Variety (Feb 1948)

80 Vedriegday, February a|5, 1948 Plays on Broadway Mistor Roberts lielund Pay ward proauotioii of ooinecly- druma Ijy Thomas Hegrgen and Joshua Lo-' Ban, adat>t!-d from tile novel by Hefrson, •taged by Losttn; settings. Jo Mielziner, Stars Henry Pomla; teatuies Dnvlil Wavno, Kobort Keith and William Hiui'iffnn. Oporied at AMn, N. X., Feb. 18, '18; fl.80 top. Chief .Tohnson.. Rusty Lano Lieut. (Jg) Roberta...Henry Fonda Doc..... .Robert Keith Dowdy. .Joe Marr Tlie Captain..... William Htirrignn Inaigha .Harvoy Lembecit Mannion... ..Ralph Meeker Llndstiom ,,., .Karl Lukas Btefanowski., .Steven HtU Wllev ..,,1.............Robert Balnea Bohlenuner , ,...I<ee Krieger Kebe^:. .& . Johti: Campbell Ensign Pulver...............David Wayne Dolan .Casey Walters Gci'hart...' ■. ;Prea Barton Payne James Sherwood tiieut, Ann Girard..........Jocelyn Brxuido Shore Patrolman .John Jordan Military Policeman..... ..Marshall Jamison Shore Patrol, Oftlcer.... .Murray Hamilton Heamen* Firemen, and others: Tiger An- drews, Joe Bernard. Ellis Erlnger, Mikel Kane, Bob Keith, Jr., Walter Mullen, John (Red) liullers, Jack Pierce. Len Smith, Jr., Sanders (Sandy) Turner. Who spent more than two years aboard Navy ships, had to shake'his head every so often to dismiss the idea that he was back in the Pacific again. Logan sets out at a meandering paces apparently ii order to estab- lish the mood of boredom which was the hallmark of the rear-echelon Navy, but quickly speeds up the pro- ceedings as he builds to laugh and dramatic climaxes. Jo Mielziner has provided realistic settings of . the ship's deck and compartments. ■ Sailing into town as the most highly-touted show of the season, "Mister Roberts" comes surprisingly close to living up to every word of the advance billing. Two-acter was a smasK at the b.o. in its pre-Broad- way shakedown and there's no doubt whatsoever that skipper Leland Hay- ward will find it tied up at its presr ent Alvin theatre mooring for a mighty long stay. Henry Fonda has proved a top choice for the title role in ever.y. re- spect. His reputation in films was no doubt responsible for a heavy chunk of the grosses outrof-town and is a great attraction in New York. But— without detracting a thimbleful from Fonda's performance—Thomas Heg- gen and'the director, Joshua Logan, did such a fine collaboration on dramatizing Heggen's best-selling novel that the part is practically actor-proof, Fonda has reportedly been signed on by Hayward until the end of the year. Whether or. not he decides to extend his hitch beyond that should prove only a minor worry to the producer. It- wouldn't be surprising, ■incidentally, to see the actor in the same role-on the screen. Bids for film rights to "Roberts" were' heard even before- it hit Broadway, but Hayward has rejected them in the expectation of producing the picture version himself. Getting Fonda to go along would undoubtedly present no diSiculties, ' . Tonight at 8:30 Homer Curran. Russell Lewis and Kow- rd. Young present revival of six playlets by Noel Coward, alternating in sets of three. Stars Gertrude Lawrence; features Graham Payn. Staged by Coward. At .Na- tional, N. Y., Feb. ao, MS: *-l.SO top. WAYS AND MEANS Stella Cartwrlght.......Gertrude La-wrence Toby Cartwright......... Graham Payn Gaston Booth Colman. Lord iChapWorth. William, Koerick Olive Lloyd-Ransome Sarah Burton Princess Bleria Ivrassiloff.>.Valerie Cossart Murdoch.. Philip Tonge IN'anny Norah Howard Stevens... .,..,*..... a . .Rhoderick Walker ,. FAMILY ALBUM Jasper Featherwiiys Graham Payn "ane .Gertrude Lawrence .avinia....... .Surali Burton Harriet...................... Xorah Howard jimilv ^ Valerie Cossart Richard. .William Roerick Charles Winter. • Rhoderick Wallior Edward Valance..... ..Booth Colman Burrows... .,i.. ; .Philip Tonge BED PEPPERS Lily Pepper.....i.,.,...Gertrude Lawrence George Pepper. Graham Payn Aif........... ............... -Booth colman Bert Betttley...Khoderck Walker Mr. Edwards < Philip Tonge Mabel Grace. .Noiah Howard Tale is o£ the fretting of a young junior-grade lieutenant who fears the war is passing him by as he-serves on an old Navy cargo ve?sel in the backwash^ ot the Pacific fray. His personal battle against a tyrannical and selfish skipper to get transferred to a fighting ship is told against the wider background of the ennui, bore- dom and' broken morale of a crew serving under a stupid captain and without the excitement of the battle to keep up their spirit, ' ' ■ Despite this sombre-sounding back- ground, the play is far from sombre. , ActuaUy, the joys and travail of Lt. Roberts and buddies are told with a bawdy, but essentially gentle humor that on occasions bursts right out into belly laughs. Language, toned down somewhat since opening of the road tour, is a bit on the rough side, but^ms to come so naturally from a shipload of sailors, it's entirely in offensive. Not surprising, in light of Heggen's own long service in the Navy, is the fidelity in every detail to life aboard ship. Heggen and Logan, however, nave not only given the play added Interest by this faithfulness to physi- cal aspects, but have miraculously caught and been able to convey the spirit and camaraderie of men thrown together under such circum stances. . Fonda gives a deeply sensitive, but admirably restrained performance. David Wayne, who resigned' as leprechaun of "Pinian's Rainbow" to take the part, is attractive and amus^ in'g as ■ Foiida's indolent roommate, with as little initiative as his ideas ai^e big. Robert Keith is'particularly good as the ship's cynical but under- standing njedico, while William Hamgan is excellent as th'6 hated captain, to whom officers and crew are _ nothing but means to a pro- motion. Sole femme is Jocelyn Brando as a nurse who, visiting the ship, is quickly placed,by the crew as the gal whose bathroom- on a nearby island is in the range of their binoculars; \Her arrival on board Marks one of the plays most hilarious scenes. Harvey Lembeck, as a cocky little Italian seaman—of which each ship has at least one—is the standout among the crew .members. But they're all almost perfect, thanks to th? experienced casting by Logan (as a-director) and Heggen (as a Navy officer). Hardly more can be said on that score than, that this reviewer, funniest skit when the playlets were originally presented and still is. SHADOW PIfAY Closing the shOw is the pretentious fantasy with Miss Lawrence and Payne the principal participants. It ■bas to do With wife and husband who hav? an idea about divorcing^ until after she takes too many pills to; quiet her nerves and goes balmy, cueing in bits indicating their happy honeymoon. They have an interlude of waltzing which seemed to please most of the opening night house, and the .song, "You Were There," seems the best of the Coward melodies. Star has a chance to show several attractive costumes. Most of the players of the other playlets appear in rather minor parts, including Tonge. HANDS ACROSS THE SEA Opening the bill is the fussy skit of a London matron who fails to rec- ognize British visitors from far off Malaya, who had - befriended her when, She was there. There is too much' telephone talk interrupting the story, whatever it is, but the idea of depicting' the rudeness of some Lon- doners IS emphasized. Miss Law- rence, of course, stands out, but Payn doesn't and most of the men appear to be prigS; ^ Ibce. The Old Lady Says No . Aldrlc'h and Myek-s, In aasociatlon \vlth Priai. Doberty, present, Dublin Gate Theatre production of fantasy in two acts (four scenesl by Denis Johnston. Staged by Hil- ton Kdwards, Scenery by Miohcal. Mao Liammolr. Opened at MansfleW, N. Y., Ii'eb, 17, '48; H»0 top. The Speaker (Robert Kmmet) . - Mlcheal Mac LLammolr Sarah Gun'8n..i.»...... .Meriel Moore Major Slrr. .Reginald Jarman Isl Redcoat...; Bryan Herbert Sd Redcoat Liam Gannon Also Roy Irving, Edward Golden, Denis' Brennan, Patrick Nolan, William Dalisell, Nora O'Mahony,'.Helena Hughes, Betsy Bogues, Patricia Kennedy, Edna O'Rourke. When Noel Coward's playlets were originally presented at the National in 1936, (the author-actor aiid Ger* trude Lawrence gave the bills plenty: of class and drew, plenty of carriage trade. But he isn't reappearing this trip, With the result that the revivals have a temperate quality and chances of registering now are doubtful. Business has been spotty for "To- night at 8:30," Boston being par- ticularly weak. In Los Angeles- the attraction really : flourished. Show jumped from there to Broadway on schedule last week, when before the debut Friday (20) there was but a light demand for .tickets. That was surprising, as the original engage-, ment was for a. limited period. When first shown there were nine playlets in sets of three, a trio of the skits having been dropped. Two sets! of three constitute the present bill, each, going on several times weekly; 'fRed Peppers " "Family Album" and "Ways and Means" was the starting set, second set consisting of "Hands Across The Sea," "Fumed Oak" and "Shadow Play" going on Monday (23). Miss Lawrence stands out like 'a gem in the Coward works and,'with- out her they would not have reached Broadway again. The author handles the direction but is unable to inject the missing element. Modified set- tings are okay and so are the costumes, with several of Coward's ditties pleasant enough, if not ex- .(ieptional. In "Ways" Miss Lawrence, as the distaff side of a dilettante couple down in their luck, gives a splendid performance . in a mild bedroom playlet. .Grahatn Payn from London plays the husband and it seems his best role of the-first trio of plays. Star makes "Family Album" fairly diverting, although this variation of fun at a funeral is not so hot either. Philip Tonge as an old retainer, how- ever, stands out, as does Sarah Bur- ton, who stops mourning the passing of her father after a couple of snifters,of maderia. In fact, all the family does alright after sipping the' wine. . ■ "Peppers!' was one of the best skits when "Tonight" was first presented. It gives Miss Lawrence a chance to display her versatility and she seems as good now. as the femme member of .music hall sons'" and dance team, as then. Pavn is okay as the partner but he isn't Coward. "Still Life," "We Were Dancing" and "The As- tonished Heart" are the sketches dropped. None of the pla.yers in the ori.^inal players except Miss Law- rence is reappearing. HOTEL rooms:: IN THE HEART OIT TIMBS SQ. BOem, bnlli And Kbovrer. I'elepli'oSe, From 'J3*' . fiiHRie and ^3..tB daublb. - • Rfisoff's Famiui Restaur'ant oil tba Primisti ♦ ♦ ♦»♦**♦♦« HOTEL ROSOFF 147 W. 43rd Sf. («t B'way), BR. I-S4M FUMED OAK Easily the most amusing Coward skit, spotted number two on the second bill, is this comedy of lower class Londoners, Again Tonge stands out as best of the male contingent, enacting the henpecked husband of a slattern whom he wed 16 years ago after she claimed to be in deli- cate condition, although the Kid didn't arrive uijtil three years later. Miss Lawrence, as the parsimonious wife, further displays her varied tal- ents; and her indicated woe when being toid oft by hubby, who's man- aged to save £500 and is sailing for parts unknown, is comic as well as believable. . Tonge, however, as a store clerk who suddenly changes from simp to a fellow getting hunk for home life abuses, stands out. Norah Howard, as the mother-in-law who gets slapped, and Valerie Cossart, as the daughter, add" to this laughable post- card. "Oak" was regarded as the Irish troupe known as the Dublin Gate Theatre started doubtfully with "John Bull's Other Island," but its second play, "The Old Lady Says No," has less chance than Shaw's minor comedy, b%ing a confusing performpnce lor American audiences. A long program note should be read before the average playgoer gets any idea of what it's all about, and had the simpering lass who came before the curtain to S{ioaf something about the queen and the dairy maid, uttered the explanation instead, may- be firstnighters might have had a better idea of the proceedings. It takes knowledge of Irisb lore to grasp the play's full intent. Play's classification seems to be a cross between poetic fantasy and a curious kind of leaden romance. It starts in the style of early 18th century romance, says the note, but "we look on Dublin life through the refracted vision of a stunned actor" in the present. In one scene the lines indicate that what goes on is in the school of amateur dramatics, which may be the tipoff to all of it. Lead is a "play actor" in the green coat and buckskin of Robert Emmet Who serenades Sarah CuUen at the 9pening until knocked out by a musket blow on the dome by a red- coat. After that he's backstage of a Dublin theatre rehearsing a garden party scene. Among the bare scenery is a statue of John Philpot Curran; who comes to life and has his say at times. Everything that goes on takes place in the mind of the speaker (Emmet) who thinks he is the patriot, leader of the' insurrection, 1803, who was hanged—but not in the play. There is a supposed shooting and a wake, with friends mourning in circles, dressed in what looks like zombie clothes, same garb used in other scenes. At one point Emmet ad- dresses the audience, saying that it is more confused than the actors which brought a laugh; At another point a character tell- ing a girl about the sights of London walks around the stage for no reason at all but gets a laugh when saying that evei^ything goes' in the theatre. There are frequent choruses, some . being lines in concert, others en- semble singing, giving one explana- tion of the statement that «No" is ' based on the principles of musical composition rather than on the con- ventional rules of the well-made play,'.' . Micheal Mac Liammoir, generally starred with Hilton Edwards with the Dublin Gaters, plays Emmet and has plenty to say. He's on almost all the way, generally in stage center, even when lying down to talk it over with an itinerant, blind fiddler. Edwards' staging seems much better than for the Shavian play, especially with the manipulation of lights. Only five players are listed as having parts but 10 or more others participate, either with lines by themselves or in the choruses. It's all quite dtab, est- cept the unjjform of the main man. /bee. Inside Stuif-L^ During the Congressional subcommittee's eontinuec\ investigation of the Hollywood strike situation early last -week; Equity's Paul DwUzell as president of the Associated Actors and Artistes of America, was a slronn witness. He was asked how affiliates of the Four A's, especially Equity got along without strikes. DuUzell promptly replied that the association had but one strike, that of 1919, and since then differences with managers were settled by arbitration. Committee chairman Carroll Kearns and his counsel Irving McCann wanted DuUzell's opinion as to whether arbitra- tion could not be as effectively applied in the Hollywood situation. Answer was that if the Coast unions adopted voluntary arbitration that method of settling differences should work, biit he wasn't £ure of it, if such procedure was made compulsory, which may be proposed in Congi^ess .as a solution to the jurisdictional strike muddle. DuUzell's proposal to provide for arbitration was adopted by th^ American Federation of Labor at the let- ter's convention in Chicago in: 1946, but the AFL executive council never got around to putting that method into practice. American Arbitration Assn. is said to have credited Equity with establishing AA's aims by using its. procedure.','. Indications are for keen comt>etition in the selection of the top Broad- way director of 1947-48, with £lia Kazan, who Staged "A Streetcar Named Desire" (Barrymore); Joshua Logan, with ''Mister Roberts" (Alvin), and John O'Shaughnesseyj who directed "Command Decision" (Fulton), rated the toppers along with Guthrie McClintlc's "Antony and Cleopatra" (Beck), Logan is given top mention as an. all-around stager by some showmen because of his work in directing-musicals as well as straight plays. When he took off his service uniform Logan put on "Annie Get Your Gun" (Imperial), following with such other clicks as "Happy Birthday'- (Plym- outh), "John Loves Mary" (now on the road)* the road "Annie" and now "Roberts, acclaimed at its Broadway debut last week. Logan not only co-authored "Roberts" in addition to the direction but has an interest ia the show, same'going for "John," and' his royalties'on the season are esti^ mated at around $100,000. He was formerly stager for Dwigbt Deere Wiman attractions; putting on that manager's musicals atid straigbt plays. Equity has received a complaint from the Coast about Myron C. Pagan's indicated propensity to blame actors for flops in which he was interested either as author or producer'* Former Broadway writer's; "Thieves Para- dise" was presented by his son Brace at the Lias Palmas, Hollywood, late in December, the small.<cast one^-setter playing briefly. The Pagans blamed Howard'Johnson's sudden withdrawal from the cast, but three arbitrators absolved the actor unanimously. . Testimony was that when Johnson was taken to. the hospital on New 'year's day, he was so ill that he was unconscious and evidently there was no understudy. Stated that the elder Fagan had similarly made charges against players in other plays he wrote, with similar results. During the Johnson arbitration it was brought out that he received telephoned threats of bodily injury, but the person or persons who made the calls wer'e not identified, VARiETy's'notige on "Thieves-- was the most severe castigation to come from the Coast in years. Dramatists Guild has opened an account in a bank on the Coast to per< mit direct royalty payments to authors there. Previously payment of such coin to authors on the Coast was, delayed several days to permit time for royalty cheeks from producers to clear.. £ntire situation arose only in recent seasons, since the Guild has been collecting royalties for its members. Office procedure at the Guild has also recently been revised to permit faster approval of production contracts. All such clearances are no'W handled withm three days. The Dramatists Flay Service,; Guild subsidiary handling amateur rights, is about to pay its first'dividend. It has been in operation several years. "The Old Lady Says No," Irish play by Denis Johnston, presented by the Dublin Gate Theatre at the Mansfield, N.Y., last week, was first shown in this country in an amateur performance at Amherst college in May, 1035; Drama; students of Amherst and Wellesleyv .plus professors- wiv^s^ were in the cast, "Old Lady" drew, mixed notices on Broadway, bejng generally regarded as confusing, but better results are expected from the visitors' "Wliere Stars Walk," which opened Tuesday (24). 'Insular' N. Y. lows in Rehearsal •""Inside U.S.A."—Arthur Schwartz. "Hssly Heart" (read)—Larry Le Rouge. *"HoM If—Sammy Lambert. '(Macbeth'* (revival)-Theatre, Inc. "Temporary Island" — Experimen- tal Theatre. - "There Goes the Bride" ("Here Today") (road)—Harold J. Kennedy and Herbert Kenwith. ♦Musical. sa Continued from page 48 as atre is a physical property ■owned by Dublin Gate Theatre; Ltd., with a board of directors of 'which Ed- wards and MacLiammoir'are mem- bers, but do not hold control Meredith-Goddard Confusion Under the contractual arrange- ment, the theatre-operating com- pany may not produce plays. How- ever, when the Gate acting troupe is playing elsewhere, other com- panies may rent the theatre. Dub- lin playgoers are familiar with the' setup, but sometime visitors attend- ing performances by other troupes at the house mistakenly believe they are seeing the actual Gate acting company. This naturally disturbs Edwards, MacLiammoir and their Gate fellow-actors. Contrary to gen- eral impression in the U. S., Burgess Meredith an'd PauUette Goddard ap- peared at the Gaiety theatre in Dublin last season, not at the Gate. However, MacLiammoir, who was available at the time, was a mem- ber of their cast. According to Edwards, the aver- age Gate production costs about £400 (at the much lower cost-of- living there, that would amount to somewhat around $5,000-$6,000 in U.S. money). The Gate theatre can gross. £54 per night, while the much larger Gaiety can take in about £1,000 per night. Members of the company are paid a minimum of about £20 (the British Equity scale). Authors are paid the same royalty as prevails in England. The complete Gate troupe was brought to America for this tour, the out- fit being on a guarantee-Dlus-Der- centage arrangement with the spon- soring partners, Richard Aldricb and Richard Myers. Pittsburgh Due For 1st Equity Strawhat Pittsburgh, Feb. 24. Pittsburgh district's first Equity strawhat will get going middle of June about 18 miles from town. Co- producess of the venture will be Clay Flagg, who acted at nearby Jennerstown, Pa., Playhouse two years ago, and Carl Low, now on tour with Joe E. Brown in "Harvey," with Paul Foley as the director. Spot ^ill be called the Colonial Manor Playhouse and is to be oper- ated . in conjunction with swank Colonial Manor dining room right off Lincoln Highway. Spot was a pri- vate gambling' casino for some time but following a raid nearly tWQ years ago was remodeled and turned into a restaurant by the property owner. Longhair Shorts John Williamsi Rogers, who left the Dallas Times-Herald in 1946, when literary editor, to take a simi- lar assignment on the Chicago Sun, has returned to his original job of drama and music critic on the T-H. Justice Ferdinand Pecora reserved decision in N. Y. supreme Court last week on the move to confirm the American Arbitration Assn. award to San carlo opera Co. of $5,000 damages and $1,500 loan from tenor Eugene Conlcy, on alleged breach of contract.. .William Home, tenor who played lead in Broadway's "Helen Goes to Troy," will sing four lead roles with N. Y. City Opera Co. this spring, in "Amelia," "Don Gio- vanni," "La Traviata" and "La Boheme".. ."My Romance,'.' soon-due Shubert musical, has two Salmaggi Opera Co. graduates. Anne Jcilrey* (who was "also in "Street Scene") and Barbara Patton...Ann Kulimer, who conducted orchestras in Paris, Lyon and Cannes this winter, returned Saturday (21) to NCw York.. ;Pianist Witold Malcuzynslii sailed for Lon- don last week. ..Gloria Harris has quit as head Of the concert division of "the W. Colston Leigh lecture bureau. ^ '