Variety (November 1950)

5a LfiGlTlMATB Wedneeday^ November 29 , 1950 on Guys and Dolls Cy Feuer* & Ernest H. Martin pres- entation of musical comedy in two acts (17 scenes), based on story arid characters by Damon Runyon; music arid lyrics, Frank Loesser; book, Jo Swerling' anci Abe Burrows. Features Robert Alda, Vivian Blaine, Sam Levene, Isabel Bigley, Pat Rooney, Sr., B. S. Fully, Stubby Kaye, Tom Pedit Johnny Silver, Paul Reed, Net- ta Packer. Staged by George S. Kaufman; dances and musical, number's, Michael Kidd; settings and lighting, _.To Mielzlner; costumes, Alvin Colt; musical director, Irving Actnian; orchestral arrangements, George Bassman, Ted Royal; • vocal ar- and direction, Herbert plifies the problem of casting a ro^d edition. Nevertheless, the casting of the show is one of its standout elements. Practically all the leads seem just right, and the ensemble players, most of whom look like real Dannemora alumni, are a great touch. V/Of the principals, Sam Levene is fine as the harassed but indom- itable Nat h a n Detroit, wham- ming the comedy and even scoring in the “Sue Me” duet with Vivian 4.rstr2erN”"Y.. N”o'’ri 4 ‘J Blaine. The latter is' also stand- *50; $ 0.60 iop ($9.60 opening), . | out as the engagcihent-weary Miss Nlcely-Nicely Johiison. ...., Stubby Kaye i Adelaide ll i 111 n g the bulls-oye Benny sputhstrect.. Joimny S^^^^^^ with her. “Lament,.” Rusty Charlie — ........Douglas Deane f . <‘Qiia Saraii Brown ........... Isabel Bigley blit «vlS0, helping underline Sue Arvide Abernathy . . Pat Rooney, Sr. > Mo” and the tWO nltery chOl'U.S Mission Band Margery oidroyd, Paul; numbers, “Bushel and a Peek” and Migan, Christine' Matsios. Harry the Horse Ll. Brannigan , Nathan Detroit Angie the Ox .. Mi.ss Adelaide . Sky Mastersoh. ,loey Biltmore, JVIihu .. Tom Pedi i “Take Back Your Mink,” besides of his victorious 16-year war against the Persians. Thenv she carries on a torrid affair with the eager Aegisthus and is finally slain by her vengeful son, Orestes. Although the actress rang the box- office bell several seasons ago with a blood-curdling perforni- ance in Jeffers’ “Medea,” this seems too much like more of the same to have wide popular draw. In this instance the physical pro- duction, including Wolfgang Roth’s series of steps rising to the palace doors at stage rear, with tbwering Columns on either side, provides a properly sombre, backgrbund for the star’s bravura emoting, but the supporting portrayals are! dwarfed in comparison. Thelma S.qhnee • cannot overcome the gar- ruloushess of the Cassandra role; Alfred Ryder and Marian .Seldes seem merely resentful children in the Orestes and Electra roles; i the sins of wealth, is one of the evening’s highspots. Another is a hilarious tango scene, when Mich- ael Evans, the millionaire’s secre- tary, and Georgina Cooksoh, the millionaire’s faithless mistress, dance about the stage In a tango burlesque while seriously discuss- ing their complicated romance. Supporting players are also very good, in Philip Tonge, as the some- what frightened patroii of the dancer; Brenda Forbes, as the dancer’s pushing mother; Neva Patter$oh, as the millionaire’s un-I'than routine. each other of the deed, which de- stroys their 16ve. Except for a few illogical but in- consequential details, the authors have painstakingly pieced together Innumerable tiny circumstances and events into a psychological study that should be progressively enthralling. But, perhaps because the direction is merely workman- like rather than inspired and the performance is only competent when it should have style and mag- netism, the meller is never moi'e happy daughter; Cynthia Latham, as Miss Watson’s faithful compa- nion, and Francis Compton, as a butler. They wellnigh persuade bhe. Bron. Tlic Golflon wStiifo Signe Hasso is visually attractive and her playing is thoroughly ctin- vincing as the late wife’s com- panion-secretary, and Robert Har- ris is properly genteel as the re- lieved widower schoolmaster, but they don’t generate the personal excitement that might turn a hum- drum play in^ emphatic theatre . Paul Reed I clueting with Isabel Begley in‘Philip Huston gets little^chance to .............SamL^ be more, than virile as the_stoog r Robert Aida, another p.p. from like Aegisthus, imd Frederic .-. .ARobert Aicia l pictures, is physically right and Tozere, as Aganiemnen, has only a BenV'iioiTmaii I the propci* personal quality single strutting scene on stage, fol- -- - lowed by a long bombastic spiel Gen!'Matilda CartwrightN^tta Pa^okor ' for the part 6f Sky Masterson, but, i lowed by a long Big .rule .................. 1 B. s. Fully 1 just about gets bv as a singer, j via the house amplifiei system. wiuJi; ■ ■ ■ ■ ■ ■ ■ ■: ■ ■: ■:i Blgley, however, is an ad- Dancers: ivana Aliison, Geraldine De- j mirahle selection lOr the role of lancy. 'Barbara Ferguson, Lee Joyce, Mar- -Sarah; tile missiOn “cloll,” register- Eddie Phillip.s cia Maicr, Beverly Tassoni, Kutn vernon. , ; „ f.^npciailv with “If I WCre a Onna White. Forrest Bonshire. Peter Gen- j i ^ i ^ - Joe Milan. Eddie Phillips. Harry ' tiif* naro Lee Rogers, Bud Schwab, Merritt Thomp- son. ■ ■ ■ '. ■ ■Singers: Beverly Lawrence, Christine IVlatsios, Charles Drake, Tony GardeJl, BcM'n Hon'man, Carl Nicholas, Don Rus-^ With Alda. sell', Hal Saunders, Earle' Styres, The huinerous crowd scones are effectively arranged by director Robert Ross. Blit except for Miss j - Anderson’s powerhouse perform- ' bSi’^^'SiT als(i * cliek^ ’in~'the i ance and the. handsome produc- ; “Marry the Man” duet with Miss i tion, “Tower” seems too special- j ■ ized for popular appeal, Uiough it remains an admirable andr even distinguished opener. Hobc. Bella Spewack presentation of comedy In three act$ (four scenes) by Samuel i ^ : Spewack. Stars Josephine Hull; features ■ Michael .oh^JHey glveS an expert Ernest Truex. Staged by the author; set -1 portrayal Of a traditional ^British ting and lighting, Lester Polakov; cos-] poli^j© inspector and Mariftrio tumes. Gr.ace Houston. At Fulton, N. Y„ ! Nov. 25; $4.80 top ($6 opening). Small cast Betty Williamson..J.pcelyn Brando ; . .® Skillful jpeitormaiice' of a Mrs; Mbrenas ............Josephine Hull j fanatically dcvoted maid. Although the program doesn’t Beckman , credit anyone with the staging of Tim White.,............... Ernest Truex the pi'esont production, David L. Jesse,Weir -Ben Lackland Alexander took over the assign- Joe W‘ihanr.son. . ......... .John^Randoip^ during the Toad tryout, sue- Bob Kresijner Hubert Clay........ Mr. Burns John Hudson • Bobert Pike Blaine and The “I’M Know” and “Never Beeii in Love” numbers Also notable in featured support- ing parts are Pat Rooney, Sr., as a As Harry the Horse might put < Salvation Army , bass drummer * it, ‘‘Guys and Dolls” is more than i nitery. comic B. S. Pully, as a “va- somewhat terrific. This “musicalIcationing” Chicago hoodlum Who | tran It in US 11 Oil ml llio ^foon ceeding Basil Langton. Chloe Gib- son gets billing for directing the original London edition. The Eng- :Samuel and Bella Spewack, who 1 l^sh living room setting by Leo once collaborated on a funny spoof jKep Is^suit'ably ominous, but archi- of Hollywood titled “Boy Meets ] tecturally bafThng, but Elfi Von - - - ■ ' Kantzow s costumes are effective. Donald Flamm is billed as solo have hit a clinker with their newest venture, “The Golden Gilbert Miller presentation of coinedy „ith music in two acts by Joan AnpuiUii _ translated, by Christophei' Fry. Featiucs ^ „,.v. At-A aaa ^ ~ t ~ fable of Broadway,” b a s c cl on . has gone straight and has a rec- ' Luciie waison. Oscar ^‘'‘rtweis. De^nhohn • tjiere’s no family jackpot involved, I S50.000 Dankroll for the ^show, ob- Damoh Runyon’s “The Idyll of , ord of 33 arrests and no convic- j pf^V^cis Comptom cookson. Nev.! | although the play may have some , viously gambling for theatre rejital. State.” Samiiel is the autlior-di-i P^’^senler, with a creclit line for rcictor of this latest little comedy, ! J*PB(jon producer Peter Datibony, and his wife is the prodiieer, but' success as a stock and little thea- tre item. The chief interest in “Goltien \jjL w>iAu A.ivob ,—- —-- ——.■ —• ' I »»«.x.v.—i-•—— • XT' n*} ■ ^l^te Is that it offers Josephine dioiis shows in several seasons. It’s , Douglas Deane, Tony Gavdell and i i'^y-^tj^iartin Beck, n. > . nov. zj.. an. I her first starring appear- ance,. Having brought conviction Hobc. a boxoMce naturai. a sure thing- Bern Hoffman ^asmtn . Francis Compton on Broadway, a sucker bet for road ers. touts and tipsters. . iiiJo Frederic’ : !'. V..'.... Dirihoim Elliott i facsimile and a hot tip for film’ Michael Kidd has provided three Diana Me.sseischmann Neva Patterson adaptation. ^ j principal dance nuin^rs, live, top-j Everything about “Guys and ■ per being a spectacular crap game .. Luciie Watson Tlio lIHapso Theatre Guild presentation (in associa- tion with the Brattle Theatre Co.) of comedy by Sir John Vanbrugh In three , I sets (13 scenes). Stars Cyril Ritchard and to such pixie_ characters as the noV-«| Madge Elllntt; features John Emery and iil'i of Amiri-Prt . • Rutll .QfnCfArl Kv H W/>li Dolls” seems practicallv perfect,: ballet and the other two being di- capuiat Cynthia Latham as if producers Cy Feuer and Ern-' vertingly hdkey nightclub I'ou-1 ' * ‘ Phiim^Tonge est H Martin had never had diffi-! tines to “Bushel, and a Peck” and ; ciilty getting a s u i t a b 1 e book, j “Take Back Your Mink.” Jo I Her Mother. Brenda Forbes tion jobs (besides undoubtedly lending valuable help on the book). The George Bassman-Ted Royal orchestral arrangements, w h i c h tended to bury the melody when the show opened out of town, now project the tunes admirably. And Alvin Colt’s Costumes are strik- ingly keyed to the flambdyant sub- ject and locale. Hobc, The Tower Beyond Tra^jedy Americ.in National Theatre ic Academy presentation of drama in two act.s (three scenes), by Robinson Jeffers, based oil his own poem. Stars Judith Anderson. Di- rected by Robert Ross; scenery, Wolfgang Roth; lighting. Feder; costumes, CastiUo. At ANTA Playhouse, N. Y„ Nov. 26, 50; $3 top (membership rate). Aeschylus Robert Harrison Frederic Tozere inent and hilariously innocent lar ceny. Its plausibly preposterous premise is developed in a succes- sion of laugh-packed scenes and a multiple parlay of hit songs. And it is cast with an uncanny regard for contrasting types and person- alities, produced with rare taste ‘and skill, and performed with in- sight and infectious gusto. The book, adapted by scenarist Jo Swerling and laced with uproar- ious situations and laugh lines by radio gagman-comip Abe Burrows (with radio-TV scripter Peter Lyon supplying an unbilled assist on ’ story structure), deals with two parallel romances of the, after-dark Main Stem. One involves the ubiq- uitous crap game entrepreneur, v-'Nathan Detroit, and his fiancee of, »T4 years waiting, Miss Adelaide, a i Clytemnestra ..........Judith Anderson blonde nitery performer. The i Leucippe ................... Ludie ciaire 1C li”iTi! Corinna • • • ^lartlia Downs otner is oetween me iwneranx, Thelma schnee King’s Guard Victor Thorley Townswoman . Ruth Manning Townsman David Elliott Captain Jqhn Straub Porter Don McHenry Queen's Guard..............Erie Fleming Aegisthus Philip Huston Electra ..Marian Seldes Aegisthus' Attendant... . . .Michael Tliorne Orestes Alfred Ryder Others: Dioa^Allen, Charles CarrUth, .Tack Clay, Richard Farmer, Dale-Parkhill, Byron Meyer, Berger Carlson. Harvey Kotman, Arthur Gorton. Joan DeMarrais. Alta McKay, Rosemary Murphy, Bette vplunger, Sky Masterson, and the Salvation Army mission “doll,” ‘ Sarah Brown. Frank Loesser, who supplied the delayed-action score for “Where’s Charley?” has composed a num- - ber of tunes likely to . send audi- ences out of the theatre humming. Outstanding are “A Bushel and, a Peck” (already first on the most- play ed-on-the-air lifit), “If I Were a Bell,” “I’ve NeveTBeen in Love i Before, More 1 Cannot Wish | Lincoln, ■ Dan Rubinate, Ted Behr, Bill You” and ”Sit Down, You’re Rockin’ the Boat.” Other sock com- culty getting a suitable book, : "TaRe HacK your MinK. " Jo i Her Mother m -r**! niii tough ca.sting problems or unforc- ; Mielzinci-'s impressionistic scenery ; a G.ne.|ai -.^,^( 1,1 —Xiiyn/Bennlu seen complications and delays dur-; and lighting are genuinely atmos-^ j ing the out-of-town tryout. The pheric and practical, and George S. ^ 4 u^. Mnnnrhri<i- show brilliantly captures the Run- Kaufman has turned in one of his! yon mood of hard-boiled senti- most appreciative and artful diroc- -topher Fiystra.nslatmn of J . itianf i I-.ivi aiicI \r irtriAAonf lar-ltinn iohs (bPsifiPS lindoilhl pdlv I AnOUllll S COmCdy, dCSCl 1000 lU 1110 . [ program as “a charade with mu- sic,” is as handsomely mounted a production as Broadway has seen this fall. Produced, directed and ! cast with skill, it carries with it a great deal of dash and style. But in essence, the comedy is a cleyer dressing, up of an. old joke which wears somewhat thin before the evening is over. As “L’lnvitation au Chateau,” the comedy ran for 333 performances in Paris, and in London under its English title it is still running strongly after 11 months. But its Broadway staying powers seem much less. The comedy, set in the France of 1912, concerns a madcap youngster who tries to break up the infatua- tion of his shy twin-brother for an heiress who doesn’t love him, bV bringing a yoiing ballet dancer to a ball at the chateau to compli- cate things a bit. Ensuing events are complicated, all right, with the ballet dancer in love with the mad-, cap, as is the heiress; and an as- sortment of sub-plots involving a melancholy millionaire, his mistress who cheats with his secretary, and the dancer’s flamboyant mother who finds an old conservatory pal in the chateau. All turns out well at the close, in the best fairy-tale fashion. But it takes two of the three scenes of the first act (there are only two acts) to set the exposition, and the story bogs down badly in the mid- dle of the second act. There is a good deal of wit, and some veiT funny (as., well as poig- nant) moments, as palliatives to the pallid, scrambled yarn. There are also some fine costumes by Castillo, some very engaging incidental mu- sic by Ftancis Poulenc," a -striking set by Georges Wakhevitch super- vised by Raymond Sovey, and some stunning curtains by Raoul Dufy that set the mood of each scene. Above all, there are some virtuoso as well as generally good perform- ances by an engaging cast. Luciie Watson is richly acidulous as the mistress of the chateau and aunt of the twins, who eyes the world grimly or amusedly from her wheelchair. Denholm Elliott is also a polished performer in the dual role ()£ the rakish and back- ward twin brothers, in some very quick, a.stoni$hihg transformations. Stella Andrew is a stunning fig- ure as well as beguiling actress as the ballet dancer who snarls the madcap’s plans. Oscar Karlweis, as the melan- choly mllliohaire, doesn’t have too much Opportunity to shine, but carries those’ brief moments off well. His scene. with Miss An- drews, destroying wads of money he carries about him, to betoken elist-SGulptress-housewife in “You Can’t Take It With You,” one of the lethal Brewster Sisters in “Ar- senic and Old Lace” and the dipso hero’s sister in “Harvey,” Mrs. Hull is a character actress who can play almost any daffy lady a playwright gets on paper. But while she makes the twittery daughter of old Cali- fornia believable in “Golden State,” she’s inevitably thwailed by the Ruth Mnttesdn. Staged by Ritchard; asso- ciate dii'ector. Albert Marre; settings and Costumes. Robert O'Hearn; technical su- pervisor, Miles Morgan; production under supervision of Theresa Helbuvri and Law- rence Lartgner. At Morosco, N. Y., Nov. 22, '5Q; $4,80 top. Loveless John Emery Amanda Ruth Mattesoa Lory ..Bryant Haliday Young Fashion ...Robert Fletcher Tugg . .4. ... Monford Trull Lord Foppington Cyril Ritchard Page Kenneth Scott ! Lavarole unreality of the other characters i t^retop^. .■.\\V.V.V.V.\\V.V.' sffige and the transparency of the script. | Mcndiegs George Drew The laughable moments she i - Jeanne Tufts achieves are invariably jiist mo ' Shoemaker Carl Don edy or show tunes but not the type to become widely popular, include “Fugue for Tinhorns,” the Salva- tion, Army hyinn called “Fpllpw the Fold,’’ *T’ll Know,” ‘-Adelaide’s Lament,” “Guys and Dolls,” “My Time of Day,” “Take Back Your Mink,” “Sue Me” and “Marry the Man Today.” Acceptable, but less memorable are “The Oldest Es- tablished,” ‘■Havana” and “Luck Be a Lady.” The first act of the show, on Froellch, Sidney. Kay, William PortrUde, Clay Sanford, Allen Windsor. As the opener in its ANTA Play Series, which is to include 10 pro- ductions of classics and new scripts, some or most of which would normally be cjonsidcred not “Commercial” enough for regular Broadway presentation, the Ameri- can Natiohal Theatre & Acadomy offers “Tower Beyond Tragedy,” a(japted by Robinson Jeffers from his own poem of the same name, based on the Greek tragedy by which most of the work was done | Aeschylus, out of town, is still the less enter- As with the other .shows in the taining of the two, but it has been series, this may be transferred to vastly improved, including the in- sertion of one new number, “The Oldest Established,” and the drop- ping of three others, “Travelin’ another theatre for a regular run if its receptioh here warrants. In thait case, various people partici- pating' in the venture would get Light,” “Getting Dressed” and! increased terms, arid the produc- “Fugue Waltz.” No numbers were tion would belong to the star, cut from, the second half, but the 1 Judith Anderson, and her husband, boff “Take Back Your Mipk” was! Luther (Jreen, with ANTA getting added. The show’s opening; setting la share of the profits. ^ ' MM .J '«x'Xx.x.x -X- i.i : • • 'i _V I A. 1 xi^ _xi_ • X 4 the scene and atmosphere, could be trimmed more, the “Havana” liuriiber could also be shortened Although it is An Impressive be- ginning f()r the series, “Tower” seems a doubtful bet for preseh- and “Luck Be a Lady” is likewise a rtation on a Commercial basis. It is slowHp at a key point of the story, a harrowing drama in the familiar One of the important aspects of.i pattern of Greek classics, and Miss Guys and Dolls” is that it hasn’t Anderson gives a galvanizing per- ariy, and doesn’t .require, stars. Iformance as the super-charged That givris it a more rounded qual- j queen, Glytemnestra, who murders ity, avoids paying a percentage of'her returned king, Agamemnon, the gross or profits, and vastly sim- 'just as he’i washing oft the gore mentary and never part of plaus- ible situation. The play, which i.s apparently intendea as ribbing California, or at least Los Angeles, is about a hopelessly optimistic, gullible de- scendant Of the original Spanish settlers. She runs a boarding house and piles up debts while she daydreams of winning legal title to all of Beverly Hills, on the claim that she is the sole heir of the grandee who once owned the coun- tryside. When a few discarded gold nuggets are found in a hole in her backyard, there is brief excitement in the town and she and her board- ers begin spending the riches they expect to get. But the comedy doe.sn’t amount to much even then, and the minimum Interest evap- orates when the speculative bubble pops. Besides Mrs. Hull, there are ac- ceptable performances by Ernest Truex as a gullible prospector; Jocebm Brando, Polly Rowles, Ben Lackland, John Randolph and Lou Polan as boarders: Frank Tweddell as the landlord, John Hudson as an understandably exasperated .Son-in-law and Robert Pike as a busy parole officer. Daniel Mann, who succeeded Spewack as direc- tor during the tryout (but without program credit), has given the per- formance tempo and skillfully highlighted several of the star’s scenes. Lester Polakov’s multiple setting seems properly cluttered and flimsy. Hobe. Kdwina lilactk Donald Flamm presentation, by arrange- ment with Peter Daubeny Productions, London, of'melodrama In three acts (four scenes), by William Dinner and William Morum, Stairs Signe Has.so, Robert Harris; fcature.s Michael • Shepley, Mar.iorio Rhodes. Setting and lighting, Leo Kerz; costumes, Eifi Von Kantzow. At Booth, N. Y.,, Nov. 21, '60; $4.80 top ($6 opening). Ellen ....... Marjorie Rhodes , Henry Martin .Michael Shepley ; Gregbry Black ;. Robert Harrla Elizabeth. Graham..........., Signe Hass^ In London, where they specialize in tidy melodramas,“The Late Ed- wina Black” kept audiences happily in suspense for many profitable months^ But in the cynical atmos- phere of Broadway, under the less indicative title of “Edwina Black,” the William Dinner-W’illiam Morum whodunit seems synthfetlc. As a glance at the cast list in- dicates, the name character in the yarn never appears, having been poisoned shortly before the action starts. The “idea” of the yarn is that the vmtim’s husband and his mistress, each with an Obvious mo- itive, gradually come to suspect Taylor .... a........,..., Donald Stevens Coupler Jerry Killy Berinthia Madge Elliott Syringe................ Earl Montgomery Worthy .............. Murray Matheson Abigail .Priscilla Mori'ill Sir Tiihbelly Clumsey..... .Thayer David Miss Hoyden. Jan Farrand Nurse (........,........ Philippa Bevans Bull Earl Montgomery Jereniy Carl Don Sir John Friendly ,.......Donald Stevens Sir John Vanbrugh’s Restora- tion comedy, “Ralapse/’ subtitled “Virtue in Danger,” has been given a sprightly production by. the The- atre Guild, In association with the Brattle Theatre Co. of Cambridge, Mass., but it’s questionable if it could have more than casual ai)- peal for the average theatregoer. The Guild has brought over Cyril Ritchard from England to star in, and direct, “Relapse,” which is all to the good, but this is a very spe- cial play for very special audiences. Ritchard is being co-starred with his wife, Madge Elliott, both of whom have played the comedy to great success in London. Ritchard is a delight as he romps through the bawdy 17tli centuty situations, but unfortunately he is not on stage as often as would be necessary t() insure the success of this play. Ritchard arid’ Miss Elliott are, in the main, assisted by the Brattle Theatre Co., but the latter are un- able to maintain the pace, nor the comedy directness, that Ritchard establishes so forthrightly when he is in view of the audience. There can hardly be any pre- tense that “Relapse” is anything more than a few provocative tenu- ous situations strung together by the omniscient presence of sex in all its plumage. Ritchard has a mincing little walk that could best be described as a Restoration rhuinba. His sen.se of comedy timing is priceless. The third-act scene in which he is pum- meled by his captors until tbey learn his true identity is comedy at its funniest. . Miss Elliott, as the widow Berin- thia, comes closest to approximal- ing Ritchard’s performance. Jei?*^ Emery is inclined to posture a litj tie too much as Loveless, husband to Arifiahda, while Ruth MattespiL as Amanda, fails to exact all the comedy inherent in the character The settings are comprised most- ly of drops, but they are extremely effective, while the costumes are magnifirent. Settings and costumei are credited to Robert O’Hemn. “Relapse” Is a worthy attempt; the pity of It is that the support- ing performances do not at least approach that of its star-director, Kahv. ' 1 (•V i r' I