Variety (July 1949)

S2 I.BGITIIIIATB Wednesday, July 13, 1^9 Plays on Broadway I'abalfKiifa Sol Hurok presentation of Spanish musical revue in two acts (18 srenes*. l*r«»duced. directed and choreoRiaphed bv Daniel Cordoba. Music b.v Albeniz, Kalla. Qulrosa, Latorre. et al. arranKed by Hanion Bastida. musical director: sets and costumes. Luis Marquez. .\t Broadway. N Y.. July 7, '49: $3.60 top. Cast: Carmen Vazquez. Pepita Marco, rioriana Alba. Pilar Calvo. Aurea Keyes. Jose Toledano. Paco Fernandez. Julio Toledo. Sebastian Castro. Fernando Var^s. Violeta Carrillo. Marla Castan. Pepita Duranso. Conchita Escobar. Carmen Gamez. I.uisa Garcia. Paloma Larios, Zenia Lopez. Teresa .Martinez. Catalina Maytorena. Elba Ocaiza. Pepita Ramirez. Gracia Rioa. Roclo Santlsteban. Malena Telmo. Armenia Villa. Andres Aquirre. Carlos Castro, Gustavo Deleado. Raul Izquierdo. Gu.stavo Garzon, Guillermo Marin. Fernando Marti. Rene Ochoa. Luis Rlestra. Ricardo Solano. Jose Valois. Juan Villarias. Miguel Herrero, Rosa de Avila. Enrique Barrera. Victor Torres. Ralael Hernan. Jose Cortes. Manuel Medina. Paco Millet. “Cabalgata.” musical cavalcade of Spanish songs, dances and vignet | tes. is a concert dance attraction successfully done in Broadway revue guise. Revue has color, excitement and speed, and is excellent entertainment for dance lovers, especially of the Latin sort. Attraction should have a moderate run becau.se of its limited nature, but should do profitably during its N. Y. engagement. Production, which is unusually large for a Spanish dance troupe, comprising over 60 people, is authentically Iberian, having been put together in Madrid by producer Daniel Cordoba in 1942, touring Spain and South America ever since, for over 2,500 performances. Troupe also successfully played L. A. and Frisco before opening in N. Y. Excellent performances, unusual Bettings and exotic moments keep Interest high in “Cabalgata” through most of the evening. The revue starts off a little tamely, but picks up fast, some of its dance numbers setting a terrific first-act pace right-up to intermission. Second act has more singing and instrumental work, and less dancing, to slow the show up a bit. but then it gets going again in a furious pace to wind up in a frenzied finale. Revue is a varied attraction that’s neatly intertwined with solos, duets and production numbers. Familiar Spanish dance patterns are contrasted with le.ss wellknown terp styles, to keep proceedings fresh. The music is derived from classic composers and folk sources, expertly arranged or orchestrated by the show’s musical director. Ramon Bastida. Costumes and sets, done by Luis Marquez, are vivid and eye-filling. Producer Cordoba, who staged the revue, also did the choreography. Production numbers include colorful scenes of bullfighting, waterfront and village festivals, a dance school with a contest between pop and classical styles, etc. In essence, a revue must stand or fall, however, on its performers, and “C'abalgata” is double fortunate in its fine array of talent. Chief of them Is Carmen Vazquez, a very attractive and versatile dancer whose ability with castanets matches fascinating heel-and-toe or ballet work. Another femme standout is Pepita Marco, equally as skilled in fieasant dance as in classical Spansh ballet. Troupe is specially gifted in male dancers, standouts eing Jose Toledano, Julio Toledo. Fernandez Vargas. Paco Fernandez and Sebastian Castro. Revue has dances to guitar or piano accompaniment, as well as to the full orchestra; soprano solos illustrated by dancing duos; gypsy and folk dances, jotas^ flamencos, classic boleros and mazurkas — all of it gradeA entertainment. Broil. Dciwn in the Valley Lemonade Opera Co produrtion of folkopera in one act with music by Kurt Weill, libretto by Arnold Sundgaard. Staged by Max Leavitt: costumes and sets, Martin Belasco: choreography, Allen Waine; musical director, Herbert Grossman; Phyllis Rappeport. Antoinette Vlgliotti, pianists. At Greenwich Mews Playhouse, N. Y., July 6, '49. The Leader | | Robert Goss The Preacher l Brack Weaver Howard Jarratt i Guard Francis Monachino i Peters Max Leavitt Jennie Parsons Nancy Kendall ; Jennie’s Father John Dean ' Thomas Bouche Lewis Brooks The Women June Gallaher. Ruth Kobart. I Margaret Ritter. Peggy J.ee Whiting The Men James Cosmos, Morris Gesell, j Francis Monachino i The Children Anna Baldwin Jeanna Belkin The Chorus Shirley Agress. Joan Bruckheim. Betty Chretien, Gwen Fogarty. Helen Guthwin. Helen Masloff. Paula Mirsky. Sue Ann Stern. Phyllis Tarter. I Daniel Altman. Gene Green. Brayton Lewis. Judd Stevens. frustrated film actress is satisfactory. Nancy Stiber as the model, is a looker and a commendable performer. Henri Beckman’s auctioneering is firstrate. Direction by Irving Stiber is excellent, and David Berman’s sets are functionable. William B. Goldberg’s music and Ellen R. Albertini’s choreography are interesting. KIMS UfOy Kale Los Angeles. July 12. Saint Subber Ac Lemuel Ayers production of musical comedy in two acts (16 scenes), with, music and lyrics by Cole Porter, book by Bella and Samuel Spewack. Stars Anne Jeffreys. Keith Andes: features Marc Platt, Julie Wilson. Benny Baker. Staged by John C. Wilson: choreography, Hanya Holm: settings and costumes, Lamuel Ayers: musical director, Pembroke Davenport: orchestrations. Robert Russell Bennett: orchestra conductor. George Hirst. At Philharmonic Auditorium, L. ^.. July 11, '49; $4.80 top. “Down in the Valley,” the Kurt ' Weill-Arnold Sundgaard one-act opera based on an American folkballad. is good, entertaining musical Americana. Written primarily : for non-pro and .school outfits, the work has had about 85 amateur | and pro productions throughout the U. S. since first done a year i ago at the U. of Indiana. Last ' week (61, it ha(k its first professional N. Y. production by the enterprising Lemonade Opera Co. in Greenwich Village. i “Valley,” for all its charm, belongs in amateur repertory rather ; than in professional show busine.ss. It is too brief and sketchy in content, while its music has little of so-called Broadway draw'. "Dark of the Moon,” similarly based on a folk-ballad, had more color, music and dramatic appeal. The individual segments of "Ballet Ballads” had more bite and punch. "Valley” remains an ingratiating work, but too flimsy to be expanded into a commercial effort. But in its orbit, it is attractive music-drama. The simple story tells, in flashback, the rivalry of two men for a maid; the murder of one man by the other, and the latter’s jailing and death. Sund j gaard’s libretto follows the story ' simply and dramatically. Weill’s music incorporates not only the ballad on which the story is based, but other folk-music too. The music is varied and appealing, and 1 always true to mood, without being distinguished. I An accomplished, willing group of singers makes the Lemonade’s performance of “Valley” an engaging work. In particular, Nancy Kendall is a winsome lead, with an I appealing singing style. Howard Jarratt is an ardent lover and ex1 cellent singer, and Robert Go.ss is a standout in combined roles of , the Leader and preacher. Broii. Out of Ihe Pi€*iuro Jnterplayers production of drama in two acts by Louis MacNeice. Directed by Irving Stiber; sets. David .Berinan: ! music. William ography, Ellen I players theatre, top. Chorus Jack B. Goldberg; choreR. Albertini. At InterN. Y., July 6. '49; $1.80 C'reley. Cranston Diehl, E. W. Swackhainmer Portright lohn Denny Miss Ilaskey Anna Berger 1st Moying Man Fred Porcelli 2nd Moving Man Louis Criss Bailiff Henri Beckman Moll O’Hara Nancy Stiber Clara DeGroot V'irginla Baker Dr. Spielmaiui Gene Dow Bill Louis Criss Mrs. Freudenberg Anna Berger 1st Collector Jerry Pizel 2nd Collector Joan Potter 3rd Collector Henry Proath French Collector Louis Criss Italian Collector Fred Porcelli Auctioneer Henri Beckman Sir Sholto Spielmann Gene Dow Edwards Fred Porcelli Los Angeles can speak only in superlatives of the smash opening I last night ( Mon. i of a special company of “Kiss Me, Kate,” an opening that seems also to have given Anne Jeffreys a secure place among ' present-day musical comedy stars. Miss Jeffreys’ "I Hate Men” is a dynamic projection. She scores with her acting, singing and warm beauty. Reception given the show was a tribute to the staging of John C. Wil.son, who brought the company to the Coast for a triumph ' every bit as great as that registered by the'N. Y, company. I Particularly notable are the in' spired choreography by Hanya , Holm and the costumes and settings by Lemuel Ayers. I Production values are tremendous aids in making "Kate” a sue ^ cess. Producers Saint Subber and , Ayers obviously lavished painstak, ing care and exptnse upon the Cole Porter show. The L. A. Civic Light ; Opera Assn., which presented “Kate,” deserves more credit for ' bringing the musical here to begin what should be a highly successful I tour of the country. | In addition to Miss Jeffreys. Keith Andes, Julie Wilson and ; Marc Platt are exceptionally fine. | Miss Wilson is socko in an especially unbuttoned version of "Always True to You in My Fasliion.” Andes is excellent in his acting, but a little lacking in vocal moxie, I not enough to detract from the impact of the show', but only to give critics needing a fault to find some; thing to split hairs about. Platt can I give his own performance just a bit more vitality, but his dancing is of the best. Benny Baker and Bobby Vail bring the patrons out of their seats with their high-toned buiie.sque turn. “Brush Up Your Shake[ speare,” and are solid throughout in their comedy gangster roles. Best of the specialties is that of Rai Saunders, singing "Too Dam Hot,” in which Bobby Johnson. Foster Johnson and a dancing enj -semble join in the top dance numi her of the sliow. Dag. Strawhat Review Th*atr«s . . . Auditoriums New Booking N. J.. Po., Md. Ken Parker's FOUR FIJlillTS liP' “Guod Entertainment Fare.” — N. Y. Journal-Ameriran. "Suspense-extreme originalitv.” — N. Y. Villager. Ki»r HiiiilMble iiHl«‘<i-l«-rnm-wri(t*-wir«*: Independent Theatrical Entr. 1 1 3 Weft 42nd St.. New York City SAMUEL FRENCH eiNCR IR.30 Play, Brokers and Authors* Reprcsrnlatives t.l 4$(li N^w York 7A3S SoitNrt Bird.. Hollrwood 4S. I'al Having moved from New York’s Greenwich Village, where they were located last year. The Interplayers are currently offering Louis MacNeice’s “Out of the Picture” as the first production in their new’ theatre in Caunegie Hall. Most notable aspect of the production, which is limited in appeal to arty audiences, is its showcasing of a group of competent and talented thespers. These performers add interest and color to a purely experimental play. Though the author tends to lose himself in a profusion of lengthy speeches, he neverthele.ss manages to project his underlying theme of man’s futility in a world overshadowed by war. Dis.sertations on art, love and war, make up the format of the play, which centers itself in England prior to a declaration of war. What war isn’t clear. Motivation for the story is supplied by an artist, a model, an actress and a psychiatrist. An off the beatenpath production and an auction scene that has all the makings of a revival meeting are highlights. John Denny, as an apparentiv mediocre verbo.se artist. is commendable, esiiecially in his handling of a few’ comic touches. As the psychiatrist. Gene Dow performs creditably. Virginia Bakers portrayal of a top-ranking but ; .Sprinp(b«$ard to ]\«m’hpre Ocean City. N. J., July 8. ! A.ssociated Pla.vers, Inc., prudurtlon of drama in two acts and prolog b.v Ale.\ander Lidur. St.irs Rrainwell Fletcher. Staged by Rodney Hale; scenic designei. Adolf Aldrich. Presented at Ocean City Playhouse. Ocean City, N. J. Milton Rrainwell Fletcher A .Spectator George Spelvin Lady in the Black Ma.sk Vici Raal Carl .lames Field Stella Jane Harven Fir.st Gentleman Philip Wolf Second Gentleman Julian Borris Max Frederick Cornell Sam Gerald Lee H;»rry W'illiam Phelps Rene Lynne Lyons Freddy Howard Ledig Alex Kayniond Gordon Lauia Barbara Murphy Philip George Cotton Leonora Betty Morrow Bill Norman McKav Lillian Laura W’alkei Right now. "Springboard to Nowlicn*’’ is aptly titled. The work of Greek playw'iight Alexander Lidor, "Springboard” has a pretty good idea — but just an idea. With its speeches, .symbolisms and allegories. at the moment it hardjy measures up to any commercial standards. It at least has the framework, however, to warrant calling an expert play-doctor. Bramwell Fletcher plays the lead, a character called Milton, who's a .symbol of fru.stration in ills attempt to wreak vengeance through manipulation of a.ssorted characters whom he attracts to a cellar cafe. His is the only professional performance. What this play needs most, besides the rewrite. is a complete recasting. Harry Davies, Broadway legit pressagenl. has reportedly secured the backing for the play which, with a rewrite and recasting, he would bring to New York in the fall. Kahn, LAKE PUCID SETTING ANNUAL DRAMA FEST Lake Placid, July 12. This r^ort town is setting up its first Lake Placid drama festival, which it hopes to make an annual event. Festival will include dance and other music events, but stress legit, being built around the N. Y. Dramatic Workshop Players, who are summering here. Chamber of Commerce. Board of Education, Town Board and the mayor have promised full backing. Festival is to be under direction of Erwin Piscator, head of the Workshop. This season’s festival will open with appearance of the Ottawa Classical Ballet in Lake Placid High School July 21-22-23, with Herbert Bliss as guest lead, Jose and Amparo Iturbi will give a twopiano recital in Intervales Stadium July 30. Elaine Stritch will be starred with the Dramatic Workshop Players in "Twelfth Night,” at the high school. Aug. 4-5-6; Buster Keaton will appear as guest star in "Three Men On a Horse.” Aug. 11-12-13, and Carol Gustafson an(i Jack Bittner will take leads In "Lysistrata” Aug. 18-19-20. Play Abroad Young Tale London. July ft Stanley French (for Firth .SheDhlV.i. presentation of comedy in three ai-i* i * Ronald Jeana. Directed by Michael u*’' cowan. At Savoy, London.' July 7 'aa*' I Rodney 4>ennant Nauiiton Sabina Pennant „ Jo-n GieenS . . . Marqai el Scudamore Haythorne German Woman Beatrice Boar*? Nurae Blott . Nurse Gallop . . Mary Banning . , Bruce Manning Legit’s Chill Continued from page 49 est-price seats generally go last. In the case of mail orders, the biggest demand frequently appea'’s to be for the medium-price loc.’itions. but orchestra tickets usually get first call in the window silt*. Two touring productions have also seemingly demonstrated that price is not a factor. The recent icvival of "Pi’esent Laughter.” starring Edward Everett Horton, failed to do business despite good notices everywhere it played. But in every engagement the patronage was spread all over the house, with no apparent preference for cheaper seals. ‘U.S.A.’ Disappointing in Pitt In the case of “Inside U.S..\..” business was disappointing in Pittsburgh. but the sale was heaviest downstairs, despite the $5.40 top. In the show’s otlier road .stands, including the current run in Chicago, bigge.st call has been for the orchestra locations. When "Boni Yesterday” played a return date in Boston recently it failed to get a run despite a $1.80 top. Similarly, a price slash failed to .stimulate business recently for both “High Button Shoes” and "Along FiHh Avenue” on Broadway. Observers are waiting to see how the new’ price cut affects the original “Born Yesterday” in New York. The fact that weekend attendance has fallen off recently is regarded as a .seasonal development. I However, there has apparently I been a steady drop In midw’eek matinee business In recent seasons. Regardless of the bargain scale for that performance, attendance is bej coming increasingly light. In the case of the .solid SRO attractions there is sufficient spill-over trade to fill the midweek matinee, but all but the .strongest draws have empty seats for that showing. .300G For ‘Miss IJberty’ ‘ While it’s normal for advance sales to fall off at this time of year, the shrinking of advance sales has alarmed the managements of some shows. On the other hand, the fact ihat "Miss Liberty” has an advance of over $300,000 before its opening seems to indicate there’s a ready audience for promising entertainment. Here again, however, the tendency niay be toward more and more business for the top smashes, and less and less for the others. Such a trend. If it actually exists, is regarded as basically unhealthy. Although members of the Committee of Tlieatrical Producers are making strenuous efforts to cut production and operating costs, little has actually been accomplished thus tar. Also, most of the suggested economies would apply to initial produrtion costs, rather than operating expenses, but the latter is regarded as the more problem. The shrinking number of able theatres, both in New and out of town, is another of managerial headaches, television now taking ovei\ Broadway houses, after a number had" already gone over to radio, there will obviouslj’ be even few'er for legit this .season. As a consequence. rental terms are expected to be tougher — and the theatre rental is generally tlie largest single item in a show’s operating i budget. ' Bright and pleasing domestic comedy of conditions resultant from shared homes, has topical anpeal in any country. It could also be turned into good screen material. Story is amusingly told and after two months’ tour, actors are’ polished and know wliere all tii* be.st laughs lie. Two ill-matched couple.s. with one child each, share a hou.se and a nursemaid. One wife, an exactress, is petulantly ineflioient in running a home; the other is brisk and unemotional, retaining her work as a laboratory chemist. \ division of authority chafes the nur.se, who ‘quits, and to avoid sin\ilar conflict with her successor they let her think both infants i>eJong to one set of parents. Inevitable amusing marital complications ensue. It is all very obvious humor, but it’s so neatly put over and reflects so unerringly present -da v household problems, that it arouses chuckles of sympathy from the audience. Naunton Wayne is perfectly ca.st as the unfortunate script wr iter trying to work in a tangle of nursery; equipment, with Joan Greenwood, his dizzy wife', carrying her depiction of his sexy, frotliy spouse almost to the point of caricature. Derek Farr and Joan Haythorne are suitably contrasted as the other partners and Sydney King turns in a skillful cliaraclerization as a black-market type of wolf. Margaret Scudamore is delightful as the indispeiLsable "Nanny” and Brenda Hogan displays charm as a man-shy maiden. Comedy is admirably dinuted by Michael Macowan. Clem. 5 More Theatres vital avail York cau.se With more SS Continued from paqe 49 ss Me, Kate,” now solidly entrenched at the Century, would have to be moved to another theatre in caiif of a video deal. Although the possible return from a smash legit show is much greater than from a radio or tele rental deal, the latter insures a si'zable profit and no risk. In addition, radio or TV companies usually keep the properties In fop condition. whereas use as a legit house frequently leave.s the premises in rundown shape. Shuberts’ 525G from ‘Pacific* As an example of comparative returns, the Shuberts are currently getting a rental at the rale of approximately $525,000 a year from "South Pacific” for tlie Majestic theati’e, whereas they’d probably stand to get about $100,000 for it as a radio or video house. Similarly, City Playhouses, Inc., is getting over $375,000 annual rental from "Deatl> of a Salesman” for the Morosco, but would likely collect about $75,000 from an A.M or TV company. If the expected new TV theatre deals are set, the Times Square houses remaining available for legit would include Ihe Alvin. Billmore, Booth, Broadhu^.st. Coronet, Court, Empire, Etliel Barrymore, 48th Street, 46th SIreet. Fulton, Henry Miller, Hudson, Imperial, Lyceum, Majestic. Mark HeUinger, Martin Beck, Morosco. Music Box, Plymouth, Royale, St. James, Shubert, Winter Garden and Zieg' feld. Also, the Center will continue to house the Sonja Henie-Arthur M. Wirtz skating show. "Hownv. Mr. Ice of 1950.” and Hie Municipa' City Center will be available for. legit and music bookings Legit houses already under rene al for radio are the Amul Guild. Hammer.stein, Longai re. Bit* Vanderbilt. Those being used to tele are the Adelphi. International, Maxine Ejliott and Playhouse. ! Rewrites ‘Girl Craz.v’ I Hollywood, .luly 1^ ! Bill Demling. who does oi^ * etta revisions for the Aa I at re of the Air, has lieen # by Gene Mann to do a “Girl Crazy’’ for production at Greek theatre in Grill it h opening here Aug. 22 Buddy Clark and Beu.»> Venu will be co-starred. «