Variety (April 1953)

88 LEGITIMATE PUkRIETY Wednesday, April 1, 1953 Seen Benefiting Both in Long Run Latest fhreu'p of managerial re- prisal agaitfst the drama critics, particularly in Chicago and Hart- ford, is running the ‘ usual course. With newspaper editors supporting their reviewers in every case, little permanent effect is anticipated. Some trade observers figure that the situation will, in the long run, have a subtly beneficial effect. However, it’s feared that critical raw nerves and resentment may have unpleasant repercussions tem- porarily. Long-term result may be somewhat greeter understanding on the part of critics toward manage- rial problems and somewhat more careful reviewing. Also, it’s hoped, the situation may lead to more tact on the part of producers and theatre managers in dealing with the press in future. In Chicago, where J. J, Shubert ordered that critics be invited to second-night performances instead of openings, the principal imme- diate upshot has been the decision by the: dailies to purchase tickets for the reviewers to cover first- nights. That will presumably con- tinue indefinitely. In Hartford, where the management of the New Parsons Darred Theodore H. Parker, critic for the Courant, even- on a purchased ticket, the paper Is not covering the shows. With the local season virtually over, no immediate new development Is ex- pected, but it’s figured the situa- tion may be ironed out there by the time the new season opens next fall. | Although there are admittedly i two sides to the question in both Chicago and Hartford, the general feeling in Broadway legit circles is that the situations were unfortu- natly handled. In Chicago, it’s claimed Shubert picked a dubious example in citing “Paint Your Wagon” as having received unfair critical coverage. The show drew mixed reviews on Broadway, it’s (Continued on pagd 92) Helen Hayes Denies Any ' Hartford 'Ultimatum’; Befieves in Free Critics Detroit. Editor, Variety: I note in -your article in the March 25 issue, in connection with the Parsons Theatre-Hartford Cou- rant controversy, that Charles Bow- den (the house operator) quoted me - as saying that in a recent con- versation with him I took offense at Theodore Parker’s review pf “Mrs. McThing” and would never play the territory again. At the outset, I should like to emphatically deny that any such conversation took place recently or at any time in the past. I find the false impressions created by such inaccurate statements to be very disturbing, especially since it lias always been my principle to never expect the press or public to wholly agree with me in the selec- tion of my plays or the quality of my playing. It would be a denial of one of our most cherished free- doms if I did. I am reminded that Mr. Parker gave our play two reviews while E laying in Hartford. In the first e furiously scored the play,^ but In the second review he completely reversed himself and found it most enchanting. I surely couldn’t quar- rel with anyone who displays such honesty and courage. May.I again stress the fact that I believe Mr. Bowden was undoubt- edly confused when he attributed such statements to me. Helen Hayes. j LVille Amphi Season Sets 6 Musicals, Leads Louisville, March 31. Lineup of shows for the Louis- ville Amphitheatre season, Juljj 13 through Aug. 23, has been set. Musicals and leads engaged to date are “Kiss Me Kate," with Patricia Morrison, who originated the role; “Sweethearts," Gil Lamb; “Fire- __ _ n. i !Jly,” Robert Shafer and Lois Hunl; To fi-Year Albany Stock ; “Louisiana Purchase," Billy Gil- IU U ACdl nnmuy . bert; « C all Madam"; “Gentle- Albany, March 31. : m en p re fer Blondes," Kyle Mae- A six-year presentation of stock; Donell. in Aibany—after the city had been ] Denig DuFor will be back for his without live theatie for ! eighth season as executive pro- 1 ducer. Edward Clarke Lilley will amL-SL i stage productions aqd.WUliam Hol- Atterbnrys Write finis Show Finances Atterbury and Ellpn Hardies <Mrs., brook will return as choreographer. ■ Ed Hunt wiu be back fQr his third .JnnotLnrtne at the Colomal ; season as musical and choral di- The Atierburys had staged 71 "»*> «j£ W ^ ne wiU again productions, employing 106 pro-, a g 1 fessional actors and 46 local musi- cians and singers, since they opened with “My Only Love" at the downtown Playhouse in Octo- ber, 1947. Couple invested close to $230,000 in the purchase of the old Capitol and its conversion into a. modern theatre; Recently de- molished, the site is now a parking lot. Atterburys will go to California j for a vacation, with their three children,* and may take up per- manent residence there. They op- erated the Tamareck Playhouse (strawhat) at Lake Pleasant before World War II. Rossini’s ‘Cenerentola’ (You Pronounce It) Has Sock Revival in N.Y. Rossini’s comic opera, “La Cenr erentalo” (“Cinderella," to you), which hadn’t been done in N. Y, for almost 125 years, had a sock revival by the enterprising N. ’Y. City Opera Co. at City Center, N. Y., last Thursday (26). Full of pathos and humorous situations, studded with fine solo and ensemble music bits as well as a lilting running scotf&; opus had a delightful presen- tation by a fine, young bunch of artists who could act as well as sing. Comply wasn’t overdone (as at the Met) under the skilled stag- ing of Otto Erhardt; picture-book sets of Roubenter-Arutunian were ! eye-catching, and overall musical direction of Joseph Rosenstock niade 1 proceedings hum. Opera is a little slow and old- j hat. It’s also difficult to cast be- cause of its singing demands. It calls for a mezzo-soprano with a colortura flair, and it got it last week in comely Frances Bible, who sang the lead role with great skill, tonal beauty and style. She got excellent support. Riccardo Man- ning, onetime Met tenor, made an impressive Prince, though occa- sionally straining for a high note. Basso Richard Wentworth was hilarious (as well as highly accom- plished vocally) as the mean step- father. Laurel Hurley revealed a high-grade soprano coloratura as one of the stepsisters, and Edith Evans was good as- the other meanie. But George Gaynes stole the spot as the valet disguised as prince, in an ingratiating comic as well as singing performance that was a treat. (He’s on leave for the spring opera season from the Roz Schildkraut May Do ‘Gynt’ Gabber Joseph Schildkraut. who played the title role in the Theatre Guild production of “Peer Gynt” in 1922-23, is being sought to repeat the assignment on tour next season in a dramatic reading of the Ibsen drama, with an orchestral back- ground of the Grieg score. The production, being planned on the Coast by Charles M. G. McLellan, of NBC, would have a cast of seven or eight names, each playing several different parts. Local symph outfits and smaller orches- tras in various cities and towns the show played would be used to provide the accompaniment, but on dates where no resident musical group was available the troupe would carry its own unit Of seven instrumentalists. Schildkraut has several alternate legit prospects for next season, in- cluding a possible revival by Albert Marre, perhaps at the City Center, N. Y., of “Measure for Measure.” He’s also considering a new com- edy, “Angelica," by Ronald Alex- ander, author of “Time Out for Ginger,” and a play titled “Diary of a Scoundrel," adapted from the Polish. ‘OKLAHOMA* (As of Jan. 31, *53) * * Original investment $90,000 Gross for last five weeks on tour ..,. 146^719 Profit for last five weeks on tour... 14*685 Total profit to date 5.31L52Q Less undistributable items (film rights, $20,000; London company expense, $3,006; cash reserve, $20,000) 43,006 Recently distributed profit 20,000 Tot^l profit distributed to date . 5,236*400 Balance available for distribution. 32^1 14 (Note: The Theatre Guild production opened March 31, ’ 43 , at the St. James, N. Y., and ran 2,248 performances on Broadway still the record for a musical. Except for summer layoffs, at least one company has. been playing ever since, with productions in many foreign countries. The Rodgers-Hammerstein musical’s 10th anniversary was celebrated last night (Tues.) at the National, Washingtpn, where it is current.) Inside Stuff—Legit Although the gross for “Porgy and Bess," at the Ziegfeld, N. Y., last week is reported as $$19,900, the receipts were actually $7,980 more than that. Explanation is that the revival, a non-profit presentation by Blevins Davis and Robert Breen, retains the 20% Federal admis- sions tax. It shares with the house on basis of the net amount (that is, minus the tax) and pays royalties on the same basis. But because the enterprise is non-profit, the production keeps the 20% margin. Tickets for the show list the price ($6 top) and carry a statement im- mediately below, “Tax exempt." Without that explanation, on the ticket, the show management would presumably have to share with the house and pay royalties on the basis of the total amount, since in that case the price would officially be a straight $6, with no theo- retical tax involved. But under the present setup the price is figured as $5, with the show retaining the extra $1 normally remitted to the Government. Odd angle of the situation is that Billy Rose, owner of the Ziegfeld, announced some months ago plans for a non-profit entertainment foundation at the Ziegfeld. However, he never actually obtained Gov- ernment sanction for the project, and still operates the theatre on a commercial basis. Backers of “Horses In Midstream," the Gilbert Miller-Donald Oen- slager production opening at the Royale Theatre, N. Y., tomorrow (Thurs.), include Oenslager, $4,200; press-agent George Ross, $900; his associate Madelin Blitzstein, $300; choreographer Hanya Holm, $600; theatre owner-investor Howard S. Cullman, $2,400; Actors Fund prexy Walter Vincent, $3,600; United Paramount Theatres prexy Leonard Goldenson, $2,400; John E. Waters, representing Lee Shubert, $7,200; Mrs. Edward Kook, wife of the head of Century Lighting, $600; theatre exec Louis A. Lotito, $1,200; bandleader Meyer Davis, $900; legit producer Elaine Perry, $600; actress Dorothy Patten, $600; theatrical attorney Jesse Moss, $1,200; songwriter Irving Caesar, $1,- 200; costume designer Helene Pons, $600; talent agent Mrs, Francis Head, $1,200 and Jane Ann Choate, daughter of general manager Edward Choate, $1,200. Production was capitalized at $60,000 with- out provision for overcall. General partners are Miller, Oenslager, Cedric Hardwicke and Andrew' Rosenthal. Rosenthal, who authored the play, reportedly supplied considerable backing, hut through one or more unspecified representatives. He’s also understood to be put- ting up the coin to cover out-of-town losses that have taken the show over the budget. Russell legiter, “Wonderful Town,” j f™* where he nlav* the «F 10r _ e *. ? W0 . ? ai . a uiey WOUld gO less. Theatre Junket to N.Y. Gets Ohio’s Okay; Seen Local Legit Hypo Columbus, O., March 31. The Columbus Citizen’s second annual theatre party, which re- turned last week from a week’s trip to New York, has proved as boff a success as the original junket a year ago. Norman Nadel, sheet’s drama critic and host on the tour, which attracted 250 persons (as against last year’s 75); got some in- im? eS ha!f o? th^Dm'U^o^the^re ' Mary Morris, Broadway actress now on a year’s leave of absence wU ® P * ; from the faculty of the Carnegie Tech Drama School in Pittsburgh, is directing what virtually amounts to a Tech Alumni Assn, and also starring ih a production of ‘The Trojan Women,” by Euripides, for a single performance Sunday (5) at the Community Church of New York. It’s a benefit for the church and the Actors Fund. Among ex- Tech students in the company are Mitchell Agruss, Collette Crawford, Hermine Dubroff, Angela Paton, Susan Willis and Nancy Wickwire. Miss Morris also staged ‘The Trojan Women” at Carnegie Tech last year. N. Y. Times drama critic Brooks Atkinson, class of 1917 at Harvard, is one of eight nominees for director of the Harvard Alumni Assn, this spring (four to be-chosen). Biog sent to alumni on the reviewer reads: “Justin Brooks Atkinson, ’17, L.H.D. (Williams) *41, of New York City. Journalist with N. Y. Times. He is a trustee of Antioch College, director of the American Theatre Wing and former secretary of the American National Theatre and Academy. Served as war cor- respondent in China, 1942-44, and news correspondent in Russia, 1945- 46. Awarded Pulitzer Prize in journalism for his report on Russia, 1947. Among his books are ‘Skyline Promenades’; ‘Henry Thoreau, Cosmic Yankee’; ‘The Cingalese Prince’, and ‘Once Around the Sun.* Associate editor, Harvard Alumni Bulletin, 1920-22." turn home. Approximately one-third of the group had never been to New York before, and half of them had been there occasionally. Nadel asked them if the theatre party will in- fluence. their attendance of the theatre at home. Thirty-four said v a i j r i c> iwu aaiu uicv wvuiu. gu icoo, mag editor 1 ) 1 3 th ™ 1 1 d ° f ' and 49 said tbeir attendance would With addition of a hilarious sec- ond-act ballet bit that mocked Gre- cian dance, “Cenerentola" scored a hit. Too bad it’s in the Center repertoire for only two more times this season. Avant-garde outfit can \ stand a few more of these delight- ful antiques for balance and va- riety. Bron. ‘5TH SEASON’ GETS INTO THE MONEY “Fifth Season,” Sylvia Regan comedy at the Cort, N. Y., is now In the black. The Menasha Skul- nik-Richard Whorf starrer has re- paid $30,000 to the backers and has $35,000 balance, including Sl#,000 cash reserve and $15,000 in bonds. The venture was capi- tated at $60,000. Production cost was about $40,- ). There was a $5,500 profit on !• tryout, and the show has been Inf near-capacity grosses, with weekly operating net of about 1,000 aince opening Jan. 23 on troadway. Shows in Rehearsal Keys: C (Comedy), D (Drama), CD (Comedy-Drama ), R (Revue), MC (Musical Comedy), MD (Mu- sical Drama), O (Opera). Evening With Will Shakespeare (D)—American Shakespeare Festi- val Foundation, prod.; Mary Hun- ter, dir.; Basil Rathbone, Faye Emerson, Eva Le Gallienne, Mar- garet Webster, John Lund, Viveca Lindfors, stars. Masquerade (C)—Ben Tomkins. Alvin Cooperman, prods.; John Larson, dir.; Veronica Lake, Charles Korvin, stars. Me and Juliet (MC) — Richard Rodgers, Oscar Hemmerstcin ?d, prods.; George Abbott, dir. Men of Distinction (C)—Chandler Cowles, Martin Gabel, prods.; I Gabel, dir. be the same as in the past. All but two of those interviewed by Nadel said they would be inter- ested in making the trip again. Both of these were old people who said they were glad they came, but once was enough. Comments were all highly favorable. A Bellefon- taine woman said, “It’s worth a lot just to have your seats reserved I for you.” Another woman said,! “Versatility of planning and the variety of the trip would be impos- sible for an individual to arrange at that cost.” Attitudes toward New Yorkers ; differed widely. One said, “It! takes something like this to make you appreciate the friendliness of Columbus people.” But another found Gothamites “mo§t gracious.” The Citizen offered its readers train transportation to New York, hotel rooms, tickets to “Wonderful Town,” “Wish You Were Here,” “Dial M for Murder” and “Love of Four Colonels,” plus “Ciner- ama," trips around New York, to Radio City and to the UN, for $99.50, “Wonderful Town” was first choice as top attraction among those interviewed. “Cinerama” was next popular. The trip to the UN buildings rated third place. Souvenir booklet issued by British producer Emile Littler in con- nection with his current London hit, “Love from Judy,” is unusual in that it includes a list of all his presentations, flops as well as hits. Including his touring editions of shows originally produced in the West End by other managements, the lineup comprises 37 successes and 26 failures, besides 12 annual pantomimes in London, hut exclud- ing 50 similar shows in the British provinces. Striking angle of the booklet is the inclusion of a quotation to the effect that success is generally due to persistence rather than talent, genius or education. Current Stock Bills (March 30-April 12) Anna Russell to Star * In Canadian Revue Anna Russell, concert comedi* Aroimd We Go — Playhouse, enne who made a. splash last sea- Houston (8-12). ; son and this with her full-evening Bell, Book and Candle (Victor' show of takeoffs on longhairs, has Jory)—Palm Springs (Cal.) Play- been sighed for her third Town house (31 : 5) Guardsman Hall, N.Y., appearance this year, (Zachary Scott) —] on April 23, as a benefit for the Bermudian, Hamilton, Bermuda (7-! Third St. Music Settlement 12). j Singer, who made her first Frisco Late Christopher Bean (Betty I appearance March 3, was immedi- - _ * I _ 1 1 1_ ^ .1 1 1_ — — i-.. m reAf*A Field)—Bermudian, Hamilton, Ber- muda (31-5*. ately booked back for two more dates, April 6 and 7. In May, she’s Late Edivina Black—Playhouse,! ‘°. sta f, ‘ n « U “ e ?JlfKv Houston (30-6). I produced locally b> On Your Toes (Patricia Bowman, Gcorgie Tapps)—-Paper Mill, Mil- bum, N. J. (6-12). the Canadian National Theatre m Toronto. Singer, who’s handled by East- Play’s the Thing (Magda Gabor) man Boomer, of Columbia Lecture —Quarterdeck, Atlantic City <6-12). | Bureau, is* also being readied for a Shadow and Substance — Dobbstour of the b31ns this suihmer. Ferry (N.Y.) Playhouse (4-5). I heading a revue package.