller, very highly regarded novel of the same name which was based on it and, which now is believed to be a leading Pulitzer prize candidate. . What Prof.'Warren has projected for the stage is a striking character study of a highly colorful southern governor, Willie Stark, a prototype of the late Huey Long, the sole boss of his state. It is a study with experi- mental theatre trimmings and un- doubtedly a meritorious literary crea- tion, but it's not a play in today's accepted sense of the word. Play's slight plot revolves around the governor's establishment of an $8,000,000 medical center, and the graft, personal relationships and ■crises' that stem out of the under- taking. But no effort apparently is made to create sustained interest and .suspense. The medical center plot seems to get lost by the wayside in the second act when the action veers to the im- pact on the governor of his son's fatal injury, his' relationship with his mistress and other events. In the third and final act, in which most of the plot, story and action are com- pressed, this connection of mistress- relationship, hitherto not clearly de- fined, is finally cleared up. Auditor is left with the questionable message that the ends justify the means. University Theatre has given drama an excellent production, stag- ing and lighting being exceedingly meritorious. As the governor, Robert Hyde Wilson gives an exceptionally fine performance—one of profes- sional stature. Rees. This show, which had a fairly good run in 1935 (clicked for 387 performances), has been revived and brought lip to date as a vehicle for Leslie Henson. Judged by first- night reception, with plenty of laughs, it should settle down to solid business for many months, though its value for th,e U. S. is nil. The whole point of this piece is its kidding of familiar and household events in British history. And it be- longs peculiarly to this tight little Island. Show is a mixture of wh&t has happened to John Bull since William the Conqueror socked him in the bow-'and-arrow days. Passing lightly through the Norman Conquest, it take's us to the Crusades, to King John arguing his contract with the barons, to the Hundred Years.War, on to Henry VIII, Queen Elizabeth, Switch in Booking * .Control on Chi Houses Chicago, May 6. Actual control of both the Chi- cago Civic Opera House and Civic Theatre for all bookings changed hands here this week when a long time tieup was untangled with of- ficers of the Wacker Corp., real es- tate holding company for both, re- signing from their offices in Chi Opera Co. and Chi Musical Founda- tion. Foundation is non-profit group that is the lessee of the Civic Opera House, which it leases to musical and legit companies, including Chi opera Move will eliminate any ties Wacker will have with opera or Foundation. Abner Stillwell is the only member resigning from holding corporation and keeping his directorship with Chi Opera. Officers who withdrew from opera and foundation are James C. Thomp- son, Owen L. Coons and Alexander J. Lewis. Musical foundation will have sole right to judge what at- tractions will be booked into Civic Opera House and Civic theatre af- ter current lease expires. It still takes courage to bring opera to Broadway. It may be grand opera disguised as "a play with music, 1 ' as in the case of "Street Scene," or it may be short chamber operas like "The Telephone" and "The Medium," tagged as "musical plays." The sugar- coating shows the fear that opera is more Broadway bugaboo than box- office, and the fear—unfortunately— is right. The Barrymore has a tour de force in Gian-Carlo Menotti's musical double-bill, but it belongs better downstreet at the Metropolitan Opera House. Its run chances as legit are limited. Which is a pity, and the public's fault, not Menotti's. The young Italian-American librettist-composer has great talent in both drama and music, and knows his way around a stage. He wrote "The Old Maid and the Thief" for radio, and the Met has done his "Amelia Goes to the Ball" and "The Island God," all success- fully. The new works are as success- ful artistically, being both good music and good theatre. But they're too caviarish for Broadway taste, which still needs a lot of cultivating. "The Medium" is a two-act tragedy involving a spiritualist, and her daughter and a mute servant who help her in her work. The medium, who is a fake, suddenly falls for her own fakery and believes that she too is seeing visions. Steadily losing grip on herself, she drives the mute from the house; and when he returns to be with the. daughter whom he loves, the mother (mistaking him for a spirit) kills him. The tragedy is taut and convincing, except for a few brief grandguignol- ish moments at the close. It rises steadily in intensity, with suspense excellently sustained throughout.' Music and drama are of a part, and indivisable. There are no set airs as such, but the "Black Swan" number of the first act, the waltz duet and the mother's soliloquy of the second, stand out. Orchestration as a whole is full without being heavy, while the voices are strong and can be heard, Marie Powers does a brilliant job as the medium, both dramatically and vocally, her strong contralto sus- taining her admirably -for the opera's peak moment, the soliloquy. Evelyn Keller, gifted young soprano, also has a strong histrionic sense, both in her moments with the mute and in her various song numbers. Leo Cole- man mimes eloquently as the mute, moving about the stage with a dancer's lithe grace. The supporting trio of medium's clients (Beverly Dame, Frank Rogier, Virginia Beeler) do excellent bits. "The Telephone" is a slim, but charming curtain-raiser, The comedy is a brief bit about a man trying to propose to a.girl who is constantly distracted by phone, calls.. Poor fel- low eventually has to'go out to a ghone booth to get his proposal in by Bell. Marilyn Cotlow brings an arch manner and an excellent lyric so- prano to the role of the girl, while Frank Rogier is equally impressive as the distraught baritone of a suitor, The music is light and bantering, in choice accompanying vein. Menotti, who wrote music, book and lyrics for both works, also staged them, his direction showing imagination, taste and wit. Horace Armistead s sets and costumes are in tasteful keeping. . Bron. A Young Man's Fancy Henry Adrian production of oomedv in three acts by Harry Thurschwell and Alfred i de ?/ ,.S ta * ea "y Rou«t E. Perry. Sets KS W" S V 1 ailm Alswang; costumes, m»! S cn e ; At P1 ynouth, N. Y„ April 20, •>tUt)0 top. SSvlI? 1 m r , eenley "--- Bl| l Talnmn Sylvia Wilson Margaret Langiev fvi H c l am l ,er - "• Colette MnoMahon J? U .Y'« Richard Leone inill VAX-Donm Hastings Buddy B enKoy Stwllng Dickie Crandeil Ronnie Tkv.Iiv Oliver Crandell....j BaySond bSv M s Mary Crandell ;../W e Carney &^BoV^.V.^Sy ie cS There's a lot of kid stuff in "A Young Man s Fancy," a comedy con- xwu ned ^ lth , doin S s at a boy's'camp. When the play sticks to the kid stuff —to the roughhouse antics of teen- agers in a bunkhouse, hazing a new- °F t , disc " ssta f? Parents, girls or school—it's funny. Unfortunately, these moments are few,. Play .getsi a mission; the kids try to patch up a romance between two coun^i™*. and the comedy goes askew, AndI «v go its Broadway chances. The play starts off fairly we n , ef . ting the scene of a delicate, spoiled rich-man's son coming to bunk In with a quartet of dead-enders Th» second scene of the first act,'when the delicate lad teaches the toughie, a thing or two and the bunkhouse is a shambles of broken-down cots, dis! mantled lights and general confusion is rattling good bellylaugh farce But the story is as much that'of a brother and sister trying to make a go of running a camp, and of the girl counselor the brother loves And when the teenagers plot to bring the romantic pair together, the fresh fun is gone, and instead there are stale synthetic gags about sex, hygiene marriage and parenthood. Play starts to slip with the second act and never stops. Stock characters like the over- bearing rich man, or the snoopina old maid, wind in and out, and are generally in the way. Now if the kids had been left to themselves. . Ronnie Jacoby does a sensitive job as the rich man's son, and Joan Shepard is as outstanding as a girl nuisance, Richard Leone, Donald Hastings, Roy Sterling and Bart Rose make up an amusing, sometimes terrifying quartet of campers. Kids' timing and sense of humor are equaled by their naturalness onstage Of the grownups, Lenore Lonergan is personable as the sister camp- owner and Margaret Langley and Bill Talman satisfactory as the ro- mantic pair. Ralph Alswang's set captures the feel of a camp bunkhouse. Robert E. Perry's direction is hobbled Mor, rather, jet-propulsed) by the script. In the spring "A Young Man's-, Fancy," however, won't do. Or at any time, for that matter. Bron. Heads or Tails Your Theatre, Inc., production of comedy n three acts (fivo scenes) by H. J. Lengs- felder, Ervin Drake. Directed by Edward F. Cllne; settings, Watson Barrett; light- ing, Loo Kerz; costumes, Alice Gibson. At Cort, N. Y., May 2, '47; $4.20 ($0 opening night). Cornelius T. Sheldon .Les Tremayne Amy ...Lulu Belle Clarke Helen Sheldon......... Audra Lindley Burton Snead ... .Joseph Silver Frank Jones.,. ., .Gregory Robbina Marion Gilmore ,.Lucie Lancaster Alice. -MUfOEd , Jeim Coab, Philip McGill Jed Prouty Barney Mc.GIll Eric Petersen Mrs. Warren...,.,, Ernest Milford Mr. Green Senor Coetamara,,. Hnmperdinek. MeNuity ..Ralph Siroone .Werner IClemperer Lelah Tyler .... Joseph Graham ......Anthony Gray ... .Frank de Kova ... .Richard Barron .......Paul Llpson "Heads or Tails" sounds the death rattle for Broadway's waning legit season. Self-styled comedy, staged by a new outfit, Your Theatre, Inc., in a cooperative deal with an innocent group of church and civic organiza- tions, is pure shoddy. It's so em- barrassing in its ineptitude that it couldn't get by any self-respecting amateur theatre. How it ever landed on Broadway will remain one of the insoluble enigmas of show biz. Combined labors of playwrights H. J. Lengsfelder and Ervin Drake have brought forth a scrawny mouse, of a story about a career diplomat's marital mess. Play tortures through a confusion of character and inci-' dent involving an insurance policy, suicide pact, insane asylums, Greece, Turkey, U. S. Senate, singing com- mercials and a love triangle. There is no method in this madness and certainly no humor. Completely in- fantile in conception, play has no trace of a child's naive charm or slapstick vigor. It is only an absurd bore. , _ Maybe Les Tremayne, Jed Prouty and Werner Klemperer could do bet- ter if given half a chance. But in this travesty, they just grimace and posture like wooden caricatures ana fail to lift the play even up to the level of dullness. Rest of the cast runs around the stage at random, barely avoiding knocking each otner over. Like the play, the settings are flat, cheap and transparently fake. Gleason, Keith Added To Pitt Summer Opera List Pittsburgh, May 6, Couple of additional casting an- nouncements have just been made by William Wymetal, managing di- rector of - Civic Light Opera Co., which opens nine-week season of outdoor shows at Pitt Stadium June 2. Jackie Gleason has be^n signed for leading comedy role in "Rio Rita," which is being presented late in June, and Ian Keith, screen actor, is coming here from Coast for final two productions, "The Three Musketeers" and "The Great Waltz.^ Season's opener, "Desert Song, will have Margaret Spencer and Ed- ward Roecker heading the cast ana Violet Carlson doing the cluei comedy support. Eddie Scanlon,wno stage-managed "Lute Song," hasten that attraction to come back here again as general stage director,^» post he also filled under a different regime last year.