Variety (February 1952)

AS LEGITIMATE pff&ntf? Wednwday, February 27. 1952 Fllglit Into Egypt New Haven, Feb* 26* Irene M#yer Selznick presentation of Elia Kazan production of dram* in two acts by. George Taborl, Features Paul Lukas, Qustl Huber, Directed by Kazan; Sets, Jo Mlelziner; costumes# Anna HUI Johnstone. At Shubert.New Haven, Feb, 29 'TJJ2. Frartz Enfifel ■-. • • •• ■«« Paul Lukas- Lili Engel •,«.•,,.,*,.«»,*«.Gusti' Huber Glubb j>*•*#Zero Mostel GhouloS ,, • * mm, , Joseph f Anthosy Freund V. Paul Mann Tewfik Key ....,...;,.David Qpatosbu .Bronson .. Don . ICeefer Llpton . .:■»...... Fred Stewart Miss Foster Jo Van Fleet Mr. Kiiglhof ............Edgar Franken Haspan Fred . Williams Bubi Engel ...Voytek Dolinski Mrs, Kuglhof ............., EllenMahar Bartender . Chris Gampel Cap/ Fleure ,. . John Rodney Policemen Leon Bibb. Randolph Echols Street Singer r.. ,.;. .• .C. K, Alexander^ “Flight Into Egypt'' is not a great play as of itg bremierfe. It will probably not be developed into a great play. But# as presented by. Irene Mayer Selznick, directed by Elia Kazan* designed by Jo Meil- ziner and acted by a grade-A groiip of ihespians, it is good theatre. The lack of enthusiasm as to the /s merits stems from its rou- tine theme of the desperate wife, loyal to an invalid husband, who is forced, to repulsive physical sacri- fice in order to keep their financial ship afloat.. Playgoers willing to overlook; a basic plot familiarity and Who are content with punchy dialog and crackerjack perform- ances, will find their meat here. George Tabori’s Initial effort at play scripting emerges as a well- consUucted opus, which fits its segments together with good drai- matit effect. His dialog has a nat- ural flow to it, and is well suited to the variety of characters he' has assembled. Fluid staging of Kazan has scenes weaving in and out of various sec- tions of a multiple set with telling effect. Cleverly contrived action pinpoints emphasis on a .single area or full stage, according to script requirements, resulting in a pace that holds Interest through- out a major portion of the two acts. A writer-director combo has succeeded in projecting each in- dividual character forcefully.' Plot concerns the Engel family, father, mother and young son, Who have spent two years trying to get fromOtheir ruined Vienna home to the promised ‘land of America. They have reached Cairo but have used up all their money while wait- ing for their visas* A war invalid, Engel is unable to support them* so his wife begs and borrows front strangers When, her attempt at dressmaking is a failure. A last frantic step is taken when she sUc- cutabs to a broken-down medic in order to procure morphine for her husband. On learning that he is incurable, Engel takes an overdose of the: drug, leaving the way clear for his wife and son to complete the journey to America, As Engel, script has Paul Lukas getting off to a slow start, but he builds to tremendous effectiveness in the second stanza. Whatever has kept Gusti Huber away from the stage for the past six years, has deprived the theatre of an ex- ceptionally fine actress. In this, her American debut, she shines brilliantly, and pairs Well with Lukas for a standout team of leads. Coming through as pillars of sup- port are Paul Mann^ intensive ex- ponent of the new Vienna; Joseph Anthony, as the deformed third rate doctor; Zero Mostel, money- grabbing hotel prop and Voytek Dolinski, a moppet who makes an impressive stage debut as the son. Balance of troupe fits well, even to bits. Something unique in a setting has come from Mielziner’s design- ing board. Including an upstage angled hotel entrance hall, the set also carries a bar, lobby and room interior. It packs a lot of playing space into a condensed area. Cos- tumes combine continental apparel With native uniforms.' From a tech- nical angle, production be aVs a stamp of quality. Bone. The Pevil in Bouton Hollywood, Feb. 20. George Boroff production of drama in three acts by Lion Feuchtvanier. Trans- lated by Barrows Mussey. Directed . by Benjamin Zemach.. Setting, Ted GUien; music for entr'acte ballad, william Schal- lert;, llfhtlnr, Sydney Levin. At Circle Theatre, Hollywood, Feb. SO, '92; 23.60 •top. Cotton Mather..........William Schallert Dr. Colmaii. *.......,.,. .Michael Granger Abigail/. ...,.......v..Marta Mitrovich Richard. ..*•,... . .Gene 'Hardy Pastor Parrish,..... Howland. Chamberlin Hannah;..... .. ..... .,.. .Cathy O'Donnell Bridget Oliver.........,... .. .Elsie Baker Judfe SewaU......*.........John Parrish Burroughs .... Ralph , Gerowitz Lion Feuchtwanger'g years of experience as a. top novelist are readily visible in this* new script, dealing with the witchcraft hys- teria in 17th century Massachu- setts. His characters 'Sre full-blown and credible, the dialog realistic and the background obviously au- thentic. Unfortunately, Feuchtwan- ger hasn’t properly learned dra- matic construction, and neither he nor translator Barrows Mussey have been able to breathe any stagecraft into an awkward script. As a result, “The Devil In Boston" offers only a spasmodically-inter- esting evening, and rates as ex- perimental theatre fare at best. Script unfolds along document- ary lines, and the historical ac- curacy can’t make up for the lack of conflict and construction. Three acts cover a four-month period during the year 1692, when the fanatic Cotton Mather was exor- cising the devil at the cost of 19 lives in the Massachusetts Bay Colony. Feuchtwanger gr i m 1 y paints the picture of hysteria as Hannah Parrish, young daughter of a Salem parson, accuses members of the community of the dread crime, of consorting with “The Prince of Darkness/ 7 . Only when other youngsters, envying the emi- nence Hannah has obtained through Her fingerpointing, begin to hurl Witchcraft charges against people of means and consequence, does the community come to its senses. ' Basically, Feuchtwanget's play is an assault, on the alarming tend- ency. toward hysterical mass acir tion, in Which unfounded accusa- tions serve as proof of crimes which do not exist. The historic parallels are many, but Feuchtwan- ger’s allegory Would have pointed up the dangers better, had he drawn his picture With fine strokes, Benjamin -Zemach has done a top job of staging within the limits of the Circle Theatre’s cen- tral staging tradition, and a. gen- erally good cast helps give the characters added stature. Best are William Schallert as Mather, Cathy O’Dorinell as Hannah and Michael Granger as Mather's reasonable brother-in-law. Strung su pport comes from Howland Chamberlin, Mnrta Mitrovich and Gene* Hardy, Ted Gilien's Puritan study is realistically simple and Sydney Levin’s lighting heightens the mood effectively. Kap. Casile lin tlie Air St. Louis, Feb. 22. Robert E. Perry production of comedy in three acts by Alan Melville. Stars Ed- ward Everett Horton, Doris Packer; fea- tures Carol' Hill, Leo Lucker, Joe Bassett. At Empress Playhouse, St. Louis, Feb. 22. '52; $2 top. Alenztes «.. ..... * »» * Joe.. /Bassett "Boss" Trent.. ,-i ,. ...... / Doris Packer Earl of Locharne.,Edward Everett Horton Arthur Phillips .. Leo Lucker Mrs. Dunn ... . Carol H1H American preeiri of this British comedy, whimsical^ and replete With amusing situations* which registered solidly here, reveals an excellent vehicle for Horton. He got able assistance from small cast, with Doris Packer. being the standout. Horton flutters, stutters and stammers in his inimitable style. While the plot isn’t too strong, the- cast performances suf- fice, While the single setting is in Scotland, only the butler uses a dialect and some American idioms are used to spice up the dialog. As the impoverished Earl of Loch- arne, whose resourceful house- keeper (Miss Packer) is able to produce liquor on credit, from a package dealer after all others re- fuse, Horton finds himself with a 48-room, 13th century castle, badly run down, , and forced to take in boarders to make both ends meet, none too successfully: When a member of the National Coal Board journeys to the castle to ar- range for the requisitioning of the place as a rest spot for coal min- ers and their families, Horton is distraught. Misadventure? that en- sue make for a pleasant, comic evening. Salmi Tlie mind Spot Dallas, Feb. 22. Theatre *52 production of comedy-draifta in three acts by Edtoard Caulfield. Fea tines John Munson; Peter Donat,. Marj Dell: Roberts. Directed by Margo Jones Set and costumes, Tony Deeds. At The atre '52. Dallas, Feb. 1L '52; $2.50 topi Mary Fleming.;... *., .Mary Dell Roberts Alan Fleming. . ...-. Peter Dona) Claire Graham-..... Norma Winters Miguel Barros. / ..Ramsey Butch Corona Chica Barros. .. .. .Marion Morris Raymond Drum ............. John 'Munson Audrey Drum............;. Evelyn Bettis Joe Graham... .,...,;.. Edwin Whither chiseling is mandatory for modern- day survival. Basement's one-room shelter houses the janitor and wife. Miguel Barros bootlegs the owner’s coal, and uses inferior tobacco in his sideline cigar business. His wife, Corona, is an oft-jailed kleptoma- niac. They have ambitions to oc- cupy the first-floor dwelling. That space is inhabited by a ..naive, strictly honest pair. Alan and. Mary Fleming, who can't make ends meet. They crave the arts/also /to move upstairs to a fancier apart- ment, When Joe and Claire Gra- ham vacate for their swanky new home. Joe is a conniving haber- dasher, who hires idealistic Alan as a $150-a-Week salesman. Mrs. Graham’s brother, play- wright Raymond Drum, and wife Audrey, enter to bewilder viewer? and bring laughs. He is a success, with $250,000 in the bank, and his current play is grossing $16,000 Weekly* “according to Variety.” In shabby dress, he and. A.udrey share a second-rate hotel room and sur- vive on an $80 weekly withdrawal from royalties, because he feels his play is a fluke and the. income not honestly earned. Play’ deals With way the couples Work out their problems. , Theme won’t impress those who feel that to earn- money is to en- joy it, when it comes honestly, put a fine cast makes this good enter- tainment. Strong hits are handed each member and discharged ca- pably. Humor is sprinkled plenti- fully. Tony Deeds’ set and, cos- tumes are in good taste. Bark. Blltlio Spirit (LENOX HILL, N. ¥.) Equity Library Theatre's pro- duction of Noel Coward's -'Blithe Spirit" .strikes a happy medium between artificial’style and farce, which should make it a favorite at the ELT community theatres in the Bronx and Queens, N.Y., where it is schedule d for subsequent showings. Mai o r contribution is Maud Scheerer’s droll, genuinely comic performance as the eccentric me- dium who' is better at recalling than at exorcising the spirit of a first wife who returns td taunt her remarried husband. As the ecto- plasmic former spouse, Virginia Robinson is expertly wry and dex- trous, and third standbut perform- ance is Barbara Stanton's timorous maid. As the beset novelist, Thomas Palmer does Well by the reading of the Cowardian Chatter, while Ann Driscoll seems to take the role of the suffering second wife too seri- ously. Though Earl Dawson’s direction' keeps the antics at a good clip, the play suffers without and adroit en- semble style to gloss its flaws, for, like the recent Broadyay ghosties, it is hatd put to sustain the fun of the initial joke for three acts. Yet “Blithe Spirit" continues a safe bet for successful stock and as such, this ELT production is out in front. / D e s i g n e r Frank David Lem- mon's set utilizing the stage drapes as backdrop, with a central exit in- serted upstage, seems cluttered ort the small Lenox Hill stage, but should spread out nicely over the large high-school platforms at De- Witt Clinton, Bronx, and Bryant, Queens, for which it is destioned. Vejte. Edwai'd Caulfield, whose contro- versial." An Innocent in Time” was preemed by Margo Jones at The- atre *50, has an amusing comedy- drama Currently on view as the fourth new play in the sixth sea- son of the arena playhouse. “The Blind Spot,” too, is controversial. Current setting is a furnished, two- family Manhattan house, with a cast 6f four married couples. Love of money furnishes the plot. View- ers see the golden mle nent as the cast finally leans to the belief that Future. B’way Schedule (Theatre indicated, if set ) “Women Of Twilight,” Plymouth, March 3. “Paris *90,” Booth, March 4. “Golden Boy,"; ANTA Playhouse, March 12. “Flight Into Egypt," Music: Box, Muriph “One Bright Day,” Royale, Mafeh 19. ... “Long Watch,” Lyceum, March 20 . “Three Wishes For Jamie,”: Hel- linger, March 21. “Grass Harp,” Beck. March <27. “Don; Juaii in Hell’’ (return), Plymouth, March 30, “Danger Signal,” late March. “Salt of the Earth,” April 3. “Candida,” April 14. “Circus of Dr. Lao,” ANTA Play- house, April 16. ^Brass Ring." mid-April, “Fire Sale," week of April 21. “Josephine," April 29. “Of Thee I Sing,” Z i e gf e 1 d. May 1. “Wish You Were Herp” Im perial, mid-June, James Pease of the N. Y. Opera Co. has been engaged by the Hamburg Opera House, in Ger- many, for the 1952-1953 season. He’ll also make guest appear- ances with the opera ' houses of Fraftkfurt, Munich and Vienna. Plays on Broadway Mrs* McThiiig American National Theatre it Academy production of comedy in two acta (five scenes) by Mary Chase. Stars Helen Hayes; features Jules Munshln, Brandon de Wilde, Enid Markey, Irwin Corey, Paula Trueman. Directed by Joseph Bu- lofT; settings and lighting, Lester Polakov; costumes, ^Lucinda Ballard. At Martin Beck, N. V„ Feb. 20, ’52; $4,50 tpp <$5,50 opening). .■ Mrs. Larue.. .............. Helen Hayes Carrie......'..Blary - Uficbael Sybil, .... ................Paula Trueman Evva Lewis/•.'.. Enid. Markey Maude Lewis., Marga Ann Deightoii Grace. Lewis /... *.......MUdred Chandler Nelson.... . Ernest Borgnine Boy.;.......... ,Brandon de Wilde Chef,...Iggle Wolfington Waiter•...;....,William Lanteau Dirty.. Joe. *... *.*.... . Irwin. Corey Stinker^.,......... v. Fred G Wynne Stehellehbach, < •,;./, ■;.. Jules Munshln Mrs, ScheUsnbach.,... Minnette : Barrett Hbway ..... , V. .Brandon de Wilde Mirai..;.................. Lydia Reed 1st Policeman........,...... Solen Burry 2d Policeman,..........Robert Sagalyn Crone.. ....... . .,.. -Elsa Freed Fairy .... . . .. . .............. . Ann Buckles Robert Whitehead; managing di- rector of the American National Theatre & Academy Play Series, is apparently in rut. He can’t*seem to produce anything but hits. Following the’ click of the re- vival of O’Neill’s “Desire Under the Elms" as the initial ANTA bill, he's topped himself with the : sec- ond item, a production of “Mrs. McThing," by Mary Chase, with Helen Hayes giving a glowing, poignant performance as star. “Mrs. McThing" is an extreme change of pace from Mrs* Chase’s “Harvey/- wLike the 1944-45 com- edy click, it is a fantasy, but it is mubh more imaginative, and is pri- marily intended for kids rather than adults. The new play is a fairy story Which has been de- scribed as an American “Peter Pan,” and as appealing to “chil- dren of all ages/’ Certainly there is plenty in it for. grownups who aren’t embarrassed by frank make- believe. Whether “Mrs. McThing" would be good for a commercial Broad- way run is probably irrelevant. Its selection is pure inspiration for a series such as this. ANTA has scheduled it for a two-week - en- gagement, which probably couldn’t be extended more than a limited time because, of Miss Hayes’ re- ported determination, for personal reasons, to keep her professional activity to a minimum this season. However, the piece has the mak- ings of a highly unusual, effective film if properly adapted. Mean- while, the authoress has announced that she. is releasing the legit rights immediately to children’s theatre groups. That should help rather than hurt a screen; version. The play is about a rich, doting mother Who pampers her only son, a spoiled hut likeable youngster of about eight or nine, atad “protects" him from contact with inferiors, which in her opinion- includes just about everyone. When she snubs a ragged little girl Who has climbed the Wall of the estate to play with him, a witch named Mrs. McThing sends the little boy to the slums to become a dishwasher in a gangster hangout.: In his place the witch substitutes'his double, an in- sufferably polite prig. When the increasingly Worried; mother, suspecting something is wrong, finally locates her real Son, he has joined the mob. As they are preparing to return home, the mother sees the ragged girl and again Phases her away. This time the switch makes the mother her- self become a dishwasher ; in the dingy restaurant,, with a smug double in her place at the mansion. After various satirical misadven- tures, the mother finally realizes who her real friends are, where- upon the waif exorcises the two “sticks" in the mansion and goes there to live with the now-wise mother and son. Mrs. Chase, who has three sops of her own; has kept any archness in the story to a minimum, arid has generally achieved a genu- inely engaging and satisfying ef- fect, with numerous scenes/and touches that, can hardly fail to de- light both old and young audiences. The production, with certaiii mun- dane exceptions, is appreciative and tasteful. After a surprisingly exaggerated opening scene, possibly reflecting over-direction. Miss Hayes gives a tender, winning performance . as the mother, lending an especially tduching quality to the later scenes with the DOy* Brandon de Wilde, who was a sensation two seasons ago as the moppet in “Member of the Wedding," is superb in The dual role. 6f the son and the stuffy double, giving both parts dimen- sion and distinctive characteriza- tion;.: 1 /'.'' Jules Munshiri is believable and funriy as a kind of “Alice in Wori- derlarid" mobster boss, who struts and blusters and is terrified of his aged mother, Irwin Corey and Fred Gwynne are laughably as his Charles AddamS-ish henchmen. Reed has a nice gamiu qual- ity and avoids, drecociousness as the waif. Enid Markey, Marga Ann Deightori and Mildred Chandler are properly ludicrous as sort of socially pretentious counterparts of the three weird sisters in “Macbeth " Among the Other notable perform- ances, Iggie Wolfington is amusing as a temperamental chef and Wil- liam Lanteau is credible as the Waiter who humors him. The staging, for which Joseph Buloff is billed, seems uneven, with some, scenes of overblown realism and others of beguiling make-be- lieve. Lester Polakov, who de- signed and lighted the scenery f has created a mansion living-room that suits the fairy-story quality of the show, hut the Skid-row beanery seems cluttered, arid awkward: Lu- cinda Ballard’s costumes catch just the right note of comic fantasy. Hobe. DearBarbarlans Gant Gaither production of comedy in three act* by L'exford Richards. Features Cloris Leachman. Violet Heming. Betsy Von Furstehberg, Donald Murphy; NiclF olai Joy. Directed by Gaither; setting and ., costumes, Jack Landau; lighting. FedCr. At. Royale, N. Y., Feb. 21, '52: $4.80 top ($6 opening). Alexander Fiske.Donald Murphy Mr. Fiske.,... s *.t-i Nicholas ' Joy Alice .'.*.«..'..'Cloris LeachniQn. Mrs.* Fiske.-. ...... a-..-. .Violet -Hetning Lorraine........ . Betsy Von Furstebberg There’s a chestnut of Shubert Alley lingo which achieved an im- mortality of sorts several years ago by being used as the title of a prospective musical comedy. Th broiriide was apt to be used in connection with iricoming shows that the management hoped, might catch Broidw^ay fancy. “They liked it in Philadelphia/’ hoping- aga'inst-hope backers would say to each Other in the lobby as they ar- rived for the slaughter. To bring it down to the prosaic present, they liked “Dear Bar- barians" in Philadelphia, Doubt- less there are adequate reasons why. What’s more to the point, in front of a New York audience the Lexford Richards play, produced and directed by Gant Gaither, seems merely a synthetic, unfunny arid rather artless attempt at coiriic . sophistication. Its . skillful performance arid handsome -pro- duction are creditable but inci- dental. The ingenuous fable is about a humorless yourig musician and the attractive but over-earnest girl whose insistence upon marrying him can only be regarded as a form of suicidal mania. The Unat- tractive young man’s possessive, interfering parents try to break up the liaison, ringing in a Society girl singer (whO appears to he just a trifle of a tramp herself) as distraction. But after everyone becomes, embroiled in a Wrangle, the young couple decides to~make it legal. Despite sharp odds, the cast emerges undisgraced, if not un- scathed, Cloris LeaChmari gives a flexible, persuasive performance as the ingratiating, but not-quite- bright heroine, Nicholas Joy is plausible as the yourig man’s boor- ish, doiriineering father, expertly getting the laughs in the unsavory role. Betsy Von Furstenberg is ac- ceptable as the wllling-to-be-had singer; Donald Murphy is believ- able as the exasperating hero, and Violet Heiriing does as much as appears possible with the role of the eOwed but incurably meddle- some mother. Gaither’s staging takes the script at face value. Jack Landau has designed a stunning New York apartment setting, with a backdrop showing the Queensboro Bridge through the bedroom window . and a cut-in section of the heroine’s apartmerit for phorie confab pas- sages. His costumes are also dec- orative. But an impressionistic pic- torial curtain, apparently intended as atmosphere-creating, seems, a bit pretentious. And the pre-scene music by Cy Coleman and Trio self-assertive and distinctive/. Hobe, (Closed Saturday night after four performances:) m Keys* C (.Comedy.) , D (Drama), CD ( Comedy-Drama) , R (Revue MC (Musical Comedy), MD (Mii5i.' cal Draina), Q (Operetta); " . “Golden- Boy” (D) —'ANTA, prod.; Clifford Odets, dir,; Job Garfield, star/ „ . / “Grass Harp” (D)—Arnold Saint Subber, prod,; Robert Lewis, dir. “Salt Of The Earth" (C)-- George Nichols III, prod.; Alfred Drake, dir.; Teresa Wright, Kent Smith, Stars: , “Women Of Twilight” (D^ Joseph Kipness and Jack ' Hjdton, prods,; Anthony Hawtrey, dm; Betty Anri Davies, Mary Merraii, stars.