Variety (Jan 1949)

50 LEGITIMATB Wednesday, January 19, I949 Plays OD Broadway Along Fifth Avenue iTlie Smile of tiie World Arthur Lesser production of revue in [ Playwrights' Co. produetloii of comcdy- two acts <24 scenes). Stars Nancy Walkerj I drama in three acts by Garson Kaiiin. features Hank Ladd, Carol Bruce. Jackie Stars Ruth Gordon, Otto Krugcr Directed Qleason, Donald Richards. Viola Kssen, I By the' author; setting and liKhtlng, Don- ' Johnny Coy, Virginia Gorski. Judyth Bur-1 aid Oenslager. At Lyccuin, N. Yi, Jan- roughs, Joyce Mathews, Dick Bernio, '49; $4.80 top ($6 opening). ^ , . George S. Irving. Zachary Solov. Lee ! Josef Boros. •'' • J'.o'l'.r'iS^'KX Krieger. Wallace Seibert. Louise Kirtland. i Mrs. Boros. .Bliiabeth psw™* Music, Gordon Jenkins: lyrics, Tom Adair; Petcy .Sam JPe""™ additional music and lyrics, Richard Stutz, Milton. Pascal. Nat Hiken; sketches, Charles Sherman, Hiken; scenery, Oliver Smith; costumes, David Ffolkes; lightings Peggy Clark; voeal coaching, Robert Lenn; production: assistance, Charles Friedman; musical and vocal arrangements, Jenkins; musical director, Irving Actman; dances and musical numbers staged by Robert Sidney. At Broadhurst, N. Y., Jan. 13, ' '49; $8 tbp ($9.60 opening). , . , , ^ Principals; Nancy Walker, Hank Ladd. Carol Bruce, Jackie Gleason, Donald Rich- ards* Viola Essen, Johnny Coy. Virginia Gorski, Judyth Burroughs, Joyce Mathews, Dick Bernie; George :S., Irving, Zachary Solov, Lie Krlegen Wallace Seibert. . Singers: Joan Goburn, Gloria Hayden, Candace Montgomory.-Tina Prescott, Dor- othy Pyren; Lucille-Udovlck, Ted Allison, Leonard Claret; Bob Neukum; Ken Ben- ner, Bert Slieldon. . . * Dancers; Franca Baldwin. Tcsaie car- rano, ShelHe Farrell, Marian Horosko, Gretchen Houser, Carol' Nelson, Janet Sayers, Harry Asmus.. Ted Cappy. Dante Dl Pablo;-Howard Halone, Walter Stane. Evelyn"... ................. Ruby Dee Sara Boultlng St°J,i^ Sam Fenn . .,.....i...iWarren Stevens See Boulting Otto Kruger Stewart ............ .. Ossie Davis Alice Widma'yer Laura Plerpont "Along Fifth Avenue" vanes m quality almost as much as the thoroughfare from-jwhich it takes its title and theme. There are a few bright spots in the revue and a couple of limp ones, but it's fienerally just average. It seems an unlikely bet to pay off, but may have a moderate run. ■ This show had more than its share of tribulations in preliminary production and during the road try- out. The effects are evident. Des- pite some fairly good material and Several talented performers, the revue rarely jells into a genuinely | ence smash number. Some of the ,roa- "" terial seems unsuitable for those trying to put it across, and the rou- tining is uneven Nancy Walker, the star, is the, best thing in the show, although | This effect may not be entirely Garson Kanin's new play, 'The Smile of the World," is a change of pace from his "Born Yesterday.' It's a serious work, with an inter- esting premise, but is relatively quiet and suffers by comparison with its comedy predecessor. It isn't for Broadway or, unless th? adultery angle is revised, pictures. It may prove an item for stock and little theatres. Plot deals with a Supreme Court justice, once a rampaging liberal but now an aging and pompous consetvative, and the younger wife who has cooled toward him, When the justice's young clerk comes to the house the wife sees him as the personification of what her hus- band once was, and she falls in love with him. The justice con- dones the affair, .but presently loses both the wife and the clerk. At the curtain, the implication is that the'jurist has been shocked into re-evaluating his outlook. Unfortunately, the two principal characters have not only lost in- terest in each other, but they fail to spark the drama for the audi- ence. Thu.s, the excitement is pro- vided by lesser characters, chiefly the clerk and the justice's shrewd and caustic mother^ Consequently, the play's basic scenes fail, while the non-essential ones stand out. RICHARD COOGAN Leading man with MAE WEST in "DIAMOND lilL" as the Salvation Army Captain who tries to save the soul of Diamond Lil and In doing so, falld madly in love with lier; Plays Abroad Vky Mit of'Town she has only one really sock num ber. Hank Ladd is acceptable in the only two numbers in which he appears, hut otherwise merely pror vides monologs to cover scene changes. Carol Bruce looks, more attractive than ever, but is pretty much lost without a big song. Jackie Gleason, who replaced the. late Willie Howard during the try- out, is energetic but helpless with the padded blackout sketches. Donald Richards handles several passable songs pleasantly, while Viola Essen and Johnny Coy have one striking dance number and sev- eral undistinguished ones. due to the writing. Although Ruth r First Italian Mother Gordon gives a sensitive and mov- ing performance as the wife. Otto Kruger seems unnecessarily blood- less as the justice.. Warren Stevens is believable and attractive as the clerk, while Laura Pierpont mops up in, the standard character part of the mother and Boris Marshalov ' is notable in ttie atmosphere-cre- They Knew Whai They Wanted Wilmington, Del., Jan. 14. John Golden production of comedy re- vival in three acts by Sidney Howard. Stars Paul Muni; features Carol Stone, Edward Andrews, Charles Keqnedy. Di- rected, by Robert; Perry. Designed and lighted by Frederick Fox. At Playhouse, Wilmington, Jan. 14, '49; $3. Joe . ......, . .Edward Andrews Father McKee......... Charles Kennedy Ah Gee,......Francisco Salvacion Tony . .Paul Monl The R.F.D,.............Bruno Wick Amy,... . ..Carol Stone Angelo.. .;.,,>...<... ..1.. Danny Leone Giorgie.......Victor Rendina The Doctor.Henry James First Italian Mother ...Delores Badalonl Her Daughter............. Lynn Robinson Second Italian .Mother.. Eole Gambarelli H^r. son.; ......... . .Richard Finebere ating first scene. Elizabeth Dew- ing, Sam Jackson, Ruby Dee and Qssie Davis are acceptable in sup- porting parts. The author's direction seems deft, the single": setting by Donald Oenslager is tastefully cluttered With more rehearsals, the 1949 revival of Sidney Howard's 1926 Pulitzer Prize winner should shape .up better than when caught. At the premiere "They Knew What They Wanted" didn't show up too strongly due to the fact the cast had trouble meeting its cues. Paul Muni, the star, was especially delinquent. Howeverv the play ^seems headed for a fair run on the basis of Muni's drawing power and the play's past Sepieinlier Tide London, Jan. 2. Tennent Productions presentation of drama in three acts by Daphne du Maurier. Directed by Irene Hentschel. At Aldwych, London. Stella Gertrude Lawrence Cherry...... i Anne Leon Evan Michael Gough Robert ........... . . .^rir Baymond Mrs, Tucket Dandy Nichols Jimmy Bryan Forbes Anything that brings Gertrude Lawrence back to the London stage wouldi be welcome to theatre audiences, and if this vehicle isn't the happiest choice for her, at least her charm and sensitivity bring out all the merits of the play. Dealing with a man's reciprocated love for his motherrin-law, story will be considered ^unsavory by many, and certainly highly im-; probable by more than a few. Its appeal will chiefly depend upon the star's drawing power, after 12 years' absence, and reputation of the authoress. Scene is set on the Cornish coast, where a lonely widow wel- comes her young daughter on her honeymoon. Groom is a surly, in- considerate painter from Chelsea, and clash of moral values of the two generations provide much of the talk, of which the first act sup- plies a surplus. Mother cannot ap- preciate the modem couple who, after two weeks of marriage, oc- cupy separate rooms at extreme ends of the home. This is intensified after two months through the accidental overnight absence of the girl, wheii the mother and the artist avow their love for each other.; Mother, carried away on the Sep- tember tide of her emotions, averts the supreme folly, and as a way of escape plans to accept an old ad- mirer, to leave the couple to soli- tude. Small supporting cast is excel- lent, with Michael Gough making almost likeable the unpleasant character of the boy. Anne Leon is a personable youngster, but [scarcely conveys the impression I she is a wife, her demeanor being imore that of a kid sister. Dandy I Nichols turns in a neat cockney I characterization: as : the scrub-; i woman, and Cyril Raymond is very "old school tie" as the unsuccess- ful suitor. Play is soundly directed by Irene Hentschel. ■ Clemv as for looks. Director Jacaii« Henry Duval has brought out every ounce of comedy therp wag in the script. Mdii. Pariage De Midi (Noontide) Paris, Jan. l, Jean-Louls Barrault production ni drama in three acts by Paul ClaUdel Silf tings by Felix Lablsse; costumes, fchSt tian Berard. At the Theatre Martem .Paris. ■ ■ ■ ■ X« J Edwlge FeuiUer* Me««.,............ ;...,Jean>Louis Barrault De Ciz.....>....,.,,..;Jacques DacatniiM Amalrlc Pferre BfasseS? Eighty-year-old Paul Claudel has finally given permission for the presentation' of his 43-year-old classic, "Partage de Midi," Back in 1928 the last act was given an unauthorized .performance by the Theatre Alfred Jarry, but up to now the author has steadfastly re- fused to allow, the work to be played. It has nevertheless had a great deal of influence, not So much in the theatre as in French literary circles. The Barrault pro- duction is unquestionably: the high spot of the present season, and will be discussed for a long time to come. Properly speaking, it isn't a play at all but a long philosophical dts* cussion between four symbols-- the adulterous wife, the unimag- inative husband, the materialist and the religious: poet—^and their soul struggles in the "noontide" of their lives. The play has an enormous fas< - cination, due to the richness and imagery of Claudel's proSe and the complexity of the problems in- ' volved, both spiritual and mate- rial.: It is -played to the hilt too^ especially by Edwige Feuillere. Barrault is more restrained than usual, and in consequence more convincing and effective. Pierre Brasseur is hearty almost to the point of vulgarity as the material- ist, and Jacques Dacqmine is a . cool 'and aloof husband.: Settings- and lighting are above the average,: and Christian Berard's costumes (circa 1900) set off Feuillere's beauty to great advantage; Fred. The one solid moment of the i and the costumes by Mainbocher i reputation. Howard was a master Show is the "Chant D!Amour burlesque of such laments as "My Bill," with tune by Gordon Jenkins and lyrics by Nat Hiken. In this Miss Walker gets hilarious effect with her account of her big pash, George S. Irving, who's switched to Calvert's but Hasn't given up Old Crow. As she sourly concludes, "Let's Face It, I'm in Love With a Slob." Another ■ enjoyable inter- lude is "A Trip Doesn't Care at All," ingratiatingly sung by Rich- ards and a smiling moppet named Judyth Burroughs, with music by Philip Kadison and lyrics by Thomas Howell. ^ Other, less memorable tunes are •'Fifth Avenue," the opener; "The Best Time of Day," sung by Miss Bruce and a male quartet; Miss Walker's "If This Is Glamour," and Forrest Thayer are becoming. Hobe. (Closed Satwrdoj/ (15) after five performances). Legit FoDowup Edward^ My Son (MARTIN BECK, N. Y.) Adrienne' Allen, femme lead: of "Edward, My Son," at the Martin I Beck, N.Y., is. a satisfactory suc- I cessor to Peggy Asheroft, "who withdrew from the part some weeks at dialog and he knew how to build up suspense even in dealing with a hoary triangle plot such as this. John .Golden has given it a good production and the cast is uni- I formly excellent. 1 Everything revolves around Muni and when he hits-his stride the play «houId be on a par with thei origi- nal production. Even now the star uses the juicy role of the^. Italian vineyard owner to demonstrate his mastery of character acting. He wins audience sympathy from the outset and-his grief upon learning his mail order bride is to bear his foreman's child, seems real and somewhat different slant than Miss Asheroft did, and that inevitably with music by Richard Stutz and I alters slightly the flavor of the play lyrics: by Rick French; the song-1 itself. To anyone seeing "Edward" and-dance "Skyscraper Blues" and the first time: the effect should be "Washington Square," Gleason's | perfectly acceptable and to any- "Fugitive from Fifth Avenue," "In i one who saw Miss Asheroft in the the Lobby," Miss Bruce's "Weep I show the change is likely to offer No More," Ladd's "Mr. Rockefeller ! merely an interesting comparison Builds His Dream House," by Mel! of different personalities and tech- Tolkin and Max Liebman, the nov^ I niques, without marring the appeal elty about Lord & Taylor called of the drama, wuaurew ironi me part some weeKS terrifving Likewise his foreive- iv'" Miss"'TlVn M^^,;.Natural-; Jf/s"*^of"^the bri^ ly. Miss Alen gives the role a ■ de.sire for marriprt hanninp« Le Secret Des Dienx (The Privilegre of the Gods) Paris, Jan. 4. Parisys presentation of comedy in three acts by Leopold Marchand. . Directed by Jacques Henry Duval. Set by Parisys. At' Theatre Michel. Paris. Ida . ......;.— ..... .Parisys Fenouillat . . .............. .. .Vilbert Chcnysette ...........Serjius Cortinl.;,. . ;Antoine Fleury Morgan Kelett.v.. .Boger-Vincent Borythene .... Zeimct Mauricette, . i. . .;.., MireiUo Ozy Florise ............... .Monique Sandley Lcmcillier Emile Duard Anne ...... ........Fiona Hamilton Pierrot .... Dialer d'Vd Dick Gordon .............. Jack Delvigne Moise Raffalesco.........Gerard Gervals Ernest Buchler. . Jackie Gencel "Vacation in the Store" and a Bruoe-Ladd duet, "Call It Apple- fritters." There's also a first^act finale, "Santo Dinero,". whifch is completely alien to the Fifth avenue theme. Mi.s.s Walker manages to make something of a couple of sketches, notably about^ aphrodisiac qualities Robert Morley continues to give a powerful and arresting perform- ance as male lead, and although he occasionally seems to shout a bit too much, it's a great relief to attend a show in which all the lines are audible. The theatre has made an innovation since the opening, installing small signs at the stage of perfumes and a travesty on mur- I apron, which are illuminated be der mysteries. The others seem tween scenes to indicate the time overlong and of little point and, ex- of the ensuing scene. It's an in- cept for the .one-standout number, i genious device - for -discouraging . the dances seem more energetic I match-lighting program readers, than inspired. The revue is pain- and might profitably be adopted fully lacking' in overall direction, | for other shows. In various other and no one gets program billing for i ways, too, the Martin Beck is vir- the assignment, although there is a i tually a model of thoughtful, pains- credit for Charles Friedman, Who ' ' " .assisted a few days before the Broadway; preem. The music gen- erally seems over-arranged, and the Oliver Smith scenery and David Ffolkes' costumes are jpresentable. The program credits for the pro' HENDI FOR DAIXAS? Dallas, Jiaft. 18: . . .. - - , - • Walter Hendl, assistant eonduc- ^"^Ir ?!:^*f, Pll^'^^U J'^fi'^ , of the New York Philharmonic, desire for married happiness, strike ■ responsive chordSi : Carol Stone, as the walti'ess Muni marries . does a splendid job. It isn't ah easy role biit she makes the weak Amy a believable figure. The priest, spiritual advisor to Tony, is in the capable hands of Charles Kennedy, who created the part in the original play. The stuffy doctor is played for laughs by Henry James and Edward Andrews does as well as possible With the thankless role Of the fore- man. , Bruno Wick i and Franciseo Salvacion round out the speaking cast in minor roles. Robert P'erry directed but, he stiU needs to put the cast through: more rehearsals^ Frederick Fox's livlhg room setting is attractive. Klep. Jane Cowl Set for Dallas 'Queen' With Local Group ;, _ Dallas, Jan. 18. Negotiations have been com- , , . , ,„ . „ . Pleted for a production here by the taking and efficient theatre man-1 Arden players of "Elizabeth the agement. Hobe. Queen," with Jane Cowl as guest star. The Maxwell Anderson drama will be presented Jan. 26, 27 and 28, at McParlin Auditorium. Miss Cowl will appear under the auspices of the American National people" featiiredr'one" or whom, I Trrired'Tn'Dallas" W^dneXr(12) ^"'^, Academy. Blevins Louise Kirtland, isn't listed in the I ^llVvTn'.nnsKnrn^^fi. i?^ 1 ^ New York producer and luuuise xviinaiiu, isn i Hsiea in me nresiimahlv to consult with nffipials i ^^"=",. piouucer ana '^l^^^^'^^^':;^'^!^: 1 SMrDalfarsTrnThony (iV^^^^^^^ > Z'^^^'l "il'iL.^NTA board, will distinguishable. And among those 1"""" ^^"P'^"'"*' Orchestra who have contributed mhsic or! ,,"^ "^s been sugge.sted by New lyrics without listing in the for-^"! York managements as successor to ward credits are Rick French, Mei Antal Dorati, who will leave after Tolkin, Max Liebman, Mel Pahl, this season to become conductor of Philip Kadison and Thomas Howell, the Minneapolis Symphony Or- ♦ LfSi'ii: •Miii'ii-. 1 '. ^^?^^' I n 1 ,1-1 >>,/., ail. J. be guest director. Wray Davis, New York actor who played opposite Miss Cowl in Kaasas City, has been engaged to repeat his role of Essex here. The balance of the cast will be com- posed of Dallas actors. A new idea, and so cleverly dressed up and scripted, that it's I a natural for adaptations on all I foreign stages, including U. S., with a strong screen potentiality. I Locally, it's an unquestioned smash ! on all counts. Leopold Marchand has something here which goes be- yond a comedy of youthful doings with a bit of palatable romance in- jected at the end. Under witty cellophane it's a deep satire of the doings of grown- ups as seen from youth's angle, ex- posing mercilessly their frailty both in private and public life. As such, it is cued to click in any country, since human nature is the same the world over. The play introduces Vilbert as Fenouillat, a cabinet minister, ap- parently a widower, whose wealth and political success are due, un- known to all but himself and his son, to the fact that his teenage son is a child prodigy with a genius for politics and finance. The boy- practically pulls every string-which-animates the father^ though,, in . everybody else's eyes, latter acts on his own. Parisys. as producer and owner of the theatre, casts herself in the I part of Fenouillat's protegee. A younger woman might have made her part too important at the ex- pense of the real comedy. Here, ! she is just a character part. Henri I Vidal, as Fenouillat, is exemplary as the not too refined politician. Sergius, as the boy's tutor, stands out, in a rip-roaring characteriza- [tion. Roger Vincent is a plausible 1 Canadian envoy^ while Emile I Duard, as a financier; Antoinc Fleury, as Fenouillat's secretary, and Zeimetj as a shady newspaper- man, acquit themselves well. Pierrot, as the wonder boy, acts like an old trouper, and scores I heavily. Fiona Hamilton, as the kid I poetess, is okay fo^ feting ajs jyfp.U N. Y. City Ballet Co. The fledgling N. Y. City Ballet Co. has an excellent addition to its growing repertory in "Time Table," new ballet with which the com- pany preemed its first independ- ent season Thursday (13) at the City Center, N. Y. A ballet in one act, to music by Aaron Copland, with choreography by Antony Tudor, "Time Table" is a slender story of incidents on a railroad platform at the end of World War I as a typical group of people await a train. Mood is wistful or melancholic by turn as a girl bids her marine goodbye or another girl greets a returned GI, and humor- ous, as a couple of soldiers tangle I with some teenage flappers. But:. I mood is always reliably sustainedy : I and music and choreography blend I admirably. Troupe's dancing, espe- cially the work of MaricJeanne and Francisco Moncion as the Ifead- ■: ing couple, is admirable. Making its bow on its own as a full-fledged department of the N. Y. City Center Of Music and Drama, after a faU season of fill- ins, the ballet troupe now im-, presses as a major organization, on a par with other; U, S. major dance groups. Other two ballets presented Thursday were the two Balanchine choreographies, "Four Temperaments" and "Symphony in C," former to Paul Hindemith's music, latter to Bizet's. Both, are strong . staples in the new com- pany's repertoire, the finale of . "Symphony in C," with Balanchine crowding the stage constantly with , more and more dancers, remaining a sheer choreographic delight, Lead dancers Marie Tallchief, Mane- Jeanne, Tanaquil LeClercq, Nich- olas Magallanes, Francisco Mon- cion and Todd Bolender continue: to spark a spirited ensemble, . ■■■ ■■■Bron, ',■ Theatre '49 Gets Underway With Premiere of 'Skaal' Dallas. Jan. 18. . • Theatre '49 opened its first pro- duction of the new year Jan. i" with presentation of "Skaal, « new drama' by Vivian Johannes. The play is skedded to run tor three weeks at the Gulf Oil Play- house, liere. Cast includes Harold Webster, Clinton Anderson, Jack Warden, Frances Waller, Mary Finney, Bomola Robb, John Hudson ano; Edwin Whitner, "Skaal" will : followed by another Pi^eimere, "Sting in the Tall," by Tom Pore^ ,foy, Irish playwright and Mws iTheatre actor, . ,„.,,