Variety (March 1950)

Wednesday, BfarcE 1, 1950 Plays Out of Town Continued front pace 88 The Heart of the Mattor ings with a smuggler* he contrives to make his suicide seem like death of a heart attack, a stratagem foiled in the end by his own diary. *The Whole, another in the current series of grapplings with Catholicism, proves hot much of anything save that Catholicism is effective except when is. isn’t. T Where ' the adaptors make their primary error (and theirs is; the chief responsibility) is in failing to lay rough hands bn the novel; ^"nd^ecastr it for“ the-stager--They^ use four Sets where tWb or at the most three would have sufficed, and skip back and forth from one set' to another When scenes could have been combined. This error, in turn, led to another one by the stage designer, three of Whose four sets seUni altogether too heavy and elaborate for their brief purpose. In the leading role, Ian Hunter turns in a remarkably well-rounded portrait. His is the most difficult task of conveying the enormously significant mentation of. the character that is so important and effective in the novel, for audiences that might hot have, read the book. It is a nearly impossible task under the circumstances, and that he conveys the anguish of the man, yet remains always in control as well as he does, is an impressive. -achievement.-An-equally-remarkable portrait bn a smaller and certainly easier scale is created by Rosalie Crutchley (who resembles Luise Rainer) and demonstrates a very fresh and vital quality. Others of the cast, though certainly capable, often prove entirely too British In the sense that they frequently verge close to .aiu American Audience’s conception of parody. Some scenes, were they played for laughs, would bring down the house. Nor are Greene’s lines entirely free of this quality; sometimes they sound like those in a revue sketch parodying the stiff upper lip. These, however, are matters that this impressive team of theatre people may smooth out. It may j also be expected that many ma J’or improvements will take place tere regarding pace, lighting, cutting, re-routining and so on. Even as it is the play does hold attention, is interesting both to see and to hear, and has a commanding literary and intellectual quality. Yet a major miracle alone can save it, and even if it does occur, the play seems headed for moderate houses at best. Elie. needs condensing and heightening. The final harrowing hanging scene could also he eliminated. . Havor . Moore, as Louis Riel, gives an outstanding portrayal ranging' from great rages to a poignant dignity in defeat; Of the women, Margot Christie, as the mother with Oedipus undertones, gives the best performance. With Pegi Brown and Bea Lehnard giving nice shading as Riel’s wife and lover, respectively. Robert Christie, as Sir John MacDonald, the then Prime' Minister, plays this rbler-for-sardonic effect -and ‘ -is-1 a; standout. There, are some 40 speaking parts; With its historical sweep*: in the winning of a new. province in the West, “Riel” holds fine film possibilities. McStay. . ; ;; KingXear Cambridge, Mass.j Feb. 24; Brattle Theatre production of Shaker speare a drama. Stars William Devlin. Directed by Albert Marre; sets, Robert O Hearn;^ costumes. Robert Fletcher. At Cambridge. Mass., Feb. 22, SO: $3.60 . top; Earl of Gloucester . . .Thayer David Earl of Kent .v. . . . \ ... . . . . .Feter Temple Edmund •' . . . . . . . . . . . , . . . Albert Marre Duke of Albany , . v . . . Earl Montgomery Gonenl, DuchVss of Albany . Joan Croydeh Duke of Cornwall. . . . .WiU West Regan. DucheSs of Cornwall . .Jan Farrand Cordelia. Leslie Paul Lear, King of Britain . , . . . William Devlin King of .France . . . . . . \ . . .Miles Morgan Duke of Burgundy . . . . : Charles Polk Edgar . . . Robert Fletcher Gentleman,-,., . .:r„ , ; Paul — Sparret IEGIT0UTIS 59 a Day !* Sock ,800 in N.H? Bow .New Haven, Feb. 2)B!w Preem of /‘What a Day ** at S®bertlast weekend(23-25) took all the Jiouse Would hold on its fourperformance stand. At $4.20 top, this meant an approximate $15,800 .SOCk; ... Current is a full week of “Briga_on” (27-4). Next week is A solid run of “Wisteria Trees” (6-11 >• Heart of the Matter” is pencilled for March 13-18. Premieres on the docket include of the Peacock” (March 23* 25), . Tickets, Please” (Hartmans musical) (March 30-AnHi i v “Th* !! Lyre” (April 6-8). the Bird Cago Waiter Fried and Lars Nordenson pro* duction of melodrama in two acts by Arthur Laurents. Stars Melvyn Douglas; features Eleanor Lynn, Sanford Melsner, Laurence Hugo, Maureen Stapleton, Jean Carson. Direct A by Harold Ciurmari; setting and lighting, Boris Aronson; musical, background, Alec Wilder: costumes, Ben Edwards, At Coronet, N, Y„ Feb, 22, *50; $4.80 top ($6 opening). Frank. . . . . . . , . . . . . . . ... . . . ... . Mike Kellin Cork, . . ... ; , . . . John Shellie Eloise . ... . . ... , ... , . . ... .Kate Hai’kin India Grey . . . .; v. . . Eleanor Lynn Ferdy . . , . , . . . : Sanford Melsner Mr. Ripley Heywood Hale . Broun Pearl . ■. . . . . . . . ; . , . . . Jean Carson , AT POP PRICES and Cleopatra*’ production a ; few blocks away, “Devil’s Disciple” looks set for a run. It isn’t often that an incoming Broadway production has such a pre-tested b.o. guaranee, in the wake of the critical kudos extended to “Disciple” in its City Center i-Un a few weeks previous. : If anything, the $40,000 which Aldrich and Myers have invested in refurbishing the designs and costuming for its “commercial” run enhances this Margaret Webster production. Shaw’s caustic frolic on the ; Emely wiiiiams , , . .... Maureen; Stapleton American Re volution and obesi’ ; ' ”, ‘ * • 1 • ” wi^i5uirw Arice to the King emerges as one Mr. Mack Rudy Bond j:Ot■..-the delights Of the CliFient ' Broadway season, with Maurice Baltimore, Feb. 28. “Barretts of Wimpole Street,” starring Susan Peters, built an all right total of $11>500 at the 1,900seat Ford’s here" last week. In at -•« Pop,prj^d scale: of $2.50, with ! mats at S>2 tmHo ri»mni«oyi Doxomce Dei., “lay s .line, lnci ,j a t „,,v v ■ _ .f Evans; Marsha Hunt, Victor Jory A rthur Laurents, who ® o n of | and . notably , Dennis King in his ^ I second-act appearance, capturing has put his experience into a play, faithfullV All df “Discinle’a” •'The Bird Cage.” a strident, dis . • 01 Rose jointed and sporadically engross nuan'' ing meller. Besides its faults as drama it lacks a sympathetic lead ing character j so it’s a doubtful mats at $2 trade remained fairly I DeV . / ■ ^ the: ||£ tte nite^Sre^e y^n SSI Lloyd Nolan, in “The Silver ' Whistle " * ‘ 1 mu‘ Ariiiiir of Ligkt Blackfrlais5.. productipn of drama In "HC' The Fool. ... . ... ; .,V. v . . . Jerry Kilty Osu^fild . • « . • • t « «*«■_. * < , .-•« Duclos Herald . .. . . » . .. . . David Bowen Knights . . i ; . . . ; John Peters, Dank Elkar Riel Toronto, Feb. 23. New Play Society production of drama In two acts (J 9 scenes) by John Coulter. Directed, by Donald Harron; technical supervision . by Robert. Christie; historical advisors, Vera Clarke and Frederick Findlay; musical dlrectori Florence Glenn; cos-: tumes, Richard MoOii and Arden Keay. ; At Royal Museum theatre, Tofonto> Feb, 28, *90; 93 top. Louis Riel . . . . . • • Mavor Moore Mme. Riel, .............. .Margot Christie Marie. , ..... ... ..... . . . .Bea Lennard Thomas Scott ... .. . , Don Harron. CoL Stoughton Dennis; .Vernon Chapman O'Donoghue. . . . . . . .... . Ben Gnns Sir John A. Macdonald. . . .Robert Christie Archbishop Tacho . .......... Leslie Ruble Sir Georges Cartier . . . . , . . . . James Scott Col. Wolseley . . . . . . .. . . . .Garth Magwood Marguerite . ... ... . . . . , Pegi Brown Crown Council 1 . . . .... Murray Westgate Defense Council . ....... . . Herbert Gott General Middleton ... .Garth Magwood Father Andre ........... Gus Kristjanson John Coulter, Irish playwright and poet, has liad several of his plays; produced by the Abbey Theatre’ and the Group Theatre in Dublin. For liis latest work, “Riel,” he takes the man Who set. lip a republic In what is now Manitoba, and who was later hanged for treason When Queen Victoria’s troops And the Mounties marched In to put dovvn the Indian and French half breed Insurrection. Whether Louis Riel was a dicta* tor or: patriot is still a subject of bitter debate in Canada (he was hanged in 1885), but Coulter pre^ sents both sides of the question in impartial perspective for current audiences. As one Who went through the Irish rebellion of 1916, Coulter is especially equipped for the writing of the parallel Riel drama. The rebel leader, passionately fond of his people, believed he. was a mouthpiece of God; add, for this “blasphemy,” encountered the op* position of the poweriul Catholic Church as well as the Conservative government in Ottawa. For American audiences unfamiliar with this phase of Canadian history, some further clarification will have to be injected into the Writing, but this should not be difficult. V Though manifestly e p i s o d i e. Riel” holds considerable vigorous action ever! if the actual fighting takes place oiTs: age. The first act is the best but the second, devoted mainly to the lengthy trial scene, William Devlin, making his first American appearance in this production of “Ring Lear” by the bright Brattle Theatre company of Cambridge,, clearly demonstrates the reason for his English raves. He’s got all it takes, and plenty in reserve. What he brings to the role of Lear is lucidity of style and declamation, an attitude of authority, a masterly stage deportment and a dominating physical presence. He sets the proper note from the outset, distributing his realm among his daughters not as a doddering old fool but as a man accustomed to royal wilfulness And conceit. From then on, through successive stages of self reproach, bitterness, rage and madness, every speech, infiection and gesture contributes to the portrait. Although his supporting cast, all members of this progressive company that is now firmly established in t he neighborhood, seemed a little awed by its distinguished visitor and consequently tried a little too hard to keep up. at the opening, it was by no means left at the post. Nearly all the members of the east managed the Shakespearean lines with breadth and style* and several captured more than a fleeting sense of the meaning and significance of the characterizations. O utstanding in this sense were Thayer David as Gloucester, J an Farfaifd as Regan and Jerry Kilty as the Fool, with excellent moments by Albert Marre, and Robert Fletcher. Considering the limitations of the stage arid the resources of the company, the staging and costuming are satisfactory. The play was imaginatively conceived by Albert Marre, who picked up from the lines a number Of effective visual stage groupings and movements. The consequence was that while Devlin added corisidei-ably to the overall impact of the play, his was by no means an unsupported piece of acting virtuosity. House* a 500-seater, is scaled for about $6,000 a week. Arid this attraction is SRO. Set for a “limited” : engagement, with Edward Everett Horton following up with “The Country Wife.” I El ie. ; iiefix >» X.V oiivei j miw» cbnw :|c cnmpwilfli cimilar three acts t>y Rev. Urban Natjle. Staged LIStle, .Is CUlTent as the last Of i ' ■ -.snow l-S ••some.wnat . similar |..by Dennis Gurney; sets. Greg Kayne; coi , five plays offered urider Theatre i the old George Abpott-Philip [ tumes, Irene GrUfin. ' i . i , * | ^ ^ _■ ■ . j. j t G' * ni etii re 'of1 tlii ^.eaiiiiV q i rl p , 1 chae?t$paeth?‘Edwln*^rt|ath,'^ei‘ald Lee. that until March .13*' When “Briga m its pictui c of the seamy, side, of .Paul li. a. Menard, Joseph Gilbert* Hazen doori.” which mounted h rrthnct nightclubs, and suggests the Rich Gifford, James Arenton. Geraldine Page, pfnee narlfor in tiin :'ard Rod Pprk-T.oren7 Hart musical John Fox, Charles Gilbert, Edward Joyce* gross earlier in the Season, , Will 'at ! I musical, , james O’Brien, Barbara Lebby and wu tempt a repeat, v : “Pal Joey,” m its tale ot the down; Ham Goddard. At: Biaekfriars* GuUd fall of a heel. The Laurents play Playhouse, n. y., Feb. 23, *5p; $2.40 top. seems to imply that there is a broad i 7^-; ■ application to this portrait of a ■ “Armor of Light, authored by ruthless egomaniac arid -. the small Rev . U rbari Nagle and given pro-; (Feb. 27-March 12) realm he tyrannizes. duction by a capable senu-pro cast Ballet Russe de Monte Carlo— That, if it actually is the inten: anhe Blackfriars, will undoubtedly : Shea’s. Erie, PA. Alexandra, Toronto ; Ballet Theatre — Aucl., Phoenix (27); Uriiv. :Au<L, Tucson (Qr “ '* “ (1); Music nicipal A State Fair Park ~Aud DallW (7-RV the impression of , having been ; Convention^Hall TuisA ?9)^SHome ^ Created to meet the needs 0f the wara .in tne^ Lenten sea! Oklahoma City (io\ Robinson st°ry* rather than having entity ! attend this performance. ■Add' ^Little Rock (il) ’ and motivation of their own. | revolving aroum Ballets de Paris-— Royal Alexan! ‘ ^ EJlvided Into two acts, instead of ;i dra, Tofonto (27-4); Blackstone, . three, which might improve it, the Chi. (6-11). " yarn takes the bigshot nitery boss HVe»,V We atrf?Frr most part it is moving drama, yet WBVA. theatre, : Biehmond (27-1); hP helnwl him fraih ePand I Rev. Nagle seems to have concen •Center theatre Norfolk *3-4>; 'who licked him frame and tratcd more on the episodical lils ‘WgadMn» Shubert, N. H. the new; sln^r,^ the f ^ twVhefcharac; Reading (9-11) • ’ ( driven to alcoholism), and arranges "Consul”— Shubert. Phila. Il-H). ?n assignation for His innocent, ward in the Lenten season would around the life of Saul, who was an arch enemy of Christ until his conversion as Paul the Apostle, is handled by its author in episodical fashion. For the “Death7 of" a^Sale^min”— CO*; T^^age s°n. . Flnaliy lie sets fire Cincy (27-4); Nixon, Pitt. (6-11). i 1°, the establishment (presumably interestingly and holds audience . throughout, Stanley Phillips brings compassion arid understanding to the role of the turbulent St. Paul Others (27 i.iAAVii, X Abt \W-AX/. ikLluw Lie, • ■ • Hi?-* il.A aAX\ ; m ine tutuuiciu J-OIAX* V Diamond LH”— Hariria, Cleve. 1 ! acquitting themselves well In prin ;4);_ Hartman^ Columbus* O. jts ^ie1^ pal^n^r s ahout to force ■ cipal roles are Paul Menard, J (6-8); Taft Aud., Cincy (9-11). «« ‘ Gilbert, “Harvey” Washington H. S 1 Most of the action occurs m a i sort, of loafing room for the employees, with a service bar on one side, two tables, chairs, a midget piano and an iron stairway to the Aud,, Sioux Falls, S. D. (27); Orpheum, . Sibux City, la. (28-1); KRNT Radio Theatre, Des Moines (3-4); City Aud., St. Joseph, Mo.^ rSISS^i1 nnttaiM • ntv ■ * t (6-7)* Arid Tonpirn Kancnc dressing rooms up.st.ans. Other. 1° O’ AU«1., ropeka, Kansas ‘ scenes take place in the boss’ Joseph Hazen Gifford, James Arenton, Michael Spaeth arid Edwin Ardath. Dennis Gurney has staged it at proper pace, with Greg Kay lie’s sets and Irene Griffin’* costumes as added assets. Edba, “H'Tariurxtvt'iM a# " IVAClvy II VUUglUO IB ****** I Detmif ^ Chaillot Cass, .provides the proper drive for the : “Maw whn 't'antm 4* nSnM.,M 1 part* but cannot^ ^ overcome the lack _ Man Who Came to Dinner — fh* ! TORONTO FOR $27,(00 Toronto, Feb. 28. Despite three-day blizzard, Ma* ir'3S» v TM real interior and. from a practical l ./Despite three-day^ DUzzara, Mat Kate Shubert, Chi. standpoint complicates the produc! West in Diamond Lil grossed a tion experises. ' ' .smash .S27.600 at the. Music Hall, Kansas City (9-42). i j “Heart of the Matter”-— Wilbur, : w nrlvafa Bost. (27-11). ' ^vel, i? hif private office. VTfie “Inside U S A FHanVer TU.f elaborate setting, m fact, seeiris to fal(r^2^)-Aud be one of the weaknesses of Ihc Metrbbolitari 'PriwidencA^ (fl fl • • play, since it involves diffusion of Sft., teWfrlir'1' the action, lacks the illusion of a “Kiss Me, (27-11). AK: Bar^WShubert, . . BpSt., ^^tarred ^AA ’ the Unsavory hero, ; dra (1;525) at $4.20 top. Advanca Melvyn Douglas is convincing and j ticket buyers got through the snow " • • “ for the earlier part of the week; jamnied the house to sellouts for rurran q f /o*r 1 1 1 ■; bf dimension and the repulsive “MlStbr R quality of the character. Eleanor And 1 Lynn is effective as ihe can’t-be “Olrlahnm’a ’ made gal. Sanford. Meisner makes SDringfie?d*Mn 1 a field day of the character part of KAnfn^' citv Wair the partner. Laurenceo Hugo is ac Tnl<!aaS(S« Wnml’ ceptable as a cynical pianist, and ^ ) * S Cnn veriflftlv^an^Fnid18 rS1// i Maureen Stapleton is attractive in /J' the impossible role of the wife who Ma eFf” h 1 n i >Fa11* 8r9 k e e ps^appearing suddenly and Phil ad ‘ tmfrrinri. moping arourid, aparently havirig » Stpry Biltmore, nothing else to do. Jean Carson 1 latter half. L. A, 127-11). Miss West plays a return en» gagement of “Diamond Lil” her# in early i in San Francisco, Feh. 2g. o ____ _ , “The Mari Who Came to Dinner,*^ scores with another of her dumb -with Monty Woolley, chalked tip * T i M «i.k _. f >»iV. .*1 WlUl auiHDLl Wl M’ X uuuu/ *>ynin _ -rStiapdi.FJmira florid portrayals, while Kate Harr good $19,200 for its flrst stanza *1 Iki'ri, John Shellie arid Wright King ; the 1,550-seat Curran, Wherr it Si* Are plausible in smaller parts, [opened last week. House Is scaled Playhouse, Wilmington (3r4); Lo Tr’v0id nirirmnn's 'direction suf to $3.60. ; % Cleveland,* Feb. 28. Blizzards last Week brought the take of Ballets de Paris down to an ordinary $16*000 in seven performances at the Hanna here. Show played to a $3,50. topi House goes dark following cur! rent engagement of “Diamond | Lil. M nwiu m ii\ ” Harold Ciiirman's 'direction suf CU4£!?ttfhuftp« Fnrd’c n.tfx foi’S from the helter-skelter nature >97 w ai mil S Priu o F?iPi 1S{ — .of the script, Boris Aronson’s two r!alnUxT « fvr level setting seems confusing and i v * : riot readily playable, Alec Wilder’s ^ l ’ it v xt ; background and •scehe-charige rau ov ^c^ar Desire ^No. sic is distracting, but Ben Edwards* J) Davidson, Milwaukee (27-4); i costumes (exOept for the final, bliie 1! ^4 1 ‘ i dress for Miss Lynn) Add Illusion. n> y Th at Lady -—Aud., St. Paul (27 jn general, though* “Cage** Is th* m Lycomp* t Minneapolis (1-4); sprL 0f piiy that makes everyone ^ ■J,i" * J ; r., • i 1 n.volved, including the author, ap (27 4^acco ?°a^ “kocu*sL Phila. pear at a disadvantage. Hobs. Webster Shakespeare “White,: Fresno '27); Aud. Modesto* Cal. ‘Brigadoon’ Smash $34,o00 in Montreal Montreal, Feb. 28. First Broadway legit to play 1 (own this year, “Brigadoon” did' a smash $34,500 last week at His : Majesty’s: With little or no publicity show did a near $20,000 advance and Was sold out by opening night. The 1,579-seat house was , scaled from $3.94 to $1.69. (28); Sacramento Rep, Sacramento f 1); H. S. Aud,, Maryville (2); SaCr DivilV Disciple (Royale Theatre, N. Y.) Richard Aldrich and Richard ramenfo Rep. Sacramento (3-4); Myers (in association with Julius H. S. Arid., Ogden, Utah (6); South ; Fleischmann) are now firmly enH. S. Aud . Salt Lake City (7); trenched in the Broadway legit Paramount; Provo, Utah <8); Wy; boxoffice sweepstakes With a brace oming U. Aud., Laramie (lOh East ; of Shavian hits, now that they’ve H. S. Aud . Denver 111); City Aud., ; taken “Devil’s Disciple” out of its Pueblo (12). “Wisteria Trees” — Colonial; City Center, N. Y. “civic repertory” status and iristailed it with Bost, <27-4>; Shubert, N. H. (6-11). j in; the more intimate precincts of “What a Day’ —Forrest, Phila. the Royale theatre. (27-11). I Like the Aldrlch-Myers “Caesar to $3.00. Margaret Webster’s Shakespeart company, which moved into th$ 1,750-seat Geary last week for on# week, left that house after sol# stanza* Despite warm review# troupe only garnered estimated $8,000. House scaled from 80c td $3 , Geary Will remain dark unt4 Italian pic, “Bicycle Thief” take# over March 12, for two-a-day. Only leigit. announced for futur# Is “Death of A Salesman,” ioP the Curran sometime in June, and **The Silver Whistle” for the Geary* in July. Lfflie-4U.S.A.’ Healthy 1 $29,000 in Mwke^. Milwaukee, Feb. 28. “Inside U.S;A;,*\ starring Bea Lillie, grossed a healthy $29,000 at the 1 ,496-seat Davidson here last week. • Revue is splitting current week between the Erlanger, Buffalo, and the Auditorium, Rochester, N« Y.