Variety (Jul 1948)

102 UEGITIMitTK Wedneaday, July 28, Plays Out of Town Cupid Thumbs His Nose HoUywoocl, July 22, Lea Mltoliel proiluotlon ot comedy in throo acta (four scones) by Norman Kainey; Stars Lenoro Aubert and John Newlana, features Susanno Dalbert. Dlroptei By Mitchell sotting by Geoffrey AJan. Opened at the coronet, JHoliywOod, July 21, 4». MaHe' Winterbottoni Suzapne . Dalbert IPeter Wlnterboltom ..Norhian Kainey Roberta Hardlnif Isabel KandoUih James Mannlns. . William B. Green Tony Warren ..Don Sholton Jessloa Stevens;...., H""vA?i^'„'i Michael Stevene....... J?hn Newh^^^^ Just why radio producer-director Les Mitcliel picked this Norman Rainey script with wlUch to make his bow here as a legit producer will liroljably remain a mystery. Billed as a "sophisticated com- edy," the play is actually neither. It's alleged sophistication stems from the fact U»at that wicked word "sex" is bandied about con- siderably and from the fact that the basic premise deals with a oniinie of newlyweds who vow to iceep their marriage unconsum- mated for a full year; the Idea, of course, is to keep the marriage on a high level. Or something. At atty rate, having stamped his main characters as a couple of dopes with the establishing scenes, au- thor Kainey goes on to fill their mouths with dull lines and situa- tions that fall to generate any au- dience sympathy or interest. There are one or two good laughs ^but the essential quality of a sophisticated ccmedy, the well- known kick in the leer, Is sadly missing. Mitchel has gathered a compe- tent casftogetner for the piece, but how much can mortals do? Xenore Aubert is a. charming bride, and John. Newland is an okay bridegroom.' Suzanne Dal- bert is a very cute French maid, and Don Shelton comes through with another rich, playboy role while Isabel Randolph, William E. Green and Francis "Dink" Trout all do their best to make the lines credible. Author Rainey plays a middle-aged butler to whom the pert French maid is married. The role is unbelievable but that's still no excuse for. Balney's offering a poor man's Intitatloti ot Eric Blore. By far the best thing about the production is Ggoitrey Alan's swell penthouse set. The temptation is strong to make the obvious parody of the title. Kap. Afugdalena liOs Angeles, July 26. Bdwih't,ester production of musical In^ two a<!ts. Stars Irra Petinii, John Raltt, Dorothy Samoff. and Hugo Haas; features GCrhata Pechner, Melva Niles, John Ar- thur. Henry Reese, Ferdinand HIet. Staged by Jules Dassln. .Book by Freder- ick Hazlllt Brennan and Homer Curran; : music, Heitor ViUa-I,obos; lyrics, Robert ■VVright and George Forrest; scenery and llshting, Howard Hay; choreography. Jack Cole; costumes, Irene Sharaff; orchestra^ tlons, Arthur Kay; choral direction, Robert ZoUor. Opened at Philharmonic audi- torium. Los Angeles, July :s(i, '4li; $ji.80 ,- top." ■ Like the South American river from which it takes its name, "Magdalena" is big, sprawling and colorful. Like a South American jungle, it is tangled, overgrown, overtul of exotic scenes. A lot of work with literary machetes is in- dicated before the production even begins to approach success of Los Angeles Civic Opera Assn's. "Song of Norway" hit. In plotting production, L. A. Civic Co. was unable to find an appropriate deiscription, settling finally for "Musical Adventure." Reason for indecision is clearly obvious. "Magdalena" is a combi- nation of opera, operetta, musi^ comedy, pageant, spectacle and perhaps even oratorio. Unfortu- nately,: vehicle is artistically dilet- tante, dabbling in many, mediums but never achieving perfection in any. .. To back the mild book revolving around tlie love afCair of an Indian girl converted to Christianity and her bus-driving boyfriend, producer Edwin Lester persuaded famed South American composer Heitor Villa-Lobos to turn out the score. Result is excellfent semi-classical music that may delight a few lorgnetters who. venture on Broad- way but will disappoint out-of-town buyers. There isn't a hit tune in the lot, nothing that lingers in memory. Pattern, lyrics by Wright and Forrest, who did similar "Norway," is interesting at times but unavailing. Extremely slim chance of re- turning better than $300,000 invest- ment rests on the show's spectacle. It's a colorful production of bril- liant costuming and breath-taking sets. Pruning is in order here, too, however, for the spectacle be- comes overpowering. Tenderly, carefully directed by Jules Dassin, painstakingly selected cast rates high. Dorothy SarnoS gets plenty of chances to display her lovely voice as the convert. John^Raitt is robustly excellent as the machine - loving Indian whose "Gasolina" is the sole modern touch around the Andes. Irra Petina is fine as a highclass Pa- risian cook-courtesan who charms the comic - heavy,. Hugo Haas. Latter extracts the fullest from liis> laugh lines. Others earning notice are Gerhard Pechner as a padre, Melva Niles as Miss Sarnoff's friend, Gene Curtsinger and John Arthur. Jack Cole's choreography is ex- citing and fits scene perfectly. Miss Sharaif's costumes are go,r- geous and Howard Bay's setting steals applause. Arthur Kay's con- ducting is topnotch. All the elements are here but it ,iust doesn't add up. "Magdalena" is a production triumph if nothing else. No expense has been spared. But the return in today's entertain- ment market, where stub-buyers are shopping around, makes it ex- tremely dubious. Kop. Strawhat Review Madam Ada Peaks Island, Mo., July 2-i. Robert Paine and George Bellalc produc- tion of comedy in three acts by Aurand Harris; Features Ella Jjlthgow, Pat Pierce, and Robert Paine., Directed'by Paine; set- ting, Richard CarWtOn. Opened at Green- wood Garden Playhouse, Peaks Island, Me., July 20, "48; ¥1.60 top. Linda Sogers .Nancy Born Mr.' MInton ..RobertIPaino Essie westbroolte.,.,...i...Batricia Pierce Grover Watson.......«,'••.••...Bill Curran Ada W6Stbrook6...4.:.......;.Bila itthKow Octavia Bentley.............Evelyn PelRcy ^ula Olevengcr.Barbara Wittock Otho Cievengcr........... .George Keymas Attaching "prior to Broadway" tag to this modest offering is like a kid talking of entering his wind- up toy in the Indianapolis Races; it just isn't that hefty a vehicle. Which isn't a condemnation, either, as the miniscule start at least isn't a wheelbarrow or a turkey. In fact, without too much revamping, Aurand Harris' folksy yarn of a salty Madam Fixit, who returns to the bosom of her prissy Yankee household after 15 years of carny crystal-gazing and random sinning to organize the lives of her stock relatives and their neighbors, could qualify as passable radio-serial fare.'. Ella Eithgow creates a believable Madam Ada, from honest swigs at booze through a first-act-curtain curse to hypnotizing the local banker into providing a new organ for the church. Pat Pierce plays the sedate maiden sister who be- comes progressively more raffish as the bali-gazer gets religion for personally promising returns. Bob ert Paine's doltish church organist exchanges realism for laughs, bor- ing the audiense along with the ladies of the cast. , Direction is . spotty, with anach- ronisms creeping into the 1905 scene. George Keymas wears a ghastly distracting cueball makeup that Karloif ' would disown; this C.R.fl. ARTISTS, LTD. AFf'ILIATeO WITH CONSOLIDATEb RADIO ARtlSTS, INC. R • C • A • BUILDING 30 ROCKEFELLER PLA2A n^ui f oftK 20,n.v. TCLEPHOHB COtUMBUS S-3SaO ' 30 Weeks Booking in Auditoriums & IndependentTheatres P or The BETTER ATTRACTIONS. while lines have him a character who is forced to fend femmes off with a checkbook, Juve duo, Nancy Born and Bill Curran, also appear inadequately. Single set by Richard Carleton economically is contrived and effective. Don. Written for a Lady London, July 15. Michael Hickman production of new play in three acta by Leo Marks., Directed by William Mollison, At Garrick theatre, London, Ben. .......................Clifford Mollison Mrs. Palmer.,... ..Christine Bennett Miss Kvans Barbara Hicks Connie....,^Margaretla. Scott Sam......,*.......,...;.......;Barry: Morse Owen Ras$sll,.,..;Hugh Latimer A warm, sentimental story of Jewish family love with a wholly improbable plot that might 'be bet« ter interpreted via the screen.. Its chances of making good might be higher in the U. S. than here where its appeal has more limited scope. Obviously written as a plea for tolerance : and unity between the races, this shows a lovable ' old Jewish tailor bravely trying to sup- port his workshy son and mother- less granddaughter.' After serving an unmerited prison sentence the boy has turned ipto a small time racketeer and thief. His faith and self-respect had been restored by a minist&ring angel in the form of a nationally famous philanthropist who,' had unaccountably married him. On her death he goes from bad to worse. Romance appears in the form of a newspaperwoman^tracking down the family as her paper is publish- ing the deceased woman's life story and wants, intimate details. Title derives from a last letter, known to have been left, which the husband has never opened showing his one decent trait in refusing to commercialize it. The couple fall ifi love, after usual, misunder- standings of motive, and receive the old man's blessing despite the girl being a Christian and, thougli a sad note is struck with the death of the. child, harmony abounds. Famous letter was in reality a mes- sage to the "lady" the dying woman hoped her husband would eventually find happiness with. Curtain falls as the girl tears open the envelope. Chief merit ot the play is the brilliant characterization by Clif- ford Mollison of the aged Jew, his path having always been set in light comedy roles. Barry Morse does his best with the son—^a part that cries out for a John Garfield type. It is a conscientious, if unin- spired performance. Margaretta Scott is suitably attractive and searching as the reporter. Other roles commendably done in the right atmosphere, admirably di- rected by. William Mollison. Clem. Tlic Drams Are OnA Dublin, July 12. Xational Theatre Company production of three-act play by John Coulter. Produced l>y Ria Mooney;' settings by Carl Boiin. Opened at Abbey theatre, July ili, '48. Sevgt. Tliomas Sheridan,..Brian O'Hljsglns Mrs. Sheridan, his wife.,,. .. .Eileen Crowe Jean, his daughter.. .Maire Ni DhomhnaiH Constable Nixon.......... .Pillb O'FIoinn Dennis Patterson.,:'.. .Raghau. Broathnnoh Matt McCann . .Harry Brogan This melodrama, suggestive of the early Sean O'Casey style, deals with the bitter religious-political feuds in Belfast (northern Ireland) in the early 1920's. It fails to click although a first-night audience gave it a good receptibn. The day on which the action of the play takes place is July 12 when Belfast Protestants celebrate the annivei'- sary of a 258-year-old battle. Story deals with a somewhat worn idea. ■ The daughter of a Protestant policeman is- secretly married to a leader of the rebels. In what the Irish are pleased to call "the troubles," the rebel. Rag- hall Breathnach, is wounded and, crawls to the policeman's house for shelter. The customary love and duty tussel follows in the police- man's heart, love for his daughter permitting the rebel to stay the night (and be rescued by com- panions), duty sending him to re- port his misdemeanor at the sta- tion house after the bird had flown. An extraneous character in the per- son of a bird fancier, Harry Brogan, brought a little humor to the piece. Acting was resti-ained and effec- tive, particularly by Brian O'Hig- gins, Eileen Crowe and Maire Ni Dhomhnaill. As a melodrama of the period in which this play Is set, this will get by with Irish audiences. The drums of the title, big drums known as Lambegs which are beaten by Orangemen in their July 12 celebrations, made a personal appearance from their off- stage role to shaie the author's cur- tain call. . Swee. Don't Be a Chorine ^(Continued from Pago 99)a clothes, and pay for accompanists), $3.23 for medical and dental ex- penses (including medicine and hospitalization insurance), $4.91 for clothing (including dry cleaning) and $14.84 for miscellaneous, in- cluding transportation, hairdo and beauty treatments, laundry, union dues, makeup, publicity photos, support of dependents, recreation and charities. Estimated Figures Although the figures are nearly all estimates, in many cases obvi- ously based on hurried mental computationi they do not appear to be excessive. For instance, one girl in "Look, Ma, I'm Dancm'" re- ported spending $20 a week on clothes, while several others claimed expenditures of $15 a week for the same item. On the other hand, 36 of those polled failed to include any investment at all for wardrobe (possibly because they misunderstood the idea of the survey).. Similarly, although one man reported $20 a week medical expenses (his wife underwent an operation), many others reported no outlay whatever in this cate- gory. The highest rent reported was $30 a week (for married people with children), but most rents are stated to be between $10 and $20 a week, with many less than $10 and a few (either boys and girls who live with their parents, or married girls who don't contribute to the rent) having no expense in this classification. Of the 112 who reported, only four individuals said they are able to save anything— $5 a week in each case. The survey reveals a fairlydear difference in the average, amount spent for lessons by the chorus members in various shows. For in- stance, the members of "Allegro" reported spending an average of $26.53; "Annie" and "Brigadoon," $23; "Finian," $16; "Shoes," $26.21; "Inside U. S. A.," $21, and "Look, Ma," $10.16. Training Expenses Up It's explained that the required expense for this special training has been steadily rising in recent years as the use of choruses in musicals has increased and become more ambitious. For instance, where chorus girls once had to know only tap dancing, they must now also do ballet, modem and frequently some acrobatic. Also, they're often called on to sing, do some pantomime and even read lines. More or less parallel situa- tion exists for singers. Many chorus singers and dancers spend more for this training than for food, despite the obvious neces- sity for a present-day performer to be in perfect health in order to have the requisite vitality and stamina for the contemporary style of musical shows. Dancers usually attend classes in ballet, tap, etc., or rent rehearsal studios for practice sessions. Practice shoes and clothes are anotlier regular ex- pense. Singers must have indi- vidual instruction, have to pay an accompanist and buy sheetmusic. Both groups also frequently take drathatic coaching, language les- sons, etc. Doctor bills are some- times a serious item for chorus members, as dancers frequently get hurt and singers must be par- ticularly careful to avoid colds, etc. Although the salary minimum for chorus members has been $60 a week for several seasons, most managements have been paying more than that. However, there ■has never been any comprehensive data on the subject, or on overall income or employment of chorus people. However, the CE Study showed that on June 21 there were 271 chorusers: employed in New York productions and 229 on tlie road. That's a total of 500 Working out of a paid-up membership of 2,000 (there are about 5,000 on the CE membership roljs, of which about 3,000 have inactive status and are presumably semi-permanently unemployed). $83 Average Per _ The average gross salary of the employed chorusers for the period siu-veyed was $82 a week, both in New York and on the road (living expenses, have not been estimated for the road, but they're probably higher, even though chorus people cannot continue their training or practice out of town. A check of the 11 members of the CE executive, committee (prob- ably a higher-earning group than the unions' general membership) reveals that in the last six years they have made an average of. $28.60 a week each. The most em- ployment any of the group had was . 210 working weeks out of a possible 312 (the lowest was 81). The group's aggregate earnings for the period were $16,402.38, and the most any single member earned was $2,172.50. The highest average income for any individual was $41.78 and the lowest was $12.19. No one knows what the average earnings have been for the general membership. According to the latest Heller report (a continuing survey by the Univ. of California), the annual living expense ^or the average single working girl in the U. S. is $2;i64.84 (as compared with the annual average of $4,302.48 for chorus members employed in New- York, as based on the 112 replies reported above). That includes $85 for savings, but only $262.63 for clothes and nothing for lessons, etc. To supplement their theatrical earnings during Broadway engage- ments, chorus people do various other kinds of work, particularly modeling, acting or singing in radio, performing in night clubs, teaching and coaching dancing or singing, renting out their studios* doing commercial photography, ushering, sales-clerking, etc. - Others ■ get financial, assistance from husbands or wives, and some get partial support from parents. For those who do other work, however, there are additional com* plications, as Jthis activity usually involves extra expense of its own, and also interferes with the train- ing and practice that singers and dancers must do to keep in con- dition. Some of those employed keep going by dipping into savings, others by using GI loans. How they get by between engagements is a mystery. Thg committee which conducted the sui'vey includes Paiila Parnell, Clara Cordery, Bray ton Lewis, John Schmidt, Vivian Cherry and George Bockman, chairman. It is also worlcing on an education cam- paign for the membership, to cover the next two years. Miami Boites ss Continued from page I sSm former seasons with lineups as potent as the pacesetters. Murray Weinger, Copa op, is anticipating a tough season and sending Barry Gray to New York Aug. 1, as a "goodwill" ambas- sador. Gray, who, with Weinger, turned down the Edison hotel Green Room deal several weeks ago, when the Kramers insisted on too long a run, will go to the big town anyway. He'll be around wntil Oct. 16, spreading the word about the new room via shots on the air and in person. Clover Club, wliich had Jackie Miles, the Vagabonds and Gracie Barrie in a 12-week engagement last season, is again entering the top bidders, with the "names" on their list tliose in the Copa Beach- conibei- i)l;ins. Colonial ,_Inn, if it opens, ^v•ill as usual, 'have the toppers back. However, there's doubt if the oversized casino will be allowed to "go." If not, plans call for the reopening of the smaller La Boheme, nearby, with just one big name featured. Lesser rooms around town are, in the meantime, planning to go after the middle salaried names who in tliis area, are still a good draw;, such as Gone Baylos, B. S. Pully, and the like. Some may offer top dou,£;h for solo topper, to get their share of the biz. Wanted to contnct MAXITRIi: INTEI.- T;I<;H.VT A»ri,TS. JntprestMl in n Jsl.n DICA.MA, Willi (nil or part time l<'i.sui-(> to devote to a imirtlcal, tlior- onjth, lonir range, SEM-'-HKL,r I'KO- JiRAitl. I'ltinntte ijioal piwmnnttnt, INDla'KNDHXT, t'OOIierntive, llfofcb- sional groups. Km ENTERPRISE H 838; ;il7 W. SBtli Ht., New Yorli 1!) On Park Avenue, aporlnicnl in the TO'j. Elaborately furniihed. Fur- nifhingi coiting almo»l $35,000. Wishes to Mil complete with his Itaie for $25,000 In cash. Low ren- tal. Om of Hm finest hoMsnM Park Avwwei. Mr. Farfaer. Circle M93S. 13