Variety (December 1952)

48 LEGITIMATE PS&Wff Wednesday, December 31, 1952 Plays Out of Town Love of Four Colonels Boston, Dec. 25. Theatre Guild, Aldrich it Myers pro- duction o£ comedy in two acts (four scenes) by Peter tJstinov. Stars Rex Har- rison, Lilli Palmer J Directed by Harrison, Set s and Costumes by Rolf Gerard. Pro- duction supervised by Lawrence Langner and Theresa Helbum. At Colonial, Boston, Dec. 25, '52; $4.20 top. Col. Aime Frcppot . George Voskovcc Col. Alexander Ikonenko.. Stefan Schnabel Mayor of Herzogenberg. .Reginald Mason The Man Rex Harrison Donovan Leueer MacGrath Beauty Lilli Palmer Mrs. Rlnder-Sparrow ..... . Rita Vale Ms** Brcitenspiegel .... Alice Buchanan Mme. Frappot Paula Delielly Mme. Ikonenko Helen Wagner If Its sum were as brilliant as its parts, “The Love of Four Colo- nels" would wow a play-hungry Broadway, but it just doesn't add up. That it will have plenty of sup- porters among tfrose with a taste for intellectual fantasy is true enough, yet everything points only to a moderate success, despite its current hit status in London, It’s early apparent in this elab- orate and often funny think-piece that Peter Ustinov's flair for the comic and the intellectual is very advanced. It is also quickly ap- parent that his own background as an actor has given him a shrewd, faultless instinct for the spoken word in^terms of its actability. He goes wrong here, however, on two specific counts, each difficult to remedy; One is that he has crammed so many dialectic ups and downs into it that it proves to be a brainy grab-bag, and the other is that he has mistaken the discus- sion of those ideas for action when it is, in point of fact, largely static. His theme—or one of them, at any rate—is the old one. of the schizoid conflict within everyone between the forces of good and evil, in this case man's love vs. his Hist for women. Four colonels, an Englishman, Frenchman, Russian and American, occupying a sort of four-men-in-a-jeep situation .as military commanders in a remote German village, are baffled by their inability to clear a path to a mysterious castle. There then ap- pears (in the virtuoso personality of Rex Harrison) the eternal spirit of evil who takes them to the cSs-' tie where the sleeping .beauty lies, mot, however, before the eternal spirit of good (Leueen MacGrath) puts in an appearance too. Infatuated with the idea of being able .to awaken the sleeping beauty, each colonel is given his oppor- tunity to try in an episode demon- strating his inmost dream of self* expression. Each fails, in his own way through the intervention of the spirit of good, and the play ends when two of the men decide to return to their wives, while the other two remain behind in futile pursuit of their dreams. Interwoven with all this is a, lengthy portrayal of the contrast- ing national characterization of the men, their conflicting political and social ideas, their conceptions of the perfect woman, their romantic methods, their ambitions, insecuri- ties and frustrations. It makes for a great deal of good talk, but in the end this talk radiates out into so many directions that the audi- ence is overcome in confusion and uncertainly as to the meaning of it all. Indeed, many will come to suspect that the- author's inten- tions are little more than mis- chievous. Nonetheless, there are some ex- tremely amusing lines and some scenes of powerful comic impact, in particular the Englishman’s scene at the castle done in Shake- spearean verse and the Russian’s done a la Chekhov. The Ameri- can’s scene, on the other hand, though a legitimate spoof, is some- how uncomfortable. The acting, especially by Rex Harrison and Lilli Palmer (as the sleeping beauty), encompasses every variety of style and is done to perfection, though one often gets the idea that Harrison staged the play expressly for his and his wife’s (Miss Pal- mer’s) special benefit. The sup- porting principals, Leueen Mac- Grath, George Voskovec, Stefan Schnabel, Larry Gates and Robert Cootes are first-class, too, with spe- cial mention for Schnabel's portrait of ; he Russian. The production is visually hand- some and appropriate and the costumes are bright and ingenious. Could the play sustain the charm of its central movements and close without presenting the wives at all ► (for they destroy everything), it could wow. But as it stands, it doesn’t seem slated to make real contact with the American audi- ence, which likes a little more than good talk. Elie. The Fifth Season New Havqn, Dec. 25. George Kondolf presentation of Kondolf and Sherman S. Krellberg production of comedy In three acts (six scenes) by Svlvla Regan. Stars Menashn Skulnik, Richard Whorf; features John Griggs. Augusta Roeland, Nila Talbot, Norman Rose, Lois Wheeler* Directed by Gregory Ratoff; scenery and lighting, Sam Leve; costume supervision, Edythe Gilfond; spe- cial paintings, Carl Malouf. At Shubert, New Haven, Dec. 25, '52; $3.60 top. Ruby D. Prince Michael Gorrin Shelley . Nlta Talbot Lorraine McKay Janlnc Manatis Ferelli . . * Norman Rose Max Plncus Menasha Skulnik Johnny Goodwin Richard Whorf Frances Goodwin ...... Augusta Roeland Marty Goodwin Dick Kallmnn Miriam Oppenheim ........ Lois Wheeler Dolores Dorian Leigh Redhead Model Midge Ware Blonde Model Nancy WUdcv Miles Lewis John Griggs A certain amount of Broadway interest will be generated in this new comedy due to Menasha Skul- nik’s English-speaking debut. Also, garment industry followers will find a measure of entertainment in this brief mirror of their profes-; sion. Beyond these factors, it’s doubtful if the play will create much of a stir among run-of-the- mill ducat buyers, unless there is a radical stepping up of its comedy content. -‘‘Fifth Season” is another one of those theatrical productions with which a. play-catcher can’t find too much fault, nor can he find too much to shout about. This status automatically places the work on the fence, with, in this case, indi- cations of toppling over on the “no dice" side due to stringent require- ments for entry onto the current Broadway hit roster. Play unfolds a bit of laughter, a bit' of sentiment, a display of nice femme finery, some competent act- ing and a moderately entertaining overall production. Its possible Waterloo lies in that word “mod- erately." Script concerns partners Good- win and Pincus, who have gone off the deep end establishing an ex- pensive garment business, with not a buyer in sight. Through the con- niving of Lorraine McKay, one of their models, an important chain Store owner, Miles Lewis, is in- veigled into the picture and ends up by ordering enough merchan- dise to put the firm on its feet. Subsequent situation iinds Good- win apeing Lewis to the extent of playing around with model Lor- raine, unknown to his wife and son. Developments get Goodwin behind the eight-ball following a Miami trip with Lorraine and‘by the time-the whole mess' is unrav- elled, Pincus has managed to bring husband and wife together again, he leads the movement to throw Lewis and his account out the door, aqd lie -himself acquires a fiancee in the person of a mild-mannered refugee who had come to work for them. Skulnik’s assignment as Pincus finds him tackling a brand new technique, and to his credit it must be recorded that he does ah okay job of it. Completely shedding the buffoon approach of his Yiddish efforts, he plays this one straight in an efficient manner. To a cer- tain extent, this factor will come as somewhat of a letdown to fans whom he has been used to rolling in the aisles. Richard Whorf, as Goodwin, has the task of turning an okay guy into a minor heel but reverting to form a play’s end. He does well by the role. John Griggs has sufficient blus- ter for the Lewis part, Janine Manatis is attractive and capable as Lorraine. Other good featured support is given by Nita Talbot, bookkeeperrmodel; Augusta Roe- land, Goodwin’s wife; Lois Wheeler, the fiancee, and Norman Rose, de- signer. Dick Kallman fits as the son. Writing has an authentic ring to it a and staging shows evidence of skilled guidance. Setting offers a good combina- tion of a lush office area, plus model’s dressing room. Costumes, while not elaborate, draw a nice response. Bone. Don Gillis, producer of the NBC Symphony broadcasts, will have the premiere performance of his latest! composition, “Star Spangled Sytn-, phony," given by the San Antonio ; Symphony, under Arthur Fiedler, ; in San Antonio, Jan. 10. -J He Your Ago Philadelphia, Dec. 25. Alexander II. Cohen and Joseph Kip- ness production (in association with Mor- ris K. Bauer) of comedy in three acts (five scenes) by Mary Ofr and Reginald Denham. Features Conrad Nagel, Lorlng Smith, Hlldy Parks. Directed by Denham. Setting by Ralph Alswang; costumes. Jocelyn, At Locust St. Theatre, Phila- delphia, Dec. 25, '52; $3.90 top. Lois Holly, Lee Remick Grace Rcndcl Nancy Cushman Bob Foley Dean llnren Potter Erickson Peter Pell Archibald Holly .......... Loring Smith Gwendolyn Holly \V. ^ 7T. Hlldy Parks Eliot Spurgeon Conrad Nagel Abigail Elizabeth Bust!- Beatrix Bond Martha Randall Vujkl Holly Ann Hillary Blnky Bulterworth Tom Temocsl was to determine whether this property was farce or comedy.” As presented here at the Locust St. Theatre before a large, obvi- ously. enthusiastic holiday audi- ence, “Be Your Age” was per- formed strictly as farce'. Time alone will tell whether management’s decision was wise, but certainly as played the show won more -con- sistent laughs (ranging all the way from chuckles to guffaws) than any footlight piece seen here in several seasons. It’s inevitable that “Be Your Age" will be compared to “Time Out for Ginger," which had a try- out at the same house in October, since both deal with phases of adolescence and problems posed for adults by the unpredictable antics of teenagers. This Mary Orr- Reginald Denham collaboration may not have any one scene as hilarious as that in “Ginger” wherein Melvyn Douglas described his daughter's prowess as a foot- ball player on the high school team, but “Be Your Age” is more consistently amusing and main- tains a tempo of breakneck farce seldom achieved these days. There are no dull moments in this one; its running time is now perfect (first-night curtain at 11 sharp) and cast and overall produc- tion are strictly okay. If some of the material might be classed as com, it’s still definitely superior corn, and there’s not much left for the producers to do, save possibly sharpen the show, directoriaily, in spots of the first act, and certainly to temper one or two of the more boisterous, high-pitched interludes. Otherwise “Be Your Age" must stand and fall as what it is—pure farce—and should be sold as that, with no reservations and no apolo- gies. There was surely no doubt about the sincerity of ,tlie first- night audience’s friendliness—even unbridled enthusiasm—here. Two of the members of the Sep- tember strawhat production—Con- rad Nagel and Loring Smith—have been (very wisely) retained. Nagel is suave, debonair and agreeable as an aging but attractive Lothario but it is Smith who actually steals the honors as the harassed wid- ower, father of three teenage daughters, one .of whom is set on marrying the wolfish middleaged intellectual portrayed by Nagel. Smith, a veteran and able trouper, has never been better and if he overdoes one or two scenes, it still cannot be denied that he gets his laughs every time. He is not only immensely amusing but also manages to present the father of a most sympathetic figure. Hildy Parks, now playing the daughter .who practically insists on throwing herself into Nagel’s all- too-willing arms, is both attractive and capable, and Dean Harens does a neat job as the young student of her own age, who finally wins her away from Nagel. Nancy Cushman; as the-girls' aunt, Lee Remick as a younger sister and Martha Randall as a predatory secretary also rate a bow. Ralph Alswang’s setting is as- suredly better than average and Denham’s direction, save for the afore - mentionel over - exuberance of one or two of Smith's scenes, is hangup. In fact, from this corner, the whole show, if taken for what it is—straight farce—is hangup. If examined for subtlety or messages —well that would be something else again. Waters. than in today’s era of high produc- tion costs and smash of flop stand- ards. The second act is probably the funniest of any seen in the tryouts produced by the Atterburys in six seasons of local stock presen- tation, and the third act is reason- ably amusing. The first act, on opening night, seemed weak, static and unpromis- ing. A fine performance by Asther, whose Continental charm has not been duplicated on an Albany stage in recent years, significantly lifted the show. Vet film star will im- prove, too, after, he completely captures the feel of the legitimate. Victor Clement, a Hungarian who has written 15 plays produced in Europe, turned out “The Three Thieves" in this country, Francis Swann, author of the stage comedy, “Out of the Fiying Pan," collab- orated. They tell a fantasy in which two concepts of morality are con- trasted: the conventional, with amoral protagonists contributing nothing to the betterment of man- kind^and the unconventional, with an international swindler playing a fairy god father to the innocent and deserving. A suave, magnetic, multi-aliased crook and his French secretary co- thief slip into the house of a busi- ness mogul with senatorial aspira- tions, and. through a forged letter of introduction, get themselves accepted as temporary guests. The swindler goes to work on the cheat- ing tycoon; bluffs him into admit- ting deceit of a niece in a radio- active oil well deal and to fathering an illegitimate child; obtains return of the signed agreement for the former; and collects $1,000, through card trickery, to help a maid try- ing to get her displaced-pcrson husband into the United States. He also charms the nabob’s wife into a confession of infidelity with the district attorney. The latter is about to arrest the two jailbirds, reconsiders and agrees to provide an escort to the Mexican border as the curtain falls. It is all fantastically improbable, but the first-night audience ac- cepted and liked the comedy. So- phisticated and sexy, though not too offensively so, “Thieves” has some amusing scenes, bright lines and chuckling bits. The cast walked through laughs, on occasion; the timing was not always gauged properly; the shading was off, and moments of indistinctness devel- oped. Wilkes, former U. of Con- ) necticut teacher, did a sensitive directing job. Astber, handsome and charm- ingly mature, sustained character- ization and mood quite well. His Swedish accent turned thick in spots, though not out of place in the story spun. Frankly n Fox played the business leader authori- tatively and vigorously, but not with a great deal of subtlety. Mal- colm Atterbury scored in one of the fattest parts yet to come his way: the raisin-chewing, cynical secretary-crook, equipped with papers and paraphernalia for every situatiop.. Ellen Hardies, an intelligent artist, contributed a generally con- vincing, if sometimes broad, char- acterization of the aging, flighty wife. The other roles are not too meaty, Dalton Dearborn's bouncy juvenile perhaps being the longest. Single set, with modern furni- ture, looked brightly attractive. Jaco. When “Be Your Age" had its: strawhat preem at Skowhegan, Me.. ! last September, the Variety nnigg's. favorable review suggested that | the “creators’ principal problem Tlae Three Thieves 1 Albany, Dec. 26. Malcolm Atterbury ancl Ellen Hardies production of comedy in three acts (five scenes) by Victor Clement and Francis Swann. Stars Nils Asther. Directed by Alton Wilkes; setting, Willard Stone. At Colonial Playhouse, Albany, Dec. 25, Eleanor Harvey Dorothy Taylor Ellen Hardies Clifford Taylor . Franklyn Fox Rickey Taylor Malcolm Atterbury, Jr. Bruce Lockwood .. .<■ Paul Anderson Ann Simpson Malanic York Dennis Taylor Dalton Dearborn Jean Gabriel Nils Asther r rancois Bard Malcomb Atterbury “The Three Thieves" grabbed a sizeable laugh loot from a small audience at the Christmas Night premiere here, but doubt remains whether it could gamer boxoffice favor is tougher N.Y. Stager Alton Wilkes, who also did its first Amer- ican presentation at his Lakes Region Playhouse in Gilford, N.Ifr, last summer, after the comedy had a 100-performance run in Berlin, and Reginald Owen, who appeared in it at Gilford with Nils Asther, believe that rewriting, recasting and tightening will make the play ready for New York by* spring. •They entertain hopes of a road tour —possibly opening in California— polishing the production before the N.Y. debut. A pleasant evening in the thea- tre is the most than can be ex- pected, regardless of changes. The theme, a variation of the Robin Hood legend, is not original; the treatment is hardly unique; the situations not particularly fresh. Ten or 15 years ago, the play’s New York prospepts would be brighter Monftnnrt re Hollywood, Dec. 26. George Boroff and J. M. Alkow pro- duction of drama (with Incidental music) in three acts (nine scenes). Based on the book. “Moulin Rouge," by Pierre La Mure. but. otherwise uncredited. Directed by Richard Doggier. Set designed by Ted Gllien and Sam Kennedy. Songs by La Mure, Jimmy McHugh and Harold Adam- son. At Circle Theatre, Hollywood, Dec. 26. '52; $4.C0 top. Anquetln Robert Carle Gauzl * Ted Gilien Racliou Joseph Dante Vincent Van Gogh Donald Elson Pierre Alan Friedman Student Tommy Edwards Gendarme Ed Bryant. Henri de Toulouse-Lautrec . , Gene Reynolds Madame' LoutfeT.". - Llzz Slifer Leon tine .... a. Evelyn Scott Comtcsse de Toulouse-Lautrec Ernestine Barrier Pere Tanguy Danny Craig Comte de Toulouse-Lautrec Stephen Roberts Jeanette Delores llosc La Gouluc % Cynthia Dagarht Singer Eleanor Adler Yvette Roxanne Arlen Ernest . . Alex Freeman Denise de. Frontenac ... Eva Kubenstcin Marie Chariot Constance Dowling Patou Phil Van Zaiult Rose Chariot Valerie’Vornon Bebert Philip Sudano content were not Suited to central staging. Actually, this script (and there is nothing to indicate that this is not La Mure’s original script despite the absence of his name or any writer’s name, from the credits) isn’t suited to much of anything. The music, it appears, is merely incidental—so incidental that there are only about 16 bars heard all evening. The script, including the narration that precedes each of tho nine scenes, appears to represent an effort on La Mure’s part to save large passages of his original rhe- toric, always a serious mistake in transition to the stage.* , Only one of the nine scenes achieves any real dramatic impact as La Mure unfolds the story of the mis-shapen master of the- can- vas who shunned the ease and frivolity of his own society to eke out fame as a painter. Bulk of the plot deals with his tortured in- volvement wth Marie Charlet, the harlot whom he saves from the police. Play (unlike the picture which carries through to his death) ends when he ends the affair and there is the promise that he will buckle down to serious work. Only really impressive scene, however, is the one in which Lautrfec seeks the hand of a childhood friend and learns that even she regards him with revulsion. Constance Dowling turns in an impressive performance as Marie, giving the play its best moments. Unfortunately, however, Gene Rey- nolds is not up to the demands of the role of Lautrec, although phy- sically he’s of the right stature and the makeup creates a startling re- semblance to the dwarf of Mont- martre. His playing, however, has a monotonous quality through con- stant striving for under emphasis. Remainder of the cast is generally competent but no more, and the direction by Richard Doggier does nothing to bring out any hidden talent extras. Kap. Dial ? M J for Murder (2d Company) Boston, Dec. 26. Jamcj P. Sherwood production of Fred- erick Knott melodrama In three acts (six scenes). Stars Richard Greene; features Alan Napier, Faith Brook, Ralph Clanton. Mark Roberts. Directed by Reginald Den- ham; scenery, Peter Larkin; costumes. Noel Taylor. At Wilbur. Boston. Dec. 29, '52; $3.60 top ($4.20 Friday, —Saturday nights). •Margot Faith Brook Max Mark Roberts Tony Wendice Richard Greene Lesgatc Ralph Clanton Inspector Hubbard Alan Napier ‘ Thompson .' •; Bruce Jewell Confusion is the keynote of this script, which revolves around inci- dents in the life of Henri de Tou- louse-Lautrec. Script originally was writterf' by Pierre La Mure, from his own best-selling novel “Moulin Rouge," and it bore that title. La Mure also referred to it as a musi- cal. After a series of rehearsal has- ! sles, the author withdrew all rights to the title and the use of his name and the presentation rights any- where but in this tiny Hollywood showcase. He contended ho hadn’t realized that the play’s mood and Road company of tln^sock seller,' with Richard Greene in the lead, is well up to the task of keeping “Dial" as high on the list of cur- rent favorites as.the New York production. Greene, first time here on the legit stage, offers a neat blend of plausibility as the onetime tennis hero and ruthlessness of purpose as he plots every step in the proxy murder of his wife. He looks very well, carries himself very well and manages very adroitly to convey the combination of alertness and casualness the character requires. He is ably seconded by Alan Napier as the inscrutable inspector and by Ralph Clanton, whose portrait of the murderer is remarkably well done. Faith Brook conveys a fine in- terpretation of the tennis player’s unfaithful wife once the plot thick- ens (she hardly suggests at the out- set that she really could ever have strayed off the reservation), and Mark Roberts, though he speaks his lines very well as the Ameri- can TV whodunit writer, some- times seems a little edgy and over- intense (a fact doubtless induced by the first-ni^ht situation). All in all this production, which has the same overall production and directorial finesse of the Broadway show, is first-class and Can hardly fail to do strong biz everywhere, if Boston’s reception is any criterion. Elie. Shows in Rehearsal Keys: C (Comedy), D (Drama), CD (Comedy-Drama), R (Revue), MC (Musical Comedy), MD (Musi- cal Drama), O (Operetta). a “Crucible” (D)—Kermit Bloom- garden. prod.; Jed Harris, dir.; Arthur Kennedy, Walter Hamp- den stars. “Hazel Flagg" (MO—Jule Styne, Anthony B. Farrell, prods.; David Alexander, dir.; Helen Gallagher, Thomas Mitchell, Benay Venula, John Howard, stars. “Josephine" (C)—Leonard Key, Luther Greene, prods.; David Pressman, dir. “Maggie” (MC)—Franklin Gil- bert, John Fearnley, prods.; Mi- chael Gordon, dir.; Betty Paul, Keith Andes, Irene BoTdoni, stars. “Picnic” (D)—Joshua Logan-The- atre Guild, prod.; Logan, air. “Touchstone” (D)—Elaine Perry, prod.; Hale McKeen, dir. “Wonderful Town” (MO—Rob- ert Fryer, prod.; Geprge Abbott, dir.; Rosalind Russell, star.