Variety (Apr 1949)

60 LEGITIMATB Vcdneaday, April 27, 1949 Emily Aroher., . Carol Wheclei: Dr. Ned Whitaker Clay Clement Gayden Sibley Jay Robinson Polly Talbot:...;.. , i, V i.. ;Ottilte Kruger ; Bone. I..OV4* In Upper Sanilutiiky North Hollywood; April 19, Marie S. Elkins and Kay Theatre pro- duction of comedy in three acts ,<four scette.s) b.v Edward Emerson and Cliarlcs Wiiliams, Stars Lyle. Talbot; features JLouise Arthur^'Cliff Clark, Paul Maxey« Joan Sudlovv/'Edith Janis Broder, Mari- etta Canty and. Chester Clute. Staged by .lack . DanieU; set... William Wotherbee, Opened at Key theatre. North Hollywood, Aprir 19, '49; $2.40 top, Mrs. George Bently, Sr Aggie ... George Bently,.^Jr. Lucille Fleming......... .1. KandoU' Manning.... Tnnva Orloft. -Sergei-.. /........ Cab . Driver. .Harry Uber Edith Morton . . . Edith Janis Broder ©an Morton ...... CUlf Clark Dr. Brown .............. . .Chester Clute Miss':, Jackson.... . ^.. - .... . .Isabel Brown Reverend Thompson...... John Christian First Policeman .Harmon Stevens Second Policeman.. .........,. .Al Green A Picket..v..,. .Leonid Penayaev Carpenter..... n .;.. J'at Sexton Painter..Douglas Hughes Wilbur Bently.V...,, ^Robert. Whitman Plays Out of Town Gaviien an authentic interpretation, reach'' X' . -, ni ins his peak In dramatic crossfire New Haven, AprU 21. ^jti, Miss Bainter. . Gaiit Galthcr production, of drama in I Ottilie Kruger is in for a. brief, twi, acts (lour scenes) by Mlgnon and I J J ,lj „ vcpnt- a% nnp of Oav- KoDeri McLaughlin. Stars Fay Bainter; ' OUt leuing. Stent ds one oi vjdy feature.'! Jav Koblnson, Clay Clement, | den's romantic castofts. UazCl Jones pttiiie'Kruger, Carol Wheeler, stage^d by | completes the roster as an efficient ■I..ex Bichards; setting, WilUs, Knighton; ,„^jj| malros fariltal nf thp tostUnies. Emellne Roche..; Opened at ; maiQ WllO maKes capiiai 01 ine Shuhert theatre. New'Haven, April 21, i boy's ecc'cntncities. ^9: $3.60 top. ! Qant Gaither has not stinted in ^■"cV sii.i4y;;V.".:".'.".".'.'.V.' "ay Baint": presenting this optis as a fluality ~ " worlc from a technical standpoint. A living room s^t and striking fem- inine finery are in exceedingly good taste. Staging has overcome _ J „ . , ... script deficiencies of a lighter first Gayden" is a psychopathic j ^ punching home the meatier' analysis, the components of whicli: substance of tlie second stanza, are some excellent, even poetic, writing; some stirring passages in- terspersed, by, a : fine troupe; ab- sorbing, subject matter with ;an al- most universal slant: Despite these qualitiesi , however, tlie ■ overall blending falls short of the heights necessary to put across substanti- ally a play, of this nature, , ■ A factor on the negative side, as of tlie premiere, is the script's leaning toward class appeal, there- by indicating limited draw. Per- haps a basic fault is the fact that, Willie the story possesses the in- frcdients of a thriller, it never ully utilizes those Ingredients, be- ing content to present its most startling elements merely as back- fround rather than visual factors.; ;pisodes such as the central char- acter's evil influences, which causes one person to hang himself; which bring's about a girl's at- tempted suicide; and which prompts a youth to jump from a ■ roof top—'all these are only spoken Of, not actually presented. Such presentation, however, would re- ' t[uire considerable revision. "Gayden" is the story of a mother-son complex, with the over- shadowing element that whatever the boy touches seems to become tainted. As a child, Gayden knew only conflict with his wealthy lather. Senator Andre Sibley, whose passing left a financial ar- rangement against which the youth rebelled. Frequent application of a belt strap in his early days has aggravated a congenital mental twist, which eventually leads to Gayden's unhealthy influence over those with whom he comes in con- tact. . When Emily Archer, an attrac- tive young girl from a small Penn- sylvania community, comes for a summer stay with the Sibleys, Gay- den at first resents the intrusion, as he* considers it, but later finds ,... Joan Sudlow ..Marietta Canty Lyle Talbot .. .Lynnda . Mason ... ■. .Paul Maxcy .. .Louise Arthur .Mickey Little About nine years ago, Lyle Tal- bot hit Broadway with Glenda Far- rell and the late Alan Dinehart in an opus yclept "Separate Rooms," which ran and ran and ran. Appar'^- ently, he accepted the starring role in "Love in Upper Sandusky" be- cause he felt it offered similar pos- sibilities. Unfortunately, this Ed- ward Emerson-Charles. Williams script can't make ■ the; grade. It ha.sn't enough ' of the double- entendre lines, or basic situations to give it any kind, of a lengthy lip-smacking run, and it's too flimsy to exist as a straight comedy. About the only prospects are in the; hinterlands,. where customers might be more apt to be titillated than New Yorkers. Basic idea has merit, however. Script spans a week in the harried life of a small-town manufacturer amusement in making over the girl ^^1°'^ drying to settle a strike and into a., new p,ersonality; In the process. Emily falls in love with Iiim and, thinking that the feeling Is mutual, she breaks off her en- gagement to, a boy more on her ; own social level. The episode brings to a head a realization that has been smouldering in the moth- er's mind, and there is a showdown In which she is forced to acknowl- edge the boy's mental unsteadi- ■ ness. Curtain, however, offers no solution as the mother, reacting to human emotions rather than the logic of her brain^specialist brother, refu-ses to follow his advice, hop- ing against hope that the situation will work itself out. A superlative cast handles the projecting of this theme compe- tently. Fay Bainter gives the dis- traught mother role everything I "''^y from simple maternal affection to futile submission to a condition beyond her control. Her dramatic highlights punctuate the script ef- fectively, and at all times she has the part well in hand. Jay Robin marry the union leader's daughter at the same time. The usual com- plications stem this time from an odd assortment of 19 characters who give the play a mob scene at- mosphere while adding to the ex- pense. Many could be written out. Characters are flimsily drawn and cast has trouble making them come to life properly.. Talbot struggles' valiantly, getting little aid from the direction, to make his small businessman a portrait rather tlian a caricature. But some of the lines are against him. Similar dif- ficulties beset others, with Cliff Clark and Chester Clute coming off' best as the union leader and a doctor, the characterizations being more or less standard. • ■ William Wetherbee's single set is Kap. Lailics In Anns Philadelphia, April 21. Hedgerow Theatre production of com- edy in foul' acts by Laurence Eyre, based , - . „ on Robert McNair Wilson's biographv, son, as the psychopathic son, is a "The Gyp.sy Queen of Paris." Directed by ,Ja.spcr Deeter and the author; produc- tion designed, by Jean Layton and Joseph Leberhian. At Hedgerow theatre. Rose Valley-MOylan, April 21, '49; $2.50 top. stellar choice. His well-polished performance blends a ■ surface cliarra with sinister undercurrents to produce a readily acceptable character If Hollywood scouts This is the 164tli play in the haven t already heard of this lad, repertory of the Hedgerow The- they soon will through his work in i atre in its 26-year history, and the this play .,.,„,,„ |42d world preem. It ts not only Playing Trilby to Gayden's Sven- one of the most ambitious of the gall IS Carol Wheeler a pretty iass i group's productions, but one that who combines an attractive per-1 i,as a much better chance of Broad- sonahty with thesping of the first; way attention in the not-too-distant water. Her shift from a smalltown future. girl. to a lap-of-luxury New Yorker is neatly accomplished. Cley Clem- Laurence Eyre's play is a cos- tume coinedy piece, dealing with ent gives the brain-specialist role the Napoleonic era,'bristling with keen satire and literate dialog but FOR SALE lONG BEACH^cKarmtng tmall water- front house—S roonu--) bathi-^sil burner—privttt* fishing, bathing, boat' ing—sacrifice price—Long, Beach ft- 2710-96 Dahon », SEVERAL ATTRACTIVE SUMMER SUB-LETS Kiis( mM St. (Turtle Ba..v Gai-tlens) and other eecUons I K<HMA,nt flOO to 8 rooin» at $,130 ' SAme with Garden*' MABEL DETMOLD ■VMt Kiint 49th 8t„ Xew York City VA. a-IDi!7 delivering no message and having no profound underlying theme. The author of such Broadway of- ferings as ''Mis' Nelly of N' Or- leans," "Martinique," "Things That Count," and "Merry Wives of Gotham." Eyre hasn't been repre- sented in tlie commercial theatre for many years. Here he is using the biography called "The Gypsy Queen of Paris'' by Robert McNair Wilson, as his basis, and he has turned out an always-workmanlike, frequently exciting, and almost steadily colorful footlight piece that introduces numerous histori- cal characters, bijt, does SO in a way that is never stodgy or pre- tentious. Tlie "gypsy queen" of the biog- raphy's title is Therese de Fonte- noy, a gal of very questionable morals, who rose to prominence dliring tlie Reign of Terror of France's Revolution, who had pow- erful if unscrupulous friends, whose marriages and romances were many and ; scandalous. And at one time she is alleged to have had considerable influence on the career of Napoleon Bonaparte in the days when, known as the Lit- tle Corporal, he was just begin- ning to make his personality felt. Two of Therese's inseparable fe- male friends were Germaine de Stael (known to history and litera- ture as Madame de Stael) and Rose de Beauharnais who, better known as Josephine, became. Napoleon's first wife. The author has cleverly pre- sented analogies with the moment- ous historical events of those days and those of present-day Europe and the two World Wars. He putS: into the character's mouths—espe- cially Napoleon's-^ some pungent and knowing commentaries on war- fare, government and (frequently) on the fact that^it is the banking or monied Interests (Napoleon re- fers to them as the usurers) who start; revolutions and make , wars. There is also plenty of emphasis on sex—that particular period fol- lowing the Revolution having been a very lax one in France—and some frank and . audacious dialog. There are two performances that really ring "the bell; one by Al- fonso Morriconi, whose Napoleon is a gem of ironic humor as well as authentic interpretation of a notable historical personage, and Ruth Esherick, as Therese. From her appearance in an ultra-daring evening gown worn at the notori- ous Guillotine Ball, to her final scene with Napoleon in his Palace, when she flouts his pretensions of majesty, and inflated' ego, Miss Esherick clicks solidly. The others fit into the picture nicely, and Jasper Deeter and the author have collaborated on a neat directorial job. The settings, designed by Jean Layton and Joseph Leberman, are' far different from those found for most Hedgerow offerings, and they have a rich and sumptuous as well as authentic ring. The costuming is also tops. Woters. ^()llow-Ups (FORREST, PHILADELPHIA) Philadelphia, April 26. Smart and possibly fruitful is this idea to revive Noel Coward's "Present Laughter" and send it out on tour. As seen: on its opening (April 18) here at the Forrest the- atre, where it is skedded for two weeks, comedy, which is now star- ring Edward Everett Horton, has what it takes. It seems not unreasonable to suppose that Martin Manulis and C. Edwin Knill, who are producing this revival by arrangement with John C. Wilson, can get enougli eastern seaboard dates to take the show up to the hot weather. From then on, Horlon's popularity in the strawhats, won almost entirely by his appearances in "Springtime for Henry," should get the revival plenty of hot-weather activity. By that time it will be apparent whether "Present Laughter" is strong enough to stand a prolonged country-wide tour. - Ktorton is considerable of a slir- prise in this appearance. He has abandoned a number of the arti- fices and mannerisms that he em- ployed in "Henry." has gotten away from some of the too-obvious evi- dences of film technique and, with- out sacrificing laughs, hais achieved a subtlety and a sureness that should lift his rating several de- grees. His conception of Garry Essendine may not be as acidulous or brittle as that of Clifton Webb 'or Coward) but he wins more genu- ine laughs than the former did. All of which doesn't mean that he no longer makes use of his delight- ful facial mugging. Manulis has staged the play with considerable subtlety and wit, and the producers have really done themselves proud on the casting, Marta Linden Is ,still playing the role of Joanna, the most predatory of Garry's flames, and she clicks as surely and solidly as she did in New York; Katherine MeskiU is fine as the wife, Phyllis Kirk is easy on the eye and extremely cap- able as the young gal who falls for the.mellowing actor, and Jane Sey- mour is outstanding as the efficient secretafj;. A standout is Dudley Sadler as a temperamental, slightly lavender-ish young author. A word is due Forrest Thayer for his striking costi;mc!6 (some on the daring side) which adorn the ladies and Ctiarles Elson's .set i.'^ right in tlie picture. Waters, Plays on Broadway The llappiesi Years Gertrude Mecy produetlon of comedy in throe acts (four scenes) by Thomas Coley and William floerlck.. Stars Peggy Wood; features . .lune Walker, Loring. Smith, Louisa Horton, Kichard Bishop, .fudy Parrish, Jessie Busle.v, Douglas Wat- son. Staged by James. Neilson; setting, James Bussell. At Lyceum, N. Y:, April 2St '49; $4.B0 top ($6 opening). Martha Johnson.',...;... .Judy Parrish Richard Johnson...:Douelaa Watscn Alida Wentworth......... .Jessie Busley Clara Graves .............. Peggy Wood Bertram Graves.........Richard Bishop Roger Littleiield.:.; James Goodwin Joan Miller..,. .Louisa Horton Florence Graves'. ^...........June Walker Morton Grave*..Loring Smith There are few points of interest about "The Happiest Years." One is the fact that, in a period of in- flated production costs, Gertrude Macy brought it in for $20,000, in- cluding a reported loss of $5;000 on the road tryout. Otherwise, the play is notable chiefly because it contains more irritating characters than have been assembled oxt one Broadway stage in recent memory. The result is something few en- tertainment-minded patrons would willingly face. ' The principa] role and outstand- ing vexation in this Thomas Coley- William Roerick' comedy is the nagging, interfering, nSsty-minded wife of an Innocuous midwestern i college profes.sor. Having long i since cowed her husband,, she] wiiips up a mountainous froth of i unwarranted resentment and su.s-1 picion against lier studious ex-G I ] son-in-law. It's all transparently foolish and finally collapses of its own weight without creating much I more than audience impatience, Peggy Wood's emphatic playing of the professor's wife seems to accentuate the annoying qualities of the key role. Under the cir- cumstances, the character becomes not merely a busybody, but some- thing of a shrew.: Of the others, June Walker manages to be occa- sionally funny as the dimwit wife who practically splits at the llfe- of-the-party uncle in town on a visit, Jessie Busley creates a gen- uine Individual from a character bit, Loring Smith is properly breezy as the cut-up uncle, Richard Bishop is believable as the shrewr tamed professor, Louisa Horton underlines the attractive role of a graduate student, and Judy Par- rish, Douglas Watson and James Goodwin are passable in other parts. James Neilson's staging doesn't add, dimension to a little-theatre script, but James Russell's single setting suggests an everyday pro- fessorial living room. Hobe, is excellent in the rather easy nart of a breast-beating soul-saver Irving Mitchell manages to give a little ViariatiDn to the too-simnli lied character of the venal indus- trialist. Tommie Baxter project tJae role of an ever-pregnant youno wife and there are satisfactory bill by Edith Sherman, Eddie Hvan.! Gordon Peters, Ellis Charles RokI ert . Morgan, Elmer Lelir and Thomas Brody. Ben Edwards' store-front setting is a victory of imagination and skill over a iipii. nuts budget. On the basis of a season of Invi- tational Series assignments, per. haps the outstanding reaction i« the need for an adequate Iheatre for the presentations. Even if the Lenox Hill Settlement weren't wav off the regular beat, it is iti-.suited for the purpose. Someone should make a regular hou,se in the Times Square area available lor this nnr. pose next season. Hobe. ,lohn Todd production of drama in tlirec acts by Herbert Cobey aid AbbS Mann. Staged by Sidney Lumel; S Michael Saltzraan; costumes, GronDrr* special musical score, Lawrence Chaiken! mu.'iic and choral group directed by Art Ihur Post;, additional music, Jniioph 'Ruin. ' slimsky; additional lyrics, Nick Kenny At Brighton, Broofclyiu. N. V., April ^' P/ivid . :... Albert Penn Harriet Ellen Andrews Rabbi Ben Israel Wolfe Barzell i'";-?™ ■' Frieda Allinan «"'*>.', '■ ;•" Ell7abPth Lawrence David (as a child) Sonnv : shefter Joseph Si O.-ikland Constable......,, J Joe Hardv Reb Nadiman.............. Joe Bernard Ivan , , i . :MllloH Seizor Anna Joan Fiedricks Gu'zhik.. Ben Yaitee Bothchild,....Toseph Ahtoni ' Nick,, ......Earl Hammond Mitra Allen Rcisner Sister Oakra American National Theatre Sc Acad- j: emy presents Experimental Theatre's In- vitational Series production of drama in three acts, by Nellise Child. Directed by. Edward Ludlum; setting Ben Edwards; At Lenox Hill Settlement house, N. Y., April 23. '49; admission free. . I Eva... Edith. Atuka'Reid Nicey .Pauline Myers Turner Thomas......,.Earle Hyman I Mrs. Forbes Anne Ives Ginger Crowley.....Edith Sherman Wade King ................ John O'Harfi Pontius Crowley... . Eddie .Hvans Sally Crowley .Tommie Baxter Brother Ukes........ Ehner Lehr Brother Fred Bailey...... Thomas Brody Brother Friend Richard Abbott j Sister Clara Oakes........ . Natalie Core Mr. Beavers............. .Irving Mitchell Welfare Bailey. .Gordon Peters Lein'l Crowley...;......... . Ellis Charles Sheriff Overshott.. . Robert. Morgan Crowd: Peggie McKlnnie, Ertol Fortitt, Pierce Rollins. "Exodus," though limited in ap- peal to Jewish audiences, is' an arresting drama.about the persecu- tion of the Jews and their final realization of a homeland in Israel. Play is scheduled for productioni next season on N. Y.'s 2d avenue, where it should be given a strong reception. It has nothing for Broadway. Opening with a prolog .set in present-day Jerusalem, the play flashes back to Russia in 1914, and there focuses not only on the po- groms prevalent at the timcj but • also, on the conflict between the Jews resigned to persecution and those wanting to resist or escape from it. The play motivates around tlie characters of Rabbi Ben Israel (Wolfe Barzell), who refuses to oppose the persecution and turns to the Bible for solace, and his adopted son <Si Oakland), for whom the indignities of oppression are unbearable. Both are vividly portrayed. Performances are all handled competently, with Joseph Antoni outstanding as a philo- sophical drunk. Setting by Michael Saltzman has an authentic simplicity, and the direction by Sidney Lumet is above average. A special score and choral group add to the dramatic impact. {Closed Sunday (24) after lim' ited engagement.) j "Sister Oakes," fifth production I of the season for the J5xperimental I Theatre's Invitation Series, is a I vehement, sprawling, prolix melo- I drama about an honest preacher's I triumph over religious and racial 1 bigotry and feudalism in a small I southern mill town. Despite its oc- casionally stirring passages and a generally accepable performance it seems a talky play with little com- mercial possibility. Authoress Nellise Child appar- ently knows the backward parts of the south and, when the actors don't let her down, her dialog has an authentic ring. But she hasn't welded the vital elements of her story into cohesive dramatic form, so the action Is fitful, and some of the key events, such as the manner in which the heroine wins the de- votion of the revival-happy towns- folk, are assumed rather than de- picted. Also, few of the characters seem fully dimensional or entirelv plau,sible. Edward Ludlam's staging creates a mood of smouldering indolence, but the pacing isn't suited to the action and certain scenes lack punch. Natalie Core gives a vigor- ous performance as the femme preacher. John O'Hare does what he can to clarify the ill-defined part of the hero. Pauline Myers and l<.arle Hyman are expressive as Negroes who remain dignified de- ^Pl, uttbearable provocation. Edith Atuka-Reid accentuates the cornedv IrAi '-'""'^'"u^-Ives has trouble with her lines as a hymn- singing fanatic^ and Richard Abbott Nina Foch Stars In Chi Trostie' Company Clilcago, April 26. Lifting of tlie ban on "The Re- spectful Prostitute" has paved tlie way for a May 16 . opening of the Jean Paul Sartre play here with Nina Foch in the lead. Contract was inked following long-distance telephonic approval from Harry Cohn, prexy of Columbia, to whom actress is pacted. Chicago company may head west from here to play Los Angeles and San Francisco late in July. Police are: going to give the show's opening a particular oncfc over, and would step in if "Prostle" is out of linci Longhair Shorts Eugrene Ormandy, Philadelphia orchestra conductor, to be award- ed a doctor of letters degree May 12 by Temple Univ. ... Iffor Bo* ketoff, conductor of the Fort Wayne Philharmonic, visiting N.Y. for a week. He will conduct four of the N.Y. Philliarmonic chil- dren's concerts next sea.son . , • • Daniel Saidenberg, conductor of the Saidenberg Little Symphony and the Connecticut Symphowr Orchestra, is now sharing the Bal- let Theatre podium with Ma« Goberman, BT's musical director, at the N.Y. Met. The Packit Players, Inc., N. T.. chartered to conduct a theatrical business in Ithaca, N. Y., with a capital Stock Of 200 shares, no par value. Directors are Margaret A.. Itter and Jacqueline I. Hill, both of Ithaca;