Variety (April 1953)

90 XJEGITI3IATE P3Bzn£ff Wednesday, April 1, J953 Plays Out of Town The Pink Elephant New Haven, March 26. Eugene Paul and William I. Kauftnan. ! with Blair WaUis<T. production of comedy . in three acts (five scenes) by John G. i Fuller. Features Steve Allen, Howard | Smith? Jean Casto. Bruce Gordon, < wood Hale Broun. David White. Patricia j Barry. Directed by Harry Ellerbe; setting and lighting. Ralph Alswang; costumes. Guy Kent. At Shubert, New Haven, March ZG, '53; $3.60 top. Betty Joel Wesley I Richard Bannerman Bruce Gordon f Jerry Elliot Steve Allen Bellhop Lee Krieger Lee Meredith Patricia Barry Peggy Boyd Jean Castro Herb Anderson Arthur Tell Robert Evans Martin ' r *'rby Gilbert Parker David White Reporter John 0’H"re Henry C. Griffin Howard Smith Ed Glennon Haywood Ha’e T *.r-?in Margie ; Roslyn Valero Waiter .... Jon Richards Unless there's a radical stepping up of pipy values in “The Pink Elephant,” the sponsors will prob- ably find a pachyderm of a con- siderably lighter hue on their hands. Just as pink is a diluted shade of red, so, in its present status, is this one an example of watered stage fare. A three stanza affair, which finally gets going in the j third frame, almost wears out its j battery grinding the starter dur- ing the first two. i Actually, this is not the type of j play that makes too much sense from a story viewpoint Its theme can be dismissed with a mild shrug, which leaves it up to dialog, situr- tions and playing to carry the ba'l. There’s a fair share of talent in each of these divisions, but not enough to swing a favorable de- cision. Nobody can criticize a guy for trying. A man who will stick to writing 11 plays before he finally gets the 12th one produced rates some sort of encouragement. That’s bow things are with John Fuller, author of “Elephant,” His present work shows capability at writing . aniusing lines, creating amusing business and batting out amusing situations. That these qualities don’t add up to a click at the mo- ment is probably due to the fact that they are spread out too thin. Title refers to a somewhat hazy attempt to hang a Communist-lean- ing tag on certain members of the G.O.P. national committee, in ses- sion at a special meeting in Kan- sas City. Theme concerns Jerry Elliot, ghost-writer for a G.O.P. bigwig, who is being challenged for the whiphand in running com- mittee affairs. In the scrivening end strictly for the dough, which he hopes will enable him to buy a boat and sail the seas solo, El- liot'suddenly encounters Lee Mere- dith, attractive young actress, prod- uct of a swank finishing school. After a bit of imbibing, the two wake up in Elliot’s bed, neither knowing exactly what had trans- pired during the night. In com- plications that follow, Lee’s ad- miration for Elliot turns sour when she points out to him that he’s just a literary stooge with no mind of his own. To make the tale come out according to formula, author has Elliott tell his boss off and then quit, only to be welcomed back into the fold under terms more to his own liking. Steve Allen, from TV .and radio, is making his legit bow here. As a vehicle, he might have made a more substantial choice, but as a showcase, “Elephant ’ serves him okay, as it points up his stage presence and ease at tossing off dialog. Patricia Barry, as the young femme thesp, has consider- \ able appeal in her not-too-exciting > role. ' j Howard Smith does a good job as the blustery top G.O.P. commit- teeman; Jean Casto is authentic as Lee’s caustic fellow-trouper; Hey- wood Hale Broun carves a neat niche for himself as a weasel-type concocter of insidious half-truths; Bruce Gordon makes the part of the politician’s right-hand man be- lievable; David White is suitable as the rival committeeman. Single set is an example of standout designing, showing three separate hotel rooms and a hallway all on a Single level. It provides for interesting playing in one, two or three units simultaneously. This factor, incidentally, ‘ puts a neat problem up to the staging, which has been accomplished smoothly desoite inability of room occupants to see* each other. Bone. rib of the poet, Shelley, who was a friend of Peacock), ranges from okay to excellent. Barbara Cum- mings, beautiful blonde with some London West End experience, is a perfectly stylized woman of mys- tery, Other standouts are Ian Fel- lows, another actor with transat- lantic experience, as Mr. Listless; George McCowan, as Mr. Glowry; and Beginald Malcolm, onetime London and Broadway leading man. now living here, as Haven, the Stygian butler. Card. Legit Bits Nightmare Abbey • Ottawa, March 24. Canadian Repertory Theatre presenta- tion of satire in two acts (six scenes), dramatized by Anthony Sharp from novel by Thomas Love Peacock. Directed by Amelia Hall. Set by Basil Armstrong. With William Glenn, Reginald Malcolm. George McCowan. Russ Waller, Lew Davidson. Sam Payne, Ian Fellows, Irvine Lemer, William Shatner, Margaret Griffin, Bar- bara Cummings. At LaSalle Academy, Ottawa, March 21. *53. “Nightmare Abbey” seems a du- bious choice for here. A surprise success in London last year and here receiving its North American preem, play has a heavily literary flavor, except in one very funnv second-act scene.-Tt wouldn’t stand a chance of pulling in general au- dience anywhere, on this side of the water without a big-name cast. Would be okay for university and such specialized audiences, though. Anthony Sharp’s dramatization of what might be called a parody of manners, by 19th-century novel- ist Thomas Love' Peacock, retains huge portions of the book’s dialog intact. Occasional modernizations improve it so much, that more of that treatment might possibly make it palatable to those not steeped, in social .and literary his-: tory, nor familiar’ with the stilted phrasing of that day. Plot brings a mysterious black- cloaked beauty to hide in the tow- er of Nightmare Abbey, a bur- lesque of the stately homes of England. Its hyper-romantic scion finds himself topn between love for her and his former one-and-only, loses both to other men, then threatens suicide’ but reneges. Amelia Hall’s staging is very ef- fective, considering script handi- caps. and Basil Armstrong, former- ly a set designer on several British hit films, catches the gagged-up gloom in his single set, rearranged slightly J or Act 2. Lew Davidson in the lead (originally written as a Within These Gates (LENOX HILL, N. Y.) Sean O’Casey’s “Within the Gates,” a moving drama of the “down and out,” is expressionistic, noncommercial and deserving of better treatment than it receives in the current heavy-handed, con- fused and unimaginative produc- tion by Equity Library Theatre. Direction by Sala Staw seems to muddle^what would otherwise be clear and muzzle s \vhat is eloquent. The actors veer ^between acting realistically and swallowing poetry that .should soar, and acting in a hollow kind of abstractionism that makes sincerity look like preten- tiousness. If there is a new trend in drama towards free form, then this exlubit of “Gates,” written in that form, is a warning that few directors today can cope with non- realism on the stage. Joanne Bqdill is effective about 50% of the time as the castoff young girl, whom a bishop, a dreamer, and an atheist are trying to convert to their respective be- liefs. O’Casey gives them equally good arguments, but the acting is not equal. The dreamer comes off worst, as played by Robert Delano, whose performance lacks . poetic feeling and does not rise to the lyricism O’Casey has written for it. On the other hand, Alfred Sandwina gives a quietly impres- sive interpretation of the atheist/ Champ Reynolds is best of all in what is probably the most diffi- cult role, the bishop, sensitively bringing out both the human and spiritual qualities of the man. There is little of the effect of ensemble performance which this play demands, so the crowd scenes in the park where the action is set are confused. Therefore, Tom Bosley, James Greene. Constance Kelly, and Fritz Weaver are prob- ably better than the caricatures they achieve here. Mary Bell as a depraved old ' woman, the girFs mother, David Elliot as a strolling philosopher, Mary Boylan as a policewoman, and John Morley as a Salavation Army officer, turn in some fine performances. Other as- sets are Allan Grueper and James Carew as argumentative men in the street, but J. Talbor Holland is hardly convincing as a virile^ gard- ener. Lehman Engel’s music is not in- tegrated with the action. Likewise, the dancers are ‘ talented, but choreography by Andora Hodgin is unimaginative; Peter Poor’s set is useful but creates no. mood, while Roger Willis’ costumes are a definite Contribution. Vene. TV comic Steve Allen broke out with a flock of his characteristic ad libs during last week’s break- in engagement of “Pink Elephant” in New Haven. Autho** John Ful- ler reportedly wasn’t too happy about the liberties taken with his script, but most of the gags stayed in at subsequent performances ... William Harris has withdrawn ' as treasurer of the National, N. Y., ; to fill his annual stint at the track, with Anna Hirsch stepping up from assistant to take over as treasurer and Jerry Connell com- ing in as assistant. Jose Ferrer is now talking about Audrey Hepburn to costar as Ophelia in his proposed produc- tion of “Hamlet” next season, per- haps after a tryout at Edinburgh prior to Broadway . . . Clayre Ttib- ner will' be a production associate on “Masquerade” . . . Text of Arthur Miller’s “The Crucible” will be published today (Wed.) by Viking . . . League of N. Y. Thea- tres is again getting complaints about the swarm of mendicants soliciting for “charity” in the Times Square, N. Y., area just -at show time . . . Elaine Perry has acquired “Angry Apes,” by Harry Ridgeley, for fall production on ! Broadway. Stan Brody is pressagenting “New Faces” or tour . . . Walter j Slezak, male lead of “My 3 Angels,” has rented the Ossining (N. Y.) home of Jose Ferrer, who staged the play . , . Sol Jacobson is subbing as associate to press- agent Leo Freedman while Abner Klipstein vacations in the Virgin Islands . . . Playwright Eugene Lerner sails next week for an ex- tended trip to the Continent, dur- ing which he’ll work on two scripts andUo a pilot film for a tele series . . . Dorothy Patten has succeeded Kay Hammond in “On Borrowed Time” . . . Former producer David Heilweil is operating a Bat-a-Ball game in Florida . . . Robert Schnitzer, company manager of “Camino Real,” will be in charge of U. S. attractions at the Berlin Festival next September, for the third successive year. Donald Wolin plans a fall pro- duction of an untitled play by pressagent . James Proctor . . . Beatrice Lillie and Victor Jory will receive awards as the “most coop- erative stars” of the 1952 strawhat season at a Stock Managers Assn, luncheon April 28 at Town Hall, N. Y. r , . . Broadway stage manager Robert Dowling was guest lecturer last Thursday 426) at the U. of Houston. He addressed a theatre course regularly taught by Joanna Albus and William Rozem who op- erate the Houston Playhouse, where his “Around We Go” is be- ing tried out next week. Gerald Savory has resigned as a TV director at station i WOR, N. Y., to return as resident stager this summer of the Playhouse-in- the-Park, Philly . . . Robert Rap- port is general manager, Jack Pot- ter company manager, David Can- tor pressagent of “Pink Elephant” . . . Arnold Sundgaard has been commissioned to write a play com- memorating the 200th anniversary of Williamstown, Mass., being cele- brated this summer. The show will be presented early next fall . . . J. Myles Putnam will be pro- duction stage manager of “Mas- querade.” Alice Venezky Griffin has re- signed as publicity rep for the American National Theatre & Academy to freelance as press- agent and author. Her latest book, “Living Theatre,” will be published April 16 by Twayne . . . Niagara Barn Theatre, Vineland, Ont., opens a 30-week season April 10 with “Angel On the Loose,” new I comedy by Victor Clement and Francis Swann . . . Alan Schneider, resident director of the Arena ! State, Washington, was married last week to Jean Muckle, a non- pro from London . . . Pending the outcome of her anti-trust suit against the Shuberts, Sylvia Seig- ler has circularized members of her Show-of-the-Month Club an- nouncing a return to the 1951 sub- scription rate'hnd asking them to go along With the operation. Mary Haylcy Bell, playwright wife of British actor John Mills, has written a new play, “Foreign Field,” set for tryout early April at Bromley. Her current play, now on British tour, is “The Uninvited Guest,” starring Mills, Cathlecn Nesbitt and Joan Greenwood. Betty Bruce and John Tyers will head the cast in “Up in Central Park,” which tees off the 35th anni season of the Municipal Theatre Assn., at St. Louis with an 11-night frame June 4. . Restaurateur Vincent Sardi, Jr., isn’t a backer of “Can-Can,” but he says he’s got a big investment in it. Owner of Sardi’s restaurant explains that he’s installing a new enlarged kitchen and making other renovations in the establishment counting on the dinner and after theatre trade from the ColePot" ter-Abe Burrows musical due at the Shubert, directly across 44th Street, N.Y., to cover cost of the changes. “It better be a hit” h» remarks. Pressagent Ned Armstrong tak ing over from Carleton Miles nn “Mrs. McThing” in Chicago AorH 6.. .William Tregoe, who did leads with Malcolm Atterbury’s Colonial Playhouse stock* company in Al- bany, N.Y., this season, is sailing April 16 for a six-week tour of Britain and France...Dick Skin- ner to be company manager for “Evening With Will Shakespeare” opening next Monday (6) in Bos- ton. Hurok May Run Continued from page 1 ~— sons. Casino has also lost coin in operations the past four years, and a hypo via ballet, opera and concert attractions at the Opera House, under a world-famed figure as overall director, is seen as anti- dote. If deal goes through, Hurok would prep two six-week seasons at Monte Carlo, at Easter and Xmas time. These would call for presentations by either resident or touring opera and ballet com- panies, plus visiting symphs and solo artists. Opera House has only 550 seats, but is considered a strong culutral shill for patrons, who tiien spend the rest of their time at the Casino dining and gambling. From Hurok’s point of view, the arrangement would permit him to use some of his artists at Monte Carlo (his repping of most of his talent is now confined to the U. S.), as well.as other advantages accru- ing. Setup would only take two months of his time each year. Hurok is in England at the moment finalizing details for visit of Sad- ler’s Wells Ballet of London to the U. S. next fall. Then he goes to France and Monte Carlo. Out-of-‘Town’ Continued from page 89 (Le is also getting a weekly rental for electrical equipment he has supplied). Choreographer Donald Saddler got $2,000 advance and draws three-fourths of 1% plus $100 weekly royalty, while Jerome Robbins got $1,000 advance and Albia Kavan, Saddler’s assistant, got $750 advance. The total author royalties are 9.4% of the gross, but no individual breakdown is shown between original story writer Ruth McKen- ney, adaptors Joseph Fields and Jerome Chodorov, and the com- poser and lyricists, and no author advances are indicated. Scenic and costume designer Raoul Pene du Bois gets $150 weekly royalty. And on the basis of a comparison of different weeks’ .grosses and cast payrolls. Miss Russell gets 10% of the gross. Weekly grosses * and operating net for the tryout tour were $30,- 985 for seven performances in New Haven ($3,109 loss), $43,059 ($2,442 loss) and $42,806 ($489 loss) in Boston, and $44,715 ($2.* 720 loss) and $45,837 ($1,152 loss) in Philly. ADVANCE AGENTS! COMPANY MANAGERS! We have been serving theatrical shows for over 42 yoars. Ours i* the oldest, most reliable and ex- perienced transfer company on th* West Coast! • Railroad privileges for handling shows and theatrical luggage. • Complete warehouse facilities! • Authorized-Jn California . Equipped to trahsfer and haul anywhere in U. SJ • RATES ON REQUEST l Atlantic Transfer Company GEORGE CONANT SOI East 5th Street Les Angeles 12, Calif. MUtUal 8121 or OXford 9-4784