Variety (April 1953)

3 *.- * Wednesday, April 22, 1953 Inside Stuff-Legit Suggesting that to avoid the confusion of multiple annual awards, all prizes for the legit season should be combined M and just let Shirley Booth come in and collect them,” Walter F, Kerr, critic of the N.. Y. Herald Tribune, offered his own list in his column in the drama section last Sunday (19) of citations “for success .in the face of failure.” He mentioned Michael Gordon as director of ‘.‘See the Jaguar;” the visiting Barrault-Renaud troupe for refusing to be stampeded by the backstage crew’s mishandling of the “Trial” scenery; Cyril Ritchard’s “Patience, Politeness and Concealed Despair” in “The Millionairess;” Haney Malone’s reading,of an embarrassing line in “Time Out for Ginger;” Loring Smith in VBe Your Age”' and Nora Kaye in “Two’s Company.” He noted that he almost included Tamara Daykarhanova in “Emperor's Clothes,” but she spoiled it by speaking after two acts of silence, and suggested an award for anyone expiating the offstage footsteps in “Dial M for .Murder,” with another prize for whoever was responsible for “overcasting” the latter play. Novel slant on the perennial agitation against drama crix was offered by Richard Watts,. Jr.,- critic of the N; Y. Post, in his column last Saturday (18), Referring to the recent turmoil in Chicago and Hart- ford, Watts wrote in part, “It is an axiom of theatre that 1 the only good drama critic is the dead drama critic. However much the men and women of the so-called ‘creative’ echelons of the stage may hate and despise the current reviewers, they can also be counted on to add that, while there are pygmies in the aisle seats today, there were giants yesterday. What fine, splendid, understanding men Ham- mond, Broun and'Woollcott were! But I was around when Hammond, Broun and Woollcott were functioning, and then their worthless im- becilities were being contrasted with the -genius of William Winter, Louis De Foe and Acton Davies.” Vicki Cummings, mentioned in certain columns recently in connec- tion with the withdrawal of actress Jenny Hecht, nine-year-old daugh- ter of Ben Hecht, from the cast of “Mid-Summer,” was quoted on the case last week in an interview with Ward Morehouse, in the N. Y. World-Telegram &'Sun. She said, “I don’t think Mark Stevens (male lead) has received full credit for the fine work that he does. His performance is beautifully sustained and his behavior in the theatre is the kind you’d expect from a seasoned theatre person. ... I get along with people. . . . I’m no problem. I’ye never had any notoriety until this Hecht case. ... I must say that little Ellen Barrie (Miss Hecht’s understudy, now playing the moppet role) is now giving an enchanting performance and you can hear' every word she says all over the theatre. No trouble backstage and the audiences adore her.” Backers of “The Pink Elephant,” William I. Kaufman and Eugene Paul (in association with Blair Walliser) production opening on Broad- way tonight (Wed.), include actor Walter B. Klavum, $300; Robert K. Christenberry, New York State Boxing Commissioner and Astor Hotel, N. Y., prez, $1,200; Martin Tarby, actor in the show, $900; actress Dorothy Patten, $300; Alexander Stronach, Jr., ABC-TV programming veepee, $300; Greenville (S. C.) film exhibitor Fred S. Curdts, $600; NBC veepee George Frey, $300; William P. Nolan, head of Nolan Scenic Studios, $3,000; show's co-producer Kaufman, $7,800; show’s co-producer Paul, $7,550; show's associate producer Walliser, $9,900. The production was capitalized at $60,000, with provision for 20% overcall. Emlyn Williams, playing a pre-Broadway stand in Chicago last week In his program of Dickens readings, drew unanimous raves from the four daily critics: That included Claudia Cassidy, of the Tribune (who mentioned that she’d caught the show in Edinburgh last summer); Emmett Dedmon, Sun-Times; Roger Dettmer, American, and Van Allen Bradley, subbing for Sydney J. Harris, News. Three of the notices mentioned the~sparse attendance at the local premiere. Silo Circuit Wail Continued from page -06 - -— 1 would also place them in the po- sition of bookers rather than pro- ducers. As far as can be determined, there have been no musicals booked, as yet, for bam presenta- tion. This conflict With the union doesn’t include the mhsical tents. Equity, in turn, doesn’t believe the cost of'booking a show, travel- ing under a summer theatre-con- tract, would be too prohibitive for the silo entrepreneurs. In addi- tion, it’s understood, the union would like to pinpoint responsi- bility on the touring productions, rather than have to bat it out with tiie individual bam owner?. Another factor behind the Equity .decision is the problem of unem- ployment insurance for performers appearing in the bicycling presen- tations. Performer unemployment benefits would not be dependent on the various state laws if sent out as 80% Equity productions. An open meeting of all summer theatre producers is being field in N. Y. today (Wed.), at which rep- resentatives of Actors Equity and Chorus Equity will be asked to clarify the new stock rules. Season Rolls Late June A check of barn operators indi- cates that the season will generally start rolling during the latter part of June. Plans for the silo ven- tures are still being formulated. There’s somewhat of a consolidat- ed resistance currently, to the high salary demands of stars who may make the rustic trek. Producers feel if they hold out long enough the name players may reduce their stipend as the season draws near. However, it’s under- stood that some of the .barn own- ers are starting to get panicky, and may shell out the high coin asked to insure the appearance of cer- tain lure talent. Except in a few instances there’s nothing actually definite on what stars will be available for straw- hat dates. Alexis Smith and. Vic- tor Jory are slated to tour ( in “There’s Always Juliet,” and Dag- mar and Arthur Treacfier are scheduled for barn appearances in “Loco.” Other star possibilities for the warm-weather attractions are Gene Raymond, Charles Cobum, Wen- dell Corey, Ronald Regan, Brian Donlevy, George Brent, Faye Em- erson, Charlton Heston, Vincent Price, Jackie Cooper, Peter Law- ford, Gloria Swanson, Barry Sulli- van, Jerry Lester and Sarnia Gamal. Of the recent Broadway offer- ings, now available for stock pres- entation, “The Moon Is Blue,” last week, cued a Stock Managers Assn, meeting with various play agents on the discussion of royalty fees. The managers felt the $500 guarantee against 8%-10% of the gross, depending on the take, asked for “Moon” was too high. Possibility of lowering the fee is being considered. Other new additions to the play lists are “Be Your Age,” “The Em- peror’s Clothes,” “Fancy Meeting You Again,” “Flight Into Egypt,” “In Any Language,” “See the Jaguar,” “Seagulls Over Sorrento,” “Jane” and “Mr. Pickwick.” Also, “Mr. Roherts ” “Cafe Crown,” ‘Here We* Come Gathering,” “The Holly and the Ivy,” “Country Girl” and “Bernardine.” Among the newly released plays, with production restricted to cer- tain areas, are “Moon,” “Affairs of State,” “Gigi,” “I Am a Camera” and “Don Juan in Hell.” It’s un- derstood that ‘Bell, Book and Can- dle” will be released for bam pro- duction, and there’s a possibility that “Point of No Return” may also be available. In the musical category “Three Wishes for Jamie” and “Where’s Charley” have been released for production in certain areas. “Gen- tlemen Prefer Blondes,” “Call Me Madam” and “Annie Get Youf Gun” are also understood to be available. Ward Morehouse limn Continued from pace 56 the*N. Y. Trib and then the Sun, Morehouse projects his unquench- able love of printer’s ink, the thea- tre, and its people. He makes the sage observation that the few offbeat things he did, such as his travel pieces, for some reason always got more attention than the basic job he was doing on crack metropolitan dailies as a theatrical scrivener and critic. The days of our years in the theatre, the Broadway scene, its flamboyant, colorful or durable characters and personalities, have been captured with a skillful type- writer. He brings into sharp focus the passing show of Broadway and its craftsmen in relation to the living American theatre. He yearns for the Leblang hypo to Broadway legit, and as a reporter, with both a -prodigious memory for detail and a scientific method of notation for a work such as this, he still is entranced by the memory of Dec. 26, 1927; when Broadway saw 11 legit premieres on that night. Of the 11 plays referred to by Morehouse which opened on Dec. 26, 1927, only- one became a hit, Variety files disclose. "This was “Excess Baggage,” the Barbour, Crimmins & Bryant production of the Jack McGowan play, which closed on June 30, 1928, after a 27-week run. What really made that vacation week memorable were the two plays that opened the following night: the Jerome Kern-Oscar Hammerstein 2d all-time great, “Show Boat,” and the Arthur Hop- kins production of Philip Barry’s “Paris Bound.” And as if that weren’t enough, the following night (the 28th) saw the premiere of Jed Harris’ presentation of a tidy tid-bit by George, S. Kaufman and Edna Ferber, “The Royal Family.” Other 10 were “Behold the Bride- groom,” Rosalie Stewart produc- tion of George ^Kelly play, with Judith Anderson, Cort; “It Is to Laugh,” Barbour, Crimmins- & Bryant production of Fannie Hurst play, with Edna Hibbard, Eltinge; “Paradise,” Robert Milton produc- tion of William Hurlbut play, 48th 'St.; “Celebrity,” Shumlin & Streger (Herman Shumlin’s managerial bow) production of Willard Keefe play; “Venus,” Carl Reed produc- tion, Masque; “Bless Your Sister,” Riskin Bros, production of John Meehan-R. R. Riskin play, Lyceum; “L’Aiglon” (revival), John D. Wil- liams production, starring Michael Strange, Cosmopolitan; “The White Eagle,” Russell Janney musical version of “The Squaw* Man,” Casino; “Restless Women,” Anna Held, Jr., production (her first) of Sydney Stone play, Morosco; “Mongolia,” George H. Brennan production of Conrad Westervelt play, Greenwich Village. His observation on critics and the theatre are pungent. He fa- vors the latterday critic’s sharper yes-or-no on play opinon, and ob- serves, “Perhaps the trend toward directness can fie attributed, in part, to the influence of Variety’s supposedly loathsome boxscore, reluctantly dropped by that publi- cation after having established itself as a standard feature for more than two decades.” {Variety, observing the backsliding to double-talk critical opinion, may reinstate the Critics Box Score with the 1953-54 season.] His tribute to Gertrude Law- rence, his chapter on the death of a great newspaper (the Sun), his whirlwind wooing and wfiining of Rebecca Franklin, his closeups on critics and colleagues,, playwrights and producers, his Georgian child- hood, his playacting and play writ- ing adventures, his personal strug- gle with the cup that cheers and a “cure 7 ’ in an abominated Hart- ford (Conn.) retreat, and much more are in this excellent memoir. Talk about the all-stars on the old N. Y. World—Morehouse points up the crack team of 'typewriter torturer? on the old Trib when he first came to Gotham. Georgia’s newspapers also produced a jour- nalistic Who’s Who that ran the gamut from Joel Chandler Harris and Laurence Stallings to Harold Ross, Margaret Mitchell and Ward (Jimmy) Greene. ' This is a fine, readable chonicle by a savvy gent who loves the thea- tre and loves the newspaper busi- ness, and he put it most graph- ically into his memoirs, “Just the Other Day” (McGraw-Hill; $4). LEGITIMATE 59 Plays Abroad The living Room London, April 17, Donald Alb cry (for Donmar Productions Led.) production o£ drama in two acts by Graham Greene. Stars Eric Portm'nn. Directed by Peter Glenville. Setting by Leslie Hurry. At Wyndhum's Theatre; London. April 1G, '53; $2.20 top. Father James Browne Eric Portman Rose Pemberton Dorothy Tutltt Miss Teresa Browne Mary Jerrbld Miss Helen Browne.... Violet Farebrotber Michael Dennis John Robinson "Mrs. Dennis Valerie Taylor Mary Dorothy Dewhurst Plays of such dramatic intensity and emotional force are, unhap- pily, a rare occurrence in the thea- tre today. “The Living Room,” au- thored by Graham ^ Greene, must be counted as one o'f the standout successes of the legit scene, and would prove to be a cinch for Broadway as well as London. It is an immaculate production, performed with great charm and skill by a talented team of artists and directed with .admirable re- straint by Peter Glenville. With his sure sense* of characterization, the author establishes, in his open- ing scene, the conflict of personal- ities in which he poses controver- sial questions on Catholicism. There is obvious sincerity in every line of dialog, although individuals holding conflicting views may nat- urally dispute the theories ad- vanced. The 'setting of the play is the third-floor living room of an old, rambling house occupied by two elderly, 'inaiden ladies and their brother, a legless priest who had to give up his vocation after he was involved in an accident 20 years previously. There is a grim and almost forbidding atmosphere about the house because .half the rooms have been sealed up. The sisters, apparently, in their fear of death, decline to live in a room in which someone has passed away. Into this unhealthy and unreal atmosphere comes their great- niece, a young girl in her late teens, whose mother has just died. Without resorting ‘"to any time- wasting device, Greene spotlights the immediate problem.' The girl, ,who had a Catholic upbringing, has fallen in love with a married man, not of the faith, and became his mistress on the night of her mother’s death. Their secret is soon out and the younger of the two aunts, a sinister character with a hellfire orthodox mentality, plots in* a ruthless way to wreck the lovers’ happiness, eventually driving the young girl to suicide. Under Glenville’s accomplished direction, the cast resists the ob- vious temptation to overplay all roles being handled with wise re- straint. Eric Portman’s portrayal of the legless priest (seen through- out in a wheelchair) bears the stamp of dignified sincerity, al- though occasionally giving the im- pression he is not too happy with some’ of the words of advice he has to utter. The prize role of the young girl is filled with distinction by Dor- othy Tutin whose performance reaches the heights of emotional- ism. Hers is a tender, understand- ing appreciation of the role. There is also a standout thesping job by John Robinson as the married man, With one particularly moving scene with his wife, played by "Val- erie Taylor. The two sisters are faultlessly portrayed by Mary Jerrold and Violet Farebrother; the latter’s performance as the younger and plotting member of the family is one of the highlights of the play. Myro. Dangerous Curves London, April 15. Terence de Marney Productions pre- sentation of drama in three acts by Ger- ald Verner; adapted from book by Peter Cheyney. Stars de Marney. Directed by de Marney. At Garrick Theatre, London, April 14, '53. $2.10 top. Slim .Callaghan Terence de Marney Sweeney Gordon Bell Monty Kells Cal McCord G1U Charlston Seymour Green Georgie Cardell Cecile ChevreaU Thorla Riverton Nicolette Bernard Azelda Dlzon Mary Horn Jake Raffano Robert Hunter ' Eve Thompson Beryl Machin Wilfred Riverton ..... Michael Meacham Supt. Thompson .... Paul Whltsun-Jones Benjie Shaw Taylor .The Boy Stephen Dartnell Inspector Flood James Page Sequels are seldom satisfactory in any form, and an effort to re- peat a successful formula is scarcely ever pulled off, except sometimes in films. This Peter Cheyney opus is no exception. The withdrawal of “Meet Mr. Cal- laghan” after 10 months caused a rift in the managerial setup, and the outcome clearly justifies pro- test- over the decision. The for- mer probably could have sailed through the coming Coronation months; the curent show may not live to see them. Again the central figure is Slim Callaghan, the easy-going, ruthless private eye who operates barely within the limits of the law. Whereas the first play was a slick, smooth-running whodunit with a generous vein of comedy, “Danger- ous. Curves” meanders in a con- fusing; welter of old meller situa- tions. !'D$ten the laughs are in the wrong places and the resulting ef- fect on audience and players de- tracts from the realism. Tererice de Marney, struggling gamely against laryngitis, occupies the stage practically throughout the play. The hitherto shabbily housed sleuth has moved to the ritzy Park Lane quarter and is con- sulted by a wealthy woman about rescuing her stepson from a gam- bling and dope gang. * In the process, the detective narrowly es- capes death, and his aide is shot by mistake while wearing his bath- robe. Mechanical tricks of lighting reveal off-scene occurrences and conversations from distant tele- phones, obviating frequent set changes. This links up the action, but it is pfedestrian and unconvinc- ing. With de Marney’s ultra casual handling of the leading role, the supporting cast follows the same pace. Cecile Chevreau, Mary Horn and Nicollette Bernard glide in and out of the story, apparently more as models for new fashions than real life facets in a drama. Beryl Machin, who also wrote the theme song for the play, is more realistic as an indefatigifile secre- tary. The best of the male char- acters are played by Gordon Bell, Cal McCord and Seymour Green. Clfcro. Palsanibleu (BLUE BLOOD) Paris, April 3. Denis and Marcel Maurey production of comedy in four acta by Sacha Guitry. Directed by and starring Guitry. Set by Pellegry; costumes, Maggy Rouff. At Varietes Theatre, Paris, March 29, 53| $3 top. „ . Le Chevalier Sacha Guitry * Opportune Marie Francey Fermln Jean Gobet Philrimenc Germaine Reuver Leila Lana Marconi Leocadie Yanik Mallolre Jean-Pierre Jacques Morel Modeste Georges Sever Furniture Mover Marcel Pignol Furniture Mover Louis Grethen Doctor Marcel Pere® Sacha Guitry has written over 100 plays and few, if any, have ever been outright flops. His new one, “Palsambleu,” is typical of his latter work. It doesn’t dazzle, as some of his brilliant early com- edies still can in revival, but it makes a pleasant, if mild, pastime, and his faithful following will sup- port it until hot weather comes. He begins here with a “Volpone” theme, playing a 90-year-old great- grandfather whose relatives are anxious to have him die and leave them his fortune. They arrive at his country residence, near Char- tres, to celebrate his 90th birth- day, and when he becomes ill after eating some birthday cake,-a sus- picion arises that someone has tried to poison him. This brings bad dreams to his guests, all of whom have a guilty conscience. In the morning, the old boy requires a blood transfu- sion and his relatives offer their blood. He recovers, gets oyer a yen he has had for the Oriental wife of his grandson, marries the housekeeper he seduced when he was only 60, and rewards his de- scendants by making them pres- ents of some of his other country est&tcs Guitry is at the top of his old form, playing the rascal of a great- grandfather with all his familiar mannerisms in great, high-comedy style. When he is absent, as he is for* a long stretch of the second act, his play sags, but it is revived with his return to the scene. His supporting company ip well chosen, but lost without him. Lana Marconi, Madame Sacha Guitry, is the Oriental princess, and Jacques Morel, an inevitable figure in Paris bedroom farces, is the grandson who imagines, correctly, that his grandfather is in love with his exotic wife. Germaine Reuver, Marcel Peres and Marie Francey do well in their rather minor char- acter roles. ^ “Palsambleu” is a Guitry vehicle and a perfectly satisfactory one. French pix Sale is possible if Gui- try wants to screen it. Curt. Gorin Inked for 3d Year As Mormon Drama Lead Ogden, Utah, April 21, Igor Gorin has been pacted for the third straight year to sing the lead in the musical drama, “All Faces West,” at Ogden Stadium, July 17-19 v “Faces,” produced annually in connection with Pioneer Days, is based on the Mormon trek here in 1847. Gorin plays the part of Brigham Young.