Variety (December 1952)

64 LEGITIMATE Wednesday, December 10, 1952 Plays Out of Town The Intruder Philadelphia, Dec. 4. Eddie Dowling and John D. Mac Arthur { production of drama by Edwin Bronner n two acts (five scenes). Stars Margaret O'Brien, Dowling. Directed by Dowling At Locust Street, Philadelphia, Dec. i '52; 53.90 top. ^ ^ Serena Anne Shoemaker Robert Eddie Dowling Catherine Julie Haydon Alison Margaret O’Brien Tommy Lionel Wilson Last season, about this time. Margaret O'Brien, onetime film moppet, essayed her footlight de- but in a play that was taken off after a brief out-of-town tryout Now Miss O'Brien is trying it again in a piecp which its author Edwin Bronner, rather timidly de- scribes in the program merely as a “new thriller." As seen it its preem at the Locust, “The Intrud- er" is still not the vehicle calcu- lated to give Miss O'Brien the suc- cess she cherishes in her new me- dium. That’s not to say that the erst- while child star—now a teenager of 16 (and playing a girl of that age in the play)—doesn’t do a cred- itable job. She certainly does that, and, in addition, displays an engaging personality and, insofar as her preposterous part allows, feminine attractiveness, up until the concluding scenes of the' play which would tax a Bernhardt or a Cornell and which, not surprising- lj*, sometimes floor the sincerely- striving youngster. Miss O’Brien’s film following, when they see this all-but-incred- Ible study in-juvenile depravity, is going to be both surprised and shocked. There is nothing especially new in the basic theme—a daughter’s (quite normal and natural) feeling of resentment when her beloved father brings home a second wife. This has been exploited many times before in plays as well as novels, but Bronner makes a pain- fully pathological job of it. Delv- ing into a familiar Oedipus com- plex, he paints the picture of 16- year-old Alison, who hates her step- mother so malevolently that there is nothing she will not stoop to destroy or get rid of her. Slander, vandalism and even a bit of “hex- ing" with a black cat (the step mother is allergic to cats) as an instrument, are included in her repertory and she almost resorts to poison in a last-minute pinch. Then, knowing herself about to be exposed, the girl resolves (of pretends to resolve, more likely) on. suicide and stands, poised on a rail-less balcony, while her be- loved daddy and the stepmother try to coax her in. It’s a tipoff on the play that most of the audi- ence was so entirely unsympathetic as to not care whether she jumped or not. In fact, a few minutes earlier, the Locust first-night audi- ence actually applauded a line that indicated Alison’s exposure. The play starts very slowly, with plenty of discursiveness in the first two scenes of Act I, then builds to some credible tension in the third scene, which holds over for the start of Act II. After that, “The Outsider" falls apart at the seams, and writing, direction and acting are included in the debacle. The earlier sections can be trimmed, but it’s going to be a titanic task to make the highly-charged climax at all believable. Eddie Dowling (up until these final scenes) has done a good di- rectorial job; oddly enough, he seems more interested in present- ing Miss O’Brien In a favorable light than in his own performance, which seemed halting and perfunc- tory at the opening. There’s no denying that he has done much with the former moppet, even (probably with the help of vocal teachers) in removing the rasp from her voice. Julie Haydon, a last-minute re- placement as the stepmother, is capable, and Anne Shoemaker is especially good as the blind grand- mother, the play’s pleasantest char- acter and possessor of some of the author’s best (and saltiest) lines. The single setting, uncredited in the program, is satisfactory, but at the opening there was plenty that went wrong in the physical presentation of the thriller, espe- cially half-emptied highball glasses that remained on tables and tabo- rets an scenes that were supposed to be days apart in time of action. Waters. New Yiddish Tuner “Sprinza On Park Ave." a new Yiddish - American musical by Yasha Kreisberg and Louis Frei- rnan, opens Friday (12) at the Park- way Theatre, Brooklyn, with Jacob and Betty Jacobs, Leon Liebgold I and Lillie Lillianna in the lead parts. An Evening With Will Shakespeare Hartford, Dec. 5. American Shakespeare Festival Theatre 8c Academy of Connecticut presentation of excerpts from William Shakespeare plays. Directed by Margaret Webster; production co-ordinator# Mary Hunter. Features Claude Rains# Miss Webster, Leueen MacGratli, Arnold Moss# Wesley Addy, Eva La Galllenne, Faye Emerson, Nina Foch. Staats Cotsworth# Richard Dyer-Bennet. At New Parsons, Hartford, Dec. 5, '52; $4.80 top. Sans scenery and costuming (in the manner of “Don Juan in Hell"), “An Evening With Will Shakespeare" is a presentation of skimmings from the better-known plays of the Bard. As shown here, it consists of part reading, part recitation and part play. On the Broadway boards under the same conditions as here, it should prove a strong b.o. contender. There's gold in the name of Shakespeare, but it’s doubtful if “Evening” could dp much without marquee magnetism. Although it's an interesting, en- tertaining bill, It’s much too di- versified. Skill of director Mar- garet Webster in binding together all the material (via the narration route) aids considerably. There are 30 different readings, etc. Under the helm of a less able person, presentation could go to pot. One of the major flaws here is that there was entirely too much reading. Some of the characters indicated a lack of dominating per- sonality and resonance of voice for their bits. However, in the over- all picture, it’s a healthy divertisse- ment. Songs of Richard Dyer-Ben- net are deightful. Eck; Left Hook Cleveland, Dec. 5. Cleveland Play House production of drama in three acts, with prolog, by Elea- nor and Leo Bayer. Directed by William Swetland. Sets by George Dembo. At Play House, Cleveland, Dec. 5, 1952; $2 top. Chandler SeweU Max Ellis Frances Emery Dolly Wheaton Ralph Bates Robert Allman Victor Cermak Samuel Lloyd Carol Lloyd Patricia Rahming Otto Oberdorf Gordon Hatfield British Impresario Jack Hylton _ if of tho opinion fhoro oro * London Prospaet* of a Change for the ♦ Better in Legit ★ * one of the many byline pieces in Hse toon-due 47th Anniversary Number of PSniETY Although “Left Hook" repre sents the first stage work by Eleanor and Leo Bayer, it indi cates that these Clevelanders know how to turn out an interesting murder drama with ingenious twists, wry humor and literate dia- log that still has a theatrical tang. A “Mr. and Mrs." team, authors are known as successful writers of magazine whodunits, using the pen name of Oliver Weld Bayer. They capitalize their background in this tale of homicide and blackmail in- volving two feuding New York book publishers, one of whom ac- cidentally kills his philandering partner during a struggle in the Prolog. That tersely dramatic scene in a country mansion, with the victim’s girl friend overhearing the fight from her hiding place in the kitch- en, kipks off the play briskly. It’s one of those horrible mishaps that could happen to anybody, the auth ors point out rather plausibly, in their ironic commentary on how circumstantial evidence can be dis torted to the point of ruining sev- eral lives. But between the initial scene and the final one, “Left Hook" sometimes sags too noticeably There is a definite break in rhythm, as well as a bit of confu- sion, in linking the prolog with a fresh set of characters in a Mar- tha’s Vineyard summer cottage in the first act. A bit of simple re- vamping would help to re-identify the key witness, a budding author- ess-divorcee, now interested in a young artist who just walked into her topsy-turvy life. Needing money to support the apparently happy-go-lucky painter in style, the would-be novelist dreams up a blackmailing trick She dramatizes the publisher’s al- leged murder in an unfinished, threatening manuscript which she sends to the partner, an aristo cratic, scholarly fellow, who quick- ly shows up to call the black- mailer's bluff. It becomes an intriquing cat-vs. mouse game in which apparently .disjointed events are magically dovetailed like pieces in a pigsaw puzzle. Some of them signal their punch. A few of the other roles are too sketchy or fragmentary, but the motivations are nearly as tersely convincing as the excellent dialog. In some respects the Bayers’ piece seems reminiscent of J. B. Priestley’s “Dangerous Corner," for it depends more upon under- current and character clashes than sharp physical action. Uncon- sciously, too, the authors swing to the English style of under- statement and detail ‘neatness in their it-doesn’t-pay-to-cover-up- a-crime theme. William Swetland displays in- telligence in directing the Play House production, done tastefully and without too . much over-press- ing. Robert Allman usually com- mands the stage as the trapped publisher with his urbane, believ- able performance. It should carry more tensions toward the end, in which he gets a dirty left hook punch. Max Ellis does okay as his lecherous, blustering partner in a very brief part. What happens to his body, nobody ever explains, but it's a minor point. Dolly Wheaton is nice as an at- tractive, frustrated writer of* pulp- wood fiction, who has a penchant for adopting no-good lovers. An older, more experienced actress could sharpen the part by accent- ing the growing terror she feels. Samuel Lloyd plays the sullen sleuth-artist so tersely that his work catches a melodramatic flavor. Gordon Hatfield’s eccen- tric bum of a jack-of-all-arts, Lloyd’s hired hand, gets in some philosophical humor. Patricia Rahming fills a bantamweight part as a junior miss vacationer con ceived just to lighten the action. “Left Hook" proves Eleanor and Leo Bayer are promising play- wrights with imagination and the right theatrical feeling, but they need a stage vet as a polishing collaborator. Pull. Ms’ Great $53,130 In Indianapolis Week Indianapolis, Dec. 9. “Guys and Dolls" grossed a great $53,130 in eight performances at the Murat here last week, playing the 2,000-seat house at a $2-$5 scale with $5.50 top Friday and Saturday nights. It matched biz done by “South Pacific" here last spring. First Broadway show here this season, except for Cornelia Otis Skinner’s “Paris ’90." Shows in Rehearsal Keys: C (Comedy), D (Drama), CD (Comedy-Drama), R (Revue), MC (Musical Comedy), MD (Musi- cal Drama), O (Operetta). “Bat” (D) — James W. Elliott, prod.; Jonathan Seymour, dir. “Be Your Age" (D)—Alexander Cohen, Joseph Kipness, Morris K. Bauer, prods.; Reginald Denham, dir. “Children’s Hour" (D) — Kermit Bloomgarden, prod.; Lillian Hell- man, dir. “Dial ‘M* for Murder" (D) (2d Co.)—James P. Sherwood, prod.; Maurice Evans, Emmett Rogers, dirs.; Richard Greene, star. “Fifth Season" (D) — George Kondolf, prod.; Gregory Ratoff, dir.; Menasha Skulnik, Richard Whorf, stars. “Love of Four Colonels" (CD)— Theatre Guild, Aldrich & Meyers, prod.; Rex Harrison, dir.; Harri- son, Lilli Palmer, stars. “Mid-Summer” (D)—Paul Crab- tree, Frank J. Hale, prods.; Crab- tree, dir. Jeanette MacDonald, who's been concertizing this fall under man- agement of Sol Hurok, will give her only N. Y. recital of the season at Carnegie Hall Jan. 16. Ex-Broadway Publicist Milton Raison recalls The Day the Ticket Brokers Trembled * * * on* of the many byline pieces in the soon-due 47th Anniversary Number of Pfi&IETY Yale U. Group Preems Biblical Original New Haven, Dec. 9. As an experimental step in the development of modern poetic drama, a group of Yale students labelling themselves The Theatre Studio presented an original work, titled, “I Believe in Rubble,’ for a five-night run at Yale’s Dwight Memorial Chapel (3-7). Written by Derek Riegen, direct- ed by Russell S. Doughten, Jr., cast included Paul Barstow, Harry Rit- chy, David Sheldon Pomeran, E. A. Phelps, John Clavin and Doughten. Play utilized Biblical background to convey the message that, pur- portedly, the individual finds the Lord not in the complacency of ser curity but rather in the rubble of conflict. Although not directly sponsored by the Yale Drama School, various members of that department took part in the production. ‘Fourposter’ $25,100; ‘Wife’ $22,300, Detroit Detroit, Dec. 9. First week gross of a two-week presentation of “The Fourposter” at the Shubert was held down by Theatre Guild subscription, but nevertheless topped a creditable $25,100. Final week of “The Constant Wife” at the Cass did a good $22,- 300. Current Road Shows (Dec. 8-20) V “Anonymous Lover” (Larry Parks, Betty Garrett)—Nixon, Pitt, (8-13); Cass, Detroit (15-20). “Bell, Book and Candle” (Joan Bennett, Zachary Scott)—Victory, Dayton (8-10); Hartman, Columbus (11-13); Paramount, Toledo (15-16); Colonial. Akron (17-18); Aud., Rochester (19-20). “Call Me Madam"—Aud., Roch- ester (8-13); Forrest, Philly (15-20). “Constant Wife" (Katharine Cor- nell, Robert Flemyng, John Em- ery)—Cox, Cincy (8-13); Murat, In- dianapolis (15-16); Indiana U., Bloomington (17). “Country Girl" (Robert Young, Dane Clark, Nancy Kelly)—Black- stone, Chi (8-20). “Don Juan in Hell" (Charles Boyer, Vincent Price, Cedric Hard- wicke, Agnes Mooreliead)—State, Toledo (8-9); Muny Aud., Dayton (10); Taft, Cincy (11-13); Civic Opera House, Chi (14-15). “Fourposter" (Jessica Tandy, Hume Cronyn)—Shubert, Detroit (8-13). “Gigri" (Audrey Hepburn)—Har- ris, Chi (8-20). Gilbert & Sullivan (Chartock)— Shubert, Wash. (8-20). “Good Nite Ladies"—New Par- sons, Hartford (8-13); Shubert, N. H. (15-20). “Grey Eyed People" — Walnut, Philly (8-13). “Guys and Dolls" — Capitol, Wheeling, W. Va. (8-10); Palace, Youngstown (11-13); Royal Alexan- dra, Toronto (15-20). “I Am a Camera" (Julie Harris) —Curran, S. F. (8-20). “Intruder" (Eddie Dowling, Mar- garet O’Brien)—Locust, Philly (8- 13); Ford’s, Baltimore (15-20). “Maid in the Ozarks” (Bert Wheeler) — Cass, Detroit (8-13); Davidson, Milwaukee (15-20). “Mister Roberts" (Tod Andrews) —H. S. Aud,, Oklahoma City (8-9); Denfield Aud., Duluth (10-11); La Cross, La Cross, Wis. (12-13); Coli- seum, Sioux Falls, S. D. (15); Or- pheum, Sioux City, Utah (16); City Aud., St. Joseph, Mo. (17); Me- morial Hall, Independence, Kan. (18) ; Memorial Hall, Joplin, Mo. (19) ; Convention Hall, Hutchinson, Kan. (20). “Oklahoma"—Aud., Portland (8); Aud., Klamath Falls, Ore. (9-10)* Memorial Aud., Sacramento (12- 13); Civic Aud., San Jose (14); Me- morial 'Aud., Richmond, Cal. (15- 17): Community, Berkeley (18); College of the Pacific Aud,, Stock- ton, Cal. (19-20). “Paint Yqur Wagon” (Burl Ives) —Shubert, Philly (8-20). “Paris ’90" (Cornelia Otis Skin- ner)—KRNT Theatre, Des Moines (8); Paramount, Omaha (9); Aud., Puebio Colo. (11); Chief, Colo- rado Springs (12); Aud.. Denver (13); Capitol, Salt Lake City (15). n I? oi x nt No , Return" (Henry Fonda)—National, Wash. (8-13); Nixon, Pitt. (15-20). “Shrike" (Van Heflin) — Royal c!e e v X e an M° r0nt0 (8 - 13 ’ : Hanna ’ Pacific" (Janet Blair, Webb Tilton)—Muny Aud., Okla- homzCity (Q-lZ)-, Municipal Aud., San Antonio (15-20). (8-20^ laff 17 ” ~~ Erlai ^ er ’ Chi “Top Banana" (Phil Silvers)— Great Northern,, Chi (8-20*. . Time’ Revival Readies Frisco Bow, Trek East Hollywood, Dec. 9. Revival of “On Borrowed Time" is being built here by Richard Kra- keur for a San Francisco break-in Dec. 29, prior to a trek east. Bow will be at the Alcazar Theatre, now being operated by Randolph Hale, Under present plans, the'Victor Moore-Leo G. Carroll-Beulah Bon- di starrer will not be seen here. It will be held for Chicago after the San Francisco run, and may later be available for strawhat bookings. Demetrios Vilan is directing the cast, which also includes Melinda Markey, Russell Hicks and How- ard Freeman. Gligor Wins Last Round Vs. Vienna State Opera; Re-engaged for ’53-’54 Vienna, Dec. 2, Jovan Gligor, the Yugoslav bari- tone, who hit the publicity jack- pot with his victorious suit against the Vienna State Opera, has won the final round with announcement of his re-engagement by that or- ganization for part of the 1953-54 operatic season. Gligor simultane- ously announced that the State Opera had satisfactorily settled his claims for contract breach and damage to his rep. Gligor made headlines when a Vienna court heard testimony in song, with Gligor performing for experts and judge from the stage of the Konzerthaus. In one hear- ing; the judge (later removed for the indiscretion) personally ac- companied the singer on the piano. Court awarded the singer $2,000 for the contract allegedly broken when he was dropped from State Opera cast after what it claimed were two poor performances last season. Later, Gligor gave a re- cital in the Konzerthaus, drawing over 2,000 and boffo notices. Opera Theatre Set for 1st U.S. Tour; NCAC to Book Boston, Dec. 9. The New England Opera Thea- tre, of Boston, headed by Boris Goldovsky, has been signed for its first cross-country tour, during the ’53-’54 season, by National Concert & Artists Corp. Troupe is chang- ing its name to Opera Theatre for the- purpose. Troupe uses seven singers, with Goldovsky serving as both conduc- tor and stage director and playing the piano in the pit. Goldovsky is also emcee of the “Opera News on the Air" feature of the Satur- day afternoon Met Opera broad- casts. Group will tour with Mozart’s “Merry Masquerade." Sunday Stock Shows Get Albany Turndown Albany, Dec. 9. For the second time in three years, Sunday shows ran into a red- light here after they were adver- tised in the belief an official green- light had been given. Malcolm At- terbury inserted newspaper copy and sponsored radio announce- ments in which a Wednesday- through-Sunday schedule was list- ed for his Colonial Playhouse stock group."* Tickets were sold for the first Sunday night, but early Saturday evening the management was ad- vised that a “protest" had been lodged and it would be necessary to cancel Sabbath shows. Boxoffice attendants managed to reach most of the stub-purchasers, via tele- phone, with notification of the call-off. The Colonial, under another management, advertised Sunday vaudeville shows iiL-1949, but that time, too, a thumbs down was is- sued. Old Vic’s ‘Romeo’ London, Dec. 2. The Old. Vie production of “Romeo and Juliet," with Claire Bloom starred, is being revived for a fortnight starting Dec. 22. Thea- tre is pre-sold for the Season. This production was the biggest com- mercial success since the Old Vic’s reopening. Miss Bloom also will be seen in the succeeding Old Vic production, “The Merchant of Venice" which begins Jan. 6. Irene Worth will play Portia while Paul Rogers will fill the Shylock Jrole.,, . t -