Variety (Feb 1948)

Wednesday, Februffiy II, 1948 Plays on Broadway Kathleen B«» Lawionce production fit comedy In throa acts (ons setting) by Mlchsel layers. ■Wged Ijy Coby Bashln;. scenery, Charles Elson. Opciiea at *t»nsfl?l(i, N; i., iVb. i, •4<i; $1.20 top. LHy Father Keogh Christy Hnnnfey Dr. Horatio Houhllhan Jaapef fosarty Kithloen Posarty.... Andree IVallaco Beamua MacGonlgal Henry Jonea IdSnt. Aengus MacOgue..Whitfleia Connor jSjmeyMaSGonlsal....Morton I,. Stevens ,...Anita Bolster ..iWhlttord Kane .Tames McCalHon ....Frank Merlin. Jack Sheehan An Irish-backgrounded play' is "Kathleen" with some intetludes oi mild diversion but with a scant, dhance on Broadway. New manager rislted showing it at the Mansfield lor a scheduled live days, flgurmg that a lavorable press would make another house available prontoi The Dublin Gate Players were pre- viously booked to arrive this week at the Mahsfield. Comedy is part fantasy and part larce and could have served as a book for a dialect musical. It's a short play but there's plenty of dia- log spoken with Irish brogues. The localfe is a village near Dublin^ Three of the players are fairly well known to the stage while others ap- pear to have gotten most of their training in radio. , »^ Kathleen is the high-spinted, imaginative daughter of an excit- able historian, one Jasper pogarty, although she's also known as Houhli- han and has quaint romantic ideas lor a 19-year-old. The lass blandly announces that she's to have a baby,, •which upsets her pappy no end, along with her uncles, who: are the town's doctor and-a priest, respect- ively.--:- , ■ ■ .'. ■ There are three • who are. con- . eidered possibly responsible^ Seamus MacGomgal, son .of a wealthy neigh- bor, Christy Hanafey, the fresh garage mechanic, and Lt. Aengus MacOgue, an army engineer. All three are suitors ol Kathleen's but at flrst they hesitate in accepting her, what with expectant addition. She puts the poser to each that if he really loves her, everything goes, including the alleged kid. It seems that Kathleen attended a Christmas party in Dublin and there she claims to nave met the soldier but she isn't sure it was Aengus who "kissed" her. . It was quits , dark, Kathleen explains,'but Dr. Houhlihan is. suspicious that his niece is saturat- ed ;with blarney,..'su:bst^ntiated when 'he: perceives that a' love letter Irom the lad in khaki is in her own hand- writing, which she readily admits. Seamus, under pressure of * his grasping pappy and Father Keo^h, admits. that' he's responsible for Kathleen's condition, and wants to . wed her. Christy declares he's the lellow, after taking the diamond en- gagement ring :lrom the cringing Seamus, with the promise of. more ." loot. Finally,' the lieutenant quietly takes the blame. At flrst he can't make up his mind about marrying the girl with that oncoming baby, and wallcs out. It isn't long before he is back, and while the a.k.'s are still arguing it out, the boy and girl are clinching. And she*i$ivt to have a baby after all, at least not yet. . Andree Wallace, making ,her Broadway debut, is a pert Irish type, playing the attractive Kathleen. She aas had some little theatre and .summer stock engagements but has •. mostly been on ether programs. Miss Wallace is vivacious and seems typi; cally Celtic, with clear ingenue ability. She has the distaflf side al- inpst to herself, there being but one . ©ther femme.'the maid's part. Kathleen's "three fathers" (mother never mentioned) are Frank Mer- lin, as the doctor: Jack Sheehan, her studious pappy; and Whitford Kane, the priest. All are; experienced actors but have too many ■ sides. Whitfield Connor plays the lieuten-' ant restrainedly but sounds oiT when telling the assemblage that they rep- resent what's been the matter with Ireland for 700 years. He's been in a couple of plays, plus films. Henry Jones, who has been on the stage for some seasons, has the ungrateful part of . the simp, MacGonigal, but gets the show's best laugh. James McCalhon, who plays Christy; has •been on the stage, too, but lias been in radio mostly. /bee (Closed Weanesdat/ (4) ofter ttuo per/ornionces). Respectful Prostilute New Stages, Inc., production ot drama In ono act (two scenes) by Jean-Pan 1 Sarue, adapted from the Krench by Eva Wol.is. Directed by Mary Hunter. Settings, Ileb. ■ «rt Gundlnch; costumes, Dorothy Croissant; lighting, David Heilvveil; produi tion super. ••vised by Norman Rose and Hellweil, Opened at New Stages, N. Y., Feb. 9. '48. Xizzie McKaye Meg Mundv The NSgro John Marriott S^red... Karl Weber John.i .Willard Svi-tre James ...Sid Wattets 8an. Clarke................WendPIl Holmes A Man Martin 'i'arby For its second .production at its converted fllmhouse in Greenwich -Vitlage,'the New Stages group is of- fering a double-bill of Jean-Paul Sartre's "The Respectful Prostitute" and Lennox Robinson's "Church Street." As it did with its first pro- duction, "A Lamp at Midnight," the new organization demonstrates that ■ It's an inspiring asset to the New York theatrical scene. Saitre, whose only previous Broad- way production , was last season's unsufecessful but provocative "No Exit," has written a tingling one-act melodrama in "The Respectful Pros- titute." This time the Parisian ex- jionent of the existentialist cult isn't ijothering with his pet ijhilosophy, but has written a searing indictment of one of the malignant aspects of American life—racism and its lynch- law expression. Despite minor ex- aggerations,' "Prostitute'^ is a pene- tratingly dramatic expose of a shocking and embarrassing situa- tion, and it provides engrossing if uncomfortable'theatre. The piece is superbly presented, particularly adjusting to the produc- tion limitations and the intimate size of the theatre. The value of ary Hunter's combination of shrewd casting and propulsive stag- ing is evident. Meg Mundy, if somewhat limited technically, gives an honestly impassioned perform- ance as the jittery, confused prostie from the north, who is bamboozled into giving perjured testimony against an innocent Negro. Karl . Weber is excellent a^ the sadistic, psychotic white-supremacy advocate; John Marriott is eloquent- ly restrained as the terrified Negro, and Wepdell Holmes is impressive as the hypocritical exponent of 100% Americanism.. The show is questionable lor Broadway, but It would be a distinct credit there. It is,'of eourscj hope- less; as film or radio material. , Kobe. the Qorki yarn -with Negro actors gives the situation greater plausibil- ity, seems relatively unimportant. Despite that improvement and the vitality and drive of the cast, "A Long Way from Home" is essentially a drab, stupifying tpllcfest. The characters sprawl about in the squalid basement flophouse in North Carolina, quarreling and endlessly spouting repetitious philosophy. Occasionally there is a sudden out- burst ol violence, a'scuffle or a mur- der. But it all seems formless and pointless. There are fairly good, (consider- ing the material) performances by Harry Bolden, Mildred Smith, Cath- erine Ayers, Maurice Ellis, William Marshall, Josh White, Ruby Dee, Alonzo Bosan and Fredi Washington. And there is an impressive ram- shackle multiple-set b}r Led Kerz. The play's title, incidentally, is a quotatioi} from a Negro spiritual, " ... sometimes I leel like a mother- less child, a long way from home." The show doesn't say it that well. Hobe. Clrareh Street New Stages, Inc.* production of drama In one act by Lennux: Robinson, Directed by .Tobn O'Shanghnessy. Setting, Robert Gund- laoh! 'costumes, Dorothy Croissant; lighl- ing, David Heilwell; production supervised by Norman Rose and Heilwell. Opened at New Stages, N. Y.,. Feb. 9, '48. Kate Riordan...V.. .Dorothy Patten Hugh Riordan.............. Earl liammand ....... (Eugene Paul) Aunt Moll. .....Cbarme Allen (.tiestei*. Sondergaard) .lack Riordan.....*... ..S'Vank Butler Mollie Riordan Shirley Eggleston Sarah Pettigrew..,».....,.Florida Friobus Mrs. Lucy De Lacy...,...;,-.... .Ann Eliot (Nancy R. Pollock) Sallie Iiong ........Gertrude Corey Jim Daly. .IkhS Clark Honor Bewley..,...v...i,.,.Barbara Joyce (Joan Tompkins) Joseph Riordan Ddgar Stehli (Sid Castel) Evoked Hugh.,.i,..,.........EuKeHe Paul ■ " .. (Hal Studer) As a companion-piece for Jean- Paul Sartre's. "The Respectful Pros- titute," this Lennox Robinson playlet Is moderately entertaining, but in- consequential. It offers the familiar imagined play-within-a-play device, but is cluttered with too many char- acters and too little essential action. It is indifferently presented, but at least provides a curtain-raiser. . The yarn deals with a brief home- coming of a young Irish playwright, who has been a failure m London. In an effort to arouse his imagina- tion, his crotchety, wise aunt sug- gests that there is more drama in his home surroundings and his sim- ple relatives and friends than he will find among the city strangers. In a series of discursive scenesi the old lady and the young dramatist then create imagined situations -lOr the various people; at his parents' home that evening. John O'Shaughnessy's staging doesn't coalesce the action, nor pro- vide pace, and most of the acting is lacklustre. However, Florida Friebus gives a skillfully affecting perform- ance as a genteel* impoverished spinster; Gertrude Corey is believ- able as a tragic unmarried mother, while Charme Allen is acceptable as the aunt, and Dorothy Patten and Edgar Stehli are competent as the playwright's parents. Because of radio commitments of some of the principals, there will be substitute players in some of the parts for Sunday, Tuesday and Wed- nesday performances. The replace- ments are listed in brackets in the credits above. Hob« Oiekhov Comedies New Yorlc City Theatre Co. production of four one-act comedies by Anton 'Chekhov. Features Jose Ferrer, Richard Whorf, John Carradlne, Frances Reid. Staged by Ferrer and Richard Barr. Sets and lighting, Her- bert Brodkin; costumes, Einellne Roche- Opened at City CSnter/N, T.i Feb. B, '48; $2.49 top. . A TRAGEDIAN IN SPITE OF HIMSELF Ivan Ivanovltch Topkaehov. .Richard Whorf Alex Alexeyevitch Murashkin.Robt. 'Carroll (Directed by Jose Ferrer) THE BEAR Elena Ivanova Pepova..^:....Frances ReJd. liUka.... •....Francis Letton Grigory Stephanovltch .^mlrov.. Jose Ferrer (Directed by Blchiird Barr) ON THE HARMFULNESS OF TOBACCO Ivan Ivanovltch Nyukhin Jose Ferrer THE WEDDING Anna Martynova Zmeyukin.Paula Laurence Ivan Mihallovitch Yat ..Francis Letton The Best Man.............Leonardo CImino Nastayo, Timofe^vna.........Grace Coppin I^lpamlnond Maximovltch Aplombov.... . Robert Carroll Yevdokim Zaharovltch Zhlgalov... Victor Thorley Harlampy Spirldonovltch Dyraba...... Will Kuluva Dashenka . .Phyllis Hill Dmitry Stepanovitch Mozgovoy...... .; Ralph Roberts Audrey Andreyvitch Nyunin. John Carradlne Fyodor Yakovlevltch Revunov-Karaulov.' Richard Whorf First Walter.................Bobby Busch Second Waiter..........Richard McMurray Third Walter. .Franic Campanella (Directed by Jose Ferrer) \ Plays Out of Town The llallnms Buffalo, Feb. 5. William Brown Melohoy presents Hose Franken production In three acts. Directed by Misa Franken; aettinK.s, Itaymond Hovey; costumes, Blanca Uirooclc; Richard lil. '.'Dixie" French, asaociale producer; Opened at ErlangSr, Buffalo, Feb, 6, '48; $».«() top. Mrs. Hallam ICIhcl Grlfties liitta Hallam.,,.,,........Mildred Dunnock Paul Hallam..,.,....,.........Royal Heal (iracs Hallam.,i,...>.;...,...June Walkev Helen Hallsim................Mildred Wall Victor Hallam ...Alan Baxter Walter Hallam Matt Brlggs Harry Hallam...; Frank M. Thomas Mr. Hallam ...John McKca .lerry 'Hallam. ...Dean Norton Kendrick Hallam .TCatherine Bard A Long Way From Home American National Theatre and Academy presentation of, Bjtp.erimental'Theatre pro- duction ot drama in two acts (four Scenes) by Randolph Goodman and Walter Carroll based on' Maxim Gorki's ''Na Dnvo" ("The Lower Depths"). Produced by Nnt Karson- directed by Alan Schneider; setting and lighting, Leo Kcrz; costumes, Rose Bogda- noit. Opened at Ma«lne Elliott, N. Y., Feb. 8, '48. Dee Harry Bolden ii'ly-, .Mildred Smith }f a ry ,.., Beatrice Wade Four-l'.yes........,., .Catherine Ayers fai lijy........................ .Maurice BUia Snd-Aot. William Marshall Grady Horn........ .Augustus Smith .loebuck Josh White Marcy ..Ruby Dee Pi caclicr Alonzo Bosan BUly-Hoy. .James Wright Celine. .Fredi Washington The . Experimental Theatre's third production of the season seems ho more comprehensible as an "experi- ment" than the previous two. Where "Galileo" and "Skipper Next to God" involved known material and/or es- tablished talent, this "A Long Way from Home" is a familiar literary and stage wprk and its only apparent innovation lies in its presentation with an all-Negro east. Alter such productions as "Anna Lucasta," "Car- men Jones," "Hot Mikado" and vari- ous others, there's not much novelty in Negro casting ol standard shows. The fact that, in this case, casting The New York .City Theatre Co. is presenting a delightful evening of Chekhov at the City Center, lorf the third and final offering of •its'first season of stock. The lour one-act comedies (one is simply a monolog, and another little more than that) are of varied excellence, but all are good. If in their order they diminish in appeal, it's because the pace of the first two is.so fast and hilarious, to make it difficult for the last two to retain the appeal. But it's still an eminently worthwhile entertainment. Richard Whorf takes the evening's honors with two virtuoso perform- ances, first as the henpecked husband in "A Tragedian in Spite of Himself," then as the decrepit pseudo-General in "The Wedding," "Tragedian" is a very funny two-character piece about a man .who lives in the country and works in the city, and is there- lore made the slave of every relative and neighbor who has some errand or purchase to make in town. Whorf pulls all stops out in . a characteriza- tion mostly comic, and occasipnally a little pathetic. In "The Wedding," a colorful satire on the cupidity and false pride of the onetime Russian lower middle- class, Whorf is a faded naval officer hired to appear at a wedding to lend it tone. If the satire doesn't quite come off because ol the broad bur- lesque style with which it is played, this isn't Whorf's fault. It is a farce part well done, with his departure set on a pathetic high note. Jose Ferrer, who directed "Trage- dian" and "Wedding," gives a won- derful performance as a blunt- spoken, boorish landowner in "The Bear,' and a less satisfying, though as finely chiseled a portrait, as the abused schoolteacher in the monolog, "On the Harmfulness of Tobacco." Latter is a littte„ longish. Ferrer makes it pathetic as well as hu- morous. In "The Bear," verbally battling with a gentle high-strung widow for some money due him, and finally falling in love with her, Ferrer gives a full-blooded, hilarious portraval, with rich results. B'rances Reid, playing opposite as the arch mistress determined to remain loyal to the memory of her recently-departed spouse, is as beautiful as she's fiery, a treat to watch. Francis Letton adds his bit of fun as the aged footman. Richard Barr's direction is excellent. "The Wedding" Is a hodgepodge 01 types gathered at a wedding dinner. Robert Carroll, as the'-stuff-shirt groom; Grace Coppin, as the penny- pinching mother-in-law; Paula Lau- rence, as a midwife; Francis Letton, as a telegraph clerk; Will Kuluva. as a Greek confectioner; Phyllis Hill, as the attractive bride, and John Carradine, in a brief role as the rascally insurance agent who hires the General to appear —all play flavorsome supporting roles. But Whorf steals the wedding "show" as the General. Herbert Brodkin's sets are simple and attractive, and Gmeline Roche's costumes colorful, - BroA. Like the Three Fates ol ancient mythology, Rose Franken here re- sumes spinning the life skeins and destinies of the Hallam clan Irom the point where she left them in "An- other Language" 15 years ago, The contemplation of these intricately interwoven family relationships is one which seems to preoccupy a con- siderable portion of our contempo- rary playwrights, as witness the number of plays dealing with family sagas which have lighted our stage in recent seasons. Although the story of this one can hardly be said to measure up to its predecessor • in compelling interest, nevertheless b.v dint of ilne writing and the skillful 'restatement of human truisms which will • strike home to many a relative-ridden spectator. Miss Franken has been able to achieve an engaging effect. "The Hallams," despite some arid stretches of '^ dialog^ possesses the hallmark of successful theatre; The plot is tenuous, but facile dia- log, aided by intelligent direction and a hall-dozen understanding and alert performances, keep the interest high and keen. The author's recent association with radio may have in- fluenceij! her approach, as there are times when the situations and dia- log'suggest soap opera. ^ Story, which picks up the family some years after "Language," is largely concerned with marriage, ill- ness and death. Young Jerry, whose disastrous admiration lor Stella in "Language": contributed, to her death, returns home unannounced Irom a tuberculosis sanatarium with his two-day bride, also a former inmate. She, a successful radio writer and careerist, is resented by most of the family who try. to separate the youth- ful pair. Jerry's relapse gives the family an opportunity to try and claim him lor their own, but his speedy death enables both sides to maintain their emotional integrity, though with indications of mutual mellowing. Suggestion that the young wile will find happiness with Stella's husband, Victor, youngest of the original Hallams, seems to indi- cate a s^ilaring of the moral circle. Ethel Griffies' delineation of the indomintable matriarch will be ac- claimed as one ol the histrionic pinnacles of the season. It is a superb ieat of acting, as clear and sharply etched as a dry point. Mildred Wall's Helen is the projection of a tart and acrid ln-la\Y, with June Walker's other sister-in-law only a cut below. Among the men. Royal Beal con- tributes a gem of underemphasis as the oldest brother, while Matt Briggs and Frank Thomas portray two of the other Hallams in perfect type, Dean Norton and Katherine Bard's young oouple are highly personable figures out ol contemporary life. Alter a short road tour, production is skedded lor Broadway. Nature of the story makes picture possibilitieis problematical, Burt. The Linden Tree New Haven, Feb. 4. Maurice litvans production of drttma in two acts (four scenes) by -T. B. Prie.stley. Stars Boris Karlott. staged by GeorKS Schaefer; designed by Peter Wolf; coa- tumss, Frank Thompson. Opened at Shu- bert, New Haven, Feb. 4, '48; $3.(i() top. Mrs. Cottpn.. .Una O'Connor Alfred Lockhart. .Noel Leslie Mrs. Llndgn Barbara liverest Rejt binden.. Halliwell Hnbbes, ,Tr. .lean Linden, , Viola Keats Marlon Linden............Gathleen Cordell Edith Westmore......... Mary KImber Dinah Llhden.;.,..,.,,....Marlyn Eraklne Professor blHdei).............. Boris Karloft Bernard J'a'woett.,... . .BmmeU Rogers If good acting and capable direc- tion were the only ingredients neces sary to concoct a hit play,- "The Linden Tree" would probably ring the bell - with a fairly substantia* borig. Present production, however, loses its bonger via doubtful script Net result is like the whirring of an about-to-run-down alarm clock. De- spite a number of assets, including topnotch peiiormanees and several well-staged emotional scenes, play looks destined to join the category of other entrants this season which have exhibited superior cast talents in mediocre showcases. "Tree" is now in its sixth month in London, which is readily understand, able in view of certain localized ele- ments in the play. However, lines which probably brought apprehen- sion to a London audience liave no such effect on this side of the pond. Transplanting to these shores finds some ol these elements neutralized- indicating difficulty in the plays tak- ing root over here for any extended period ol time. Author has pecked away at many subjects in this verbose treatise. There's a flurry ol religion versun science; the pursuit of material noa sessions; the atom bomb threat- the enthusiasms ol youth as opposed ta the IrystratittBs ol middle age- th« chaotic condition ol modern livine- the philosophy ol "live for today be! lore the next war gets you"; anit' similar bypaths. The play posen many problems, offers no direct so- lution to thetn, but ends on a ray of hope lor ultimate survival of civil, ization. Story concerns an English pro- vincial university professor of his. tory, Robert Linden, who, on his 65th birthday, is about to be bounced from the faculty primarily because of his opposition to new-fangled "educationalizing." Members of his family, assembled from their vari. ously scattered homes for a birthday celebration, try to convince the agin* pedagog that the thing to do is to r(? tire gi-acelully with his wife to an estate provided by his son and to spend the balance of his life in ease and comfort. The professor reluses, objecting partially to being placed on the shelf but mainly because he feels there is still something he can do to help un- ravel the tangled skein of present- day existence. Upshot is that he is abandoned by all ol his family ex- cept an 18-year-old daughter who doesn't share the pessimistic outlook > on life of tbe others. Curtain finds the professor ousted from his laculty chair but encouraged, through the eagerness ol. his youthful offspring, to tackle the writing of. a history book which may, in sonrte way, aV leviate the world's current ills. Boris Karloff, offering a . top- drawer performance as Professor Linden, serves notice in this produc- tion that he has cast off the Franken- stein shackles permanently / and is now available for ace character roles of a sympathetic nature. The sin- cerity of his interpretation draws substantial approval. Una O'Connor, alter a negligible first-act appearance that causes wonder il she had ^ome on from Hollywood just lor the ride, goes to town in the second stanza in a man- ner that gives the act a distinct lift. Other capital performances are added by Barbara Everest,- as the professor's wile; Viola Keats, a daughter who has achieved an M.D., but lost a romance; Cathleen Cordell, another daughter who has married French-landed gentry with a chateau and who looks "Vith'disdain on tlie prolessor's humble surroundings) Marilyn Erskine, the youngest daugh- ter, who turns out to be the father's final prop; Halliwell Hobbes, Jr„ th« only 'son, whose market cleanup affords excessive self-indulgenco! Noel Leslite, university official; Mary Kimber and Emmett Rogers, mem- bers of student body. Staging, bucking the much-tallt- little-action bugaboo, comes through with several nicely emphasized scenes. Peter Wolf's setting of a professor's study is good stage archi- tecture. ■ Bone. LOCAL 'MARIE' $55,000, 'SHOW BOAT' 34G, DET. Detroit, Feb. 10. The Detroit Civic Light Opera Co. was the high spot here last week with its opening show, "Rose Mane. The current offering, "Roberta," is expected to keep the pace going. Cold weather failed to keep theatres goers at home; even indusjriaj paralysis due to gas sl.ortages didnt seriously crimp boxofflce figures. "I Remember Mama," a holdover at the Shubert-Lalayette, is pulUng well, with sellout we^cends, and "Show Boat" is a smash at the Cass. Latter house is idark this week, but reopens Monday (16) with Bert Lahr in "Burlesque."' Estimates for Last Week "I Remember Mama," Shubert- Lalayette (2d wk) (1,950; $3.60), Charlotte Greenwood drew another strong $16,000, and continues. <'Sliow Bimat," Cass (single week) (1,482; $3.60). Revival got a healthy $34,000 for the stanza. , "Rose Marie," Masonic Temple (single week)' (5,000; $3). GHeat local turnout lor this opening bill oi the Detroit Civic Light Op^ra season; $55,000. 'Mary' Has $15,000, Frisco, Ballet Theatre Current San Francisco, Feb. 10.' With the weather perking shovj business all around town, "Mary a Little" had lots ol attendance last week at the Curran. Ballet Theatre opened Sunday night (8) at the Geary. Estimate for Last Week "Mary Had a LHtle," Currnn (2a week) (1,776). Bettered the profit- able first week with a strong $15,000., Wheeler's Beat Bert Wheeler has the lead in "A Policeman's Lot," which Sol Heller, Cleveland concert impresario, will present on Broadway this season. It goes into rehearsal within a week. Farce by'Philip Goodman had a strawhat tryout some seasons ago.