Variety (March 1950)

LEGITIMATE Wednesday, March 29, 1950 Plays Abroad Continued front page 11 I*as get a twinge of li Q rr or at. the ‘ macabre carryings-on. But even tradition is caught ih progress, and the Grand . Guignol has come qt age. Gone is the nice messy icepick murder, and the face pushed in to a blazing stove. In its place is 20th century sadistic, sensual psychological horror, “No Orchids For MisS Blandish’' was a play adapted in England frpm Hadley Chase’s lush novel. It was then a film on the English eye-view ot American gangsterism which was banned in the States, . The Guignol version is a. free translation, and a sexy, sadistic orgy it is. A group : of hoods kid: nap the. rich Miss Blandish. She is then taken front them by another mob headed by the neurotic killer Slim, who hungers for the beauteous Miss Blandish. Slint’s brutal , mother whips and drugs! Miss Blandish into submission for the advances of Slim, who is afraid of girls. When Miss Blandish's moral scruples finally begin to give way before Slim’s animal appeal it is too late, for they are all shot down like dogs. The only reminder of the good;, old days is a couple of stabbings, | * girl being tortured with a lighted cigaret and some cruel beatings. The cast turns in a good stylized job with Jean-Marc Tennberg a standout as the sadistic Slim. Renee Gardes, an old < Guignol standby, is good as the brutal Ma. The girls are appropriately decorative in the underwear in which they spend most of the play. * ■ Mosk. eldest inhabitant; a budding playwright and a slinky young siren from next door. Only incidents that could rate as a plot are the discovery that the young girl is oiRy a step-daughter, so is free from the mother’s tyranny, . and that the, hoy’s first play is accepted and he eludes the said siren to find • real love "with his fellow boarder, It is hardly the fault of the company that their efforts misfire because Jean Cadell does her best to bring realism to the role of the genteel house owner. After a nervous upheaval the night before, she had ordered everyone to leave, and she finds herself desolate and bewildered in the deserted house. Helena Pickard is duly submissive and querulous as . the deceived wife, and Tilsa Page and Avril Hillyer make good contrasts as the ingenue arid her sophisticated rival. Clem, Democrats as Ballet Theatre, which celebrates its 10th anniversary with a threeweek engagement . at the Center theatre, N. Y., starting April 23, has been booked for a five-month tour of eight . European countries this summer. Troupe of 60 will fly | to Europe July. 15, Tour will be sponsored by American National Theatre & Academy*, and have the cooperation of the Cultural Division of the U. S. State Dept. Troupe will dance for a month in Germany, including performances for occupation forces. It will inaugurate the Edinburgh Festival Aug. 21 for a week, and follow with a three-week engagement in London. (Ballet Theatre gave an eight-week . season in London in 1946. ) Ifroupe will do an extended tour of Italian cities; play three weeks in Paris, and do a week each in Holland and Belgium. Tour will conclude in Vienna. Company will be back in the U S. in early December for its usual American tour. It has a three-week Canadian tour this spring, and* a July appearance at Lewisohn Stadium, N. Y., prior to its European jaunt. _l£_ Continued from page 19 IV iiit Des Homines (Man to Mant) Paris, March 4. Andre Barsacq presentation of . drama In one act by Jean Bernard.Luc. Direction and scenery by Andre Barsacq. At : Theatre ; de i’Atelier, Paris. Jordan. •. i ; . . . .. ... . .Jacques Dumesnil Ricalens, Michel Vitold This is an out-and-out tour de . force— a dialog between husband and lover of the same woman (who does not appear on the stage) lasting for an hour ’ and 20-some minutes. If the extra 20 minutes were cut, it would .improve the work considerably, but even so Jean Bernard-Luc has come up with a fine dramatic opus, by timing it with the liberation of a French provincial town by the approaching allies. The wife has left both her husband and her lover. The former is interested only in her, the latter is a leader in the resistance. Little by little it develops that she has left both of them and has gone off on her own in a dangerous mission in which she is killed. And as the church bells toll, announcing the liberation Of the town, the husband kills the lover, considering him responsible for her death. In lesser hands the work would doubtless have*fallen flat, but both Jacques Dumesnil and Michel Vitold give exceptional performances. F red. Washington, March 28. : Radio Moscow beamed a DX broadcast at Britain last week announcing that the hottest thing on the boards currently is a new play called .■‘Missouri Walz,” .which rips into the Democratic Party as a collection Of criminals and thugs. Broadcast, intercepted by official U. S. monitors, said “Misouri Walz’’ was authored by Nikolai Pogodin, and was such a hit that it Was day dating as a live drama in two Moscow legit houses —the Ermolova and the Vakhtangov.” The broadcast said of the plot: “It depicts election frame-ups in the U. S. and the activities of a gangster ring in the Democratic Party. The play exposes the monstrous poison-propaganda campaign launched at election time to mislead U. S. public opinion. Officials are bribed to include in the election lists persons who are no longer alive or who have left the state. The leaders of the Democratic Party stop at nothing in order to send their man to the Senate. Everything is brought into action* from forgery to murder.” C raven House London, March 14. Pat Nye i John Penrose ' production of light comedy in three acts by Diana Hamilton; adapted from novel by Patrick Hamilton. Directed by Ken Tynan. At Bedford theatre, London, March 13, *50. Mrs. Nixon. ................. . Pat Nye Elsie Nixon .... ... Tilsa Page Miss Hatt . ... , ; ......... . Jean Cadell Mrs. Spicer . . ..... Helena Pickard Mr. Spicer . . ...... ... .Lionel Newbold Mrs. Hoare . . . . ... . . . feme Berihger Anthony Wlldman. . . . Richard Longmait Miss Cotterell ... ... . . Avril Hillyer Audrey Custard. ..... ... Shirley Richards Russian Lady ...... ... . Phyllis; Montefioi>e Jock Nixon . ... Norman Mitchell Hollywood, March 28. Trio of World War II vets have formed Pacific Theatre productions Which Will preem a new script, “This We Fought For,” at San Gabriel Mission Playhouse, May 5-6. Play, complete with sound effects, revolves, around the battle for a Pacific island. Stewart Conway, producer; Wallace Hunter, assistant producer, and Sam Todd, who plays the lead, hope for a west coast tour after the San Gabriel bow. Conway wrote the script. This adaptation by Diana Hamilton from • her brother ^Patrick’s novel reflects’ little credit on anyone. Whatever merit it had as a book evaporates in its stage form. Story centres on a group of people in a boarding house back In 1913. There is a suppressed yourig daughter of a bullying mother; a tearful nonentity of a wife with a jocular, philandering husband; the Oneo I^ioit it (BROWN UNIV.) Providence, March 1$. Brownbrokers production of musical in two acts (14 scenes); book and lyrics. William Dyer; musical score, Harris Ulllan; staged by George Eckert; dance direction, Judith Dech; vocal direction,. Harriet Rotman; costumes, Patricia Ehrhardt; assistant dance director, Marjorie Reeh. At Faunce House, Brown Univ., Providence. Cast: Judith Dech, Laurence Hochberg, William Dyer, Edwin Sherln, Harriet Rotman, Maxine Rosenbaum, James Lennon, William E*«ves, AileeiV Tuck, Nancy Welch, Laney Lee, Sally Ashbaugh, Reese Thornton, Elizabeth Ann Gibbons; Paul Michael, Fredlyiv Kovileh, ScnYa Silverman, George Eckert.. Available f or Summer Stock Beautiful air-conditioned theatre within easy reach of North Shore end large suburban communities North of Boston. Good stage, parking space, 700 DeLuxe Seats. Reply Variety, Box V-20J2, 154 W. 44th St., NOW York If,' N, Y. •A >:*!,# the exception of a couple numbers, this one will have to depend pn family and friends for support. In justice to the youngsters, they tried, but a combo of rush into production, not too much obvious talent arid a worn-out theme reflected the shortcomings. Hollywood came in for its usual lampooning, with the usual love interest complicated by a Garboish character who insists on calling the male lead “swithart” and making tlie galfriend jealous. Washington sends out its usual Corigressiorial Un-American Activities investigating^ committee, . a n d it promptly throws Miss Smorgasbord into the clink. Incidentally the brightest number is the investigating committee's reverting to oldtime vaude to put oyer the Catchy “Red, Pink or Fuchsia.” Maid. Current Road Shows ( Match 26-Aprit 8 ) Ballet Russede Monte Carlo — His Majesty’s, Montreal (27-1). Ballet Theatre— Playhouse, Wilmington (27); Constitution Hall, Washington (29-30). Ballets de Paris — Nixon, Pitt (27-1). “Borschtcapades” -— Blackstone, Chi. (27-8); “Brljpadooii” — Victory, Dayton (27-29); Hartman, Columbus (30-1); Royal Alexandra, Toronto (3-8), “Cry of the Peacock” — Locust, Phila, (27-1); “Death of a Salesman”— Hanna, Cleve. (27-1); Cass, Detroit (3-8). “Diamond Lil” — Orpheutn, K.C. (26); Stuart, Lincoln, Neb. (27-28); KRNT theatre, Des Moines (30-31); Aud., St. Paul (1); Lyceum. Minneapolis (3-8). “Goodbye, My Fancy” — Gayety, Wash. (27-1). “Harvey” — Robinson ^ Aud., Little Rock (27); Municipal Aud., Shreveport, La. (28-29); Majestic, Ft. Worth (30); Melba, Dallas (31-1); Paramount, Austin (3); Texas, San Antonio (4); Music Hall, Houston (5); Aud., Lake Charles, La. (6); Murphy H. S. Aud., Mobile, Ala. (81 , “KiSs Me, Kate”— -Shubert, Chi. (27-8). • • . ' “Lend An Ear*’— Great Northern, Chi. (27-8). “Madwoman of Chailloi” — Erlanger, Chi. (27-8); “Man Who Came to Dinner*^ — Jr. H. S. Aud., New Westminster, B.C. (27); International Cinema, Vancouver (28-1); Capitol, Yakima, Wash. (3); Post, Spokane (4); Aud., St; Paul (7-8). Maurice Schwartz — Plymouth, Bost. (3-8). . “Mister Roberts” — Colonial Bost. (27-8).. “Oklahoma”— r.Poche;; New Orleans (26); Tower, Atlanta (28-1); Bijou, Chattanooga, (3-5); Ryman Aud., , Nashville (6); Coliseum, Evansville, Ind. (7-8). “Private Lives” — Harris, Chi. (27-8). : “San Carlo Opera Co.” — Erlanger, Buffalo (30-1). “Silver Whistle”— Lobero, Santa Barbara (31-1); Biltmore, L. A. (3-8). “Streetcar Named Desire*^ — Shubert, Detroit (27-1); Gayety, Wash. (3-8). • “That Lady” Texas, San Antonio (27); Metropolitan, Houston (28-29); Poche, New Orleans (31-1); Lanier Aud*, Montgomery, Ala; (3); Tower,. Atlanta (4-6); Bijou, Birmingham (7-8). “Tickets, Please”— Shubert, N.H. (6-8). Webster-Shakespeare — H. S. Aud., Mendota, 111. (27); 111. School for Deaf, Jacksonville (28); Southern 111* U., Carbondale (29); Hughes Aud., Wilmdre, Ky. (30); Purdue Music Hall, Lafayette, Ind. (31-1); Murat, Indianapolis (7-8). “Congressional Baby” to Tour Albany, March 28. Eileen Tighe's comedy “Congressional Baby,” recently tried out for two weeks at Malcolm Atterbury’s Playhouse here, will tour for six weeks: as a package show on the strawhat circuit, probably with Mark Roberts and Katherine Emmet featured. The: summer swing would be prelimin?ryrto a Broadway production/ Eddie Dowling produced the premiei'e here. * >. Wife” (with Rita Weimari), he wrote several books, . including “How’s Your Second Act,” “The Glory Road,” the autobiographical “To a Lonely Boy” end “Reference Point,” the latter a collection of dramatic lectures he had delivered at Fordham U. Gave Few Directions Asa director, Hopkins wbs noted for his method of giving few actual directions to the cast, believing that it was better to let the actors work out the performance virtually alone. Commentirig on the practice, the late Robert Benchley, at that timi drama critic of the New, Yorker, wrote of a Hopkins production that it had been staged “oft the honor system;” Years later, when pressagent Richard Mariey explained to Louis Calhern that he had not scheduled any interviews during the road tryout of “Magnificent Yankee” lest they interfere with rehearsals, the star remarked, “What rehearsals?” Yet Hopkihs could make specific staging' suggestions : when he felt the occasion arose, and could be irate and vocal if they were riot Obeyed. During feheatsals of his production of “Deep River,” for instance, he repeatedly instructed the late Jules Bledsoe, who was making his legit debut in the show, to stay in character : during his songs, instead of following the concert practice: of coming downstage and singing directly to the audieiicer1 At the tryout premiere out of town, when the Negro baritone ignored the directions, Hopkins, who was sitting in the rear of the .orchestra, swore aloud. A femme playgoer, seated nearby, admonished him, “If you don’t like the show why don’t you go to the boxoffice and get a refund?” “I only wish to God I could,” the producer retorted. Hopkins chose plays for production primarily because they appealed to him, and only secondarily because he. thought they might make money. Unlike most producers, he had tenacious convictions, and when lie decided to do a play, nothing swayed him from it. Moreover, even if the show proved a dismal failure, his faith in it was undiminished. And possibly because of his strong spiritual tendency, temporary difficulties and mishaps didn’t bother him. Politely Uncommunicative In his Uny office in the Plymouth theatre building, which the Shuberts provided him rent-free in recent years, Hopkins continued his constant quest for promising scripts; When; as occurred with decreasing frequency, job-sejeking actors visited him there, he rarely uttered a word, merely indicating by a shake of the head that he had nothing for them. He was also politely uncommunicative to reporters, although he occasionally talked entertainingly about the theatre if his interest was aroused.. 9 Always one of the most literate producers in the theatre, Hopkins revealed his growing mysticism < in various articles he contributed to the anniversary issues of Variety in the last few years. His last such piece, in the 1949 number, was critical of contemporary conditions in legit* “In comparison with earlier days, still remembered by some of us,” he wrote* “the theatre has become a’ joyless place. The fun has gone out of it. Now it is a place of frantic scrambling for recognition and approval. The theatre is no longer ah end, but a means; It is something, to be used. “The only possession that any of us can take with us is the part that we refuse to sell for money, glory or approval. It can be summed up as simple human dignity* When the fun went out of the theatre much of this, too, was lost.” ; His rarely-ntsed talent: for irony was shown four years earlier, when he wrote,. ‘‘In launching a \ production, are the actors cast first? How old-fashioned. No indeed. The promoter must first cast the stockholders. Stockholders are not required to submit photographs or press notices, although some of them are getting fatter pressbooks than stars, even breaking into national magazines as wonder boys. A really fine cast of stockholders can sometimes be I cast in a week. They have no pic iVV . j ‘v •• t ■ ture commitments, . no radio conflicts; i Of course, they are experts in all ‘ matters theatrical, v *. “The theatre is one business in which nothing needs to be learned. Everyone is bom with an unfailing instinct about all theatrical problems. ' Most people are too busy with other occupations Which they took a long time to learn. Strangely enough, learning ohe’s o>vn business requires certain tedious steps, of which the theatre is happily free. So lack of experience is no handicap to the stockholder. As with the dramatic critic, his perception is a gift which he cahnot explain: It amazes him, but it just came.. His not to reason why. Arid it is a sure thing that if. the stockholder is lacking in theatre genius, his little wife can easily: supply it. ‘‘Among the theatre-struck it might be. difficult to find a man who admits fie doesn’t know everything about the theatre-^but finding a woman is impossible.” : Ip another Variety issue he suggested; “These are the days of reconversion and. revivals. Both are the putting to new use of old . materials* Sometimes the old material* are better than anything new that is available. It is hard not to think 6f a few old plays that have : more vitality than much : of the new material that is being offered. ■“Plays are not dead until they . can no longer be made to live. It is sometimes more difficult to bring a ‘new manuscript to life than it is to set an, old one to ticking, so the test of a play’s possibilities has less to do with age than with vigor. Plays born with Weak gland systems -will totter iorig before their better equipped eldeirs.” ) Perhaps most revealing is the philosophy Hopkins expressed in his article of two years ago. “The taking world has been grabbing frantically for 'several centuries, with the result that most of the world’s hands are empty and Cold., Obviously, taking is not the Way of fulfillment. Slowly and reluctantly we are learning that we are enriched by what we give, not by w'hat we take. “Old admonitions are at last taking on new meaning. ‘Cast, thy bread upon the waters.* ‘It is better to give than to receive.’ These are ho longer idealistic dreams, but practical directions on the road to well-being. “At present the theatre is one of the great lags in American life; TJhere are many earnest people of whom we know nothing who are determined that the theatre shall be brought to the front and: take its rightful and honorable community life, are the theatre in of to morrow. #» Duncan Out as Equity V.P. Due to 111 Health Augustin Duncan, fourth 0 vice president of Actors Equity, has resigned because of ill health. The union’s council yesterday (Tues. ) voted regretful acceptance. The council also named Katherine Meskill and, Hiram Sherman as Equity representatives on the Television Authority n a ti o n a 1 board, replacing Ezra Stone and Hume Cronyn, who resigned because of the press of professional commitments. Apfi. for R«nf Newly Remodelled Bldg* 441 W. 55«h St., N«W V«rk IMMEDIATE OCCUPANCY 1 •nd S Rqom Purn. Aptc., $i2p-il45. FOR SALE 500 USED THEATER SEATS RuNitibie; Good Condition Writ*! RICHARD STBVERS Lakotldo ThoatrO, Landing# N. J. APARTMENTS Sovorol Vary Attractive — Various Sltos Purnlihod and Unfurnlihod MRS, MAiEL DETMOLD 230 last fffk Strott* Now York EL 5-1 f 27