Variety (Dec 1947)

Plays (Hit of Town L«ok Sfa* I'm Daneing , Boston, Dec. 25. rtun-tte Abbott pi'Oitui'Hon of inuHloiil In two Mts (to Bccnco) conceived hy Jfionu. nobliliis, Ix""" ''y •Jfrome r.awionc& aiirt istarn Nancy Walkon Stoffefl bj' ('ftoree AWxitt and Jei'ome Robblna; nets, nm^r Smith; co(ituiiie«. John rratt. Oi>ono.l «, t"e Shu)«;rt, Boston, Doo. 25, '47; VMlnfcr "<«'ee KiiV.. • Tommy Bull Aw BruW. Janet U«d i-rWle Winkler Harold Laiifr , h^mv Wliito Vlrnlnia G«r«kl V piiiiicelf Robprt Harrln Tlinvii DrlnHltiiya Kathialnfi Sersava Vl-iUimlr Luliott Alpxandcr ilaroli T iiv Miilloy^. Nancy Wiilker Ml- rerblsli...; .• JSdrtie ITor!Ei> ilfhiiarwnl rianlst...ICalhleen Ctirnos 'J'unya's I'artnt'r Haul Cclada lioll Boy. ..,i,..,..>..iUeBn Campbell Hotel Ciei* W^ltei- Binner On the basis of the premiere per- formance here, this shoT/y's dearly got what it takes in basic values, but there's hard work to be done m ■ every non-production department -befiire it's ready for Broadway. Sfbry idea, attributed to Jerome Bobbins but- Worked out by Jerome Lawrence and Bobert E. Lee, is solid. Obviously suggesting Lucia Chase and the Ballet Theatre, with many a WJt, ballet character in hot-too- obscure -evidence, it .has to do with an egotistical young dancer in a touring company banlcrolled by a beer heiref». Dancer gets a chance '■ to choreograph a number, and in doing so becomes dictatorial and dis- ^^reeabtei alienating, his gal and the whole company. Number clicks with the cruc, however, and so do the company, romance «nd beer. Main deficiency is the book, which makes the ballet troupe sound- like a cross' between a Sundi^. School mixed choir on tour and the George ' Abbott University Flityers retiears- inft. The dialog seldom offers a joke and the scenes sans dance or song bog down in unentertaining exposi- tion. Except.for a couple of songs that may foe heard from ("Tiny Jtoom" and "I'm Not So Bright"), the music is largely production stuff, - Dtthough there are two comedy . ^ngs that provide Nancy "Walker ' and Alice Pearce with a fbw bright . .moments. / The principal offering of the show V is dancing, but even here not- all the tmnnbers elicit. Starts off big witti ; "Gotta Dance," and the first-act cur- ■ ■'tain, with a travesty called "Made-' ■ moiselle Marie," wows. Best dance number in' the'show is an hilarious item called the "Fajama Dance " but the. final "ballet about us," leaves the show oh the downbeat. Top moments are those involving Nancy Walker, She gets about everything possible from her dialog, singing and comedy toallet-ing, giving the show direction and focus. Har- .■-old Lang, nice personality, wows in his dancing and gets away with his sinifing, which u fortunately not often. Tlie other princiiials, notably Janet Beed as the dancing love in- terest, BUI Shirley as the guy finaUy allocated to Nancy Walker, Kath- . arine Sergava as the prima ballerina, and Alice Pearce as the eccentric, do ,,nice Work, but all could use stronger material. The production Is exeellent, with distinctive sets by Oliver Sinith and suitable costumes by John Pratt, though the costumes for the final niunber, like the number itself, seem un&ispired. A lot of bard work on the road may sharpen this good idea up to a proper point. It's doubtful whether it is in serious trouble in any case,. what with, musicals hard to come by this season. But if it goes in as it stands now, it'll disap point -a lot of jieople who have greater expectations of, the promis mg young talent behind the show, ■. Elie. IloniHiKa Bound „ Philadelphia, Dec. 28. fclfitl'"'"'F»igay and Oliver JP""*""""" inuslnal comedy In two D^. ^ "cones, with book and lyrics by ^i,;;,.*^*"??™- Adolph (Jrcen: muelc, Saul »o™ ,V ^'SJturea George Coulourin. Carol ni^ti , ' «»ckett, AdDlph Green, Ziimah tunnlBgham, Allyn Mcl^rle, Betty Lon JWSrto Paul Qodkln, Sydney Arnold. Staged "V'''' *"r'«lman. Choreography, JacI, '""•''(■al direction, Lehman Kngel Tir»^"i.°" ''"ilKi. Oliver Smith; costumes, "jne Hliamlt; orchestraOonK, Philip I.ani?; /S"'?""*"'"''"". Obajtlata; Ilgbting, Jidnli ^V'- -OPfined at the Shubort, I'hila- n!^SS!l"!'; Sidney Melton Wiii ^™P,e<''«r Ted ThurHton Wi'mt ^™"««l>ank George Coulouri *«rsen..,.,, . Peter J'leet. .Socom] Pro»i)«ctop... rhm i,^r'"'''='"'' Jo'inny S"v"r ^iiuabollc—, viJl ftaar tej";i'> »a vind.. .\\';;;;,'.Adoiph S "i"- Cornelia van nensaclaer., TUfc-hy Zamah Cunningham CrSnni'iliu.' ■'" ■ '" • Sydney Arnold ^roupiem sven Hoist, Ken Foley ■il«ol"'''l considerable winning Bl«»f«„ i Broadway-bound musicals MPPm^ snapped with the mn,T»i°* 'Bonanza Bound," the new Pa"3^1 .presented by Herman Levin, show Hi?.''^.^^"^ P''^?^ Smith. The Bon Milloj' .Robert, Ponn vHal Hackelt John Moonoy 49 many of the invited New Yorkers as could get here despite'the record snow. Coincidental with the postpone- ment of the original Xmas night opening, it had been widely rumored the show wasn't ready snd should have been held back until a still later date. But a couple of days or even a Auple of weeks" work wouldn't be enough to put this one in the. running for Broadway. It has two full weeks skedded'here with a good advance, including a sellout Nuw Year's Eve, and it's natural to suppose some of the mechanical defects will .be fixed. But'that will hardly be enough. The show's book is so bad now that it would seem better to throw it out, virtually in toto, and' start from scratch. Authors have had two musical hits to tlieir credit—"On the Town" and BilUon Dollar Baby"—but this current libretto, with its setting in Alaska during the Gold Bush boom of the 1890s, sim|>ly doesn't get to first base, despite its local color and romantic period atmosphere. Story is too ■ preposterous to rate telling, but briefly it concerns a big-time Alaskan gambler who aspires to be- come a kind of sub^Arctic emperor. It the yarn were played irf a tongue-in-the-cheek fashion, it might have merit, but presented straight, it is silly, unbelievable burlesque, without humor, flavor or entertain- ment. That's a shame, as "Bonanza Bound" has quite a few credit items. Chief among them are Oliver Smith's settings and Irene Sharaff's stimning costumes, Jaclc Cole's choreography also rates a hand,: With a couple of the cnsembled dances helping save dismal portions of the book. A Totem number, while not too orig- inal,. 1<! a highlight. ■ Saul Chaplin's score, on the other hand; is not happy: The best num- ber, "Inspiration," comes far too late to save the show. It's a comedy number sung by Allyn McLerie and Adolph @rcen as the second roman- tic team, and has fine-lyrics an<d a- catchy tune. "Tell lS(e:. Why" is- a fairly good ballad and George Cou- louris ha<; an amusing ditty called 'Misunderstood." CoulouriSr by the way, is one of the chief sufferers through the freaky Ubcetto'S' diortcomings. This able dramatic character actor strugr gles manfully with, the gambler- villain's, role—plus long mustacheos and a wicked leer—and at times manages to be mildly amusing, but never credible. , Best of the performers is Carol Raye, attractive London importation, as the heroine. Miss McLerie, as the other gal, does .a neat job and co- author Green-has a few moments- as the second male lead. First lead is played by Hal Hackett, supposed to be primarily a dancer, but here more of a singer with love-making pro- cltvities. Betty Lou Barto Is seen too little as the third member of the music hall troupe. Both singing and dancing choruses are good. Hard to figure how this one can ever be whipped Into shape for any real degree of'success. Waters. Sii*juig« BedfeIlow9 Philadelphia, Dec. 27. Philip A. Wa..£inan production of comedy In three acts (ttve scenes), by Florence Kyersoii and Colin Clements. Features Joan Tflzcl, Aline MacMahon, John Archer, Carl Ronton Beld, Nydia WeJStinan, Robin Oravtn. Directed by Benno Schneider. Scenery and ligbting, Ralph Alsrwlng; cos- tumes hy Morton Haaolc. Opened at Jjocust thtotre,. Fhtlad«lphia, Deo. 27, *3.(» top. Julia Cromiwll...........Aline MacMahon Beulah .Lettt Bonynge A(W16 Ofotowell Hiinipton..Nydia Westmnn senator William Onamroll Carl B. Keiit Ulliau Hamilton.,... Mary Kay .Tones Nicltey BUly Navarre- rjng .............Tom Chung Yun Mm. Ginililo Frieda AUman Mrs. Worley Marlon Weeks Giftord Hampton ......Kobin Craven Vincont Ptsmberton ...Michael Hali Matthew Oomwell ,.,,,.Tohn Archer tuaris'tt Ulvnii Oromwoll.......Joan Totzel Mr.H. TlUio .Mparkcr Doris Kich Mayor Ambrose Tlhbett .Percy Helton Birillo Buth Miles Zita Ann Thompson Opal..... ...,.•>,.........8tephanl« Foster- Philly's second Xmas week preem- has elements suggesting moderate hit chances and was cordially received by the opening night audience here. "Strange Bedfellows" is a belated entrant in the nostalgia school which has included "Harriet," by the same authors, and such diverse shows as "Bloomer Girl," "Up in Central Park," "I Remember Mama" and, of course, "Life With Father." This time the Ryerson-Clemcnts team. Which did right well by Har- riet Beecher Stowe (and Helen Hayes), takes a locale of San Fran- CLsco in 1896, which makes both time and place identical with "I Remem- ber Mama." Action is laid in swanky home Of Senator; Cromwell on Fris- co's famous Nob hill. The plot in- volves the contemporary women's suffrage issue, and is complicated at the start by the son's marriage to a votes-for-women enthusiast. She presently wins over the fem- inine members of the Cromwell fam- ily, most especially the Senator's knowing and warm-hearted wife, and from then on it's a battle of the authors are careful to give the two sekes an even break. The prime is whether the comedy, of which "Strange Bedfellows" has considerable, plus the atmospheric charm of the periodj wUl carry the dated fetninist angle. In the play's lavor are its piquant sex angles, never too blatant or overstressed, but engagingly naughty. Relations of the young husband and wife, es^. pecially in a wine-bibbing nocturnal bit are also funny and provocative as well. The cast lias been wisely chosen. Joan Tetzel is especially outstanding as the belligerent daughtcr-in-law. Looks as if, no matter what the play's fate, this young player, who clicked so strongly in '"I Remember Mama," IS due for another personal hit. Carl Benton Reid, sometimes reminiscent of "Life With Father" is a properly blustering and bluff Senator. • John Archer is sincere as the young bridegroom. Ro.se Amos, step- ping in at the last moment, scores as the Senator's human and shrewdly observant wife and Robin Craven and Nydia We.?tman do well by an- other married: couple in the same household. Mary Kay Jones and Michael Hall rate a hand as a couple of youngsters. The: single setting by Morton Haack is top-notch but Benno Schneider's direction is spotty and in need ot tightening and pointing. With that done, . "JStrange Bedfclr lows", may achieve a moderate suc- cess. Waters. The Master's Chair Long Beach, Cel., Dec. 29. La^vrence Stanhopo. production ot drama In thi-ee acts it^la scenes), by Band KlUot and Allievt Dick.'ison. St:aKCd by Frederick Do Cordova. . Opened at Tracy theatrti, liong Beach, Dec. '47, at top. Minerva Ofiks. Ona Munson T^anny WrUioin Yedder A^rs: Tiyoh...... .Helen Freeman David Tryon;. Hichard Ney Nora Trj'on Jorjrt Curtri.i;-Ut Dr. Corson Milton .Kibbee Charlotte Stafturd Huth Brady Pet«r SterliRg, ft npset; ih* scheme. The women work on the young couple till they altnost blast the romance, but the kids finally tell the elders off and set their own pattern for ; happiness. Plot' gives an impression of having been written with a feather pea, it's that light, but dialog, on its own, has a number of bright spots. Inciden- tally, added sparklers in the verbiage department are a major avenue of pcssible overall improvement. Some competent troupei-s top this cast. Shirley Booth handles the Maggie role in good fashion, her skill making the part readily be- lievable. Neil Hamilton lends strik- ing stage presence to the somewhat .secondary character of Dr. Lambert. John Williams makes a crack editor of the sophisticated type, and Marta Linden is properly decorative as the wealthy divorcee. Doris Dalton's in- terpretation of the senator's- wife is too far on the fritteiy side, espe- cially since she is supposed to ghost her spouse's nationally famous po- litical speeches. . Margaret Hamilton is good as a sharp-tongued maid; Anne Sargent lends appeal to the Mary assignment; John Hudson gives sincerity to the Peter role; Joe Allen, Jr. does okay as Leda's air pilot-lover. Bob Willey looks more like a coUege halfback than a hired hand and David Ander- son goes through a lot of .unneces-, sary calisthenics in reading a moppet part. Staging ranges from good to or- dinary, former predominating. Don- ald Oenslager's intoror-exterior com- bination of a Maryland ,setting is beautifully executed and Helene Pons does an ace job of attiring the ladies. Bone. Laid in fim^de-siecle New England, this is the latest entry in the' field -of psychological chiUers.; Plot lino seeraS' like "Angel Street," with over- tones of "Behccca" and with sus- pense building to. an unexpected' twist at the curtain.' Basically the idea is sound, but considerable rewriting and tighten- ing is indicated before anything re- motely resembling a Broadway click- is likely. Pic ppssibilities, however, seem good. Particularly with the ciu-rent trend toward material of this type. . Action revolves around iUustrious' Tryon family, scion of which is typi- eaSy spoiled only son. Ruled by a matriarch who wants the -family: name perpetuated, he enters a hasty marriage calculated to win his moth,, er's apinroval on respectability grounds, only to discover his new wife can't bear children. . . Action, possibilities are plentiful with a death, a murder and a pro- tracted madness angle, but play bogs down to a ponderous, talky offering because of improperly handled dia- log. ■ Despite good staging by Erederick De Cordova, the cast fails to measure \xp to expectations, save for troupers Helen Freeman, in the first act, as matriach, and Ona Munson; as the housekeeper whose early marriage to a member of the family is h-ushed. More rehearsals seem indicated. The single uncredited set is great. ■ ••JKop.- lorB % delayed openini?. be-1 sexes. It .jends in pretty much of a a big house that included as'victory fo;tithe women, altheugh the The Men We Marry New Haven, Dec. 25. Edgar F. Iiuckenbach pjrod^ction ot com- edy tn three acts" (five a««iww), by-Blisn.. beth Cobb and- Hnrschcd Williams. Features Shirley Booth, Nell Hamilton. Doris Dal- ton, Mnt'ta Linden, John WilUantSt Mar- garet Ilamiltim. nirecited by Martin Sfanu- lis. Sslting and lighting, Donald Oon.sl»ger; costumed) HMene FonR Opt^tied at Shubept, New Haven, Dec. 25, '47; *).«« top. Wan-en... . Boh Willey Philip Welch. David Anderaon Gwennie. .-Margaret Hamilton .Tulle Miidi.TOn ....i,..Mttrta Tjinden AnvKirie Welch Shirley VoOtb Mark Kennicott ..;John Williannt Lcdii Mallard. .DoriM Dulton NiHi Knyder .J*»o A.llftn, Jr. Mary Anne .Sargent Peter .Sterling John Iludson l>r. Allan Uimbcrt Null Hamilton. Despite its Dec. 25 opening, fftis one-doesn't loom as any Christmas present for its sponsors. While the production has a certain amount of polish to it, inspection shows this to be only veneer; with not enough solid material underneath to indi- cate hit promise. Doctoring may help to some degree, but probably not enough to get it over the critical crisis. , . , .. Play seems to have launched itself with three distinct missions in view: (1) to point up the will-o'-the-wisp search for happiness among the much-married-and-divorced set; (2) to show the folly of meddling with someone else's life; (3) to make an audience laugh. . It succeeds only moderately in all three divisions. Script has a background of mate- rial success in the persons of Maggie Welch, writer of fiction; Dr. Allan Lambert, society doctor; Leda Mal- lard, wife of a U. S. .senator; Julie Madison, wealthy divorcee; Mark Kennicott, magazine editor. The three women, former school cronies, plot to snare middle-aged Mark and his money for Mary, Maggie's young and war-widowed daughter. When Hary shows up with an acute romantic alliance in the form of a Wbtrvmi: «f Years' Boston, Dec. 28. A.rthur J. H(^..khard production ot play in three acts (live weues), by DoWitt Bo- deen. Starw Esther D.'iic. Directed by At- thnr B«<y|(haril. !2ftts, nnymoiid Sovey; cos- tumes. Peggy Mon-ison. Opened at tli& Colonial, Boston, Dec. 20. '47; s;i.<>(> top. A-Btrid" Bi-oninrh. .Vii-ginla Robinson Bertha Bromark ,. Pblllipn nevanx Jenny Nelson...* ......J.enka I'dcrson Chris Bromark i.-BusscU llm-die. Bertihard .Jensron...........Bobert *?m-wley- Anna Bromark Ksther Dale. Mellle BiUmarU... Bmilj Noble Mareajretit BroMarfc.........liOiHiar MarirlA- Jnle» Bromark'.. ......... .Philip Abbott Arthur Bcckhard has contributed a notable theatre job in pulling this strawhat opus into focus,. but . it's doubtful whether the DeWitt Bodeen script will get by. Show is clearly not designed to set a dramatic pace, the idea apparently being, to show the continuify of life in a devidDping family pattern, yet it. would be hard to- find a play that moves more slowly or provides- so many minutes of dead air. .T'be story is little changed from its Tanglewood debut in August. It involves the lives of four sisteES in a Swedish-American farming family in California. The action: includes various niarital- complications^ with several tense emotional situations. The plot utilizes little time, but there is much atmosphere and family philosophy. Beckhard's . major changes have been in casting and characterization. In this version the motives are clear and plausible, the characters sound and generally ap» pealing. In Esttier Dale he has a strong central per.sOnality ■ as mother Bromark, around whose character the play is built. Other characters, notably Philip Abbott, Lanka Peter- son and Leona Maricle, contribute excellent moments, and there are neat assists by 'Virginia Robinson, Phillipa Bevans and Emily Noble. However, the general impression is that this belongs-in a long novel, not on the stage. It provides the theme and plot substance of a good .film, lending itself- to considerable development. But on the stage it doesn't move or really 'grip its au- diences; Production is okay. Elie. , By" to what is programmed as "VaCi sovie, concerto d'Addinoel." Nont. of it seems to have any Paris flavor, Josephine Baker never appears un- til the second act, tlien does eight numbers of the 15 listed^ That' she does these eight pieces, such as "Mama," "Mori Triste Coeur," "Hor- tensia." "Zoubida" and a medley of Gay 90s tunes with all her superb showmanship,' is all to the good. But by that time the audience is lost. However, she conveys the desirable Continental flavor, appearing in an array of striking gowns, atid cos- tumes and making nice changes of pace. Hei- chatter to the audience occasionally mi.sfires, but on the whole she's in the groove. There are a couple of other "Con- tinental entertainers." One is Ro- land Berbeau, a vocalist who, though actually the McCoy, sings and looks like as it he came from Dubuque, and picked up French with the Tliird Army. Another is Hurtado de Cordoba, a Mexican introduced a$ "Spain's best-dancer.." The only way this affair can make the grade on Broadway is to import a couple more "Continental acts," for needed variety, then completely re-routine the' show with Miss Baker in the first act, and finally get a. Ijot French- type orch for authentic French jazz. Tlie setup here, except , for Mis*-, Baker's presence, could have been as.sembled by any vaude house man- ager 15 years ago, ElUi. Thieves' Paradise Hollywood, Dec. 47. Urncc Fagan produutlon ot a. i>lajr in two ni'tn by Myron i\ Fagan. DlroetPd by.tbtt author. Dance by Kdunrdo l.tinslno. Op«ned at Las PaUnas theatre, Hollywood, Dec. Jit •47; 58.W>-top. ' > : ' h'wfan Bulov..............Alexander (Jerry mta ntilov. nitn r^rnn ■Inn I.nli)v... tloward .lohnaon Mnw. Savoiuft AfarJoi-i» Bnmvett Toni, .I5evly«n; Katon- Capt. Uarsliy..............Donald Morflsom t'prky i.J.John GuiTX This opus must have involved enorjnous research, for every stupid line and idiotic, .situation from every bad- play in the lost SO years has seemingly, been includ,^d,' The only thing missing is the traditional, lieroine-under-the-buzz-saw routine. But that isn't likely to be missed with the present attempted rape on stage, murkier and'even a torture se- quence in which the victim's finger-' nails are pulled out with a pair of pliers on stage. . ' Laid in a Bulgarian .seaport, it Is - supposcd to be a story of the under- ground- forces fightmg the: Soviftt. occupation. There is a frantic seardi for papers which '"are the di&erenc*' between peace and a third world' war" and one of the charaetfers 1». described as "a spy for the United- INations. parachuted' into the coun- try." Every now and then, possibly*, as intended comedy relief, one ot the characters lapses into profimity. Fagan shows as great a talent for- direction as he does for Writing. As to the cast, na sinjgle.membec.i!an be singled out Thi^ are all bad^^ understandably. No program credit- is given for the single, effective sat. Kap. Paris Sings Aggtfea. Bosibn, Dee. 25. Aaron H. Payno productioii of hand ,<thnw, conceived and staged by Jv Bouillon. Stars Josephine UaK«i-; featuifes Hurtadd de.Cor- ■loba, Itoland Berb«<lu, Flerrd OuUlemiln: also - 30-plecc orchestra. Opened at the Majestic, Bo.stuM, Dec. 23, 7; at (10 top. Josephine Baker has returned aft- er all these years in a creaking ve- hicle. It'll never do as it .stands, ex- cept for the most nostalgic Paris visitors, and probably won't fool them much' beyond the-middle of Act Two. The cast includes Jo Bouillon, the star's husband, and what's billed as his "internationally famous orchestra," a straight' pick- up crew of 30 men from the New 'Vork and Hub iinion.s, playing mostly stock arrangements. Bouil- lon, who plays the fiddle, leads this hybrid group with gymnastical gyra- tions reminiscent ot a cheer leader. It might be all right if the musi- cians were actually French and the music bona fide Continental in fla- vor. Bouillon makes the great mis- take-rafter leading his local musikers in a choral version of "Sous Les Fonts de Paris"--of bringing them out again to do "Jingle Bells" in union headquarters English. The dis- illusionment of the audience, appar- ently believing these brave boys are straight off the plane from 1* Bour- get is brutal. Altogether Bouill4n and his "continental" entertainers do about a dozen, niunbers, ranging Some Miire Item Continufid from pag» 3 who might have been a police cap- tain from Rochester or a tavern* keeper from. Troy, turned around' and inquired "When did V(M 86t jfour ticket?" I told hfan apologetical-- ly, that afternoon. He md his wife: popped off, "i thought so* !t^aui^ weelss ago we wrote the boxoffices of feur hit shows for tickets this weekL The best seats' we could get for any one were in the last three rows. We've /been coming' to New 'Vork- to, see . shows for years. It looks like from now on we'll' be-see- ing- them on the screens of our jiiiS ture palaces back, home," &ciden.- tally, this burgher and his- frau were among those missing at the final cur- tain. I ju.st thought: some of the master- minds in the ivory towers around Shubert Alley might want ~ to get. around to showing a little interest in their customers before the In- valid's complete demise. Yours, Burton. Recoril ^m^iiA i CeMlmni tma pace m1 41 ■ ^ penniless,! .medical student, ;ttafi>ed ' from "Humoies^Me" end VPassins crashed Upon the stage under the. weight of snow, but without injur- ing anyone. The other cancellation was "A "SToung Man's Fancy," at I the Cort. Switching of three mati- nees from \^ednesday and Thursday did not mean extra perfomaances, but business for aU was away off. Busiitess on Christmas Eve (24) was exceptionally strong, aS had been indicated, while a dozen mati- nees on-the holiday were fairly good. Busmeiis the current week' should be at the peak with New Year's Eve (tonight) attendance expected to 1M» capacity. Ift^iority matineeitare date4t ' for the tudtd^y tomoncow (,tbw^