Variety (January 1953)

56 IJEIZITIMATK PZEffifr Wednesday, January 25, 1953 Xoadisiouc Philadelphia, Jan. 22. Elaine Perry presentation^ of drama in two acts (six scenes) by William Stucky. Features Ian Keith. Ossie Davis. Josh White. Jr.. Paul McGrath. Directed by Hale McKeen. Setting designed and lighted by George Jenkins. At Locust St. Theatre. Philadelphia. Jan, 22, 53; $3.90 top. Aunt Emma Evelyn EHis Dr. Joseph Clay Ossie Davis Cathy Roberts Patty McCormack Jimmy Clay Josh white, Jr. Maj. Robert Spaulding Ian Keith Dr. Gwendolyn Tallafero .... Ann Dere Rev. Ronald Thompson .... Guy Arbury Langdon Spaulding Paul McGrath Charles Tutwcll Carl ■ Low Easily top competitor so far dur- ing this 1952-53 legit season in Philly in the field of straight drama is this first play by a Louis- ville newspaperman. “Touchstone’ came in here quietly and without fanfare, hence fitting into the role of a sleeper, with the first-night audience giving it a rousing hand. “Touchstone’ 7 has, with one pos- sible excepHDn, honestly and log- ically motivated"* characters, and they do-and say, for the most part, just what these men and women "might be expected to do or say. Primarily, “Touchstone" is a story of one person’s deep and abiding faith and the reactions of other and supposedly mature minds to that faith. Putting it an- other way, it is the story of a minor miracle that all but disrupts a community “somewhere in the horse country of the Upper South” (presumably the author’s home state of Kentucky). Action all takes place in the home of Maj. Robert Spaulding, middle-aged, practical-minded member of the ^ horsey gentry, whose greatest pride and joy is his tiny orphaned granddaughter. In the household also is Jimmy Clay, young Negro aind son of a kind of ward of the major, who has become a prominent doctor in a nearby city. It is Jimmy who has the faith and Jimmy who is responsible for; the minor miracle when he announces to the ’grown- ups that he has had a series of visions in which “a lady” appeared to him arid talked to him. Among her messages, according to the boy, is one that the stream which borders the town and is commonly reputed to be polluted has not. only been cleansed but now pos- sesses curative and miraculous powers. In the midst of this, the tiny granddaughter is stricken with virus and is near death. In a tre- mendously moving scene her affec- tionate playmate, the Negro lad, carries her out ot the house and would have immersed her in the stream if the minister had not in- terfered. The child’s death—not, however, caused by the small boy’s actions—leaves tne major heart- sick and bereft, but in a compas- sionate and moving final scene, he, unbeliever as he is, tells Jimmy to keep his illusions and his vision with the beautiful lady. Jimmy and his father, are to leave for the city but there is. no bitterness nay more. Hale McKeeri has done an ace job of direction—easily the sea- son’s best seen here, The cast, too, is very much on the credit side. Josh White, Jr.,* does a remarkable job as the little colbred boy, Jimmy, and it’s an arduous role. Tan Keith is effec- tive and wisely chosen as the major and Ossie Davis is dignified and imnressive as Jimmy’s father, noted Negro doctor. A femme doc- • tor — a particularly interesting character—-is well played by Ann Dere, and Evelyn Ellis as an old mammy, little Patty McCormack as the granddaughter and Paul McGrath as the major’s politically- minded brother, all stand out. It is not McGrath’s fault that he is probably the play’s weakest char-! acterization. George Jenkins’ set, 1 with its sporting prints, pictures of race horses, etc., is extra good. Waters. strangely quiescent production falls completely flat, with an end- ing which is—^to put jt mildly— incomprehensible. The potentials for a good play are contained in the plot—ideal- ism-pacificism-poverty vs, .tqtali- tarianism-brutality-wealth — 1 and in fine performances by Le^ J. Cobb, Maureen Stapleton ', and young Brandon de Wilde. The story is of an idealistic for- mer schoolmaster (Cobb), who has turned to proofreading American cowboy novels fo support his neu- rotic wife (Miss Stapleton) and their precocious 10-year-old son (de Wilde). The setting is Buda- pest, 1930, when the police state was forming. The imaginative son’s wild tales, combining his father’s former heroics as a fiery liberal speaker t and the adventures of American cowboys, gets the father in trouble with police, who suspect him of plotting against the state. The father is completely cowed by the police and is willing to do anything to win their mercy. He would even have his son com- mitted to a mental institution in order to save his own neck.. Yet, at the-end, the father returns to his home, beaten and soaked in blood, with the startling announce- ment that he has regained his idealism and.courage and had de- fied the authorities. The family is reunited as the curtain, descends. Antliony Ross is effective as Cobb’s brother, who maintains his liberalism despite all threats. Es- mond Knight is nicely cast as the aristocratic rejected suitor. The two parts which could be elimi nated without affecting the plot are those of Granny (Tamara Day- karhanova) and Mrs. Schmitz (Nydia Westman). < ' Tew. on Hugh Beaumont, general man Tlic Crucible < Kermlt Bloomgarden production of | drama in Prolog and three acts by Ar* ager Of the London production firm. H M;Tennent Ltd returned to England last week after a sue- Lutyens. At Martin Beeka N. Y., Jan. 22 , cessful" business trip to New York. «£» ,*$. « e Satartw night, ’’successful” being, in avoiding Betty Parris Janet Alexander «£ and V. day at tne Irene J>eizniCKOnice ana Ab j ga u Williams ....Madeleine Sherwood at night at his hotel . . . The Amer- Susanna Wallcott Barbara Stanton irfln National Theatre & Academy Mrs. Ann Putnam Jane Hoffman wfll sponsor the forth coming sea- SS-S son of the Touring Players, headed Mary warren ..Jenny Egan ¥ fo'ihfstli Make and Pep Mur- Jdhn Proctor Arthur Kehnedy Dy lilzaDCtn CiaRC ana ^ g jli r Rebecca Nurse Jean Adair ray . . . Billy Rose Will be a major Giles Corey Joseph Sweeney investor and is helping raise the Rev. John Hale .e. g. Marshair finanninff -for “Pamival ” the mil- Elizabeth Proctor Beatrice Straight financing ior uarnrvai, ine mu Francls Nurse Graham veisey sical version of Carnival in Flan- Ezekiel Cheever Don McHenry son; Raymond Bramley ,is skill- fully avaricious as a churchman not above profiting by the victims' plight, and Joseph Sweeney is ac- ceptable as a talkative old duffer who turns out to combine shrewd- ness with indomitable courage. Boris Aronson’s scenery sug- gests stark New England sim- plicity with an ominous atmos- sphere, and Edith Lutyens’ cos- tutmes seem appropriate. Pro- ducer Kermit Bloomgarden ap- pears to have a major hit in “The Crucible.” Hobe. ders.” which is Ziegfeld, N. Y. Because -of the theatre shortage there, Tom Arnold and Jack Hyl- ton have postponed their London production ?of “Pal Joey” from March until next September booked for his John Willard George Mitchell Judge .Hawthorne Philip Coolldge Deputy-Gov. Danfortli ..Walter Hampden Sarah Good Adele Fortin Hopkins ...Donald Marye “The Crucible” .is a powerful, gripping and arousing play. The The Fourth Degree Baltimore, Jan. 20. Harald- Bromley production of drama in three acts by Jane Hinton, from novel by Eleazar Lipsky. Stars Chester Morris, HaUa Stoddard. Directed by Bromiey. At Don Swann's Hilltop Theatre-in-the-round in the Sheraton Belvedere Hotel, Balti- more, .Tan. 20, 53; $3.20 top. Alice WUliston Haila Stoddard Rose Molnar Josephine Shyers Captain Benjamin ... Donald McClelland Jack Thomas Mallory Captain Mullaney ....... James Gregory Nick Lucca Martin Rudy Tom Corwin Sergeant Denver Hal Winter "Sergeant Leibowitz James Byrd Esau Frost Chester Moms Henry Pollock Angus Cairns Saul Mendelsohn Jesse Jacobs Doris Quimby Elaine Swann Mrs. Salerno Penny Santon Jimmy Salerno Warren Lee Terry Frank Albany Sidney Plotlan Lucius Buckmaster Vaughn Taylor Mather John O’Shaughnossy Kerrigan George Jansson Seals! V Ken Calfee Hacker O. Tolbert-Hcwltt Herman Bernstein, general man- Arthur Miller drama about the ager for Leland Hayward, planed witch-scare and persecutions in to the Coast and back last week to 1692 Salem held its first-night au- look over theatre facilities for pos- dience at the Martin Beck last sible use of the onstage swimming W eek enthralled, and it drew ap- •pool in an Edwin Lester produc- piause and cheers after the prolog tion of ‘‘Wish You Were Here” . . . and each act, with a genuine ova- An exhibit of scenic designs by t i on a t the final curtain. Aline Bernstein will be held Feb. It should be a substantial run on at the 'Kaufman Art Gallery Broadway and: is a prospect for the of the YM & YWHA, New York. road, although its four sets and Whatever happened to the Alan large cast will be limiting factors. Jay Lemer-Frederick Loewe musi- Also, it is a “tough” play, a relent- cal version of “Pygmalion” that less drama that forces an audience the Theatre Guild announced for to face unpleasant facts. Despite production this season? . Peter it s suspense and story strength, it Harris has taken over as the un- i s unlikely picture material, at dergrad; editor in “Male Animal ” least in the current atmosphere of succeeding John Gerstad, who left Hollywood, but it may conceivably Monday (26) for. London to repeat- be filmed at some future time. originai staging Jor the West “ The Crucible” is tha sort of End edition of “Seven Year Itch” pIay tha t will (and, indeed, already ; . Joe Shea winds up Saturday has begun to ) provoke lively dis- (3D as advance man for “Mister . cussi on and perhaps controversy. Roberts, ^ which ends its tour Feb. jt is not light entertainment for 7 m wasnmgton. diversion seekers, but a remorse- Kyle MacDonnell plays the lead less story that stirs an audience in the touring “Gentlemen Prefer to an almost hysterical pitch and Blondes,” under management of sen ds them from the theatre to ex- Manny Davis, Allentown (Pa.) pro- change excited - ideas and argu- ducer . . . Anne Sloper has been ments admitted to overall membership in Thfe play is a -hit of history set the pressagent chapter of the Assn. on the stage. Although it has ob- of Theatrical Press- Agents & Man- vious application today, it appar- agers, and will do the advance for ently avoids distorting historical the N. Y. City Ballet . . . The Hot Air Club will hold its 54th annual midwinter meeting Feb. 7 at the Lambs* N. Y. Margaret Webster will direct and co-produce with Walter Chrysler, Jr.,. fact to suit any particular political slant. None of its characters mounts a soapbox or harangues the audience. But just as in “All My Sons” and ‘Death of A Salesman,” Miller r.,. “On Earth As It Is never sidesteps an issue or a big in Heaven, Eva Le Gallienne s scene, so the play gets to the guts adaptation of the Richard Thiber- ger-Jean Mercure current Parisian of the witch-hunt evil, and when the characters are embroiled in The Kinpefi’or’s Ckihes Detroit, Jan. 23. Robert Whitehead production (in asso- ciation with Playwrights Co.) o£ divma. In three acts by George Taborl. Scars Lee J. Cobb; features Maureen Stapleton. Bran- don de Wilde. Anthony Ross, Esmond Knight. Directed by Harold Clucmau. Settings by Lester Polakov: eo-tumes, Ben Edwards. At Wayne U. Theatre, Detroit, Jan. 23, '53; $3.60 ton. Elek Odry Lee J. Cobb Bella Maureen Stapleton Ferlke Brandon tie Wilde Peter Anthony Ross Granny Tamara Dayk?.rhan»v,< The Baron Esmond Knighi 1st Rottcnbiller Brother . .Michael Strong 2nd Rottcnbiller Brother Mike KeJlin Fat Hugo Philip Rodd Mr. Schmitz Howard H. Richer Mrs. Schmitz Nydia Westman Man Without Shoes David Clarke Boy Richard Case Neighbors. .Janet Brandt, Frances Brown Milkman .. Alan Rich Policeman John Anderson There This is a murder mystery with a Freudian twist, to point the zeal for justice in the heart of an altruistic assistant prosecutor up •against an ambitious boss who Wants convictions and publicity above all else. In the short stretch of rehearsals accomplished for the limited projection via arena pre- sentation here, it doesn’t come off. Chester Morris, as the well-mean- ing assistant district attorney, re- sorting to actual reading from a script in several scenes, doesn't build a believable characterization, and most of the rest of the parts are stereotyped cop-and-robber guys. * Much more secure in the femme lead is Haila Stoddard, whose husband, Harald Bromley, directed with aim toward Broad- way production. ’ She knows her lines and manages te-make her part Count up, but it’s going to take a major job to whip it all into pay- dirt. It’s a story of a nice gal on the rebound from an unhappy child- hood and marriage, gone careless and promiscuous in a Greenwich Village apartment, and now hav- ing* an affair with an underworld bigshot. In a drunken rage, fearing the loss of her last , hold on respectable regard and honest af- fection, she kills an old friend who stumbles on the affair. The district attorney wants ac- tion, The linger is on the gal; but (Continued on page 58) , hit, with Victor'Francen as star conflict, their passion is aroused • • ** e t er ni T k as f cc l uire d To and they say what they me&q and Charlie, with Love,” by Press- feel with vehemence agent Peggy Phillips, and plans a le EvS so “The Crucible” has Production wuth Richard som e serious limitations, both as Whorf staging and James Dunn drama and boxoff i ce dr aw. For l ea ^ ,Ken * Pai S Cr » one thing, it is overwritten, nota- ooensFeb 5 f at Jan® Hus 1 House bly in the Prolog. More important, N Y. The triple-bill will include the P la y seems t0 be the.expres “Star Minded,” “A Cup of Tea” and “Once' Over Lightly.” Jack. Sclilissel is Kermit Bloom- sion of an idea rather than the story of any single person. It is the story of one person, admittedly, but somehow that person gives the ^H sll ?, ess .. ,* na J? ager „ 011 impression of being primarily the The Crucible, with, Sam Han- representation of the author’s de.sman company manager, Jim thesis, rather than an individua Proctor pressagent, Merle Debus- jjj b j[s own right key associate, Maxine Keith radio- It is as though MiUer first had tele rep, Del Hughes pioduction the theme of the play, and then S £ a f e T^ eo ?f r ™ ^ a * nclc created his leading character to s !" a ® e . mai ? a ^ er ’ ^ on 3ld Marye as- personify it. So the hero doesn’t Q uite become £n independent en- JJJjL tity 011 his own - Thus, while the story dramatizes how an innocent maii * convicted of witchcraft, re- Beriidc^a^istant^^o^^fae^'^jled fuses to g0 throu Sh with a false Turrit ^ Annl r confession to save his life, the tive secretary for Bloomgarden. Prmciple involved seems almost as a j lve an ^ persona i as the man Beverley Bozeman takes over “The Crucible” i<? admirahlv next Monday night (2) as" Gladys produced. Jed Harris has staged Bumps in “ p al Joey.” succeeding the pIay forcefully, although oc- Nancy Walker, who is withdrawing cas i on al scenes do not come 'over hnnH ,JSe ml w ‘ tb complete clarity, and a few n? le . h £ o1 ': of the setors revert every now and then to stereotype mannerisms, wno withdrew for her a _ xt.. l _i.._ starring assignment in the incom- ine “Hazel Flaee ” June Havoc Persecution (which the author played the part in George Abbott’s tla" original “Joey” production in 1940- a*P ersonal malice and 41 », . A news release from ANTA Sreed), Arthur Kennedy gives per- yesterday (Tues.), about establish- mos t Positive, expressive ing a resident acting company in P^ r f, ormance his career thus far. New York, must have been written Walter Hampden is properly ruth- by the sapie guy who worded that } ess as . a self-righteously aveng- wartime 'notice about the “illumi- m 6 judge without saving doubts nation is* required to be extin- of his own wisdom, guished” . to- Joseph T. Shipley, Beatrice Straight is touching in drama critic for the New- Leader the somewhat inarticulate and not mag, who also reviews Broadway entirely plausible role of the shows for radio station WEVD, martyr’s wife; E. G. Marshall is New York, will now be heard lucid as the zealous preacher who Tuesdays-through-Fridays, discuss- realizes too late the holocaust he ing books and plays on non-pre- has stirred up; Madeleine Sher- miere nights . . . The New Drama- wood, who replaced Cloris Leach- tists Committee will have a staged man during the tryout, is expertly.. showing Feb. 11-12 of Norman malignant as the accuser who was . p Y, 0IT ^ s , e \ as ! N. Y. C. Drama Co., prod.; Albert j Lessing’s “Citizen,” at' the Palm sends innocent people to the gal- The Emperor s Clothes unfold; d Marre, dir.; Joseph Schildkraut, ■ Garden, N. Y. lows, and Jenny Egan is believably for the first time, that George Meg Mundy, stars. I Robert Colby and Brooke hysterical as an unwilling accom- Tabori s new play would soar to “Certain Joy,” (D) — Kermit ( White announce a forthcoming plice. Also, Jean Adair is superb (irainatic heights. But there was ■ Bloomgarden, Thomas Hammpnd, production of “On Cobweb Twine,” as a saintly victim; Fred Stewart is no fulfillment. The wordy, 1 prods.; Daniel Mann, dir. 1 by Anna Marie Barlow , i effective as a mean-minded par- The Fifth Season George Kondolf production (in associa- tion with. Sherman S. Krellberg) of com- edy in three acts tfive scenes) by Sylvia Regan. Stars Menasha Skulnik and Rich- ard Whorf; features John Griggs, Phyllis Hill, Augusta Roeland, Norman Rose, Nita Talbot, Dick Kallman, Lois Wheeler. Staged by Gregory Ratoff; setting, Sam Leve; costumes supervised by Edythe Gil- fond. At Cort, opening Jan. 23, '53; $4.80 top ($6 opening night). Ruby D. Prince John Kullers Shelly Nita Talbot Lorraine McKay Phyllis Hill Ferelli Norman Rose Max Plncus Menasha Skulnik Johnny Goodwin Richard Whorf Frances Gobdwin Augusta Roeland Marty Goodwin ‘Dick Kallman Miriam Oppcnheiin ........ Lois Wheeler Dolores Dorian Leigh The Redhead Model Midge Ware The Brunette Model ...... Carolyn Block Miles Lewis John Griggs For years Menasha Skulnik has been a star of the Yiddish-speak- - ing theatre, and for years Broad- wayites have been journeying- downtown to Second Ave. to see this broad little comic with the ex- pressive, confused kisser. On Friday night (23) Skulnik repaid the courtesy, for he came uptown in • a comedy by Sylvia Regan called “The Fifth Season,” which debuted at the Cort in a tasteful production by George Kondolf that has been artfully directed by Greg- ory Ratoff, Mostly because of the sock comedy playing of Skulnik, “Season,” which is about the Sev- enth Ave. garment industry, is, to a considerable' extent, an hilarious evening in the theatre, ^ however broad the situations, the jokes and one or two performances. It should be, a moderate b.o. hit. As goes Skulnik, so goes the play, and it’s fortunate he is 1 on most of the time. Ratoff has di- rected the comic apparently in much the same manner that Ratoff, the actor, might well have played the character of Max Plncus, pf Goodwin & Pincus, the tailor who by his hard labors has become a partner in his own wholesale gar- ment house. It is a racy comedy too thin to be taken seriously with its almost vaudeville-like situa- tions, with Skulnik the traditional comic and Richard Whorf, as his partner, the very able straightman with a propensity for changing his $150 suits at the drop of a femme buyer. It is a revelation that Skulnik could relegate the broad manner- isms of Second Ave. and play legit as he does most of the time in “The Fifth Season,” which, inci- dentally, derives’ its title, in the parlance of the industry, from the five seasons that govern the gar- ment trade: fall, winter, spring, summer—and slack. In the third act, whe'n the writing has practical- ly fallen apart, Skulnik resorts to some of the sight and sound gim- micks by which Yiddish theatre- goers * recognize him, but they are out of place uptown. He is a very good legit comedian; he should play it legit on Broadway. Specifically, Miss Regan’s play deals with the trials of a garment house that is having its ups and downs. Goodwin & Pincus latch on to a big retailer • with an eye (Continued on page 60) Shows in Rehearsal Keys: C (Comedy), D (Drama), CD (Comedy-Drama), & (Revue), MC (Musical Comedy), MD (Mu- sical Drama), O (Opera)* “Camino Real” (D) — Cheryl -Crawford, Walter P. Chrysler, Jr., prods.; Elia Kazan, dir. “Love’s Labour’s Lost,” (D)— Scheduled B’way Openings V* - , “Touchstone,” Music Box, Feb. 3* “Love’s Labour’s Lost,” City Center, Feb. 4. “Emperor’s Clothes,” Barrymore, Feb. 9. “On Borrowed Time,” 48th St., Feb. 10. “Hazel Flagg,” Hellinger, Feb.ll. “John Brown’s Body,” Century, Feb. 14. “Josephine,” no theatre set, week of Feb. 16. “Maggie,” National, Feb. 18. ^’Misalliance,” City Center, Feb. 18. “Picnic,” Music Box, Feb. 19. “Wonderful Town,” Winter Car- den, Feb.' 25.' . ’ . “Merchant of Venice,” City Cen- ter March 4 . ^ “Certain Joy,” Playhouse, March 5, 0 “My Three Angels,” no theatre set, week of March 16. “Camino Real,” no theatre set, March 19. “Everyman,” no theatre set* March 25 “Masquerade,” no theatre set, April 2.