Variety (Oct 1947)

Plays on Broadway The Heiress Fred P. Hlnklehoffe presentation of Jed Harris production of drama In two mis (one scene) by Ruth and Augustus Uueix. based on Henry .Tames.' novel. "Washlniiton Square." Stars Rasll Rathbone and Wendy Hiller: features Patricia Colltnge. Staged liv Harris; setting by Raymond Sovey. At Lillmore. X. T„ Sept. 20, '47; $4.St) top. Maria Fiona O'Shiel Dr. Austin Sloper Basil Rathbone Lavinla Pennltnan... Pati'tola OoltlnBO Catherine sloper Wendy Hitler Kltzaheth Almond.. ..Katharine Rant Arthur Townsend '.Craig Kellv Marian Almond Augusta Iceland Morris Townsond.. Peter CooUfon Mrs. -Montgomery. Hetty Lhrte> Pastures." But it's a thirmed-out pasture. The play concerns a group of recently-freed Negroes, granted some land on a Georgia island by General Sherman during the Civil War, who find the land taken away from them after the war. by the original owners. Ingredients for a stirring drama are here. The author instead has written a series of tableaux—and some of them are impressive, indeed —which are disjoined instead of cumulative, and sometimes slow al- most to dullness. Second act is a sharp improvement over the first. Spirituals which end many scenes, slow down what action there is. There are a few noteworthy ex- ceptions, as when the group breaks into "Go Down. Moses" on hearing An overlong performance certainly doesn't help the chances of an 1850 period drama localed in N. Y.s Washington Square, which was tried out last season under that title. That i —-.■•*" VnC"*. ua«„~;T earmaiks of ciack theatie | ^ of p res i den t Lincoln's Fred Fink'ehoffe. turned the pro-; deatn is almost as s t ivr ing. du:tion of "The Heiress oyer to Jed Act i ng j s universally well above Harris entirely, and its | the scripting. William Veasey, as the mounted, the leads expertly cast. The , or0 up leader, is a sort of awkwardly- play is a ya'n of blasted romance, power£u i Negro Lincoln, his tall, the theme of frustration being a.- rangy figure i mpr essive and his sing- most always present, which in ltsell l- and aet i ng superb. One or two of plnces the show in the doubtful cale- nis j mpa ssioned speeches are power- gory. I fui theatre. Muriel Smith is equally Catherine Sloper. a shy, plain girl, affecting as the girl in love with him, of 20, lives with her physician father and the lew love scenes between the in a fine old house on the Square. Girl's mother died at her birth but she inherited none of the grace and charm the doctor so worshiped in her mother. He's never re-wed. He resents Catherine's mental back- wardness, if not her stupidity when she so promptly falls for the ad- vances of Morris Townsend, a for- tune- bunting, polished heel. two are the finest moments in the play. Julie Haydon is appealing in the brief role of the white teacher from the North who volunteers to join the grouD. Valerie Black is fetching as a pert soldier's wife. Other parts in a long cast list are ' outstanding, ! Eddie Dowling has directed as well I as script limitations permitted. Ralph Dr Sloper, being a keen man,' Alswan«'s sets are striking, while senses Morris to be a phony, rather i some of his lighting effects are than the gentleman he pretends to be | sharply noteworthy. Choral group- and when Catherine accepts the. IngS, as well as group singings are youth's proposal of marriage, father above par; The play, unfortunately, takes her to Europe. Upon their re- isnt. Bron. turn Morris is for an elopement in- , stanter, until he learns that the girls j _ ^. _ •. . income of $10,000 is one-third of I Ooita t.ef Will What he hoped it would be. Berber! M. Harris and Lester Meyer pro- . ... _ ,, „ , ductton of farce in three acts (three scenes) Morris jilts Catherine cruelly, flee- i,y Joseph Melds and Ben Slier. Staged by ing to' California, then returning! Melds. Settings, Raymond sovei% At cort, after two years unable to make good I - x - v -. Sept. 25, '47; $4.s« top. even in the gold rush days. The "doc-1 ****** tor has died and the girl now has the money Morris seeks. Again he pro- poses an elopement and she pretends to accept but Catherine is not that dumb, bolting the door, resigned to spinsterhood. There seems to be something the matter with the script for it's hard to take sOme of the story. • There are a few diverting interludes and bits of eecond-act emotionalism, yet the per- formance goes on and on with an undertone of sexlessness. Perhaps pruning would have helped but such a story even if acceptable is little more than literary. Wendy Hiller. who came from London, gives Catherine a certain charm and in fact it is. her show. Basil Rathbone is the bewhiskered doctor, giving a fine reading of the intelligent father. But despite the type of her characterization, Miss Hiller dominates the performance. Her appearance on Broadway is timed with her scoring in the cur- rent British feature film, "I Know ■Where 1 Am Going." Patricia Collinge as a companion- aunt is gay in a Pollyana-ish way. Peter Cbokson turns in as good a performance as the heel as possible, • and while there are a few other characters, what goes on in "The Heiress" is principally between that toursome. Ibee. Our Lan* Eddie Dowling and Louis J. Singer pro- duction of folk-drama by Theodore Ward in two acts. Features Muriel Smith. "William Veasey, Julie Haydon, Valerie Black. Staged by Dowling. Sets and lighting. Ralph Alswnng: choral arrangements and direction, Joshua Lee; associate director. Edward R. Mitchell. At Royale, K. Y.. Sept. 27', '47; ?4.S0 top (?7.20 opening night). Kdgar Price... Irving Raines Gabe Peltier Herman Phillips Emanuel Price Louis Peterson Patsy Itoss .Theresa Merrltte Joe Ross Augustus Smith, Sr. Charlie Sellow Ehiory Richardson ■Ellen. Valeric Block Somes Harold Conklin Daddy Syues. ..Service Rell Jtoxannn Margo Washington IVlphine Muriel Smith Bernie Railtke Timmle Frances Gussie 11a 1.v.. Mrs. Clark .... A Toxical) Driver. Larry............... Dr. Pcrrin Conatantln. Stoddard Reed Brown, Jr. David Burns .Hal Xeiman lohn Conway Hileen Larson Peggy Maley . .Peggy Van Vleet Kdith Meiser ...... Ralph Smiley Ted Erwin Edwin Whimer Richard Shankland .. .Harry K. Smith Dr. Flugeltnan K. A. Krumschmidt Angle Kenneth Forbes Joke Don Grusso Steve ' Griff. Evans Hogan Mickey Cochran A Woman Player Ruth Savllle Broderlok Dan Evans A Ticket Seller Charles F. O'Connor Jerry Ralph Simonc A Player .. Robert Gallagher Another Player. Charles Rondeau A Second Woman Player Viol Rant A Third Woman Player..-Barbara Thorson Tom Hill Donald Foster rs"ulah. KPirthft. Alii e Hank- Saunders.. Cant;* In Bryant T.ilieth AvbarbaDeli. Oliver Webster Yank Sergeant Captain Stewart John Lurkhnrdc..... Frxil Douglas ; Tv-io Taggart... Minnie.. .■ Sarah Joshua Tain .!> tilores Woodw Paula Oliver .Mrtry Lucille Melirido Charles I.ilicnilvil Jack Hooker Tulle Haydon James Jlai'Wood .......Stuart Hoove" Gene O'lXmneU Frank Tucddell .Augustus Smith. ;Tr. Jay Brooks .Blanche Christopher .K^telle Rolle Mvans .... .William Vease\ .. .Virginia Chapman ...Kdith Atuka Rcld ....Richard Angarol-t . .Chauneey Reynolds .T'.'dmund Cambridge Graham Velsey 1st Rebel Soldier Nathan Adler 2nd Rebel Soldier Michael Higgins C.ei Dos Oil! I.cn Che Coil gar.: Web! del' in Broker. It's hard to resist some parts o f "Our Lan' " but harder to take all of it. The Nepro folk-drama is earnest and thought-provoking, with an analogy to today's troubled times. But the play is static and plodding and the overall effect is disappoint- 'ihc. Its draw can only be limited. T ii mf>>-?up of dramatic incidents pcpetl'stod by spiritual singing, the play is reminiscent of New comedies among the first flight of shows this season are scarce, and the first one to click will prob- ably be hailed. But "I Gotta Get Out," a racetrack farce, is strictly out of the money. Turf plays are infrequent, none having succeeded since "Three Men on a Horse," which, while concerned with betting on the nags, didn't in- clude the course itself. Authors of "Gotta" localled the principal scene at Belmont Park, which was much too difficult for authentic back- ground. A little of the color of New York's ace racing plant is gotten but to racegoers the scene is as phoney as the money used by the actors. "Gotta" is a virtual succession of gags with so little story that there is hardly a play. First scene is a stable- loft where three bookies take bets, until cops are reported raiding the joint. Action switches to the kitchen of a Long Island home, and the play seems to bog down from there on. Last act has the same scene, after the Belmont interlude. Bookies and their femmes move in and rent the place so that the matron-owner can raise funds for her pet charity*. Program has 28 players listed but most are assigned to bits, a majority being walkons. David Burns and Reed Brown, Jr.. have comedy lines as a brace of bookies, their sour- pussed associate being Hal Neiman. Peggy Maley and Eileen Larson are the girlfriends of the first two. and they too register with laugh lines. There's a romantic duo. played by .John Conway and Peggy Van Vleet, but the authors didn't devote much attention to that angle. Edith Meiser. who appeared in "The Stars Weep," removed recently for revision at try- out, turns in the best performance as the matron. There are a number of unneces- sary bits and two detectives, one, in- cidentally called Broderick, name of a well known Broadway dick and foe c f bookies, who recently retired from the force. Ibee. {Closed Saturday (27) after four performances.) HENRY CLARKE With Theatre Guild's London Pro- duction of "OKLAHOMA" (Jud) Theatre Royal, Drury Lane Direction: Henry Wiese, 1674 Broadway, N. Y. Shylock and Daughter Yiddish Art Theatre presentation of Mau- rice Schwartz production in two acts (14 scenes), dramatized by Schwartz from Ari lbn-Zahav's novel. Stars Sehtvnrtz; features Charlotte Goldstein, Edmund Zay- enda, Muni Serebrov, Gustnve Berger, Dina Halpern. Staged by Schwartz; settings, James R. Hotchkis; music. Joseph Rum- shinsky; dances arranged by David Llson and Selma Schneider. At Yiddish Art theatre. X. Y., Sept, 29, '47; $3.00 top. Shylock Maurice Schwartz Jessica Charlotte Goldstein Launcelot Isidore Cosher Stephano Yudel Dubinsky Samuel Mono Ktlinan<LZii«n di > Lorenzo Muni~eieT>rOv Antonio Gustave Berger Portia Dina Halpern Rabbi Movano Abraham Teltelbaum Cardinal Roberto Boris Auerbach Dona Camilla Jenny Casher The Duke of Venice... .Morris Ktrassberg Dr. Klonymos Anatole WlnogradotC Tubal 1 Charles Cohan Gratiano Miiha Fishon Salnnlo ..Morris Kroner Rabbi Nehemtah Solomon Krause Jail Guard Morris Bielavsky Shakespeare's depiction of Shy- lock, in his. "Merchant of Venice," has been given a going-over by Maurice Schwartz in his Yiddish Art Theatre presenialion of "Shy- lock and His Daughter," the opening play of the troupe's 26th season. Shylock, the 16th century Jewish money-lender of the Bard's "Mer- chant," has been considerably hu- manized in what Schwartz and a novelist, Ari Ibn-Zahav, from whose book this Yiddish' version has been adapted, have purported to show was a flagrant misrepresentation of the Jewish banker's character. This dramatization has many poignant moments, the casting, headed by Schwartz in the title role, is ex- cellent, and the staging is like- wise top-drawer, to insure one of Schwartz's best boxoffice successes since his "Ashkenazi," a decade ago. Instead of the greedy Jew that has been painted , by Shakespeare, Schwartz and his troupe are telling the story of the money-lender who seeks retribution for the theft and conversion of his daughter, Jessica, through undue influences of Loren- zo and Antonio, and the intended exaction by Shylock of Antonio's pound of flesh in payment of his debt to the banker. In Shakespeare's "Merchant" it was purely a selfish, mercenary reason that' prompted Shylock to forfeit hjs right to the debt, while Schwartz portrays a pic- ture of the forfeit resulting from the traditional Jewish custom of never spilling blood. Schwartz gives an overpowering performance in the lead part, as do all others in the play, with Char- lotte Goldstein notable as Jessica. Others who. show up excellently are Isidore Casher and Yudel Dubinsky, as Launcelot and Stephano, respec- tively; Edmund Zayenda as Samuel Morro. a refugee: Muni Serebrov, Lorenzo; Gustave Berser as Antonio and Dina Halpern as Portia. Kahn. Inside Staff—Legit In a two-part Oscar Hammerstein, 2d, profile, first installment of which appears in the Oct. 4 issue of the Saturday Evening Post, David G. Wittels reveals interesting facts about Broadway's champ lyricist* who raised such ditties from "banality to singable pOetry." Irving Berlin, who has "written more popular hits (songs) than any other songwriter," is quoted saying: "The difference between Oscar and the rest of us lyric writers is that he is a poet." Cited is "It Might As Well Be Spring," 20th-Fox's "State Fair" pic, which Richard Rodgers and Hammerstein composed. ' Article entitled "How To Make $4,000,000 on Broadway" is fortunately timed with the opening of "Allegro" at the Majestic, N. Y., Oct. 10. that musical having been written by R.&H., who have been teamed since 1943. During his 30 years in show business the musicals in which he^collaborated or produced are estimated to have grossed $100,000,000, of which $4,000,000 went to Hammerstein. Some of the shows were: "Rose-Marie," "Show Boat," "Desert Song," "Music In' the Air," "Song of the Flame," "The New Moon," "Oklahoma!" and the lyrics include his end of "Ol Man River " "Come Back to Me," "Make Believe." "Ev'ry Little Star," "Can't Help Lovin' Dat Man,". "All the Things You Are," "Who," "Indian Love Call," "One Alone," "Softly As in a Morning Sunrise," "When .I Grow Too Old To Dream" and "Why Do I Love You." Hammerstein, 53, is the son of the late William Hammerstein, who, during vaude's heyday, managed Hammerstein's Victoria at 42nd and Broadway for Oscar Hammerstein, who was more interested in grand opera and inventions. There are interesting sidelights on grandpop Oscar, and during a period when the lyricist's shows weren't clicking, the younger Oscar quoted the elder as saying: "There is no limit to 'the num- ber of people who* can stay away from a bad show." Wittels says that young Hammerstein was "conditioned" by his ma- ternal grandfather, James Nimmo, a "dour miened and reserved but gentle Scotchman," and he was raised as an Episcopalian. In his early years they shared a milk punch spiked with Scotch whisky, which Nimmo would mix before the others rose, and in the evening they'd share a bottle of stout. Hammerstein to this day "can and does eat anything edible, con- siders life uncivilized without a couple of drinks before dinner and per- haps some beer or port later; all he knows about indigestion is hearsay." Second installment of the profile comments that after 11 years of flops he was regarded as a has-been. Then came "Oklahoma!," which has played to 5,000,000 patrons on Broadway and throughout the country, and it's still going. Hammerstein soon afterward inserted a holiday greeting ad in Variety, mentioning half a dozen flops after which the copy read: ."I did it before and I can do it again." Playwright Irwin Shaw, stepping up to bat for first time as drama crjtic of the New Republic, devoted his first column (Sept. 29 issue) to a general discussion Of reviewing, and defended himself for signing up for the chore. "Nothing the new critic may reflect comfortingly, can hurt the theatre more than it has already been hurt by the present crop of play- Wrights, critics, producers, directors, theatre owners, stagehands and audiences," he said. Answering the charge that a playwright might be biased, Shaw said: "Professional critics are as liable to bias as other men, and a playwright's bias might be a profitably fresh one, born out of a sobering amount of experience. Being forced to see and evaluate 50 plays a winter," Shaw also said, "can only help a playwright. I "Also, it is conceivable that a critic may contribute by a little bit to • make a theatre more to his own liking, than the one he finds in operation. "Finally, outside politics, what better opportunity could a man find to j lose several old friends and win many new enemies? The blood surges through the veins in an invigorating, fresh flood at the prospect." Significance of a dramatist Who had rapped critics and was now taking over as a critic wasn't lost on other reviewers. Richard Watts devoted his N. Y. Fo?t column one day last week to welcoming Shaw to the critical fold. John Chapman of the News had a friendly greeting for him. All this, in spite of the tirade Shaw launched 1 against the critical fraternity last year when they unanimously thumbs-downed his "The Assassins." A Utile MazH Xnlhi ng production ol musical [ comedy in two acts (six scenes) b> Louis Freiman. Stars Leo l-'tn bs; features Jacob Jacobs. Beltie Jacobs. Albert Shoeng.dd. Rebbecca Rlchlnan, Hannah Hollander. Rose Goldberg, Nathan Goldberg. Staged by Nathan Goldberg. Settings. Saltzmnn Bros.: music. Yasha Kieitzberg; lyrics, At Parkway theatre, Btook- 47; $^.10 lop. Rehheeett Rlohmnn ■ ■ Ret lie Jacobs Hannah Hollander Jacob Jacobs ......Nathan Goldberg Leon Seidenberg, • Leo l-'ucbs - Rose Goldberg Fagole. .. . . .Mirele Hergtnnn. Paula Klelda Ren Zlon Albeit shnengold Policeman Louis IWksnllzlty Ma id Frances Wagenfeld Enlarge Omaha Ami Plans Omaha, Sept. 30. City planner's, answer to objectors to new auditorium and music hall is a vast enlargement of plans with Green ! about an additional million cost. Jacob Jacob.", lyn. Sept. 'J4. Beatrice Molly. Helen. Mala.'h Burst ban. Jacob Miller Joseph Aptttiker. Chonina Rifka Sol Gelb, former assistant N. Y. district attorney, appeared before the Appellate Division of the N. Y. supreme court last week on behalf of the Jacobs ticket agency. Agency's telephones had been tapped and a listen- ing-in policeman made .notes of sales of fight tickets at prices in excess of the legal limit. Officer admitted that he rewrote his original notes, which were then destroyed, excuse being that he didn't want to be con- fused during cross-examination. Testimony at the trial was based on the cop's complaint to the magistrate, and Geltty contended that the evidence be placed in the category of "hearsay." Attorney when on the prose- cutor's staff got a conviction in the "Wine, Woman and Song" indecency case several years ago, for which the late I. H. Herk served a six-month sentence. After the tumult at Equity's recent membership meeting Clarence^ Derwent, president of the actors association, saw Bert Lytell. whom he succeeded, and the duo commiserated with each other over the ardous job of chairmaning such sessions, also conducting some of the talkative council meetings. The present president suggested to the past president that he take over when Derwent's term expires in 1949, but Lytell de- clined to commit himself. Latter headed Equity during the years that the actors were in a dither over the communist charges made by ex-Con- gressman William P. Lambertson, relinquishing the post at the insistence of his family, with whom he was able to spend little time because of the press of Equity duties. Chane Rivka Shapiro was billed among the show's credits in the house program, as secretary to William Herz, Jr.. production assistant for "The Stars Weep." tried out in Boston. Miss Shapiro has been identified as Renee Carroll, redheaded hatchecker at Sardi's restaurant, she also doing work on the side for Louis Schonceit, ticket broker-producer. General managers are going for the "production assistant" billing, especially out of town, and local showmen there get quite a giggle out o£ it when lamp- ing company personnel credits. Aline McMahon's replacement by Florence Reed in a featured role in the forthcoming "Medea" stems largely from the star, Judith Anderson, according to members of the company, llnderstood there has been in- creasing personal tension between the two. actresses during rehearsals, with Miss Anderson pressuring John Gielgud, director and co-star, to drop Miss McMahon. Besides the personal friction, however. Miss Anderson and Gielgud didn't see eye-to-eye with Miss McMahon on her character- ization. Paced by Leo Fuchs, "A Little Mazel" shoves its sprightly foot for- ward to win solid applause at its Brooklyn site of operations. Like many of its forebears on the Yiddish stage, there's plenty of the hodge- podge and improvisation in this Louis (Continued on page 52> William Liebling, of Liebling-Wood; Joe McGhee. of William Morris; Gloria Saner, of Sam Jaffe office; Lillian Arnold, of Lucile Phillips office; Lyman Brown and Frances Hidden, of Richard Pitman office—six of Broadway's leading casting agents—will hold seminars oh theatre job- getting Sunday afternoons at the Abbe Theatre school. N. Y. In addition, Vernon Rice, N. Y. Post drama editor, has joined school staff to give series of lectures on history of the theatre Wednesday afternoons. Brock Pemberton received a container with 46 silver dollars from Robert Porterfield as salary for his appearance in "Harvey"' at the Barter theatre, Abingdon, Va. Producer told the Barter manager that one buck would suffice, so sent him a check for $45 and is waiting for that Virginia ham which Porterfield gives guest stars. Helen Hoerle, while in advance of "Ladv Windermere's Fan" in Balti- more a week ago. fractured her ankle in two places. Just out of the hos- pital, she's at her N. Y. home. Mary March has replaced on "Fan" until Miss Hoerle's return, probably in three months.