Variety (December 1952)

so LEGITIMATE Wednesday, December 31, 1952 Plays Abroad Dear Charles London, Dec. 20. Alec Rea and E. P. Clift presentation ol comedy In three acts by Alan Melville, adapted from "Les Enfants d’Edouard by Marc-Gilbert and Frederick Jackson. Star A Yvonne Arnaud; with Charles Cold- er. Directed by Murray Macdonald. At 'ew Theatre, London, Dec. 18, *52; $2.15 8 top. Denise Yvonne Arnaud , Jan Letzaresco Charles Goldner Edward Noel Howlett Walter Paul Hansard Bruno Michael Allan Martine Mary Holland Sir Michael Anstruther Garry Marsh Dominique Lecler Gerard Heinz Martha Beatrice Varley Luclcnne Brenda Belth Jean-Pierre urn Madame Duchemin Billie Hill Said to have started life as a ghortstory, this pleasant little com- edy was staged as a pl&y in Paris, then adapte4 by Alan Melville for London consumption. It is a per- fect vehicle for Yvonne Arnaud, for whom no better part has yet •been written. It is saucy without giving offense, and the star glories in every line and gesture. Its suc- cess here is assured and it might stand a fair chance on Broadway. (Tallulah Bankhead has the U. S. rights and is considering a return to legit in the play next season. -—Ed.) Miss Arnaud* sails impishly through the role of a famous novel- ist with three illicitly acquired children. They all imagine that the portrait of “dear Charles” over the mantel represents their deceased * parent. When the elder boy and girl announce their engagements to the son and daughter of an in- fluential family, Mamma takes a deep breath, gathers her flock to her ample ,bosom and announces she was never married and that the trio had different fathers. To conform to convention in view of the dual betrothal, the mother decides she should take a husband, and summons her ex-lovers on a visit. She is still attractive to theih, after 20 years, and each is anxious to wed her. She had originally walked out on them, instead of vice versa. One is a serious English diplomat, another a temperamen- tal Polish musician, the third a French crook. Unable to choose for herself, the woman leaves it to . her children, who select their own parent. When this deadlock is reached, the problem is solved by the future mother-in-law revealing that she too has never been mar- ried. Madame novelist then decides she will retain her single state and remain a respectable “widow.” Miss Arnaud’s performance gj.ves life and humor to every line of the basically funny situation. She’s ably abetted by Charles Goldner as the highly-strung Pole. The other lovers are well contrasted and the three offspring are like- able, natural youngsters. Beatrice Varley contributes a good charac- ter study of a. much-tried domestic, and Murray Macdonald rates bows for the play’s direction. Clem. Helene, On La Jole < Do Vivre (HELEN, OR THE JOY OF LIVING) Paris, Dec. 18. Andre Brule production of comedy in three acts by Andre Roussin and Made leine Gray, adapted from the John Ers jdne novel, "The Private Life of Helen of Troy." Stars Sophie Desmarets, Pierre frux, Louis Ducreux. Directed by Du* creaux. Set by Wakhevitch, costumes, Karinska. At Madeleine Theatre, Paris, Dec. 15, '52; $3 top. Eteoneus Louis Ducreux Melelas Pierre Dux Helene Sophie Desmarets Hermoine Anna Gayle Telemacus Jean Gabriel “Helen,” the Andre Roussin- Madeleine Gray adaptation of the John Erskine bestseller of 25 years ago, “Private Life of Helen o Troy,” is a Paris smash despite some critical groans. Book serves Roussin as a nice springboard for some witty gab. There is little ac- tion, but as Roussin has a gift for making talk entertaining, all is well and “Helen” doesn’t lag or break down. First National bought the screen rights in 1927 and made a silent version with Alexander Korda directing. ; Warners now owns the book and has announced & remake. Comedy deals with the post-Tro- jan war life of Helen and her fam- ily, and commences with the return of Menelaus and Helen to Sparta at the war’s finish and their efforts to forget the recent unpleasant- ness. Both are occupied in arrang- ing the marriage of their daughter, Hermione, to Orestes, when news arrives that Orestes’ mother has murdered his father and that Orestes has murdered his mother in revenge. Hermione, however, will not be put off and goes away to marry Orestes against her parents’ ad- vice. Helen and Menelaus are de- pressed for a few moments but just then Telemacus, son of Ulysses, shows up and installs himself as house-guest. He Starts making eyes at Helen behind Menelaus’ back and the play finishes with the sug- gestion that there will be more infidenity on Helen’s part in the near-future. The Roussin writing is tops in smooth, continental sophistication and the Paris audiences eat it up. He has managed an explanation of the plot with dexterity, having old servant Eteoneus open the play with a confidential speech to the customers. Last scene Is acted out in pantomime, with Eteoneus mak- ing some conclusive remarks. Sophie Desmarets is a nifty Helen, bringing humor and grace to the role. Pierre Dux, who has the longest- assignment, gets all yocks possible as the good-natured, cheated husband, Menelaus, a fa- vorite and'*traditional character of French drama. Louis Ducreux makes the most of Eteoneus, aged family retainer and sort of stage manager of the comedy’s activities. Anna Gayle makes a pert Her- mione and Jean Gabriel, registers in the brief, wordless bit as Tele- macus. Set of the royal palace by Wak- hevitch has high polish of comedy itself, and costumes by Karinska have swank appeal. Ducreux’s di- rection shows understanding of “Helen’s” main flaw—lack of ac- tion—and avoids any holdup in movement. “Helen” is a solid sell- out with heavy advance sale. Curt good graces for the purpose of stealing diamond necklaces and slitting her throat. To begin with, the play hasn’t the mark of heavy melodrama and seems to 'be light comedy, but coagulation occurs when the ex- lover, a mad, drunken musical genius, shows up" seeking IfmpToy- ment as a butler. From then on, one suspects the worst and expec- tations are fulfilled. Miss Popesco tries hard to give the lead role lift and humor, and appears to advantage in a hand- some wardrobe. Hendi Guisol is good as the butler-composer-lover and so is Renee Devillers as his parlor-maid wife. Star perform- ance is that of Robert Vattier as the resigned, foolish older man who is wasting time and money in silly sugar-daddy romance. Jean Danet registers as a sleazy medico and rest of company is well cast. Costumes and single set are right in evoking the period, but “Luck” is pretty old, sluggish stuff. Cos- tume melodramas might still draw at the b.o., but this one is dated. Curt Legit Followups Opera, Film Excerpts To Highlight Hurok Dinner A concert version of “Don Gio- vanni” and highlights from the 20th-Fox film biog of Sol Hurok, “Tonight We Sing,” will be fea- tures of the dinner concert in honor of impresario Hurok, which will be presented by the Ameri- can Fund for Israel Institutions at the Waldorf, N. Y., Jan. 8. Ezio Pinza, Roberta Peters and Jan Peerce, will take part in “Gio- vanni,” with the Philadelphia Orchestra under Leonard Bern- stein assisting. Tamara Touman- ova will also do a ballet solo. Le Bonhenr Des Mediants (THE LUCK OF THE BAD) Paris, Dec. 20. Jacques Truchot production of drama in three acts by Jacques Deval. Stars Elvire Popesco, Renee Devillers, Henri Guisol. Robert Vattier. Directed by Deval. Set by Denis Martin; costumes, Pierre Cardin. At Bouffes-Parlsiens The- atre, Paris, Dec. 9, '52; $3 top. Coralie Azaklan Elvire Popesco Fanny Rigaud ..®. Joelle Janin Flrmin ‘ Jerome Anals Massoubre ....Francette VeriiUlat Countess de Bolenes Yvonni-Hebert Dr. Walter Floya Jean Danet Pauline Marlotte Renee Devillers Valentine Marlotte Henri Guisol >s: .Philippe Keller son .Philippe Jaijvier Break-In of ‘Picnic’ Skedded for Columbus Columbus, Dec. 30. “Picnic,” new William Inge play, will be brought to Columbus for its final rehearsal and break-in, opening Jan. 15. Company is due here Jan. 12 for dress rehearsals. Ralph Meeker and Janice Rule are starred and Eileen Heckart and Peggy Conklin hold down support- ing roles. For Miss Heckart, this will mark her first appearance as a professional in her home town. She left here more than 10 years ago and has been active on the New York stage and in radio and television ever since. Co-producer Joshua Logan, Inge, Jo Meilziner, who designed the set, and Armina Marshall, repre- senting the other co-producer, the Theatre Guild will be here for the premiere. The Mielziner-designed single, by the way, is so huge it will require two baggage cars to carry it. » After a three-day run here, “Picnic” will play a week each in St. Louis and Cleveland and two weeks in Boston Rrior to its N.Y, opening, tentatively scheduled tor Feb. 18 or 19. Jacques Deval’s latest is a cos- tume meller about a Second Em- pire courtesan, the Jewel-thief killer whom she loves, and a ro- mantic, musical composer whom she destroys. Story belongs back in the period of crinoline costumes and seems at times to be a revival of some lesser Sardou opus. Writ- ten as a vehicle for Elvire Popesco, it is more a show-piece for support- comedian Robert Vattier who, as a vain, pompous Napoleon III chamberlain, steals the evening. N.Y. legit chances are meagre. Play deals with Coralie j\zakian, 1850-1860 era mistress, a watered- down version of Zola’s Nana, and a femme who ruins a,ll men who come in contact with her. She is murdered as the final' curtain falls by the only man she ever loved, a jewel burglar disguised as a Brit- ish medico who has gotten.into her CAB CALLOWAY Sportin' Lift "PORGY AND BESS" Now (12th Wtek), Stoll Thaatre, London “—reached now heights of virtuosity"—-QUEEN Mgt.: BILL MITTLER, 1619 Broadway, Now York Rash Continued from page 47 because of financing difficulty is further evidence of this* situation. Of the current Broadway shows, those with associate producer or temporary co-producer status in- clude “Children's Hour,” “Deep Blue Sea,” “Moon Is Blue,” “My Darlin’ Aida,” “Pal Joey,” “Seven Year Itch,” “Time of the Cuckoo,” “Time Out for Ginger” and “Twin’s Company.” Among the incoming or in-prepa- ration productions with such status are “Be Your Age,” “Intruder,” “Love of Four Colonels,” “Hazel Flagg,” “Josephine,” “Maggie, “Midsummer,” “Camino Real,” “Emperor’s Clothes,” “Carnival,” “Cusine des Anges,” “Mile High,” “Picnic,” “Room Service” and “Where Late the Sweet Birds Sang.” In a few instances, the associate producer has apparently acquired that ppsitipn through holding the rights to the script, or for some other reason other than access to investment coin. But generally the associate deals and even co- producer combinations are strictly financial arrangements. On Borrowed Time (ALCAZAR, FRISCO) San Francisco, Dec. 304 TTie'-RiciTarn -Krakeur-^attd—Ran- v dolph Hale production of “On Bor- rowed Time” at the Alcazar has not lost an iota of its charm and poignancy in the 15 years since it first saw the light of day on Broad-* way. It still holds its audience, still looses the tear ducts. It is a remarkably undated revival. Moreover, superb performances by Victor Moore as Gramps and David John Stollery as Pud again elevate the vehicle to hit stature, with the supporting artists, includ- ing Leo G. Carroll as Mr. Brinks and Beulah Bondi as Granny scor- ing with trenchant performances. Melinda Markey, Russell Hicks, Kay Hammond, Thayer Roberts, Michael Jeffrey and Larry Barton all handle their chores with in- fectious feeling and understand- ing. This is an exceptional offer- ing of a worthwhile play. Moore is notable in his role as „he beloved old man who con- founds death in the defense of his grandchild. His pinpoint timing, brilliant understatement and com- plete identification with the char- acter role, brought him a warm audience reaction opening night (29) that" was sustained throughout his performance. There wasn’t a moment when Moore and Gramps were not one and the same person. Young Stollery’s. portrayal was equally convincing. Direction by Demetrios VTlan was effective in all phases. Ted. Pal Joey (BROADHURST, N. Y.) When Helen Gallagher left the cast for the title role assignment in the forthcoming musical, “Hazel Flagg,” the “Pal Joey” manage- ment got a payoff replacement in Nancy Walker. For in the role of Gladys Bumps, the nitery doll who’d do anything for a quick buck, Miss Walker gives the part the kind of humor and vitality more akin, to June Havoc’s charac- terization (in the original 1940 pro- duction) than was Miss Gallagher’s. It’s unfortunate that she’ll be forced to exit the part within the next couple of months due to forthcoming motherhood, as her performance gives the production a distinctive spark. Miss Walker eschews her famil- iar mugging and buffonery style in the development of the part. Her laugh lines as well as her warbling chores are delivered smartly. Her “terping” in “The Flower Garden of My Heart” num- ber is a yock winner and she adds plenty of zest - to '“That Terrific Rainbow.” Production, which is rounding out its first year, remains exuber- ant, with stars Vivienne Segal and Harold Lang continuing * in socko groove. Gros. Guvs and Bolls (HANNA, CLEVE.) Cleveland, Dec. 30. Dice-shooters continue to roll out musical naturals in the touring “Guys and Dolls” company which Charles Fredericks joined at the Hanna Monday (29), taking over the role of Sky Masterson from Allan Jones with generally satis- factory effect. Fredericks had several uneasy moments at the first-night midway mark, when he momentarily lost the rapid-fire rhythm of the role as big-stake gambler. Cuban nit- ery scenes nearly threw him off and he had to sweat it out to catch up with the others. Although using hands woodenly at times, he catches the racy, sar- donic feeljng of the part admir- ably, putting in some light touches of his own. His baritone pipes are agreeably mellow enough to do full justice to the Frank Loesser song hits, while chasing Jeanne Ball, the mission girl. After getting rid of a bit of extra poundage and operetta gestures, Fredericks will be plenty okay. Mike Mazurki, recent addition to the national troupe, socks across broad comedy as Big Julie from Chicago, a trifle better than Slap- sie Maxie Rosenbloom last did in the part here. Pamela Britton again does a far- cical runaway in the brightly- keyed caricature of the marriage- hungry Miss Adelaide, laying down the show’s best ditties with uner- ring sharpness. Julie Oshins as her objective also tightens up the famous floating , crap game as its operator, Mis.s. JBall_ shows--&-ten4eney-to slur high notes in the Havana tipsy scene, hut. looks fetching Technically and talent-wise, this edition usually maintains satisfying standards, which should climb higher after Fredericks gets sev- eral performances under his belt Pull. Current Road Shows (Dec. 29-Jan. 10) “Anonymous Lover” . (Larry Parks, Betty Garrett) — Davidson, Milwaukee (29-3); Lyceum, Minn. (5-10). “Bat” (ZaSu Pitts, Lucille Wat- son)—Shubert, New Haven (31-3); Locust, Philly (5-lOh “Be! Your Age”—Locust, Philly (29-3); Shubert, Wash. (5-10). “Bell, Book and Candle” (Joan Bennett, Zachary Scott) — Royal Alexandra, Toronto (29-3); Grand, London, Ont. (5-6); Erlanger, Buf- falo (7-10). “Borrowed Time” (Victor Moore) —Alcazar, S. F. (5-10). “Call Me Madam” — Forrest, Philly (29-10). “Constant Wife” (Katharine Cor- nell, Robert Flemyng, John Emery) —Selftyn, Chi (29-10). “Country Girl” (Robert Young, Dane Clark, Nancy Kelly)—Black- stone, Chi (29-10). • “Dial ‘M' for Murder” (Richard Greene)—Wilbur, Boston (29-10). “Fifth Season” (Richard Whorf, Menasha Skulnick) — Walnut, Philly (29-10). “Fourposter” (Jessica Tandy, Hume Cronyn)—Cox, Cincy (29-3); Nixon/Pitt (5-10). “Gigi” (Audrey Hepburn)—Har- ris, Chi (29-10). Gilbert & Sullivan (Chartock) — Shubert, Chi (29-10). “Good Nite Ladies”—Nixon, Pitt (29-3); Virginia, Wheeling, W. Va. (4-7); Memorial Aud., Canton (8-10). “Guys and Dolls”—Hanna, Clev« (29-10). “I Am a Camera” (Julie Harris) —Curran, S. F. (29-3); Mayfair, Portland (7-10). “Intruder” (Eddie Dowling, Mar- garet O’Brien)—Shubert, Wash. (29-3); Parsons, Hartford (5-7); Shubert, N. H. (8-10). “John Brown's Bo(iy” (Tyronj Power, Judith Anderson, Raymonc Massey) — Playhouse, Wilmington (2-3); Mosque, Newark (4); Con- stitution Hall, Wash. (5); Lyric, Baltimore (6); Municipal Aud., Nor« folk (7); Mosque, Richmond (8): U. of N. Carolina Aud. Chapel Hill (9-10). “Josephine” — Playhouse, Wil- mington (8-10). “Love of Four Colonels” (Rex Harrison, Lilli Palmer)—Colonial. Boston (29-10). “Maid in the Ozarks” (Bert Wheeler)—Erlanger, Buffalo (29- 31); Shea’s, Bradford, Pa. (1); Er- langer, Buffalo (2-3); Royal Alex- andra, Toronto (5-10). “Midsummer” —> Parsons, Hart- ford (31-3); Plymouth, Boston (5- 10 ). “Mister Roberts” (Tod Andrews) —Robinson Aud., Little Rock (26- 27); Municipal Aud., Shreveport, La. (28); City Aud., Jackson, Miss. (29) ;. City Aud., Vicksburg, Miss. (30) ; Civic, New Orleans (31-4); Aud., Mobile (5); Albany, Albany, Ga. (6); WHVA, Richmond (8-10). “Oklahoma” — Geary, S. F. (29-10). “Paint Your Wagon” (Burl Ives) —Shubert, Boston (29-10). “Paris '90” (Cornelia Otis Skin- ner)—Biltmore, L. A. (29-3); San Diego (5-6); Civic Aud., Pasadena (7); Aud., San Bernardino (8); Lo- bero, Santa Barbara (9-10). “Point of No Return” (Henry Fonda)—Shubert, Detroit (29-3); Hartman, Columbus (5-10). “Shrike”—(Van Heflin)—'Victory, Dayton (29-31); Hartman, Colum- bus (1-3); Cass, Detroit (5-10). “South Pacific” (Janet Blair, Webb Tilton)—City Aud., Houston (29-3); Civic, New Orleans (5-10). “Stalag 17”—Erlanger, Chi (29- 3); American, St. Louis (5-10). “Strike a Match” (Pat O’Brien, Eva Gabor, Richard Egan)—Amer- ican, St. Louis (29-3); Music Hall, Houston (6-8); Texas, San Antonio (9-10). “Top Banana” (Phil Silvers) — Great Northern, Chi (29-10). CURTAIN TIME WITH NANCY" NANCY KENYON Management Assoc.otes—(ACK VAUGHAN —PEGGIE GATES 7 toil SSth Street, Me* York COlumbus 5-0232 Currently LA MAISONETTE CAROL Montreal