Variety (September 1952)

«0 LEISnXIMIATB Wednesday, September 24, 1952 Plays Out of Town In Any I^anguag® New Haven, Sept. 18. Jule Styne A: Gqbrge Alabott production of comedy in three acts (four scenes) by Edmund Beloin and -Henry Garson. Stars Uta Hagen; features Walter Mat- thau. Joe DC Santis. Nlta Haldl.. Gloria Marlowe. Anna- Minot. Louis HawJdns. Pi- rected by Abbott; ncencry and costumes by Raoul Pene du Bole. At Shubert, New Haven. Sept. 18, *52; 3.60 top. Valeric McGuire Anna Minot Porter Fred Porcelli Signore Rossi Dlno Terranova Charlie Hill Walter Matthau Hannah King Uta Hagen Little Waiter Joe Verdi Marchesa Sporenza NHa Naldl Della Fontana Gloria Marlowe Beansy Oliver Louis Hawkins Aldo. Carmenelli Joe De Santis Mama Carmenelli ....Rossana San Narco Lorenzo Robert Ott^iano fCrandi Lee P|PelJ Fawzich Franclne Bond Turkish Gentleman Maurice GosHeld •Walter ' Fred Porcelli Little Girl Karin Flanagan Boy Joye Paone Signore ' Mazzi Bascetta Signore Zucco Philip Barbera The fact that the title of this new Juie Styn e-George Abbott production, which Abbott has staged, carries .a connotation of universality, is a tipoff that there’s little about its basic theme that hasn't been done many* times and places before. Fundamentally, this comedy by Edmund Beloin and Henry Gar- son, from a story by Garson, is a combination of the ‘'Private Lives’ theme of mai'ital squabbling which ends in reconciliation, plus the tale of a fading Hollywood film star trying to reestablish herself by making a picture abroad. The diverting twist to this setup is the fact that the play is localed in Home, which presents an oppor- tunity to bring in some amusing business from an assortment of foreign types. Play is a substantial distance from home plate, as far as a run is concerned, and will need much work to cash In on its hit poten- tialities. It’s worth the effort, however, and if balance of the'] script can be stepped up to a level consistent with the quality of a promising first act, this one can successfully buck the Broadway opposition. Of considerable interest from the thesping angle is;Uta Hagen’s essaying oi the straight comedy role of the film star. Her per- formance emphasizes skilled un- derplaying as she shifts from mo- ments of apprehension at her fad- ing light, through exposdre of her “phoney” veneer, to final accept- ance of romance as the crowning note of her career. Walter Matthau and Joe De San- tis split the bows on good sup- port. Matthau registers as the star’s husband whose proposal had been accepted because, at the mo- ment, he was a pilot war hero whose publicity could be used to good advantage. The union curdled prior to the play’s open- ing, but a meeting of the pair in Borne results in a sealing of the rift. De Santis, playing an Italian film director who falls in love with the star, drives home a demonstra- tive characterization effectively. Other featured roles are well done by Nita Naldi, as an Italian marchesa; Gloria Marlowe, Italian film StarJet; Anna Minot, the star’s secretary, and Louis Hawkins, the jnarchesa’s hanger-on. Script calls for numerous bits,' ail “cairyihg a good score for efficiency. A striking set of a lush hotel suite provides a handsome back- ground for. this comedy, and its elegance is matched by some very attractive costumes. Abbott seems to have ap- proached the staging chore in his characteristic leisurely manner, which exposes the complete con- tent on the first draft, then ap- plies the scalpel in subsequent per- formances. He has made much of ^Ke^etter^mes oF ffiaTog, ot^wliTcTi there is a» fair share, and he has worked in a series of chuckles that crop out strictly from the sight angle. Bone. * Ilornarfliiie Boston, Sept. 23. presentation of Guthrie McClintlc R production of comddy in two acts (m scenes) by Mary Chase. Staged by McCIIntjc. Sets by John Robert Lloyd: costumes, N-d Taylor, At Wilbur, Bos- ton, ScM. 22, '52. Arthur Beaumont John Kerr Weidy Johnny Stewart Ruth Weidy Irene Hervev Vernon Klmswood Michael Wagw Selma Cantrlck .... Alney Alba Enid Lacey Beverly Lawrence In “Bernardine” authoress Mary Ciiase plunges into the shadowy world of Kinsey’s report regard- ing the sexual urges'and capacities of the 18-year-old male, and emerges a couple of acts later sug- gesting that while Kinsey was right, nobody can do much about it, especially a playwright. She has managed a few laughs in this hymn to juvenile frustration, but not enough to make it -count as a probable as it now stands. ^ The situation, like most Chase of a pretty straightforward proposi-* tion: how is 18-year-oid “Worm'y” Weidy going to find someone to have relations with? The son of well-to-do parents who have sep- arated, and living with his mother, who has no contact whatever either with the boy’s actual physical needs or his advanced sexual fan- tasies, he has made a pass at every date in town without results. One of a wi.sc-cracking, ^jive-yakking gang of boys of the same age, all of respectacle circumstances, he is inspired by the gang psychology to try for one of the maturer women he sees around. An encounter with a multiple divorcee in a hotel lobby leads him to her apartment for an assig- nation, but the kid’s essential hon- esty forces him to tell her his line was phony. She realizes he’s the son of her close friend and heaves him out. He ends up back with his gang, where his best little girl friend calls him up. Interwoven with this central story are the practical jokes, blase sophistic.itions, poetic fantasies,of the boy’s dream of a dream girl (Bernardine) who takes on all com- ers eagerly, the horseplay ahd the yearning bewilderment of the late adolescent who is better equipped than he ever will be again to roll in the hay, but unable in his socie- ty to do so. Interwoven, too, is the youth’s stubborn belief, all too well founded, generally, that his par- ents have no idea what goes on. The elements either for a pretty serious document or,.in the realm of farce, a pretty funny comedy, are here. But in this treatment the pseudo-poetic questings keep getting in the way, despite John Kerr’s extraordinary sensitive pres- entation of them as the moody Beaumont. Too. the text is ram- bling, talky, and often dull, and there is a good deal of static ac- tion, while the closing moments fail to pull it all together. Indeed, they merely present all the ele- ments of an entirely new play. The cast of teenagers^ is re- markably good. Johnny Stewart as “Wormy” gives a highly illumi- nated account of the central role, handling it with all the technique of an oldtimer. Kerr, as indicated, is a real standout. But all the boys are excellent, with special mention for Michael Wager’s portrait of the steadier Kinswood. Irene Hervey is exquisite as ‘-‘Wormy’s” naive mother, and Beverly Lawrence would obviously be able to deduce anybody from adolescence to the grave. The sets are highly suited and very flexibly designed for the speed of a dissolve. The play is nicely blocked out in direction but tlie text hampers pace. It’s possible the tryout will speed everything up and maybe even come up to a stronger finale, but the chances seem definitely against everything up and maybe even show. Elie. I its feet and hold tempos up to proper key, “Blondes,” despite the large cast and good score, is still a ()ne- woman show and when Lorelei is not on stage, particularly in this version, there is little to hc)ld it together as a first-rate musicom- edy. The Agnes de Mille dances get indifferent and hesitant treat- ment from a just average line of hoofers, an^ the show girls are not the lookers expected from a New York company. Costuming, espe- cially on the femme side, is fresli and in keeping with the period, with mos^ of Lorelie’s creations drawing audible attention from. payees. Offering garnered warm reviews from local crix on opening night, but hiz during week failed to meet expectations, . ^ Plays Abroad 1 Ain a rnmera (HARBIS, CHICAGO) Chicago, Sept. 15. Julie Harris deserves not only a bow for her performance, but also for giving substance to a thinly- knit series of scenes which would not become wholly adhesive with- out her glittering acting. Although there is a great deal of verbiage here, much of which dates back to the “Green Hat” days of the ’20s, it all takes on a warm veneer as Miss Harris makes plausible the character of the transient prosti- tute, Sally Bowles, For the road, Charles Cooper has replaced William Prince as the “Camera” or narrator of the com- edy-drama. He comes off rather weakly with some of the improb- able lines, but seems to gain more authority as the play goes on, especially in the last scene. Wil- liam Allyn gives a taut reading of the role of a young gigolo who fi- nally discards his former pattern of living to go back to being a Jew. Cherry Hardy as the over-protec- tive English matron seems a little placid. In other roles, Marian Winters continues as the rich Jewish girl, presenting some very moving mo- ments to help pinpoint some of the dramatic sequences. Olga Fabian is the typical German landlady, a fringe approver of the growing Nazi whirlwind, and Edward An- drews produces laughs as the American playboy. Zabe. Lifegit Follow-Ups C«<^]Afl4Mneu Pj*4*fer (HER MAJESTY’S, MONT’L) Montreal, Sept. 23. With exception of eight princi- pals who opened with the original “Gentlemen Prefer Blondes” com- pany tw'o years ago in New York and then toured till last June, the cast of the present company is en- tirely new. Iva Withers has taken over the |, part of Lorelei Lee, held originally "by '■"earod-Channing; and-tbis foi-- mer hoofer tumed chirper fills her new role with aplomb and a di- rectness that should forestall the expected comparisons. Miss Withers brings a more de- mure feeling to the part, has toned down the wide-eye(i makeup and retains a rather modern hairdo which is attractive and still in keep- ing with the role. “Diamonds” is still the hit song of the show, al- though Miss Withers scores just as heavily with her interpretation of “It’s Delightful Down in (5hile,” which she does wdth newcomer Hal Thompson in the first act. Patty Wilkes as Dorothy Shaw. Lorelei’s friend and so-called chap- eron, clicks with her straightfor- ward manner and uninhibited ap- proach to both her bagging and song sequences. Harry Stockwell, as Clus Esmond, still shows signs of having just taken over the part. His baritoning is okay but manner- isms and delivery are a trlflle stilted; two things which should smooth out during run of tour. Reta Shaw, Eric Brotherson, Eve- lyn Taylor, Kazimir Kokic and the • i' - - --- - , terp team of Coles & Atkins from situations, involves a touch of fan-1 the initial company do much to tasy, but here it gets in tlie way' pull a sometimes wobbly vehicle to Mister lloliorts (NEW PARSONS, HARTFORD) Hartford, Sept. 23. New Parsons relighted last Thursday (18) for the second con- secutive season of legit with -the rbbust, rollicking “Mister Roberts” as getaway offering. After a seven- week layoff for cast changes, etc., “Roberts” is again out on a tour that will carry it into May. With the exception of the time element (the closing hours of World War H) that dates it, piece possesses the same high calibre combination of script, setting, act- ing and directing that kept it on the Broadway boards for a long period. Tod Andrews, for the third year, essays the title part. Herbert Duffy, the Captain of last season, is back again. Robert H. Fuller has taken over the part of Doc this semester, while En.sign Pulver is now played by Harry Snow, who was yankpd out of “Wish You Were Here”—another Leland Hay- ward-Joshua Logan production. As the insecure, comically shrill en- sign, Snow turns in an outstanding job. In his role of the gruff, kindly Doc, Fuller turns in a neat per- formance, as does the remainder of the troupe. Despite its wanderings of the past few years, “Roberts” seems jitlle. the worse, .for wear. Eck. 4{iiac1rllle London, Sept. 15, H. M. Tennent, Ltd., and John C. WH* son presentation of comedy in Uireo acts by Noel Coward. Stars I.ynn t^tanne, Alfred Lunt. Directed by Noel Coward. Sets and costumes by Cecil Beaton. At Phoenix, London, Sept, 12, o2; $2 top. Marchioness of Hcronden Lynn Fontanne Axel Dlcnsen Alfred I.unt Mrs. Axel Diensen • - • Marquess of Hcronden ....Gnffitli Jones Lady Harriet Ri|>lc> • • • • • L.u ey Countess of Bonnington ..Sylvia Ctderldge Rev. Edgar Spevin John Gill Sarah Spevin ..; Moya Nugent Gwcndol>ii Spevin Panielu Grant This new Noel Coward opus will undoubtedly hit the jackpot and fill the Phpenix for months to come, thanks to the faultless technique and magnetism of Lynn Fontanne Alfred Lunt, for whom the play was written. The author contributes little but his reputation, offering a stale theme of the “Private Lives” genre that could comfortably have been condensed into a one-acter. With so much talent available, it’s regrettable that the piece itself' does not pull even half its weight. For the U. S., as for the home market, its success will rest solely on personal appeal. Coward has set the story in 1873. It tells simply of runaway lovers who are pursued by their respec- tive husband and wife to a French villa. The brands are snatched from the burning, but the avenging pair are then enmeshed in their own machinations, fall in love with each other and round off the cycle by eloping to the same romantic spot some 12 months later. There are moments of tedium and the dialog is ponderous','with sparsely-dotted laughs. Miss Fon- tanne glides gracefully through the role of the deserted wife with in- effable charm, exploiting her poise and mischievous demeanor with customary skill. Lunt is bluff and virile as the cuckolded husband, an American railway magnate of humble origin who wades with practiced ease through a welter of words foreign to his nature and upbringing. He alternates bluster and tenderness that quite under- standably wins him a new love. His fluffy little wife is attrac- tively portrayed by Marian Spen- cer, with Griffith Jones less happily cast as her lover. Best of the supporting players is Joyce Carey as an inquisitive friend, fearing and hoping for the worst in her quest for scandal. Other characters flit colorfully and naturally in the background, Cecil Beaton’s period settings and costuming are a mas- terpiece of color and taste. Clem. pended sentences are imposed. The climax, In which the guilty four intend to set on. the fifth student in the same way as they did earlier on the other one, is a grim and overpowering finish to a grim en- tertainment. The ' role of the conscience- stricken student is filled by Gene Lyons, a newcomer from America who opened without any advance’ flack. He received a memorable ovation for a performance that was fuU of vigor, realism and tension His is .the dominating portrayal but other roles are admirably filled. Thora Hird plays the dead boy'.s mother with genuine sensitivity and Joseph Tomelty does a stand- out job as the spirited grand- father. Robert Sansom underplays the father with dignity. Other members of the cast maintain tlie all-round thesping standard. Myro. Mr. Pirkwirk Playwrights Co, presentation of comedy in two acts (three scenes) by Slunley Young, from incidents in “The Pickwick Papers," by Charles Dickens. Features George Howe, Estelle Win wood, Nigel CJreen, Clive Revlll, Nyclia V'estinan, Jacque.s Aubuchon, Louis Hector, Nomh Howard. Anthony Kemble Cooper, Neil Fitzgerald. Directed by John Burrell: scenery and costumes. Kathleen Ankers. At Plymouth, N. Y., Sept. 17, '52; $4.B0 tup ($6 opening). Mr. Pickwick George Howe Mr. Tupman Earl Montgomery Mr. Snodgrass ..Anthony Kemble Cooper Mr. Winkle Derek Tanslcy Mrs. Bardell Norah Howard Mrs. Cluppins Lucic Lancaster Sam W'eller Clive Revill Tommy Richard Case Mr. Bu/fuz Jacques Aubuchon Mr.s. Weller Philippa Bevans Mr. Weller Louis Hector Mr. Stigglns ..Bu.'^il Howes Mr, Jingle Nigel Green Mary i.... , ^arah Marshall Mrs. Leo Hunter E.stelle Wlnwoud Joe C. K. Alexander Mr. Wardle Neil Fitzgerald Miss Emily Wardle. .lean Cooke Miss Isabella Wardle .... Dolores Pigott Miss Rachel Wardle Nydia Westman Mr. Perker Kurt Richards Wilberforce Wallace Acton Bailift Wallace Acton Justice ....William Podmore Turnkey C. K. Alc.xander Legit Bits Continued from page 58 ... The America National Theatre & Academy is no longer billeti as co-sponsor of the forthcoming U. S. •tour of the Greek National Theatre, but Guthrie McCHntic is now listed as sole presenter... Joan Blondell wdll play the Shirley Booth part in the Shubert's touring proiiuction of “Tree Grows in Brooklyn”... Dolores Gray back from a date at the London Palladium, Elwyii Dearborn, director at the Hutchinson (N.H.) Summer Thea- tre, has put finishing touches to a play, “East Side Gladiator,” w'hich will make N. Y. rounds Robert Willey will be manager and Guy Thomajan stage manager for An- thony Parclla’s production of Som- erset Maugham’s “The Sacred Flame.” Fabien Sevitzky, conductor of the Indianapolis Symphony Or- chestra, in Buenos Aires to conduct a month’s engagement with the Stale Orchestra. Tlie Troiilik^iiiakers London, Sept. 17, Desmond O’Donovan production, by ar- rangement with Lionel Falck, In associa- tion with L. Linder, H. Cooper and P. Glenn, of a drama in three acts. Written and directed by George Beliak. At Strand, London, Sept. 16, '52. Otlfl Gerrity Robert Sansom Mattie Gerrity ; Thora Hird Jeremiah Gerrity Joseph Tomelty Clara Gerrity Mary Laura Wood Steve Sprock Maurice Kaufmann Ralph Como Gaylord Cavallaro Sandy Remington... .Michael Alexander Stanley Carr Gene Lyons Torln Gerrity Warren Stanhope Professor Philip Lockwood. ..Tohn Gatrell Ben Kent Donald Pleshette Buck Wallace Leslie Linder Lawrence W, Sprock .... ... Oliver Burt Detective Sgt. Bender Robert Raglan One of the most controversial plays to come from the U. S. in some time, “The Troublemakers” is also, dramatically, one of the best. The enthusiasm which greeted its first presentation indicates pros- pects of a healthy run. However, the witch-hunt theme, which is presented with great emotional force, makes it a questionable and delicate proposition for .Broadway. George Belluk, who authored the play, also directed and has used every legitimate device to increase the tension and to emphasize the significance of his story. He has made no concession to present day thinking, (The play is apparently based on an incident that occurred at Dartmouth College.—Ed.) The setting is a small American university town and the scene alternates not too happily between a dormitory and the home of the boy who is murdered. The beating- up is done by four fellow students in a drunken frenzy, ostensibly because he is wearing a college sports sweater without justifica- tion, but primarily because they resent his criticisms Of the gov- ernment in the college mag. The fifth student witnesses the crime but has taken no part in the incident nor did he try to stop it. Immediately attempts are made to hush-up the crime and the univer- sity authorities and the police obvi- ously favor this course. It i.s only the fighting spirit of the dead boy’s Irish grandfather and the con- science of the fifth student that results in confession.s. The charge is reduced to man- slaughter ahd~'only nominal sus- Dickens addicts will probably lap up “Mr. jPickwick," but less pre- disposed playgoers are likely to find the Stanley Young comedy anemic, especially in this low-volt- age performance. Under the cir- cumstances, the show may do moderate business until a few sturdy new shows arrive on Broad- way, but then its chances look slim. It's not-much of a road prospect and offers little for films. The play, according to a pro- gram note, is “freely drawn” from incidents in “Pickwick Papers.” The script went the New York managerial rounds for several years until Roger L. Stevens ac- quired it and took it to London last spring for production. After a short run in the West End it was brought to New York for presentation by the Playwrights Co., of which Stevens is a member. The London physical production, the director, John Burrell, and three members of the original cast, George Howe, Nigel Green anci Clive Revill, were brought along. Opening with a Pickwick Club meeting in Mr. Pickwick’s room to outline the hero’s dilettante aim of obseiwing life, it moves to an inn at Chatham, the lawn of a g()ofy suburban hostess, back to the inn, a London courtroom and a prison lobby. About two dozen typically caricature Dickens characters ai'e included in the discursive yarn. The Dickens flavor, amusing at first, presently begins to seem self- consciously quaint and then be- comes so relaxing ...that an un- pledged playgoer tends to snooze. This unfortunate let-down Is aggra- vated by the generally mild per- formance. Revill as the bumptious Sam Weller and Sarah Marshall as a pert maid, give relaxed, animatcil portrayals, with an amusing assist from Louis Hector as Well(irs misogynist father. But the playing of the rest of the cast, including the featured leads, seem stilted and rather mechanical. The Dick- ens characters are, of course, a trifle silly, but in this case, even the personalities of the actors fail to capture a spectator's imagination. The original London physical production; designed by Kathleen Ankers, consists of five shupm..h'-*; effective drops and decorativeiy plausible costumes. Kobe. 'PARIS' $2,600, SCHENECTADY Schenectady, Sept. 23. Cornelia Otis Skinner, starting a cross-country tour in her woman musical show, “Paris DO* registered a brisk $2,600 in a one- nighter Saturday 020) ’at the 1.45^" seat Erie here, at a $3.60 top. Star is at Her Majesty’s, Mon- 1 M vttrkAlF-