Variety (October 1950)

58 LEGITIMATE U&niEfr Wednesday, October 18, 1950 Plays Out of Town Guys and Dolls . Philadelphia, Oct. 17. • Cy Fetter and Ernest H. Martin pres- entation of musical in two acts (IT scenes) by Jo Swerling and Abe Burrows, based .On a story and characters by Damon Run- yon. Songs by Frank Loesser._ Stars Robert AWa» Vivian Blaine, Sam Levene; features Isabel Bigley, Pat Rooney, Sr., B. S. Pully, Stubby Kaye, Tom Pedl, John Silver. Staged by George S. Kauf- man; choreography, Michael Kidd, settings and lightlifg. Jo Miclzincr; costumes, Al- vin Colt; musical director. Irving Actman, orchestral arrangements, George Bass- man; vocal arrangements and direction, Herbert Greene. A* Shubert. Philadel- phia, Oct; 14, '80. Benny Southstreet ....... Johnny Silver Nicely.Nicely Johnson,.... Stubby Kaye Harry the Horse : ...... •, Tom Pedl Broadway Character,.... .Douglas Deane f . Sarah Brown .... V. ■ Isabel Bigley j Sk.v Masterson .... Robert Alda , Arvide Abernathy Pat Rooney, Sr. Agatha,.. Margery pldroyd Calvin ...; Paul Mlgan Priscilla Christine Matsios , Lt. Brannicnn ...,. .V,......:. Paul Reed Nathan Detroit , i-V. & m Lqvene i Miss Adelaide y..........• .Vivian. Blaine : Joey Biltmore...,.... • ■ Bern;. Hoffman ■■ biimi . • •; Beverly Tnssoni j Gen. Matilda B, Carstairs . Netta Packer , Philadelphia, "Oct 14. J Here’s really one for the rec- ords — a musical ' In which, the i hook is apparently the standout | feature; Of courre, when one con- '• siders that “Guys and Dolls,” new Cy Fetier and Ernest H. Martin: tuner which preemed here at the j Shubert tonight 114 . is based on ; a story (and characters'* by the 1 late Damon Runyon and that the adaptation job was done. by Abe, Burrows and Jo . Swerling, the libretto’s superior qualities should. not come as too great a surprise. ■ Ah'b. the Frank Loesser score is likely to come into its rightful | .prominence when it has been re-; orchestrated to give greater em- phasis to melody. .' There’s considerable, work Still to be done on “Guys and Dolls,” j but it shouldn’t be difficult with the array of experts and special- ists connected with the production: First 20 minutes of the show must be trimmed and sparked: in fact, most of the doctoring. required is in Act I, which is again something of a novelty. Act II moves swiftly and surely and mounts to a wow j finale. A host of Runyon’s famous Broad- way characters are brought to life in this musical, One meets Nicely- Nicely Johnson, Harry the Horse,' B'riny Southstreet, Big Julie (from ; Chi) and numerous others. Male lead is Sky Masterson, strictly'a gambling gent Avho unexpectedly falls Very much in love with Sarah; Brown, Who is a lovely doll work- ing for the Save-a-Sopl Mission. Sarah doesn’t approve of Sky’s gambling, his friends oi‘ his mode of living, but on a dare she goes to Havana witl* him. (strictly platonic in every sway)' arid in re- turn he supplies the Mission with an assortment of quaint characters (all on the racket side), whose mere presence plus sundry testi- monials of reformation serve to keep the Mission from being closed Up as a failure. The scene in which the dozen gambling gents attend the Mission at Sky’s insistence and, one after another, recount their sins , and pledge, their reform/ is one of the most hilarious , seen here in a musical in moons. Although the three most prom- in ently featured players * are Rob- ert Alda (as Sky), Sam Levene (as Nathan Detroit) and Vivian Blaine (as Miss Adelaide) (and . they’re all good), it’s Isabel Bigley wh6 runs away with top honors. She’s the heroine, the Save-a-Soul Mission lassie, a kind of musical comedy version of Shaw’s “Major Barbara.” In fact, believe it or not. there are several times when this Runyon strictly - Broadway yarn is reminiscent of the Irish playwright’s pungent satire built around a Salvation Army gal. Miss Bigley has an excellent voice, a; very nice sense of comedy and she certainly isn’t hard to look at. She delivers her three major ro- mantic ditties - (sung as duets with Alda), “I’ll Know,” “If I Were a Bell” and ‘‘I’ve Never Been in Love Before,” 'with distinction, and then, towards the end, teams up with Vivian Blaine in a slyly amusing comedy number, “Marry Tire Man Today.” As of the first night the number in Loesser’s score that got the biggest salvo was a tempestu* ; However, “Guys and Dolls,” “I’ve Never Been in Love Before.” “If I Were a/ Bell” and “My Time of Day” will get plenty of attention. At present the singers tend to bo overshadowed by the orchestra, but that is among the faults in process of correction. “Dolls” doesn't lay much em- phasis on the. dance angle, although Michael Kidd has done a credit- able job ip staging what routines there are, , in addition to looking ?*S? r » lc a musical numbers. • Havana shapes up as about the dance outstahder. Pat Rooney, Sr., as the heroine’s uncle and also °r^? f tp* Mission flock. docs one 'Of his famous routines, but isn't given too much of a chance, espe- cially in Act II. Alda makes his return to the stage a . successful One, although his overall impersonation of that inveterate gambler, but at bottom soft-hearted, Sky Masterson can stand some smoothing and some further direction by George S. Kaufman. Latter, by the way, must be given a large share of the •' credit for the authentic, legitimate flavor, of the show’s libretto. This type of story is right up Kaufman’s alley and he misses few tricks. Miss Blaine’s performance as the rather brassy, but also at heart deeply senti- mental Miss Adelaide, who has been trying to get Nathan Detroit (Levene) to marry her for 14 years or more, is also on the credit side of the ledger — emphatically. Levene is characteristicauy smooth as Nathari. Kaye’s Nicely-Nicely, Tom Pedi’s. Harry the Horse and B. S. Puily’s most amusing Big Julie, visiting gambler from the west, all click in a positive fash- ion. ' , . • ■■ Jo Mielzirier’s settings and lighting may not be as distinctive as some of those he has been rep-, resented by here in the last two- Or three seasons, but they are al- ways correct in mood and charac- ter. A Havana nightspot (where Sky and Sarah go on their platonic wager trip), the Mission interior, arid the hangout of the gamblers known as the Hot Box, are effec- tive- sets. . Show ran until nearly 11:30 at opening night but despite over-, length the performance was very I smooth and workmanlike^ With i this way-over-average book, plus the other ingredients such as a promising score and. some engag- ing personalities, “Dolls” appears headed for plenty of success: Waters. drama, such objections would be groundless. Then, too, the final act is unevenly paced in spots and sags in contrast with the well-presented first and second acts, where the dialog is brisk and the action good. In the last five minutes, however, Act III rights itself and offers a good final curtain. The produc- tion’s obstacles, however, aren’t insurmountable and in all prob- ability will be eliminated before the Broadway preem. Shane . > Hilda Craiie Princeton, Oct. 13. Arthur Schwartz presentation of drama in three acts (six. scenes) by Samson Ra- phaelson. Stars Jessica- Tandy; features Beulah Bondi, Frank Sundptrom, John Alexander and EvelynWarden:. Directed by Hume Cronyp; settings and lighting, Howard Bay; costumes supervised by Hart- nett Ames. At McCarter, Princeton, Oct.. 13, '50; $3.60 top. Clara. ...,.. ....Ann Sullivan ! Henry Ottwell...... >... V. John Alexander ; Mrs. Crane ............... Beulah Bondi I Hilda Crane Jessica Tandy .' Mrs. . OttwellEvelyn Varden j Prof. Charles Jensen ... .Frank Sundstrom Nell Bromley . ........ Eileen Heckart | Dink Bromley .........Richard: McMiirray i Mrs. Nordlinger..;.....,. .Madeleine King i Mr. Nordlinger........... Watson White' Miss Keavney ... Frieda Altman _ i Even in its present break-in form, “Hilda Crane” appears to have the makings of a click. With proper tightening and revision this Arthur Schwartz production defi- nitely looms as a strong Broadway boxoffice entry. Hollywood Chances are excellent. A good plot unfolded with a neat sense of footlight requirements, talented performers that are well cast and direction that proves rather deft on the whole, all add up to make this a promising pack-, age of entertainment. Though the last act doesn’t quite measure up to the standards of the first two, the result is not too damaging in the overall effect. The theme—-one of considerable "depth and merit-—revolves around a twice-divorced woman who is struggling to adjust hetself to marriage arid life. The gal, jobless and broke, returns to her home town, rekindles the interest of a former love, now an assistant professor at the local college, and receives a proposal from a wealthy self-made man who has always Worshipped her. Disillusioned by her 'assistant prof, whose interests are neither honorable nor academic, she de- cades to marry the older mari; Fully aware - that she doesn’t love him, she is determined to make him a good wife. Then, two years later, the professor returns. An erno* tional turmoil follows arid with it, tragedy, Jessica Tandy, as the misunder- stood and conftised Hilda Crane, gives a standout performance. Beulah Bondi does a topnptch job as her Well-meaning blit conven- tional-minded mother. . Frank Sundstrom’s playing of the pro- fessor’^ role is good thesping. John Alexander and Evelyn Varden are adroit as the self-made mari and his possessive mother. Anri Sulli- van, Eileen Heckart, Richard Mc- Murray, Madeleine King, Watson White and Frieda Altman, carry out varied assignments adequately. Howard Bay's handsome settings 'are impressive and lighting excep- tion ally effective. Costumes are good, too. The play’s most obvious fault is that there are laughs in the wrong places. Characterization of Mrs. Ottwell, for example, is a bit over- drawn. If the production were in- tended as a farce instead of a D’Oyl.y Carte Opera Co* (SHUBERT, NEW HAVEN) , ,. New Haven, Oct. 17. D'Oyly Carte Opera Co. teed off its new American tour successfully at the Shubert here last week with two performances each of, “Io- lanthe” and “Mikado.” There was regret that the repertoire was cut to two operas locally but it seems that the rtiove was necessitated by a customs, riot costume, situation which might have Caused incon- venience in the troupe’s Boston engagement which follows the local stand. The Savoyards have several new faces in addition to veterans Dar- rell FancoUrt and Martyn Green. Other principals on this trip include Neville Griffiths, Leonard Osborn, Peter Pratt, Alan Style!/ Eric . Thornton, Richard Watson, Joan Gillingham, Ella Halman, Mu- riel . Harding, Margaret Mitchell. Productions are sumptuously gowned and designed. Toiir will carry troupe to Chicago, with New York engagement due in ; early March, , Bone. ■ ' llsiUH Daliails (CENTURY, HOLLYWOOD) Hollywood, Oct. 11. “Ballet Ballads” may benefit bounteously via the overflow from the upcoming Sadler’s Wells troupe; otherwise boxoffice pros- pects for the Coast revival of the ballet-with-libretto aren’t too promising. The. Bruce Savan- Jefome Moros.s production’s prin- cipal assets are prima ballerina Olga Lunick and two funny, se- quences involving a mermaid and a bear hunt. Contrariwise, ihterim stretches are dull and sonie of the book’s social significance is ill- timed. Revival meeting airi of “Susanna arid the Elders,” Century theatre layout’s curtain-raiser, ; while., no. riovelty, is engagingly evoked by the Robert Trout-Frank Seabolt choreography and choral group that backs Miss Lunick, as Susanna the dancer, and Marrii Nlxori, as Susanna the singer. Spoofing of the punishment, that, befalls the Biblical characters who bear-false witness and covet, their neighbors’ wives is adroitly handled in the writing end, but the point of the whole thing is pounded too hard in the staging. Miss Lunick again wraps" up “Willie the Weeper,” the vividly impressionistic reefer man se- quence, aided tremendously by Bert May’s terping of the title role and Jerry Duane’s terioring of “I’ve Got Me.” Score mopes along in the first .half of “Willie” but perks up considerably for the wind- up, This Esther Junge-staged en- try is in dire need of a rhythm sec- tion, and maybe a horn or two, , in addition to the two-piano team of Eugene Feher arid Gcrshon Kings- ley. ■ *=*■■ Mermaid and bear hunters pro- vide a solid lift for the overlong “Eccentricities 'of Davy Crockett,” staged by Hanya Holm and Miss* Lunick. Latter shines as Halley’s Comet in the closing sketch, mak- ing that spectacular leap from one of the several smart set pieces pro^ vided by art director Harry Horner count importantly,. Theodore Upp- mari’s mellow baritone showcases the iriusic and words of Moross arid John Latoiiche adrnirably. Betty Abbott is the Mae Westiari mer- maid, with touches of the aqua- nymph limned by Beatride Lillie in “Inside U. S. A.” Chorus spell- irig out the action here too, isn’t always necessary, since much . of the miming in the show is self-ex- planatory. Eddie Hearn’s lighting is an important contribution. Mike. / Plays off Call Me Madam Leland Hayward presentation of musi- cal comedy in two acts (13 scenes)^ with music and lyrics by Irving Berlin, book by. Howard Lindsay and Russel Crouse. Stars Ethel Merman; features Paul Lukas, Alan Hewitt. Directed by George Abbott; dances and musical numbers staged by Jerome Robbins; scenery and costumes, Raoul Pene du Bols; . Miss Merman’s dresses, Mainbocher; musical director. Jay Blackton; orchestrations, Don Walker; additional orchestrations, Joe Glover; dance music arrangements, Genevieve Pitot, Jesse Meeker. At Imperial, N, Y., Oct. 12, '50; $7.20 top. Mrs. Sally Adams......... Ethel Merman Sec. of State............ ..Geoffrey Lumb Supreme Ct. Justice:..........Owen Coq Congressman Wilkins.... -Pat. Harrington Henry Gibson.. ......,.,. .William David Kenneth Qlbson ., Russell Nype Sen. Gallagher...Ralph Chambers Sec. to Mrs. Adams........ Jeanne Bal Butler. ...... .William Hail Sen. Brockbank ... . ........;,. Jay Velle Cosmo Constantine,v,........ Paul Lukas Pemberton Maxwell. Alan Hewitt. Clerk .... ..... .......... . Stowe Phelps Hugo Tantinnin.......E. A. Krumschmidt Sebastion Sebastion . ..... Henry Lascoe. Princess Maria . .......... Galina Talva Court Chamberlain;...... .William David Maid . . ........,.............. Lily Paget Grand Duchess Sophie.. . . . .. . .Lilia Skala Gr.and Duke Otto..' :...... Owen Coll Principal dancers; Tommy Rail, Muriel Bentley, Arthur Partington, Norma Kdlser. , , Ocarina players: Ollle Engebretson, Rich- ard FJellman. Singers, dancers: Rae Abruzzo, Jeanne .. Bal, Trudy DeLuz. Lydia Fredericks, Estelle Gardner, Ruth McVayne, Lily Paget, NOella Peloqiilh.. Helene Whit- ney, Aristide Bartis, Nathaniel Frey, William Hail, Albert- Linville, Robert Penni Tom Relder. John Sheehan. Stan- ley Simmonds,. Ray-. Stephens, Shellle Farrell, Nina Frenktn, Patricia Ham- , merlee. Barbara Heath, Virginia LcRoy, ; Kirsten Valbor, Fred Hearn, Allan! Knolls. Kenneth LcRoy. Ralph Linn, Douglas Moppert, Bobby Tucker, Wfl- | llam Weslow. “They Like Ike,” by Harrington, Ralph Chambers and Jay Velie. Other songs lude “Lichten- burg/’ by Lukas, “Once Upon a Time Today,” by Nype, and the opener-finale, “Mrs. Sally Adams.” The terp numbers are “Washing- ton Square Dance,” “Theijpcarina” and “Something to Dance About.” Eliminated during the tryout were •‘Gypsy Dance,” “Mr. Monotony” and “Free.” George Abbott’s staging is briskly paced and avoids waste iriotiori. The Choreography of Jerome Rob- bins is reasonably entertaining, though occasionally overlorig. The scenery and costumes of Raoul Pene du Bois are a spectacularly decorative addition; Miss Merman's gowns by Mainbocher shopld sat- isfy both femme and male spec- tators, and Jay Blackton’s musical direction gets the value of the score and avoids drowning out the singers. Hobe. Legend of Sa rail Kermit Bloomgarden presentation of comedy In Prolog and three acts (four scenes), by James Gow and Arnaud d’Usseau. : Features Marsha Hunt, Tom Helmpre, Ethel Grlffles, Edmon Ryan, Philip Coolidge. Judith Parrish, Joseph Sweeney, Staged by. Benn W. Levy; set- tings, Ralph Alswang; costumes, Ben Ed- wards. At Fulton. N1 Y„ Oct. 11, '30; $4.80 top ($6 opening). Minerva Pinney..,. .,.... Marsha Hunt Adam Harwick . ........... Toin Helmore Clementine Pinney.Ethel Griffies Wanda Manklewicz.......Judith Parrish P.- Walter Landis...Philip, Coolidge Edgar Cameron............ Edmon Ryan Mr. Angus.. ......... Joseph Sweeney Robert Ferguson, veepee and a di- rector of Columbia Artists Mgt., among those reelected to office last week . . . Delia Riga! flew in from Buenos Aires last week to begin rehearsals for her first season at the Metopera . . . With basso Boris | Christoff held up for lack of U. S. Visa in Bulgaria, Met hopes to sub Cesare Siepi, now in Italy, for its opening night, Nov. G, with “Don Carlos.” Siepi, managed by. Vladi- mir Lubarsky, is new to U. S., but has been heard Via Cetra-Soria re- cordings. With its record-breaking advance sale of over $1,000,000 (without theatre parties), “Call Me Madam” , was an almost certain boxoffice ’ success even before the opening. But on the strength of a heroic job ! of tryout doctoring by composer ( ! Irving Berlin, librettists Howard, Lindsay arid Russel Crouse and stager George Abbott, and. with . Ethel Merman giving perhaps the v most irresistible performance . of i her phenomenal career, the musi- cal is apparently, a huge popular | success as well. It is hardly a great /show, but it’s plenty good enough. , This is the show that, despite,un- precedented preliminary interest, arid a mail-order flood that swamped the theatre , wa s rumored in the trade grapevinTT7 > 6ni‘ T out-of- town to be merely an ordinary mu- sical and diie to be a terrible anti- ! clirnax on /Broadway. But in tone ! of the most brilliant salvage jobs in recent years, the show was. transformed during the tryout. j The book was extensively re writ- , ten, with a drastically revised sec- ! j ond act. Three tunes, one a dance | routine arid one an elaborate pro- ■ ! duction number, were scrapped,! I arid two replacements inserted. : Several numbers were moved j- around. One new dance number; was. added. New scenery and cos- tumes were put in. The whole book • was tightened and punched up. The 1 performance was speeded and pointed. And the entire show came ; to life. It was a triumph by real ■ professionals, working under pres-1 sure. / • ' j. It is unquestionably Miss Mgr-’ man’s show. She carries it along,: scoring with every song, punching 1 over every scene s getting every ; laugh in the script and providing the drive, animation, authority and magnetism to capture and hold the ! audience. As the ambassador to the mythical grand duchy of Lich-! tenburg; she is a ca ptivoting fic- tionization of Mrs. Perle Mesta, tlie = fabulous Washington hostess and; now Minister to Luxembourg, al-1 though a spoofing program note: cautions. “Neither the Character of ! Mrs. Sally Adams, nor Miss Ethel, Merman, resembles any other per- son alive or dead.” | Raul Lukas provides a suave, in- [• gratiating assist as a charming Lichtenburg diplomat; -despite' se- i vere limitations as a singer. Rus- i sell Nype registers solidiy as the juvenile; both the part and per-' formance having, grown during the 1 tryout, : nd he impresses as a fu- ture prospect for musicals and films. Alan Hewitt accents the role of the pompous, protocol-crazy; charge d'affaires; Pat Harrington 1 scores as a'cocky Republican Con-| gressman; E. A> Kruinschmidt is notable, as a bowing-from-the-waist Lichtenburg politician;-Gaiina. Tal- ! va sings acceptably as a romantic! princess, while dancers Arthur Partington, Norma Kaiser, Tommy;; Rail and Muriel Bentley also click. } Standout songs are “The Hostess: With the Mostes’ on the Ball” and I “Can You Use Any Money Today?” . sung by Miss Merman; “Marrying for Love” and “The Best Thing for You Would Be Me,” by Miss Mer-1 man and Lukas; a sock new coun- 1 terpoint duet, “You’re 1 Just' in; Love,” by Miss Merman and Nyjpe; “It^s a Lovely Day Today,” by Nype , and Miss Talva, k and a patter song i that may conceivably have added topical value two years lienee, Like the comic who yearns to play Hamlet, or tffe tragedian who’d gladly swap his pear-shaped tones lor 4 a part irt a musical, James Gow and Arnaud d’Usseau apparently wanted a change of diet. Having made a boxoffice cleanup with two dramas of controversy,; they craved the exhilarating sound of audience laughter. But the re- sult, a comedy called ^‘Legend of Sarah,” is disappointing. From a couple of unknowns, the new play might have seemed fairly promising. But from the authors of “Tomorrow the World” arid “Deep Are the Roots,” it seems a synthetic, inferior effort. Despite a provocative p r e m i » e, engaging leading characters and a lively opening, the piece lapses, into a. formula...romance in., which the laughs become progressively thin- ner and less frequent. Opening in a realistically dingy Greenwich Village apartment (com- plete with cockroaches) as the heroine storms opt after an em- battled romance with an impover- ished Writer of historical Jkpvels, the yarn picks up two yearif later in her ancestral New England home, as she’s sparking a Colonial restoration project financed by a New York multi-millipnaire. But the writer, now prosperous from a debunking; biography of General Grant, arrives in time to sabotage her pet'scheme by uncovering the scandalous truth a b o U t how her revered ancestor, the legendary pa- triot. of the title, contrived to detain General Howe at her tavern long enough to prevent the British from destroying Washington’s army. ., . ■ After its rambunctious prolog and amusing first act, the comedy deteriorates, and although the story is generally predictable, the situa- tions become steadily less plaus- ible. The playing, credible and bright at the . start, grows more forced, until the actors finally re- sort to pouriding in an effort to overcome the innocuous script: As the attractive, headstrong arid not very bright y o u n g heroine, Marsha Hunt is a persuasive come- dienne, but doesn’t succeed in giv- ing much sympathy to an essen- tially silly part. As the somewhat smug writer, Toni Helm also gives a deft performance in the opening scenes, but he, too, can- not overcome the limitations of the character he is p raying. Ethel Griffies. as the girl’s drily liuinor- ous mother, has the advantage of not haying to carry the action, so her role isn’t such a let-down and her performance! maintains her keen standard. Of the supporting parts, Edmon Ryan is acceptably hucksterish as the sanctimonious local banker whom the heroine, in a mood of defiance/ agrees to riiarry. Philip Coolidge stresses the odiotisriess of the absentee multi-millionaire’s agent; Judith Parrish is beliveably impudent as an individualist maid, and Joseph Sweeney gets, by as a fanatically independent local land- owner. ■ " Benn W.. Levy’s Staging seems skillfully unobstrusive, although it permits overplaying in the final- act, perhaps in an attempt to vitalize a sagging script. Ralph Alswang’s scenery is admirably atmospheric for comedy, Although the Colon iai living room hardly suggests a re- modeled. tav.ern and doesn’t even look quite livable. Hobe,