Variety (December 1951)

52 UBCIT1MATK Veducidiy, Peccwhcf 2d, 1951 Hays on Broadway Caesar and Cleopatra and Antony and Cleopatra Gilbert Miller preDentation of Laurence Olivier productloni of "Caesar and Cleo- 8 atra/' comedy in three acta (nine scenes) y George Bernard' Shaw, and "Antony and Cleopatra/' drama in three acts by ■William Shakespeare, Features Vivien Leigh, Laurence Olivier, Robert Help-, mann. Wilfred Hyde White, Harry An- drews, Niall MacGlnttis. v . Directed by Michael Benthall; settings, Roger Furse; .costumes, Audrey Crpdaes; music, Her- bert Menges; Sword-play staging, Clement MeCailin; orchestra direction, Jacques Singer. At Zlegfeld, N. Y., Dec. 19. *51 ("Caesar'*), Dec. 20, *51 ("Antony"); »7,20 top. CAESAR AND CLEOPATRA tielzanor. •• ■. • • • • ■ • ■ David Greene Persian . . . .. .Edmund Purdom Egyptian Guardsmen Lyndon Brook. Alec . . . McCowen Nubian Sentinel.............. - Cy Grant Bel Aftrls .. . ..' . Robert Beaumont Women of. the Palace:. Jill Welchman, Teresa Moore, Renee GOddard, Jessie Barclay Ftatateeta .......;....... Pat Nye- Julius Caesar....... . . . .Laurence Olivier I Cleopatra.., .......• • .Vivien Leigh Charmian ., . ..... .. .Katharine ' Blake Iraa;.. ;.......,.... .Mairhi Russell Roman Soldiers: John Dunbar, Paul Homer., Oliver Hunter, Colin Kepiball. David Orr Pothinua ■ Harold Basket Theodotus.............. Timothy Bateson Ptolemy.,..;.....,..... . .Dawson France Achillas............... .Dan . Cunningham .Rufio.,..,,.......... .. Niall MacGinnis Brltahnus... ....;. .Wilfred Hyde White Lucius SeptimlUs ...Harry Andrews Wounded Soldier......... -Jack Melford. Apollodorus . ........Robert Helpmann Romari. Sentinel.....,..,.. .Colin Kemball Centurion ........ .Anthony Pelly Roman Auxiliary.,........ .Noel Coleman Roman. Auxiliary......... .Max Gardiner Boatman.......... .Patrick Troughton Musician................ ' Ronald Adam Harpist........... ...... .Elizabeth Kentish Major-Domo .......... .Donald Pleasence Officials at Dinner.... . Clifford ^Villiams, ...John Dearth Terence Owen ANTONY AND CLEOPATRA Philo Canidlus.............David Greene Cleopatra. Vivien ^Lcigh Antony... .Laurence Olivier Mardlan .Harold Basket Messenger. ......... Alec McCowen Scariis Dercetas.........Clifford Williams Charirtlati ......... Katharine Blake AlexaS DlomedeS.. .. .Robert Beaumont Soothsayer, .Donald Pleasence Rnobarbus...... .Horry Andrews Iras. .. .Mairhi Russell Octavius. Caesar.Robert Helpmann Lepldus . Wilfrid Hyde White Maecenas...........-....... Jack■ Melford Agrlppa. Ronald Adam Octavla. ... llzabeth . Kentish Pompey................... .Niall MacGihnis Menas .Ma* Gardiner Attendant on Octavla. Pat Nye Old Soldier . Anthony . Pelly Eros ■/;... .Lyndon Brook Dolabella ...— .Dan Cunningham Thydeus .. ....,..... .Edmund . Purdom Nubian Messenger.......... . ..Cy Grant Soldier of Caesar... .. .Oliver Hunter Sentries.John Dunbar, Paul Homer, Alec McCowen Clown ............... Timothy Bateson Attendants, on Cleopatra: 1 Jessie Barclay, Renee Goddard, Teresa Moore, Jill Welchman, Winifred Hill, Cy Grant, Jan Carew, John Dearth : . Pirates Colin Kemball, Terence Owen By itself, neither of these two productions would be more than a g ood, but unremarkable revival-— ardly likely to arouse overseas furore and certainly not calcu- lated to be transported intact to Broadway. But presented thus in combination, "Caesar and Cleo- patra” and "Antony and Cleopatra” S rovide fascinating theatre, and, as le enormous advance sale demon- strates, a boxoffice natural. Despite the $7.20 top and the fact that most patrons want to see both shows (which doubles the outlay)* the 16-week engagement was reportedly about 80% sold out in advance. At that rate, the offerings had better be good—in fact exceptional. Well, they are. Indeed, this double presentation is a treat never before available and perhaps never to be repeated, at least under such distinguished cir- cumstances. It seems significant that, though neither of these plays is its au- thor’s best work, they complement each other in such a way that, seen at successive performances, each takes on striking new values.. This seems primarily due to the combination presentation rather than to the generally admirable quality of production and perform- ance. There is bound to be question about which of the shows emerges as superior. After the "Caesar and Cleopatra” premiere Wednesday night (19), one veteran playgoer Ventured the Opinion that Shaw’s claim of being a finer dramatist than Shakespeare seemed, like so many of the famous Irishman’s ap- parently jesting boasts, merely literal truth. But after the "Am tony and Cleopatra” opening Thursday night (20) it appeared that Shakespeare may have had the final word, after all. . Regardless of relative merit, the two playsare wonderfully matched. Shaw's essentially comic treatment of the Caesar-Cleopatra ..relation- ship, dealing with a period about 20 years before the Antony-Cleo-- patra affair, gives the impression almost of having been intended as a Prolog, Shaw is, of course, cere- bral, witty and tolerant; while Shakespeare is dynamic, lurid’y dramatic and passionate, But. ob- viously because the productions and performances were tl* con- ceived, the two contrasting works clarify and highlight each other. After the stimulating wisdom of Shaw's "Caesar,” the violent emo- tion of Shakespeare's “Antony” provides a powerful climax. Perhaps because ShaW is more difficult to play than Shakespeare, at least for classic-trained British actors, but more likely because the comparatively serious, pene- trating approach to this "Caesar,” the "Antony" performance seems the more moving of the two. This "Caesar” is played more for char- acter than for the obvjous wit it offers. While this may sacrifice some of the glitter and exuberance of the Shaw play, it pays off in terms of greater dramatic impact in the "Antony,” f Both performances offer basis for comparison with fairly recent Broadway revivals of the plays. In most respects, the present produc- tions are superior, primarily be- cause of the added, value of the dual presentation, but also because they are generally better in them- selves. Of course these present shows, imported ‘ after successful runs in London; have the benefit o£ smoother ensemble playing. But beyond that, they are incom- parably better conceived, produced and directed and; in many cases, better cast. If, as some first-nighters thought, Vivien Leigh's , perform- ance as Shaw's Cleopatra is less flexible and feline than the Lilli Palmer portrayal of the same role two seasons ago, . it seems more convincingly imperious and to sug- gest more latent power in the final scenes. Also, contrary to ad- vance reports from returned Lon- don visitors, Miss Leigh’s enact- ment of the mature, tigerish Egyp- tian queen of the Shakespeare tragedy is the more effective of her two performances, and clearly superior to the Katherine . Cornell portrayal of four seasons ago or the Tallulah Bankhead version of 1937-38, In both the girlish and womanly Cieopatras, however, Miss Leigh is suitably emotional and believable, somehow projecting the changes but keeping the basic indentity of the two roles/" There is hardly room for com- parison between either Olivier’s Caesar or his Antony and those of any other actor seen here in re- cent years. As the aging Caesar, he wears a grayish makeup, uses a slightly stooped, stiff-jointed pos- ture to suggest the tired, sdme- what bored, but tolerant and kindly veteran, His performance, so quiet at times, that it may have been inaudible in some parts of the house opening night, is prob- ing rather than comic, but still misses none of the humor of the role. His Antony, on the other hand, is properly direct, and vigor- ous, but still suggesting a living, thinking, feeling human being beneath the greasepaint and the bushy wig. In general, the supporting com- pany is notable more for the. smooth integration of its ensem- ble playing than for individual brilliance or even style. Thus,. Robert Helpmann is effective as Apollodorus in "Caesar” and ex- cellent as a thin-lipped Octavius Caesar in "Antony” but he lacks the air that John Buckmaster brought to the former role in the Aldrich & Myers revival of the Shaw comedy, Similarly, Wilfrid Hyde White is amusing as Britan- nus in the Shaw play, but he misses the infectiously droll touch that Arthur Treacher had in the part in the 1949-50 edition. In the same Way, Pat Nye lacks the battle-axe quality that Bertha Belmore gave to the Ftatateeta role in "Caesar;’- but Harold Kasket seems more deviously sinister: than Nicholas Joy did as Pothiiius, and there is little to choose between the Rufio of Niall McGinnis and that of Ralph Forbes in 1 the: earlier pro- : duction, but the former is a stand- out as.' Enobarhus in "Antony.” Also, Harry Andrews is notable both as Lucius Septimius in "Cae- sar”. arid Enobarbus in "Antony.”. ■ Michael BenthalTs emphatic and lithe staging, with numerous expressive:, almost choreographic touches, such as the device of hav- ing the players move, sometimes in opposite direction, as the circu- lar stage moves, is a vital element in the shows. The elaborate Roger Furse scenery, involving the same, revolving stage, columns, platforms and heavy set pieces, not only makes possible the succession of brief locale changes required in the two plays, but with the complex lighting, provides eloquent atmos- phere. The Audrey Cruddas costumes are generally helpful, although some of the sketchy male duds may raise the eyebrows of prudish customers. The nvrdc of Heiv'Tt Menges, requiring a sizable pit Node-Nude Rose Marie Back in ‘Banana’ Jan. 7 Rose Marie, who took a four- week leave of absence from "Top Banana" to go to the Coast for a throat operation, returns to her featured spot In the musical Jan. 7, Meanwhile, Audrey Meadows is subbing for her at the Winter Garden, N, Y, . Singer was told by her, doctor that she had a node oh her vocal chords, but when the operation was performed four smaller, ones were also discovered and removed. orchestra, is a substantial assist, especially during scene changes. Obviously because of inadequate rehearsals in the theatre here, there were numerous rough spots in the two opening .performances. In the case of "Caesar” the most frequent trouble was missed light cues, although the scene shifts werfe also a bit uneven. At the ^Antony” preem the lights Were a bit better, but there was one moment when the masking Was lowered late and:several when cues were missed; The theatre was un- comfortably hot at the "Caesar” preem, and better but not cool enough the following night, There were comparatively few latecomers the first night, but a considerable number the second, possibly because patrons discover- ed that the curtain, advertised at 7:20, didn't actually go lip until nearly 7:40 for the initial perform- ance. The late-comer annoyance was further aggravated the second night by the ringing-up of the second-act curtain before the audi- ence had time to get seated. These "Caesar” and "Antony” revivals, which Paramount’s John Byran waggishly tabbed "Two on the Nile," were first presented in London last spring under the spon- sorship of the British Arts Council, in connection, with the Festival , of Britain. They were the hit of the West End season, getting, rave reviews and playing to smash busi- ness. At the expected capacity draw of nearly $60,000 a week here, for a 16-week total gross of almost $960,000, the management figures the New York engagement will have just about enough operating margin to earn back the cost of transportation and • other prelimi- nary expense. Hobe. Bell, Book and Candle Wilmington, Dec. 22. Shepard Traube production of comedy in three acts (five scenes), written and staged by John van Druten. Stars Rosa- lind Russell, Dennis Price.. Set by. George. Jenkins. At Playhouse, Wilmington, Dec. Gillian Holroyd.. .Rosalind Russell Shepherd HendersonDennis Price Miss Holroyd . Dorothy Sands Nicky Hohroyd. .William Windom Sidney Redlitch;. . .Joseph Leon "Bell, Book and Candle” road company, starring Rosalind Russell and Dennis Price, got off to a good start at the Playhouse Friday night (21), despite the fact that the production has many ragged edges. However, the show should do okay on tour, especially when Miss Rus- sell gets more into the swing of things. At the premiere she was overshadowed by Price, who comes through with an A-l performance as the guy who falls in love with a modern witch. Price’s sense of comedy and tim- ing makes plausible many of the incidents which otherwise would fall flat. He does not. have to take a back seat to. Rex Harrison, who played , the role the original Broadway production. Miss Russell is glamorous and capable in the role of the witch, played in New York by Lilli Pal- mer. At present, she seems ill at ease,, and more p erf o r m an c e s should bring a big improvement in her department. Her clothes by Valentina are a delight to female stub-holders, iand she: knows her way around; a stage. Author John van Druten gives her a big chance id the second act to dominate things,/ and she comes through in the style of a’real trouper. The plot is incidental'to-the way it's presented. The small support- ing cast is tops and adds to the overall excellence of the produc- tion. Dorothy Sands is’ a constant delight as the heroine’s aunt, who also is a witch. Joseph Leon Gai- ners laughs by his interpretation of a bewildered writer on witch- craft.. William Windom completes the cast with a neat job as the her- oine's brother who is also in the "magic” world. . Van Druten has written a fragile play, but. one which is .completely entertaining, espe cjaily when enacted by an ld^carat cast. Klep, Don Swann’s arena theatre in the Sheraton Belvedere Hotel, Bal- timore, opens a four-week season Jan. $ with Dka Chase in "A Happy Thought,” with Joan Blondell in "Come Back, Little Sheba” set for the third week and Edward Everett Horton in /‘Present Laughter” as the closer.. -Seymour Mi 1 ber t, stage manager of "Constant Wife,” has switched to a similar assign- ment with the City Center revival of "Come of Age,” with Windsor Lewis succeeding oh the Katharine Cornell show...Gilman Haskell is company manager of "Wild Duck” and Zelda Dorfman will have a similar stint with: the City Center revival of "Annd Christie.” * Raise' of 10%, retroactive'to the first week in September, has been obtained by ticket-takers, stage doormen, ushers, porters, cleaners and matrons in New York theatres .. Jill Kraft; daughter of Hy Kraft, author of the book of "Top Ba- nana,” has been engaged as Under- study for Audrey Hepburn iii "Gi- gi”.. . William Liebling denies that lack of financing was responsible for the postponement of his pro- posed production of two Tennessee Williams one-actors under, the ti-. tie, "Camino Real,” : claiming he has offers of more than enough coin, but he prefers to wait for the avail- ability of Ell Wallach; who’s cur- rently touring in "Rose Tattoo.” However, another source reports being approached last week by Liebling about investing in the project, Sdeahwhile, Williams is planning to expand "Camino” into a full-length playi with incidental music and choreography. Roger Rico, co-star of the Broad- way company of "South Pacific,” has missed a number of perform- ances, due to illness, but his ab- sences have caused little comment ...Gene Raymond and Geraldine Brooks will co-star in “Voice of the Turtle,” for a yveek, starting Jan. 8, under a- guest-star Stock policy, operated by Robert Perry, at the Empress Theatre, St. Louis . . Samuel Liff, stage manager of "Nina,” will have that assignment with the upcoming "Dear Barbar- ians” ... Lee Sabin&on has acquired for spring production a musical, “Love -Is the Doctor,” with book, musiC'Rnd lyrics by George Forrest and Robert Wright. It’s based on. two Moliere plays, "The Mock Doc- tor”, and "Love Is the Best Doctor.” Instead of. reaching compro- mise of their differences over de- mands for wage increases, the Assn, of Theatrical Press Agents & Man- agers and the League of N. Y. Thea- tres deadlocked last week, so the matter will go to arbitration.. .De- signer Raymond Sovey is technical consultant for the two "Cleopatra” revivals. Laurence Olivier’s staff for the productions includes Lovat Fraser, general manager; David Kentish, production manager; Rog- er Ramsdell, assistant designer; Rosemary Hill, stage director,: An- thony .Pelly. and Terence Owen, stage managers; Jessie Barclay, as- sistant; Billy Rivers, master car- penter, and Ethel Lucas, wardrobe mistress . ..Omitted from last Week’s list of prospective shows with which Leland Hayward will be asstociatfed was William Inge’s "The Picnic,” to be presented in partnership, with the Theatre Guild and Joshua Logan... Virginia Le Roy and Nina Frenken have with- drawn from the chorus of "Call Me Madam”, to have babies. Sue Scott and Virginia Shimp are their re- spective ‘replacements.. . Audience for. the Laurence Olivier-Yivien Leigh preem in "Ceasar and Cleo- patra” last week was the Who’s Who-est of the season, consider- ably more so than for the next night's "Antony and Cleopatra” opening. Bernard Simon and Nathan Schenker are both out ahead of Ballet Theatre for. second half of tour, ending March 8. Simon is No. 1 man, two weeks ahead... Hayes Gordon leaves N. Y. today (Wed.), flying to .Coast and to Melbourne | for lead in Aussie "KissLLPe, Kate” p r e sent e d by J. C. Williamson Theatres, . .Bee Reed has returned to the Playhouse, Albany, N. Y., as stage manager after four weeks of Dupont-sponsored -productions in Wilmington, Del. She joined the Playhouse staff last October after a summer , season with the Robin Dell Players. /Jean palrymple, phoning tier N/Y.. office from Berlin lsst week- end, advised she hopes to be back soon - after the first : of the year . .... Andrew Rosenfeld’s comedy- drama, "Third Person,” opens at the Criterion, London, Jan. 3, with entire cast from the little theatre production there kept intact . The Alley Theatre, Houston;- which earlier this month announced plans to shutter, will present- another production opening Thursday (27). It will be "The Man,” by Mel DlnellL Nina Vance will, direct. Leadings roles are being played bv Jo Alessandro and Milton Wilson William Prince, co-featured lead in "I Am a Camera,” gets $750 a week, pluses 100 whenever the gross goes over $16,000. As reported last week, Julie Harris, co-featured femme lead, has a guarantee of $1,000 a week, plus 6% of the gross, with a ceiling of $1,300 . . . Celeste Holm and Helmut Dentine are mentioned as possibilities for the leads in. the touring edition of "King and I,” which will probably open early next summer oil the Coast. Incidentally, the Wage Sta- bilization Board has okayed a "sub- stantial” salary boost for Yul Brynner, whose contract . as top- featured male lead in the original company is extended for the entire New York rUn, plus a year on the road. He gets time off after Janu- ary, 1953, for a Aim assignment .. Producer Herman Levin planed to Dallas to attend last night's (Tues.) opening of his "Gentlemen Prefer Blondes” there .’. . Duncan Baldwin and Nancy;Cushman (Mrs. Baldwin), both in the touring "Death of a Salesman,” gave a Christmas Eve party for the com- pany at the Albert Pike Hotel, Little Rock, Where the show played last, night, (Tues.) and repeats to- night (Wed;). St. John Terrell interested in Virginia Card’s streamlined "Car- men” aiid "Figaro” productions, recently done at the President; N. Y., for his Lambertville, N.J., Music Circus next summer. Mean- time, Miss Card is sunning herself in Miami. Current Road Shows (Dec. 24-Jan. 5) "Anna Christie” (Celeste Holm) (tryout)—New Parsons, Hartford (31-5). "Autumn Garden” (Fredric March. Florence Eldridge)—David- son, Milwaukee (24-29); Murat, In- diananolis (31-2); Hartman, Colum- bus (3-5). "Bell, Book and Candle” (Rosa- lind Russell, Dennis Price)—For- rest, Phila. (25-5) (reviewed in Vartety this week). "Candida” (Olivia de Etavilland) —Capitol. Salt Lake City (26); PhlDps Audi. Denver (28-5); Ar- cadia; Wichita (31-1); Memorial Aud., Okla. City (2-3); Convention Hall. Tulsa (4-5). . "Cocktail Party’/ (Marsha Hunt) —Aud., St. Paul (27-29); Lyceum, Minneapolis (30-5), "Darkness at Noon” (Edward G. Robinson) — Erlanger, Chicago (24-5). "Death of t Salesman”—Robin- son,. Memorial Aud., Little Rock (25-26); :Aud. t Memphis (27-29!; KRNT Theatre, Richmond (30-5) (closing). ‘‘Fancy Meeting You Again” (tryout) — Locust Street, Phila. (25-5) (reviewed in Variety, Nov. 28. ’51). ‘‘Fledermaus” (Metrouolitan)— Gayety, Washington (24-5). "Gentlemen Prefer Blondes” (Carol Channing)—State Fair Aud., Dallas (25-29); State Fair, Houston (3-5). "Guys and Dolls”—Shubert, De- troit (25-5). "Hanny Time”—Blackstone, Chi- cago (24-5). "Kiss Me, Kate”—Hanna. Cleve- land (24-29); Taft, Cinn. (30-5). "Member of the Wedding” (Ethel Waters) —Geary, San Francisco (fc4-5). ' “Mister Roberts” (Tod Andrews) ■—Curran, San Francisco (24-5). "Modern Primitive” (tryout)— Parsons, Hartford (26-29) (pre- miere); Wilbur; Boston (31-5). "Month of Sundays” (Gene Lock* hart, Nancy Walker) (tryout)— Shubert, Boston (25-5) (bremiere). "Moon Is Blue” (2d Co.)—Har- ris. Chicago (24-5). "Moon Is B»i»e” (3d Co.)—Plym- outh. Boston (24-5). "Oklahoma”^— Tower, Atlanta (24-29); Civic/ New Orleans (31-5). "Pal -Joey” (Vivienne • Segal* Harold Bang) (tryout)^Shubert, New Haven (25-29) (premiere). "Rose Tattoo”—Colonial, Boston (24-5). "Season In the Sun” (Victor Jory, Nancy Kelly) Selwyn, Chi- cago (24-29) (closing)/ "Seventeen" — ShUberi, Phila. (25-5). ■ • , “Sleep 6f Prisoners”—St. John s Church, Detroit (25-29); Temple Sholom. Chicago (1-6). '■ . . "South Pacific* (Janet Blair, Richard Eastham)—Schubert, Chi* cagd (24-5). "Student Prince”—Boston Opera House, Boston (25-5). Israeli violinist Yfrah. Neaman is due tomorrow (Thurs.) from Eng- land to start his 1952 U. S. conceit tour, his fourth 4n this country. He toured England, Scotland, India and Israel this summer and laiL