Variety (April 1953)

LEGITIMATE pzmwtr For American Actors in Britain 4 London, April 7. + Negotiations between)Brit\«ty and American Equity to secufe* .joint; agreement on the alien question in both countries move into the third week, ’ with several outstanding points of difference yet to be rec- Wilder Given Credit For Saving ‘Regina’ Sets I New York. Shirley Booth, William Inge, Arthur Laurents, Walter Fried, Audrey Wood and film executive Joseph Hazen will be guests next Monday (13) at the monthly lunch- eon of the Drama Desk, New York legit reporters* group ... Tom Hughes, who collaborated with Mildred Freed on the adaptation of “Hamlet’’ to be played April 26 by Maurice Evans oh N&C-TV, takes a onciled. During the break in tne Editor, variety: leaVe of absenpe as assistant stage confabs last weekend, owing to the There is & fact about the Re mabager 0 f. the touring ‘'Male Ani- Easter vacation, cabled exchanges gma” production, which .was re- mal " f 0 play a bit part on the tele- were taking place between London vived last week at N. y,s. uity cast Chris Anderson, who has and New York for guidance on Center, that I d like very much to severa j projects for Broadway pro- alternatives suggested by the Brit* be known. duction next season, will-operate ish union to the American pro- it is true that I always believed a strawhat this summer at Newton, posals. L that one day “Regina” would be N, J . 9 • . 41 Strict secrecy continues on both accepted and praised and that I Arnold and Mrs. Gurtler, who sides but it’s now understood that wanted to save the sets, costumes, operate Elitch s Gardens, Denver, one of the basic suggestions sub- furniture and props for this time, are ^ summer" mitted by Alfred Herding, who is But it would have been Impossible dent company negotiator for American Equity, is to pay storage on them these past George.-.SJ mSrs) Chwles that .there shouM be much greater years. . o W™fe Su'w lB scope for XJ. S. performers working My associate in the production, P1 * avh0U s e June 23 with “Male in Britain. On this, and on other Clinton Wilder, has a house in Animal” and his Bar Harbor (Me.) ftsues, there is believed to be a pondridge, Conn,, with a horse pi ay house a week later with “Af- division of opinion on the British barn and guest cottage, and it was f a irs 0 f state” 1.. . William J.. Cor- side, and the varying viewpoints of there that they were affectionately nell, pressagent for the Shubert, the Equity executive have also to an( j f re ely stashed avVay sans horses Detroit, will return this sumrper be reconciled. • or guests against the eventful day. for a similar stint at the Cape Play- . Cheryl Crawford. ' ? ' One suggestion advocated by the British organization has been nixed on the American side. This was a in * ’ 1I! A L A proposal that the two unions should. JJ KefillUi illlflS PIlCnG recognize each others cards and * do away with the present high toll charged British artists who work in American theatres. It is thought in London that the payments of salaries house, Dennis, Mass. Maureen Stapleton takes over the femme lead next Monday night (13) in “The Crucible,” subbing for Beatrice Straight, who is taking an eight-week leave to have a baby .. .Theatre terms for “Porgy and Bess,” at the ZIegfeld, N.Y.,‘ call. * the the Marc Blitzstein s music-drama, balance. That amounts to $1,000 Regina,” which had a run, of 56 a week over the orthodox 70-75 In Opera Fold Witb Sock n • l T i A „|Ress,” at tne ziegieia, in.x., Fremiere at tity tenter for the show to get. 65 % of , , gross to $20,000 and 70% of mm tf1«kptrl>Aivi^ rrt 11C1 n_n l'Q 1Y13 r • ^ * a I . a _ et* v five percent of earned made by British artists to U, S. Equity help to keep that union s performances on Broadway m 1949, gharing terms, but is more than accounts in the black. found its'proper niche last week, covered by the fact that the show, There is also, apparently, a re- wb en the N. Y. City Opera Co. put as a non-profit operation, retains luctance on the part of the U. S. ^e work -into its repertory with the 20% admissions tax, which union to drop its present proviso, an exciting premiere at City Cen- came to $8,623 last week. . 1 * T. A <— -1 A. A M A . « • .« J /A \ .. > — « «« .. ■ ^ Which demahds a gap of six months ter> y., Thursday night (2). in between engagements for alien performers. There is a strong feel- ing locally that if this rule is pro- longed, it may become necessary to introduce a similar condition in Britain. In one tangible respect, however, When “Pal Joey'* closes April 18 at the Broadhurst, N.Y., to go on tour, it will have played 431 per- formances, believed to be the long- est run of any revival in Broadway history. ^ .Jerry O’Connell, recent- ly company manager with Shepard Traube's touring edition of “Bell, Based on Lillian Heilman’s drama of a rapacious southern mid dle-class family, “Little Foxes,” with Blitzstein doing libretto as well as score, the work stands up strongly after its fourtyear lapse the n British n u 1 nlOT ^ ls i, displaying'a <» als ° a concert version run- BooF^d Candle?”has blen'eF cooperative approach in the cur- through at. the Y. M. H. A., N. Y., gaged to do general exploitation reTneeotiationS It is paving one- last June). Opus has bite, drive, on “Time Out for Ginger"... half of the expenses incurred by cil , a '?. a 5 n 5,.A a £” f a ^ p i?Jl ra Mande i rancllot has '' ecideci to the -IT. Smntop ih sending Harding JjMSL,. 8 s«cc ss u op' • to London as its emissary. ‘hrming provocative experience Since British Equity’s jurisdic- * tion covers films, radio and tele- t f ie C ei uer s repertoire, vision as well as. legit, prospects Now divided into three acts in u of and change in its rules covering stead of two, and'the gainer there- j u djth Anderson and Raymond the entry of U. S. players there by* the work doesn’t pick up mo- Massey, was recorded Monday (6) concerns not only Broadway, but mentum until midway in the first by Columbia. stanza. Thereafter it moves smooth- Harriet Kaplan, who .was an as- ly, swiftly and powerfully to its S oc<iate of the late producer .Irving conclusion. First act is .somewhat l. Jacobs and was previously with slow and halting—whether in the Music Corp. of America legit de- writing, or staging, is difficult partment, Metro play department to judge-^-although the power is and an assistant to producers Paula there. Away from invidious Broad- Stone and.Mike.Sloane, has joined operate her Niagara Falls Summer Theatre again this season, this time on a limited parnership basis, and will reopen June 22.. .Album edition of “John Brown's Body/' with original stars Tyrone Power, also Hollywood and to a minor ex tent the radio and TV Industries. LURYE TIES UP WITH AGA FOR DULUTH STRAWHAT Jay Lurye,. Duluth concert im- presario, who plans his first season as a strawhat producer this sum- way comparisons with the original the new Robert Lantz agency as a legiter, opera can be judged on its Writer contact ..Charles Laughton will give his evening of readings May 14-15 at' Town Hall, N.Y.,.. Reginald Denenliolz is advance mad for “Evening with Will Shake- speare”.. .The British production of “Seven Year Itch,” with Brian Reece and. Rosemary Harris as own, emerging as a fine music drama, the music in many ways en mer, has been in N. Y. for a week hancing the story. Three music lining up legit connections for his itemS“cut from the Broadway ver- Washington Playhouse, in Duluth. S ion—a blues, waltz and character Before leaving for home yesterday sketch.—help the opera. „„„ „ (Tues.), Lurye signed with Irving ^ before, the music highlights leads,' is now due to open May 13 Strouse’s Arena Guild of America were Eeg f na > s .. I£ You Want,” Bir- at the Aidwych, London. .««5 ep P v on ca stlngs a . book- ^ie's “jjusic, Musjc,” Alexandra's Scenarist-playwright John Rodell t G coo “What Will .It Be” and the idyllic has written a comedy-drama, “The S fn’ thlrd ' act “ Rain ” quartet. .The Brothel'S,” understood to be serrii- .PP® 111 . 11 ® “ u ? e 30» h an 4 . a ^ chorus' denunciation of the Hub- autobiographical. The author’s Equity,setup, of a resident stock b ard family was also standout, brother is a law professor at Yale. •a* g wnn t „ S a n M v m T^v» Dramatically, the second and third-- Theatre Guild is reportedly inter- rLri; o Y w»Sn»r ac ? curtains, with the gay dancing ^ ln i SC whi ch is han- the Charles pWnniQ in thp 4< fraloo ,r a died by Ptiillis Andersoiiy of IVEusic “II Trovatore” opera troupe and ^coUast^"to toe ^ quarreling Corp. of America. Horace and Regina, and the third- . MeCord, drama reporter of act larewell between mother and N. Y. Herald Tribune; will be daughter* were tons. married June 14* to legit*TV ac- Overall good staging by Robert ? ant K * * * S Lewis (who did the Broadway^orig- t 1 ? 01 ® 11 *. $35,000 has been made the Boston Pops Orchestra for his next season’s concert sked. Winnipeg Ballet Visit Duluth, April 7. this month, to appear in three cities unde? sponsorship of Jay Lurye, Duluth impresario. Troupe will appear in Duluth, April 21; Hibbing, April 22, and Virginia, April 23. an auto crash last summer in Mantzville, Pa., in which a truck driver was killed . t . Adding to his already crowded schedule for next season, Jose Ferrer 1 'has acquired the Paris success, “L’Heure Eblou- issante” (“The Dazzling Hour”), ^ --j! •• ^ u^wio \ wxiu uiu vug jljl uau vv cxy ik- ^ - ' _ • , , The Royal Winnipeg Ballet will inal), exceptionally fine handling of f a {2fSe' suit ^against singer- make Its first visit to Minnesota the ordh by conductor Julius RU- actress Caro1 Bruce, arismg from del, but especially the fine casting, helped make ‘“Regina” the success it was Thursday night. Cast com prised an attractive group of art- ists who are £rst-rate Actors as „ „ ^ . . . . well as singers. Brenda Lewis, who ,, • t ^ ur ^ er . hypo interest in bal- sa ng the Birdie .role on Broad- which he plans to adapt, produce iet hereabouts, Lurye has arranged way, portrayed Regina here, in a and direct. ^ three cfties a for use^ra school aut bi !!f ly Ji vi ? ft amatic ftoncteti- Additional money to cover the rU t A.; nixf A AW o zatlon and sterling vocal eontribu- tryout losses of ^'Horses in Mid- afternoons of the con-, tion that were simply sensational, stream” was supplied by co-gener- iSfni f< £*i? ee ”J atinees Priscilla Gillette successfully re- al partners Donald Oenslager, Ced- school children. Musicians union is peated her lyric role of daughter ric Hardwicke and Andrew Rosen- gomg along with the stunt, being Alexandra, and other high-grade thal, not by author Rosenthal alone, paid out of its Recording Fund. Broadwav „ renrises were William as reported last week . . . “The Lurye is standing whatever other expenses are involved. Shows in Rehearsal Keys; C (Comedy), D (Drama), CD ( Comedy-Drama), R (Revue), MC (Musical Comedy), MD (Mu- sical Drama ),' O ( Opera ). Me and' Juliet (MC) —^ Richard Rodgers. Oscar Hammerstein 2d, prods.; George Abbott, dir. Broadway n reprises were William a s reported last week ... “The Wilderman's Horace (Regina’s hus- World of Sholom Aleichem,” dram- band) and William Dillard's Jazz. Ellen Faull made a properly pa thetic Birdie; Leon Lishner, Emile Renan and Michael Pollock were quite good as the two Hubbard brothers and son, respectively, and Lucretia West made an appealing figure as Addle the cook. Sets and costumes were from atized by Arnold Perl from short stories by Aleichem and I. L. Per- etz, will be presented by Perl and Howard Da Silva for three weeks in May at the Barbizon Plaza Thea- tre, N. Y. Pressagent Philip Bloom broke a rib last Thursday at the Met Opera House, tripping over a step in the darkened auditorium while attend- ,, , - uriacucu auunuuum wiine aiieuu- rent i d from iP* o Met audition of N. Y. City Cheryl Crawford. Bron . I Opera Co. soprano Jean Fenn. Wednesday, April 8 , 1953 ; PICNIC (As of Feb,_28, ’53) Original capital $75,000 Overcall received * 10,600 Additional overcall receivable. 4,400 Production cost 66,688 Tryout loss 24,939 Total gross for first week and half on Broadway 38,609 Operating profit for first week and half on Broadway 1,355 Unrecouped cost to date 90,273 (Note: The Theatre Guild-Joshua Logan production, which opened Feb. 19, '53 at the Music Bo% N. Y., had fc gr?-s of $24 t - 979 and an operating profit of $4,177 for its first full v: ’-.) TOP BANANA (As of Feb. 14. ’53) Original capital, including 20% overcall. _ $210,000 Production cost V 194,814 Tryout loss *..... 10,189 Total gross for last four weeks 109,790 Operating loss for last four weeks..... 10,967 . Less reduction in royalties and tax adjustment.......... 8,788 Unrecouped production cost to date.... 52,375 Bonds and deposits 27,630 Returned to backers 148,750 Deficit - •.... 18,755 Due from producers 11,988 m /I t . i n a •» ▼ - (Note: The Paula Stone-Mike Sloane production opened Nov. 1, *51, at the Winter Garden; N. Y., and earned back all but $33,042 of its cost during its 356-performance Broadway run. It has been on tour since last fall.) SEVEN YEAR ITCH (As of March 28. *53) (Note: The^ Courtney Burr-Elliott Nugent production opened Nov. 20, *52, *at the Fulton, N. Y., where it continues at standee attendance. The film rights have been sold to independent pro- ducer Charles K. Feldman for $255,000, but receipts from this deal are not included in the above tabulation.) Inside Stuff—Legit Backers of “Hazel Flagg,” Jule Styne (in association with Anthony B. Farrell) • production currently at-the Mark Hellinger, N. Y., in- clude Farrell, $30,000; theatre owner-investor Howard S. Cullman, $8,000; theatre owner-producer Billy Rose, $8,000; actress Helen Menken, $4,000; former producer Alfred Bloomingdale, $4,000; thea- trical accountant Ja<*k S. Seidman, $4,000; producer-composer Richard Rodgers, $4,000; producer Mary K, Frank, $1,000; theatrical insurance agent David Davidson, $1,000; “Pal Joey” stage manager John C. Kuehn, $500; music copyist Mathilde Pincus, $500; producer Elaine Perry, $1,000; Carl Fisher, company manager (in partnership with stage manager Robert Griffitlf), $1,000; theatre party agent Ivy LarriC, $2,000; United Paramount Theatres prexy Leonard H. Goldenson, $2,- 000; ad agency head Milton Blackstone, $2,000; theatrical attorney Martin H. Leonard, $2,000; Actors Fund president Walter Vincent, $2,000; ex-disk jockey-columnist Shirley Eder Slotkin, $500; Mrs. Law- rence Weiner, wife of the ad agency head, $1,000; souvenir program agent Kal Efron, $2,400; RCA Victor ‘veepee. Manie Sacks, personal investment, $1,800. The production was capitalized at $200,000 with provision for 20% overcall. ^hony requests for passes to Broadway shows, always a minor headache to *pressagents and managers, has developed into epidemic proportions recently. Practically every management of an under- capacity production has spotted and turned down bids recently from imposters. It’s figured a certain number of other such crash attempts have probably succeeded. * For the most part, requests of this kind are made by phone, with the caller usually impersonating an out-of-town theatre manager rather ,than a New York manager, p.a. or newspaper man. Included in such tries in the last week or two have been phonies identifying themselves as Eddie Plohn, of the National, Washington; Saul Kaplan, of the Colonial, Boston, a self-styled manager of the Hollywood Bowl and a man- who mumbled the name and identified himself as representing The Playbill. In each of the above instances the ^manager receiving the, call became suspicious, asked questions and then agreed to leave the passes. In every instance the theatre staff was warned to be on the lookout, blit the Annie Oakleys in question were not called for, / , Amusing pseudo-frank publicity stunt was used last week by press- agent Sam Friedman to get a come-on picture spread in -the Wash- ington Daily News for the forthcoming engagement of “Pal Joey” ih the Capital. Over a picture of several skimpily-clad chorus gals doing a high-kick routine in the. show there was a caption, “Would you like one of these, in your home?” Story below opened, “Does anyone have a home for a poor, homeless, chorus girl? This may sound like a publicity stunt; and it is,.but apparently'therei’s Some truth to it.” Yarn then explained how the local shortage of hotel rooms in Washington has made it impossible for Friedman to reserve ac; comodations for the girls. The yarn concluded,. “Anyone who wants to be a, ah, good Samaritan could call the Shubert Theatre. The line, however, is likely to be busy.” Backers of “My 3 Angels,” Saint-Subber, Rita Allen and Archie Thompson production currently at the Morosco* N. Y„ include Miss Allen, $37,500; Jose Ferrer, show’s director, $4,500; Edwin M. Reis- kind, Ferrer’s attorney, $5,200; theatre owner-investor Howard S. Cullman, $3,000; theatre exec Louis A, Lqtito, $1,600; Metro play editor Sidney Phillips, $1,500; producer Tad Adoue, $7$0; former producer Raymond M. Curtis,- $750; producer Elaine 'Perry, $375; Selma Tamber, Subber’s production assistant, $376. The production was capitalized at $75,000 without provision .for oyercall. Uriusual angle of the partnership agreement is that Ferrer gets 15% of the profits and Albert Husson, author of the original French version, gets 4 VH% before the producers and backers participate. 0 Amount of drinking purportedly done.ip “The Fiffti Season,” cur- rently at the Cort Theatre, .N-. Y., has resulted in a publicity tiein between the comedy and Schenley Distillers. Approximately, a dozen bottles of the whiskey outfit's various products are displayed in the show’s three big drinking scenes. Schenley, In return, Is publicizing the production via spotting of a placard, showcasing six stills from the presentation, in the .windows of about 50 Gotham bars.