Variety (December 1952)

«8 LEGITIMATE f^SfisTEf? 'Wedneaday, December 10, 1952 Plays Abroad Tomorrow’s Too lute London, Dec. 1. Charles Fleming and Geoffrey Good* hart (by arrangement with Bernard Good- man) production of drama in three acts by Gerald Anstruther. Stars Clive Mor- ton. Directed by Geoffrey Goodhart. Music, Jose Payan. At Comedy Theatre, London, Nov. 17, '52. *1.75 top. Richard Maybury Clive Morton Ann Selby ,. Mary Mackenzie Connie Joan Seton Margaret Maybury Lesley Warelng Mrs. Barling Barbara Babington Mrs. Wllmer Joan Ingram Peter Granston Laurence Hardy Inspector Fay • • • John Stuart Sergeant Bolton .... Christopher Hodge Albert Dennis Harkin Nick - • • Ivan Craig The Kite Ross Hutchinson Effle A'nne Smith Sir Julius Stratton Harry Green The identity of the killer in this new British thriller is. openly re- vealed; hence, the plot is solely concerned with the way in which he will be brought to justice and an innocent man saved from the gallows. The idea is good, but the construction is implausible. It will inevitably be an addition to the long list of failures at this West End theatre. Gerald Anstruther has made his main character a writer of detec- tive yarns whose wife is murdered by a secret. lover. The latter, an actor, who is about to marry his wealthy backer, doesn’t know quite how to dispose of the body; so he calls the author, pretends he is a fiction writer attempting his first crime novel and asks for a fool- proof solution. Subsequently, the writer finds the evidence is put- ting the guilt on him. After a dream sequence in which some of his book characters come to Hie', he prepares to take the law into his own hands, but the cops arrive in time with the necessary evi- dence. The entire production is itamped with unreality. The char- acters battle to attain^ measure of conviction, but do not succeed. The plot had its moments of in- genuity but these are quickly washed out by the authors. Much of the action is drawn out and there is hardly enough incident to keep the play going for more than one of the three acts. Clive Morton’s dignified and sin- cere portrayal of the famous nov- elist could have enhanced a worthier plot. In this case, it is something of a. futile effort. Les- ley Wareing has a happy release when she is strangled half-way through the first act while Mary Mackenzie, as * the author’s secre- tary, is given little scope. Lau- tence Hardy overdraws the suc- cessful actor and his interpreta- tion, coupled with his dialog, justi- fied the few opening night jeers. Joan Ingram defies all the laws of probability as the widow who is about to. marry the actor. Geoffrey Goodhart seems to have directed without attention to suspense or realism. *' Bead Secret London, Dec. 1, Hugh Wakefield Production (In associa- tion with Samuel Rosen), presentation of drama in three acts by Michael Clayton Hutton: Stars Joyce Heron. Sophie Stewart. Ian Hunter, Hugh Wakefield. Directed by Wallace Douglas. At St. James’ Theatre, London, Nov. 5, '52; $2 top. Diana Sackville Joyce Heron Ruth Curzon Sophie Stewart Miles Curzon Ian Hunter Charles Raynor Hugh Wakefield An over-talkative thriller with only a modicum of suspense, “Dead Secret" can best be rated a luke- warm bet. It is not for Broadway and has little prospect of a profit- able run at this theatre. This four- character play by Michael Clayton Hutton, which previously had an airing on radio, is slow in getting started and too thin to sustain a three acter. Action is cut down to a minimum and* characters are kept off stage by obvious devices. The yarn is set in a country cot- tage occupied by a doctor and his wife who have just returned from what is described as a six-year honeymoon. House guesting with them is the wife’s girl friend. Dur- ing a New Year’s Eve celebration, the fourth character makes his ap- pearance uninvited. He, turns out to be an ex.-detective who knows that the doctor murdered his wife’s first husband and proceeds with a gentle form of blackmail. The medico naturally wants the in- truder out of the way and with the aid of his wife plans the perfect murder which doesn’t come off. The players do their best with the flimfULjgnd padded script, giv- ing the pW^mu^li-hVMfed veneer. Ian Hunter contributes stewing job as the ruthless and cynical *T- . . . M • , . VM’M.Hu a rt * mveiy 1 Fraternizing A couple of Lambs Clubbers, members of the show biz group’s “Room Service’’ now on its way to Korea to enter- tain the GI’s, were wondering last week about some of the pjroblems they would encount- er at the battlefront. “How cold does it get? Are the snipers very close?" These were the major questions asked of returning soldiers from the front who were pres- ent at the club’s going-away party for the Lambs troupers. “I'll answer both your ques- tions in one simple sentence," replied one of the GI’s. “It’s so cold out there that you wind up hugging the snipers to keep warm.” search of soothing and satisfying entertainment. While it should have a modestly prosperous season in the West End, it is hardly strong enough to merit a transfer to Broadway. The production is given 4 added status by the inclusion of several marquee names in the small, com- pact cast, Michael Denison and Dulcie Gray (real life husband and wife) are again starred as a mar- ried couple while from the U. S., Ron Randell and Margot Stevenson make an impressive legit' debut. Marie Lohr has a modest role as an understanding mother-in-law, but fills it with her usfual polish. Setting for the Mary Orr and Reginald Denham play is a small cottage in a remote section of the Its inhabitants are and intensity. His unhappy assist- ant is effectively played down by Edwin Richfield. But the surprise performance comes from Susan Shaw, playing her first straight legit role and scoring heavily as the raucous, brazen and terrified blonde. In the film, the murderer was captured after an exciting chase across London but in this play the action is stopped short and he is trapped inside a vaudeville thea- tre. To give the sceitte added cre- dence the house lights go up, mem- bers of the cast who are "playing the detectives crowd the aisles, and Colleano makes a desperate break through to the stage before the gun is knocked out of his hand. A big cast fill the minor parts with confidence, helping to achieve tlie atmosphere which the story necessitates. Myro. Mariams Filoutoie Paris, Nov, 10. Renaissance presentation of drama In three acts by Eduardo de Filippo, trans- lated- by Jacques Audiberti. Stars Valen- tine Tessier. Directed by Jean Darcante; sets by Douking. At Renaissance Theatre, Paris. Alfredo Paul Vllle Domencio Soriano Yves Denlaud Fllomena Martuvano... .Valentine Tessier Walter Maurice Juniot Rosalia '. Gabrielle Fontan Diana ' Claude Pasquier Lucia .... Janine Camp Umberto . .* Roland Menard Riccardo Jean Topart Michele . .. Georges Salley Nocella Marcel Alba - Teresina Suzanne Courtal “Madame Filoume’’ is a Neapoli- tan character drama and has been a hit in many lands and languages. No English translation has yet been attempted, but play’s present Paris Cornish coast Denison and Miss Gray, a couple I su<!C ess will probablv attract Anglo- fhn ur 4 P0*0 anmumfc iifkil a ^ i i . i m i • • 11_i: antly on the wife’s earnings while ngs the ’ husband tries Iri' Vain tb‘ finishing fliasterpieee,, The relationship is far from sat- isfactory when they are invaded by his first flame and her husband from America. It becomes more complicated when the wife’s novel is accepted for publication in the U. S., with a lecture tour offered as pail: of the promotion. This elementary situation of strained marital relations is skil- fully handled by the authors who have contrived to sustain the in- terest in an obvious plot with di- rect and provocative dialog. The basic situations are treated in an adroit style, giving a useful veneer to the play. The experienced cast is mainly responsible although credit is due to Norman Marshall for his smooth and competent di- rection. Myro. who is almost dragged into com- mitting murder to save her hus- band. Hugh Wakefield’s robust por- trayal of the intruder is spoiled by an overlong drunk scene which needs heavy scissoring. Joyce Heron battles against a negative part as’the wife’s friend. Direction by Wallace Douglas is loose and inconclusive. Rex Dut- ton’s single setting of a cottage is adequate. Myro. Sweet Peril London, Dec. 4. Daniel Mayer Company production of drama in three acts by Mary Orr and Reginald Denham. Directed by Norman Marshall. At St. James’s Theatre, London, Dec. 3. *52. $2.15 top. Clive Jevons Michael Denison Robin Jevons - Dulcie Gray Digory George Woodbridge Mrs. Jevons Mary Lohr Brodrlgg Brian Harding Cheater Ames Ron Randell Marianne Ames Margot Stevenson “Sweet Peril” is a simple, human drama without pretensions, and within those limitations, it succeedr . admirably. Its appeal is deftly di- Myro. rected to attract theatregoers in 3,Mt THEATRE BENEFITS —AND STILL GOING STRONG! Shirley Booth congratulates Ivy Larric at a benefit performance of “The Time of the Cuckoo"—the 3,000th benefit Miss Larric has arranged since 1929. IVY LARRIC Theatre Party Bureau 1457 Broadway New York IB Wisconsin 74MI JJduwdQ.;dA. Filippo is an Italian pic writer- director who registered ia’t-I.Vx. . fe.v!"...nnl 1 fjvn, 31 JJ)) i/3 u- in The Blue Lamp London, Nov. 20 Jack Hylton production of drama two acts; adapted from their screenplay by Ted Willis and Jan Read. Stars Jack Warner, Gordon Harker, Bon&r CoUeano and Susan Shaw. Directed by Richard Bird. At Hippodrome, London, Nov. 19, '52; $1.75 top. P. C. Nunn Anthony Sheppard Ml*. Jordan Warren Mitchell Mrs. Jordan Golda Caslmir Tom Riley Bonar Colleano Spud Murphy Edwin Richfield Sergeant Flint Arthur Rigby P. C. George Dixon Gordon Harker P. C. Andy Crawford Peter Byrne Nancy Natalie Kent Woman Sgt. Grace Millard Moira Mannion Mrs. Lewis Coral lairweather Chief Inspector Cherry .... Jack Warner Sergeant Green ;. John Stone Diana Lewis Susan Shaw Mary Dixon Valerie Forrest Mrs. Nidos Golda Casimir Sonny Walters Freddie Owen Mrs. Riley Natalie Kent Doctor Anthony Sheppard Woman Coral Fairweather Mr. Wiidberg Warren Mitchell Queenie Linda Bacon Comedian Warren Mitchell Theatre Manager Hugh Mctchalfe In this stage adaptation of a re- cent British film hit, the authors have tried, with some measure of success, to give the production a cinematic flavor. With the aid of a revolving stage, rapid scenic changes are effected which gives the play a comparable effect of speed and movement. * The theme, which deals with the shooting of a copper, has topical and dramatic values and the cast- ing of four prominent local names gives the production useful mar- quee appeal. As a twice nightly' proposition, it should hold up nicely for a season. Apart from the obvious elimina- tion of exterior action sequences and the change of locale from West to East London, the play follows the film quite faithfully. As in the original, the stage pro- duction sets out to humanize the police force ’ and to present the uniformed men as a bunch of homely, warm-hearted and philo- sophizing characters. With the help of the sincere portrayals by Gor- don Harker, as the policeman who is shot, and Jack Warner, as the police superintendent, this aspect of the yarn is faithfully captured. The main villain, the small-time thug in search of easy money, who feels his strength as long as he is carrying a gun, is admirably por- trayed by Bonar Colleano* It is a performance of marked virility jrwHAv ^Vr^pVm^N^apolitotf. Mt.’J w’? aire,” two years ago. He will prob- ably film “Filoume” himself in Italy with an Italian cast. Censor- ship would interfere with any American pic version, but “Fi- loume’’ would be okay for U. S. legit. Madame Filoume, a onetime prostie, tfts lived in sin with Domenico, a rich Neapolitan, for some time. Pretending to be dying, she begs him to marry her on her death-bed, and he does so. She then informs him that she has three grown sons and that he is the father of one of them. She refuses to tell- him which is his son, as she wants him to adopt all three. He is furious, as he had hoped after her death to marry a pretty, young blonde. He swears he will | adopt no one and will annul the marriage she has forced on him through trickery. She brings her sons to his house against his will. One is a haberdasher, another a journalist and the third a plumber. They have never known she was their mother, but she has aided them all their lives. When Domeni- co hears her confess to her sons the story of her life, he repents and adopts all three boys as his sons, and settles down to married life with Filoume. Valentine Tessier, one of France's top actresses, is superb in the lead role, creating the good- hcartecl Neapolitan prostitute who is willing to sacrifice everything for her children. Yves Deniaud registers heavily as Domenico and Roland Menard, Jean Topart and Georges Galley are smpathetic as the sons. There are telfing char- acter bits, too, by Gabrielle Fontan as Fdoume’s maid and by Paul ville as Domenico’s confidant Jean Darcante’s direction makes the most of the local color, strong characterization and comic and in terludes. It is a new smash CurU here. C’iol DTtejiagiiB (Spanish Sky) , . Paris, Dec! 2. Andre Chcrrler production oi revue In i tS H a - nd i 1 - 3 Scenes b * «>oardo Liano Musical direction, Jose Roeca; dance di- .® e Cabo; with Pedro De Coidoba, Pepita Fernandez. ChavallHos De Espana (6), Los Goya (2), Leo Hereint Los 4 Mont-Real (4). Chiquita® Paouito Production obviously indicates that it was thrown together to sur- round solo dancer Pedro De Cor- doba. Carioca acts, recruited here are diverting in spots, but visually offer nothing that could not go better in any of the Spanish boites around the. city. Young, sparse troupe has vitality but lacks pas- sion and group discipline. Settings are ordinary, and makeshift show is playing to light houses. Los Goya (2), femme and hus- band team, start show with the usual tango that is not particularly top caliber. Gal is a looker but seems stylized and self-conscious in her quota of skirt twirlings. Pepita Fernandez, with her smooth song stints (New Acts), enlivens the proceedings. Chavalillos De Espana (6) is a group of adolescent dancers who please in their frenzy and exuberance. Some stiff train- ing and aging will make these kids a good Hispano dance group. Standard guitar solos intersperse the various tableaus. Chiquita is a set-faced gal flamenco dancer who is well-styled, but never gets her into the fiery appeal the dance calls for. Paquil'o Ortega features the classic clean Spanish dances plus some peasant couvting spots for good results. Pepita Sevilla is a saucy little femme whose eye-rolling and coquettishness put over her solo efforts. Pedro De Cordoba only does a 10-irtinute stint in the last half of show, but scores in his fine in- terpretive dance (New Acts). Pit music is supplied by Los Flamencos orch which is adequate- ly batdned by Jose Rocca, This is strictly filler fare for this -revue house. Mosk. Legit Followup The River" Li'sae (STRAND, LONDON) Since iflS'Tn’st i yfT'seiYiation at the Edinburgh Festival, Charles Mor- gan’s play had a short nabe season at the Lyric, Hammersmith, before moving in to the West End. After several weeks in town, the principal male role has been changed, with Phil Brown coming over from America to replace Paul Schofield. The current production* has two outstanding qualities which are a contributing factor to its success. “The River Line” may have de- ficiencies as a drama, but the author’s fine poetic writing style frequently transcends the basic weaknesses of construction. The characters talk a lot, but much of the dialog is sharp and erudite. The three-acter packs all its dramatic content into the middle act. The first conveniently estab- lishes the scene and third too easily ties up the loose ends. The second act, which is a flashback to a war- time hide-out in France, builds up an effective, tense situation. The polished cast has a field day with Morgan’s use of English. Brown, who has taken over the role of the American, fills the part with assurance, . giving a performance which fully conveys the sensitivity of the author’s style. Pamela Brown, using a French accent, has little difficulty in sustaining the tense characterization of the French resistance worker who eventually learns that she Was responsible for an innocent sol- dier’s death. Other members of the cast, notably Michael Good- liffe, Marjorie Fielding, Virginia McKenna and Marcel Poncin, per- form with commendable fluency. Myro. Equity Library Show (Dec. 8-21) “Winterset” — Lenox Hill Play- house, N. Y. (17-2D. ' “World We Make”—Lenox Hill Playhouse, N,Y. (10-14). NEW 'COLONY' MANAGER Greensboro, N. C., Dec. 9. Richard Jordan, of Nag’s Head, N. C., was elected last week new general manager of the Paul Green al fresco presentation, “The Lost Colony," staged each . summer at Waterfront Theatre on Roanoke Island. Roanoke Island Historical Assn, elected him to succeed William Hardy, who recently took the job as manager of “HoTn iii the West.’’ ill CAB CALLOWAY Sportin' Lit# PORGY AND BESS" Now (9th W*«k) r Stoll Thaatr* r 4ortdon In$pirtd—", Birmingham Post Mgr.: RILL MITTLIR, J *19 Broadway. How .York