Variety (March 1950)

58 LEGITIMATE Wednesday, March 8, 1950 IVmv I Lay/ Me Down to 0 ' , Sleep . Nancy Stern & George Nichola, 3d, production of comedy-drama in three acts <13 scenes) adapted by Elaine Ryan, from Ludwig Bemeimans novel of same name. Stars Fredric March, Florence Eldridge; features Milton Parsons, J*cgueUne Dalya, 'HenrV Lascoe, Stefan Schnabel, Directed by Hume iCronyn; 'settings, Wolfgang Roth; costumes; John Derrol lightings Richard Bernstein. At Broadhurst. N. Y., March 2, '50; $4;80-$6 top ($8.40 opening). Tobacco Road Jack Kirkland production of comedy, drama in three acts, adapted by himself, from Ersklne Caldwell's novel of the same . name. Staged by Evelyn Ellis. At 48th Street. N. Y., March 6, '30; S3 top. . ■ Dude Lester. . ........... ...Jimmy -Wright Ada Lester....... .... . . . . .Evelyn Ellis Jeeter Lester . . . . ... , ..... /Powell Lindsay Ellie May : .. » ..... . . .... . ... Baby Joyce Grandma Lester . • . > . » • • • .Estelle Heinsley Lov Bensey . <■ . •••«♦• • « * John Tftto Henry Peabody . y . . . , . Cherokee. Thornton Sister Bessie. Mercedes Gilbert m Keys: C (Comedy), D (Dravia), CD ( Comedy-Drama ), R (Revue), M (Musical), O (Operetta). “Cry of the Peacock” (DiJames Colligan & Donald Medford; Leonora Corbett, di . “Tickets Please” (R) --Arthur Klein. Plan Out el Town Footman .cnaries unapiin, ar. : pearl ... ; ... . . . ... . Dolores Mack Valet . Charles Mayer i Captain TJm.v% John Mark Chauffeur . ....... .-. , . . . . . Henry Guettel ! George Payne. /• . > * •> • . . • . • • John BoUie Doctor ... •• . . i . • . • , . . Richard Abbott Cure Gendarme , . . . , . . Norman Barrs Gregory Morton UViiuauuc : v • * .«> vovi | When “Tobacco Road” opened on ’SST* December. 1933, it L/onSrGravW '.'.V.'.'.' H was given a critical shellacking, but Coi. Laboucher ... . ...... . | ran 3,i82 performances. That was . Leonidas Erosa. . . ... Fredric March ■ 7“ .Helen .Seamon Rick Jason Gen, Laundress • Anselmo ' • . . ....... Portrait Painter Friend of Gendarmes . . , Undertaker ... . ... ... . / .Booth Colman Alfonso Lopez . . , .:. . ; . . . , Philip Gordon Gardener . Roy Poole Se :man . . .Y. . . . Gregory Morton Second Seaman. . . .. ... Thomas E. Noyes Ship's Officer Rene Paul Workman . ; . . ,. . Robert. McCahon Second Workman . .... Harold . E. Gordon French Child . . Sally Anne Parsons Young Mother . . Hope Miller Bebecit'' Lopez . . . . . . Jacqueline Dalya Young Woman Passenger Helen Seamon Child Passenger. . . . . .Sally Anne Parsons Steward . . ' . . ... .... . . . ... Norman Barrs Acrobat: ............ .Charles Mayer.l Milton Parsons in the days when production operating costs allowed sufficient stefHooec®eJ I margin for a manager to keep a * -show running ion^ enough to find its public, if it hsid one, despite the critics. . : ''' Even with an old setting from the warehouse Y and expenses trimmed to the minimum, no siich slim-budget Operation is possible in this day of sky-high costs. So Jack Kirkland’s latest presentation of his grimy comedy-drama appears to be an outside bet tb pay off , even at the come-on b.o. scale of a $3 Polish Refugee Nurse Marguerite Lewis j Indian Dancer Philip Gordon V-P* . /• .. . , . Indian Drummer, ...... THaroid E. Gordon | The play appears to have been Ghimene ..... revised slightly here and there, ovoiseer ' ' M ! ‘stetan 'sSSaiirt i particularly with the insertion of ’rnlians: Roy Poole, Charles Chaplin, Jr., ] some dialog about the. injustices, of Henry Guettel, Richard. Abbott, Lili Va1 eharp-emnninif *»rnnnmir»c and a . lenty, Robert McCahon. Sally Anne Par■! Sllf\Frpr0PJ?Ssons. Hone Miller. Helen .Seamon, Charles rather cryptic reference to miscegeMayer, Norman Barrs. nation. But it remains a study of southern degradation and demoralThe qualities that make “NowIt*za^on’ With moments of genuine Lay Me Down to Sleep” a success! compassion shining through the ful novel defeat it as a play, Elaine . tasteless slapstick, Ryan’s dramatization captures the I Originally presented with white lush, satirical, incident-stuff qual actors (Henry Hull, James and ity of the Ludwig Bemeimans origi [ John Barton, and Taylor .Holmes, rial to an extraordinary degree, but 1 were among, those starred as the Bemeimans seems too amorphous ! disreptuable Jeeter Lester at varifor the confines of the stage. So 1 ous times), the show is now played despite sympathetic, expert per ! hy members of the Negro Actors formances by Fredric March and ! Group; mostly in terms of hokum Florence Eldridge, and a generally j clowning. Only John Tate as the fine production, “Now I Lay Me , 5^.rose ^oy '. Bensiey and Evelyn Toledo, March TvScheduled performance of the Charles A. Wagner company in “Cayalleria 'Rusticana” and “Pagliacci” at the State theatre here March 2 was not held, though the almost-capacity audience, many of them in formal dress, waited until j 10 p.m. ; . / v Company’s musicians cOuld not appear in time because of a busj breakdown at Butler, Pa. A, second bus was chartered but did not arrive until 11:30 p.m; Mrs. Flora W ard Hinelihe , who had booked the operas, said many patrOiis decided not to seek refunds on their tickets in . order not to discourage her plans for future opera in Toledo. The Coiftsvl Philadelphia; March 1. Chandler. Cowles and Efrem Zimbalist, Jr., production of musical drama In three acts by Gian-Carlo Monottl (both score and book); orchestra under direction of Lehman Engel; settings, Horace Armlstead; musical coordlhatioh* Thomas Schlppers; lighting, Jean Rosenthal; costumes. Grace Houstoh; choreography, John BuUer; .entire production staged by Menottl. Features Marie Powers and Patricia Noway. At Shubert theatre, Philadelphia, March 1. *30 ($4.55 top). •; „ -• tl John Corel. . . . . ..CorneU MacNeil Magda Sorel ........... . . .Patricia Neway. The Mother. . . . . . . . ....... Marie Powers Chief Police Agent... ...... Leon Llshner First Police Agent . . . ... .Chester. Watsdn Second Police* Agent . . . . . .Donald Blackey The Secretary . . . . . . .... • ; Gloria Lane Mr. Kofner ■ . George Jongeyans The; Foreign Woman. . Marla Mario Anna Gom6z , . .... ... . .Marla Andreassl Vera Boronell. ... . . .Lydia Summers Nika Magadoff . . ..... Andrew McKlhley Assan ; . , . . . ■; .... . . ; . .Francis Monachino J^A wMuvvsvtz^ ASV»V A 4JUJT a1 Y i ' ii ii. ■ ; Tom Powers arid Hayden Rorke pown^to Sleep” remains a wttl to* the cast_ of _“LlgMt Up the pointing show. Because of its stiff production and operating cost, , wMU . . .. ■ „ pioS’ lt’S ■ d0“btfu1^ ^bpxoffice and John Ma?k and The play follows the original parts. wf Gcnel LeojfidaJ? hVc ! As director, Miss Ellis has failed Kiviera menage, foUowing H%e 9* tastic course aboard ship to South ! ner t®iiow actors. ooc. peirormances, aitnougn ivierceaes , Cisney ^ pro(juce, in association 1 America (omitting the sequence in New York) and finally taking him to his death following ap earthquake at his ancestral villa in Ecuador. The three acts and 13 scenes cover eight different locales, with enough scenery and actors for a large musical. In fact, the succession of scenes and the endless procession of actors back and forth across the stage suggest a musical comedy. Perhaps songs and dances would help. Despite its many assets, “Sleep” never quite registers theatrically. It is reasonably interesting and . diverting, and seems always about to come, to *the point and achieve emotional impact, but the story remains diffuse and inconclusive. And after so many situations, characters and events, the ultimate efect is unsatisfying. As the s.elf-indulgent Ecuadorian general, Fredric March gives an admirable performance, expressing the eccentricities of the character without lapsing Into caricature, and retaining the selfishness without losing the inherent honesty and sympathy of the part. As the disapproving but adoring governess, Miss Eldridge achieves a skillfull blend of prudishness, warmth and dignity. Effective in principal supporting roles are Milton Parsons as a refugee-valet, Jacqueline Dalya as one of the Genei'af s numerous Bitirfurs, Henry Lascoe as a temperamental chef, Stefan Schnabel as. a painter .'■ arid later as an Ecuadorian majordomo. Notable in lesser parts are Lili Valenty, Rick Jason, Booth Gplman, Philip Gordon and Irene Moors. Hume Cronyn’s staging lightens the heavy production with innumerable entrances, exits and between-sceiie passages of actors across the fore-stage, arid his overall pacing is flexible. The Wolfgang Roth scenery, in the manner of Bemeimans illustrations, is expaiisive without ponderousness, and it adds valuable atmosphere^ while John Derro’s ; costumes are decorative and dramatically suggestive. The elaborate sound effects, including music, : seabird calls, a crying infant and an earthquake, are uneven. Although “Sleep” is a slim bet Any doubt (and there Was considerable) that Gian-Carlo Menottl Would not be able to duplicate the success of “The Medium” and “The Telephone;” or that he would be able to spread his own particular musical mood over a full evening’s entertainment, was completely dissipated by premiere performance of “The Consul.” Latter /marks a distinct advance in the composer’s form of musical art, is stronger dramatically and should have wider audience appeal. ■ . There are some rough spots, soirie very apparent needs for tightening and editing, but they are all relatively unimportant and can easily be made during the play’s 10-day stay here* After that it seems aimed for success, popular as well as artistic. The scene of “The Consul” is a nameless European country, presumably one of the liberated ones, writhing under a constant surveillance, its citizens hounded by the secret police, its borders heavily guarded, its liberty in fact, being in name only. One of the i persecuted patriots is John Sorel, who, wounded by the police, has to flee the country, leaving behind his mother, wife-; and baby. His last injunction to; his wife is that 3he go immediately to the consul f and procure for herself and his with James ^Doolittle, oil April 12 other loved ones^ the ^proper passat the Las Palmas. , port and visa serthat they can join Moss Hart play follows »£trince SS Z.ll ?, Producln« , the endless and boundless redgroup opens March 21. Center for 10th Anni Ballet Theatre will celebrate its 10th anniversary with a three-week spring season at the Center .theatre, New York, opening Sunday, April 23. It was at the Cdriter theatre that, on Jan. 11, ’40, Ballet Theatre gave its first performance anywhere. the Cast Set for » Hollywood, March 7. Benay Venuta, Florence Bates, N.Y, City Ballet Co. (CITY CENTEJt, N. Y.) The fledgling N Y. City Ballet Co. continues to surprise, pouring out a stream of new ballets, while its ensemble grows more arid more expert and bigtime. Last week the company preemed two morb works. One, “Illuminations,” choreographed by Frederick Ashton— who came over from London and his j Sadler’s Wells chores expressly *tb ! stage the new work for the N, Y. i troupe— is a stunner. Ballet has a libretto that isn’t too easy to follow, but it has color, imagination and excitement, and all in all is a pretty fine show. It’s a major addition to an already imposing repertory this amazing young troupe is assembling. “Illuminations,” based on an Arthur Rimbaud poem, is a scattered series of dance sketches, more the phantasmagoria or wild vagaries of a disordered mind than anything else. But these fancies give Ashton opportunity for some striking, highly imaginative dance effects, which' together with Cecil Beaton’s lavish costumes and especially Benjamin Britten’s vivid score, * making an exciting ballet abstraction. The -wbrk" is somewhat erotic in tone and frank in its sex passages, all of which add up tb boxoffice. Nicholas Magallenes dances the central figure with brilliance, evoking much poetry While executing Some astonishing terp work. Melissa Hayden practically steals the show in a vivid dance creation as Profane Loye, and Tahaquil LeClerq is effective ini the Sabred Love role. Supporting ensemble is choice. , Week’s other preerii was a Pas de Deux Romantique, choreographed by George Balanchine. To one who likes his pas de deux straight, this slightly burlesqued version doesn’t fully come off, being lightly amusing but not funny enough. It’s a colorful addition to the troupe’s program, however, especially when so well danced by Janet Reed and Herbert Bliss. Broil. L ville s July 10 Teeoff c Louisville, March 7. Iroquois Amphitheatre’s 12 th season of summer musical shows will open Monday, July 10. Six-week al fresco season will tee off with “Show Boat,” followed by “Chocolate Soldier,” “Bloomer Girl,” “New Moon,” “Merry Widow,” and “Roberta.” National D. C. Continued from page 57 her, as a malevolent police agent* by George Jongeyans, os a lugubrious suppliant at the Consul’s desk* by Cornell MacNeil, as the hunted husband, and by Andrew McKinley, a magician who can produce rabbits and flags from hats' but cannot get a visa. Menottl has directed his own play with feeling; the settings are impressive and especially well lighted. ; “Thb Consul” is a play of many moods; it is alternately sardonic ruieful, melodramatic, poetic and even (in the case of the magician) comic, but; in its larger aspects; it is a grim and relentless tragedy so excitingly done, however, that it should have general audience: appeal. Waters , ; CohgresslonalBaby Playhouse production of comedy in three acts (four scenes) by Eileen Tighe Stars Nina Foch; features Katherine Emmett, Mark Roberts,. Neil Fitzgerald, Judsbn Pratt. Staged by. Harry L. Young, under supervision of JSddie Dowling; setting, Robert L. Turner. At Playhouse, Albany, Feb. 28. *30; $2.40 top. AbigaU Wentworth . . . . . Katherine Emmett Margaret' MacDuffle . v .... . , Mary Farrell Jefferson Clark ... . . . .Mark : Roberts Carol; Wentworth . . ... ... ; . ... Nina Foch' Johnny Addison (Portsmouth Herald) Rowland Vance Belle Wheelock (Manchester Union Leader) V. ... . . . / Eleanor Collier, Jr. Jean De Passe (Laconia Citizen) ; . , Ralph Clifford Simon Webster (Nashua Telegraph) . . -.. . William Whitehead Bob Sullivan (Dover Democrat) . . . Edward Hunt Judge Samuel Wentworth Nell Fitzgerald Michael Francis O’Donnell . Judson Pratt Mrs. Pomeroy . /. . /•. . ... ... Patricia Ferris Miss Endicott . , . . . . ... . . . .Barbara Barton Mrs. Hollister. , . . . . . . . . ; . . Ellen Hardies Rosemary Brown /. ..... Priscilla Conover/' Charles Brown .... . Malcolm Atterbury opened at the Old Gayety theatre. Town had been without legit since the close of the National theatre in August, 1948. The Gayety, for 44 years a burlesque, was brightened with fresh paint and toned down in color and decor. The reserved-seat orchestra and first balcony were sold out and there were a handful of standees. In addition, there was a conr siderable sale in the non-reserved second balcony. In St, Louis St. Louis, March 7. , .... . “East Wind” and “Desert Song,” for Broadway, the yarn’s colorful ; both by Sigmund Romberg, have Characters, story exp a n;s e and been added to the 1950 iked of the wealth of incident suggest film pos • Municipal Theatre Assn, for presisibilities,.if properly revised. j entation in the al fresco playhouse Kobe. in Forest Park starting June* 8. Pitt Burley May Go Legtt Pittsburgh, March 7. Izzy Hirst, and Jay Horriick; who operate the Casino, 1,500-seat burley theatre in Pittsburgh, may convert it to a legiter next season, if no other house is available there for touring shows. However, if the 1 , 750-Seat Senator here is switched to legit operation, as announced, Hirst and Hornick have no intention of trying to compete. for Pittsburgh stage bookings. As operators of the Gayety, Washington, which became Washington’s only legit house this week with the touring “Barretts of Wimpole Street,” Hirst and Hornick are Watching situation closely in Washington. They're convinced that a legit policy offers much greater revenue than burley or films, provided attractive bookings are available. But they figure that lack of sufficient bookings would make legit operation prohibitive^ With the Nixon due to be demolished May 1 to make room for an office building, it had been feared that Pittsburgh would be without a legit house next season. But it was announced last week that the Harris Aitius. Co. intends to convert the Senator, which it owns, into a legiter to get the road bookings for Pittsburgh. tape which the author believes prevalent in consular circles of these countries, In fact, she (and the audience) never see the consul, only a super eff icient (arid also slightly bewildered) secretary. Day after day, it’s the same old story of filling out blanks, getting credentials, being finally rebuffed. The people who, like Mrs. Sorel, come here are those “whose name is a number, whose story is a case; whose hopes are on file,” Mrs. ! Sorel’s baby dies and her motherj in-laW is at death’s door. The Yourig wife, after a scene of bitter i accusation, seems about to be able to get to see the consul, possibly get some action, when she is frustrated by the police. Her frantic husband, hearing nothing; comes home and is arrested and, in the end, his anguished wife commits suicide. . As in the case of “The Medium, ” there is a little dialog but Menottl uses it sparingly and it is generally in the nature of recitative. For the most part this is grand opera but opera told with such freshness and with the dramatic tenipo at so fast a pace that it seems like an entirely new form of art. There ate only a few arias, and even these are not of the stereotyped variety common in the old Italian or French operas. The lullaby song by the aged grandmother at the cradle of the dying baby is outstanding; so is Mrs. Sorel’s final, bitter, hysterical outburst in the Consul’s outer office, but these are only parts of a score that is moving, exciting and impressive. If it has a weakness, then that Weakness is to be found in Act III, and there is a similar letdown in the dramatic substance here. This Was almost inevitable in view of the terrific pace and emotional fervor of Act II. The author-composer is working on changes in. this final act, but hot many are needed. “The Consul” is going to bring prominence to Patricia Neway, who both plays and sings the role of Mrs. Sorel magnificently. Hers is an arduous task, and she comes through neatly. In addition to her gifts she is possessed of a magnetic personality. Marie Powers, who: starred in “The Medium,” has the role of Sorel’s mother here. It i^ Subordinated to that of the wife’s but Miss Powers scores Unmistakably. Then there are outstanding performances by Gloria Lane, as the consul’s coldly efficient secretary who, at the end, shows she really has feelings and a heart after all; by Leon Lisch “Congressional Babiy” was prematurely delivered, at the first Broadway tryout here in 20 years. It will require herculean rewriting by Eileen Tighe and the skilled, patient ministrations of Eddie Dowling to make this infant, lusty enough for New York. A filming might be more promising. Malcolm Atterbury’s local Playhouse troupe is making the presentation here. Described as a comedy, “Baby” also incorporates drama and melodrama. Funny lines (chiefly about politics or sex) and a few amusing .?• situations which should expand as timing is improved! are balanced by stretches of excessive talk and confused action. Miss Tighe rnay have intended to draw a satirical parallel between a woman’s private and public life, but her plot is obscurely involved and her stage technique unsure. Story tells of a young lady nominated as Democratic . congresswoman in New Hampshire, whose past^— in the form of a baby .born after her Republican father-judge had the marriage; annulled in New Mexico— ris exploited by political enehales and reporters in an attempt to cause her withdrawal from the race. Numerous complications ensue before the Congressional candidate ends up in the arms ol a newsman. . . . • Fattest part is that of a sapient, friendly and frank , grandmother, nicely played by Katherine Emmett. But it could be built. Judson Pratt’s role, of a dynamic pro^ fane, sometime bewildered Democratic boss, who thinks morO of his. party than of a wife, might also bo developed. Pratt played the first two acts quite well; he encountered two rocky moments in last act. Personality is ingratiating, but diction could be clearer. Nina Foch gives a solid performance in the confused, not-too-sympathetic part of the candidate. Husky-voiced blond shows fine presence, wears clothes stunningly and acts authoritatively, although she looks a trifle young for the role. Mark Roberts creates a likeable, nonchalant, helpful newsman. Neil Fitzgerald s characterization of . the stolid father carries conviction. ■ / One of best supporting bits_is that of Ellen Hardies’ WCTU leader. Barbara Barton makes a gopd-iooking, unmarried temperance gal. Edward Hunt is a; promising comedian. Single set is well done. Vaco. . V . 1 . ■ . 1 .1 \ Des Moihe8, Big March Des Moines, March 7^ March is seeing : the largest number of shows ever scheduled by KRNT Radio Theatre. “Harvey,” with James Dunn, cam« in March 3, 4 and 5. Stan Kenton’s show is on March 9, and Joe E. Brown, does his one-man show MHathkrine Cornell in “That Lady” plays March 13 and Horace Heidt’s revue does a return engagement on March 14. On March 17 and 18 Judith Evelyn is starved in “Streetcar Named Desire” and Mae West winds up the month with “Diamond Lil” on March 30 and 3.1.