Variety (April 1953)

74t LEGITOIATE Wednesday, April 29, 1953 Of-Broadway Shows Poking Man (Studio, N. Y.) “Peking Man/' produced and directed by Peter Kerr Buchan at the Studio Theatre, N. Y., is a moderately interesting drama about a venerable Chinese family which in 1936 is disintegrating, a la Chekhov, under the strains of modern life. Adapted by Reginald Lawrence from the Chinese origi- nal by Tsao-Yu, play is not a seri- ous contender for legit, .but a possible candidate for university and stock production. Tho it tends toward melodrama, yarn never gets out of hand^thanks to fine direction by Buchan and acting which is exceptional, meas- ured by off-B’way standards. Out- standing are adaptor Lawrence as the patriarch who refuses to rec- ognize the new conventions and economy; Peter Donat as his ineffectual, opium - taking son, Victoria Boothby as his shrewish daughter-in-law, Gina Shield as his daughter who marries a wastrel, Nancy Wickwire as a frustrated and anguished spinster cousin who manages to escape from the crum- bling household, and Deidre Owens, a sensitive child-bride who also escapes. Others who impress are: Billy Herman, Dorothy Reed, Roy Poole and Anna Leonard. Play is mounted inexpensively but not unimaginatively, with minimum props and set, pantomimed props being used to good effect. Vene. 3rd Dimensions ’53 (CHAMPAGNE THEATRE, N. Y.) “3rd Dimensions ’53,” musical revue put on in a combination cafe- legit theatre atmosphere, bowed off-Broadway recently at the Hotel Sutton’s (N. Y.) Champagne Thea- tre. Operation, which offers pa- trons a choice of either regular theatre seats or cafe tables, is de- signed to showcase new talent, which it 0oes in an overall pro- fessional manner. Running approximately 90'min- utes, offering is broken up into two acts and spotlights about 12 performers in addition to a quar- tet of dancers from the Katherine Dunham Experimental Group. Presentation ‘makes for generally pleasant viewing, though it fails to come up with anything of a sock nature. However, there are some good ideas, tunes and perform- ances offered that, with polishing, might make the grade .in more pro- fessional surroundings. In the sketch department, “Penny Arcade” is “Cleverly hinged on Faith Dane's top mechanical impressions of various machines in the arcades. Sohgwise, Peter Howard and Shelley Dobbins have contributed a few ballads that might stir some Brill Bldg, action. Choreography, undertaken pri- marily by Calvin Holt, is limited due to the small stage, but never- theless registers effectively. An- other strong item is Virginia Mott’s second takeoff in the “Two Portraits From Her Gallery of Forgotten Girls” specialty which scores with a smart lyric, written by her and Paul Graevert. In the talent lineup Trude Adams demonstrates a clear voice with her deliveries of “I Can’t Go On” and the rhythmic “I’ve Got Good-News/' Another nitery pos- sibility is Se-Moy Ling, who has the looks and appeal for that me- dium. Patch Carradine and Jan Ferrall perform capably in a, cou- ple of sketches, and Ed Mario and Keith Lawrence do allright with their songs. Since opening, Miss Adams has been replaced by Isabel Robbins and the Carr^dine- Ferral due by Bernie Hern. Show is produced by Jean Adra, former manager of Georges Gue- tary, and is patterned along lines similar to the Chantant. Parisian nitery where he emceed prior to World War II. Holt and Kathryn Darrell staged the presentation with Howard act- ing as musical director and Clay Watson handling the few sets. % Jess. Three ip One (JAN HUS HOUSE, N.Y.) “Three in One,” comprising a trio of one-acters, a comedy, drama and musical, fails to produce any- thing noteworthy in the way of material or talent. Presented bv Ken Parker, playwright and ex- iceskater, show is offered twice weekly on Friday and Saturday nights as part of a community cen- tre- project. Show tees off with a weak attempt, at comedy, follows with a poor dramatic try and winds up with a tyro revue. /.-Ini- tial two acters were written by Parker. Opener, tagged “Star Minded,” deals with a wife’s bobbysox atti- tude towards a celebrated pop singer. Followup, “A Cup of Tea,” situated in a gypsy tea room, suc- ceeds in creating something of an eerie atmosphere but steadily pro- gresses downhill, reaching a com- pletely ineffectual conclusion. Re- vue, labeled “Once Over Lightly,” pars a high school musical presen- tation. Jess. \ ‘Shakespeare’ OK $19,900 In Three-Town Split Baltimore, April 28. “An Evening With Will Shakes- peare” grossed a good $9,700 for four performances at Ford's here last Thursday-Saturday (23-25). Troupe played three evenings and one matinee with good critical re- action and support from local schools helping biz. for the multi- ^tcirror Show pulled $6,400 for two per- formances Wednesday (22) at the. Academy of Music, Philly. Ford’s will.call it quits for the season after Victor Borge’s solo show, booked for next week. Wilmington, April 28. “An Evening With Will Shakes- peare,” drew fair $3,800 in two performances last Monday-Tues- day (20-21) at $4.20 top in the 1,- 223-seat Playhouse here. Ballet Sextet, scheduled for sin- gle performance Friday, April 23, cancelled when the company fold- ed in Baltimore earlier in week. Play on Broadway The Pink"Elephant Eugene Paul & William I. Kaufman, with Blair Walliser, production of farce in two acts (five scenes) by John G. Ful- ler. Features Steve Allen, Howard Smith, Jean Casto, Bruce Gordon, Heywood Hale Broun, David White, Patricia Barry* Di- rected by Harry Ellerbe; setting and lighting, Ralph Alswang; costumes, Guy Kent. At Playhouse, N. Y., April 22, *53; $4.80 top ($6 opening). Sonny Bannerman Bruce Gordon Priscilla Joel \Vesley Jerry Elliot Steve Allen Bellhop .......... Lee Krieger Lee Meredith........ Patricia Barry Peggy Boyd ., Jean Casto Two-Gun Anderson Arthur Tell Evans Martin Tarby Gilbert Parker David White Henry C. Griffin........... Howard Smith Reporter John O’Hare Second Bellhop Jon Richards Ed Glennon Heywood Hale Broun Waiter ....Jon Richards Night Watchman Charles Pratt Bubbles LeTroy • Roslyn Valero Visitor Martin Tarby Maid Suki Rayner Since spring is the traditional season for the arrival on Broadway of added plays, “The Pink Ele- phant” is of the essence. A haphaz- ard concoction that attempts to make comedy of a story and situa- tion that are essentially not funny, it merely uncorks a few momen- tary, surface laughs without ever achieving humor. It’s a hopeless boxoffice prospect, but may have mild possibilities for stock. “Born Yesterday” made .hilarious fun and considerable sense of an idea, situation and locale not too unlike this one. But the Garson Kanin smash was not only about politics, corruption, liquor and sex, but it had a basically amusing situ- ation in the dimwit dame/suddenly exposed to culture and morality,! thereby out-smarting^the. smart-guy racketeer and bully. Moreover, although “Born Yes- terday” was written in terms of comedy, it made penetrating and pungent comment on its subject matter. But “Elephant” fails on both grounds. Despite its occa- sionable laughable gags, it doesn’t make real comedy or anything pro- vocative of its material. It merely becomes increasingly incredible and progressively tedious. Steve Allen, a cathode comic making his Broadway legit debut as a cynical speech writer for a stone-age-minded Republican na- tional committeeman, is likable and agreeably diverting in an offhand, deadpan style of playing, and Pa- tricia Barry, formerly named Pa- tricia Whftte in pictures, is pretty and animated as the eager-to-be- seduced ingenue who inspires the hero to cease prostituting his writ- ing and return to a reporter’s poor but honest Wages. Such trusty players as Howard. Smith, Jean Casto, Bruce Gordon, Heywood Hale Broun, David White and assorted other Equity stalwarts provide the shouting, running en- trances and exits and the door- slamming standard for spring farces, Harry. Ellerbe did the ener- getic staging, Ralph Alswang de- signed the depressingly convincing hotel setting and Guy Kent pro? vided the costumes.. ' . As a footnote for the record, but not intended to imRjy anything, author John G * Fuller and cb-pro- ducers Eugene Paul, William I. Kaufman and Blair Walliser are all from television. Hobe. (Closed Saturday night (25), after five performances.) Margo Jones Sets Nine Plays at Dallas Arena Dallas, April 28. Margo Jones will stage nine plays next season at Theatre '53. Ne\y scripts and revivals will each have a three-week run, with three weeks of repertory closing the 1953-54 season next spring. For the past two 30-week seasons, the arena has presented eight plays, consisting of six new scripts and two revivals, with six weeks of repertory spread throughout the season. Currently, Theatre ’53 is staging its eighth and closing play, a re- vival of Richard Brinsley Sheri- dan’s “The Rivals.” Restoration comedy runs through May 9. Rep- ertory festival, May 11-30, will end the seventh season of theatre-in- the-round here. ‘Blondes’ Payoff Reaches 560G * • — With the recent distribution of another $40,000 melon, the total payoff on “Gentlemen Prefer Blondes” has now reached $560,000. It’s figured that with the income from stock rights, one more divi- dend is likely to be paid, bringing the total return to $600,000 on the $2004)00 investment. Allowing for the usual 50-50 split with the pro- ducers, that will give the backers a 150% profit on the musical. The Herman Levin-Oliver Smith production, an entry of the 1949-50 season, played 740 performances on Broadway and then had a season’s tour. Film rights were sold to Para- mount for $50,000. Saranac Lake Strawhat Enlarges for 2d Season Saranac Lake, N. Y., April 28. The Saranac Lake Summer The- atre will start its second season at the Odd Fellows Opera House with an enlarged cast of 25 people. Man- ager Kendrick Parker announced that the first performance will be “You Can’t Take It with You.” Among the group this year are many students and graduates of the Yale Drama School, the New York Theatre Wing and former players from the Pasadena (Cal.) Play- house. Cast will consist of Shir- ley Lanser, Dolly Davis, Grace Tut- tle, Judith Barker, Libby Packer, Norman Lemcke, Haldum Dormen, Betty Jane Dawson, Walter Howe, Ann Butler and Betty Garfield. Play Out of Town His Excellency Ottawa, April 24. Canadian Repertory Theatre production of drama in three acts (six scenes), by Dorothy and Campbell Christie. Cast in- cludes John C. Atkinson, Lynne Gorman, Ian Fellows, John Gilmour, Russ Waller, Sam Payne, WiUlam Shatner, Reginald Malcolm, Lew Davidson, Barbara Cum- mings, Leif Pedersen. Directed by Raphael Kelly. Setting by Basil Armstrong. At LaSalle Academy, Ottawa, April 21, *53. “His Excellency” is a one-set, 11- actor, solid drama of British colo- nial politics. It has plenty of “char- acter humor. It was a London suc- cess and, last year, became an English film which did some busi- ness on this side. Both versions starred Eric Portman. Dialogue is not too British. With an actor of star calibre who could achieve a Yorkshire intonation, and a com- petent supporting cast, it might not be too long a shot for Broadway. There are no heroes and lio vil- lains, except one local potentate who appears fairly briefly. In CRT’s^ production he is neatly han- dled b*y John Gilmour. In the title part, John C. Atkinson, previously seen here only as polished, poetic or sinister, proves his versatility by giving a vigorous portrayal. His own Yorkshire birth lends authen- ticity. As his daughter, a smallish but important role which flips in a dash of romance, Lynne Gorman is also standout. So, except that he’s a bit young,' is Ian Fellows as the contrastingly smooth second - in - command Sir James Kirkman. The supporting cast is capable, and the staging by British director Raphael Kelly is' tight and well- paced,. Kelly, . who " has directed road, companies of West End sue-, cesses, is fresh from directing a BBC-TV drama series. He goes to Nova Scotia to lecture, after stag- ing CRT’s last show of the season, a revival of Laurence Housman’s “Victoria Regina,” being done as a | “coronation, special” beginning 1 May 5. Gard. Show Finances HAZEL FLAGG (As of March 28, ’53) Original investment, including 20% overcall.''..,.? $240,000 Production cost 223,519 Total gross for three-week Philly tryout 84,470 Loss on Philly tryout 20,765 Total gross for first seven weeks on Broadway 342,770 Operating profit for first seven weeks on Broadway 62,728 Unrecouped cost to date 181,556 (Note: -Ben Hecht gets 2% of the gross royalty as author of the book, Jule Styne gets 2% as composer, Bob Hilliard 2% as lyricist, Robert Alton 2% as choreographer, David Alexander 146% as director, James Street 1% as author of the original novel, with Selznick Re- leasing Organization getting 1% as producer of the picture, “Nothing Sacred,” from which the musical was adapted, Harry Homer $100 a week as scenic designer. Miles White $50 as costume designer and Hugh Martin $25 as vocal arranger. The theatre terms give the show 70% of the first $20,000 gross and 25% of the balance, with a maximum rental of $12,500. The Stone-Aijthony B. Farrell production opened Feb. 11, ’53, at Farrell’s Mark Hellinger Theatre, N. Y.) • TWO’S COMPANY (Closed) Original investment, including 20% overcall $210,000 Production cost ' 192,466 Tryout loss 65,229 Postponement cost due to illness of Bette Davis 74,506 Total cost to opening on Broadway 332,202 Operating profit on 12-week Broadway run 36,954 Unrecouped cost • 295,248 Additional liabilities • • • 19,490 Total deficit 104,733 (Note: The producers are liable for the deficit', which may be reduced by settlement of aq insurance policy on Miss Davis. The James Russo- Michael Ellis production opened Dec. 15, ’52, and closed March 8, '53, after 89 performances.) LOVE OF FOUR COLONELS * (As of March 28, 1953) Original investment $80,000 Production cost ' 66,597 Profit on three-week Boston tryout 5,098 Total gross for last four weeks on Broadway 119,863 Operating profit for last four weeks 19,864 Total operating profit to date..— 69,176 Net profit to date 2,579 Investment returned to backers thus far.. 20,000 Cash reserve 20,000 Balance available 42,579 r (Note: Operating statements on the show indicate that Rex Harrison and Lilli Palmer share 1746% of the gross as costars, with Harrison also getting 1% as director and Peter Ustinov a straight 7% as author. Theatre terms call for the show to get 70% of the gross, less $750 whenever the gross reaches $32,000. The show breaks even at around $19,000 gross. The Theatre Guild-Aldrich & Myers pro- duction opened Jan. 15, 1953, at the Shubert, N. Y., and moved April 20 to the Broadhurst, where it’s due to continue through May 16, after which it plays a two-week engagement in Philly, then lays off for the summer. The Harrisons are under contract for at least 16 weeks’ tour next season.) Equity Show Hr. Faustus (LENOX HILL, N. Y.) Equity Library Theatre’s “Dr. Faustus,” by Christopher Marlowe (Lenox Hill Playhouse, N. Y.), scores as a solid production thanks to director Edward Greer and a topnotch cast. Avoiding most of the pitfalls of the period play, Greer does not compromise to make this vintage piece palatable, but is faithful to the text, bringing cut its poetry, comedy and theatrical excitement. In the title role of Faustus, who sells his soul to the devil for power, wealth and knowledge, Michael Higgins is outstanding, stressing the sensitivity and intelligence of the tortured hero. Although his voice lacks range and melody, he compensates with the clarity of his reading, current offering being one of the few productions of verse drama where players seem to understand every line they are saying. Pernell Roberts is a subtle, sinister Mephistopheles, and the Elizabethan clowns, usually un- bearably self-conscious in modern productions, are genuinely funny here, as played by Paul Lambert, Frank L. Macintosh, Fred Vogel and Walt Fisher, the last two being especially adroit. Vogel also does a good job as the sardonic Evil Angel, who tempts Faustus to sin. One of the productions high- lights is a pageant of the Seven Deadly Sins, staged with skill and imagination, using artistic masks by Virginia Tarleton. Barbara Barrie has an amusing bit here as Sloth. Ray Poole is impressive as the Emperor and Lucifer,, while Ed- ward £night is a simpering Good Angel and an unconvincing Knight, Robert Kidd turns in a good read- ing as Chorus. Costumes by Valery Judd are an asset to the production, which uses blocks and black velvet drapes as setting.;. Vene. v r : . - - • . - TRIUMPH'S ADDRESS Last' week’s (April 22) advertise- ment of Triumph Productions in- correctly listed the address as 113 West 67 St.; correct address, 113 West 57th SL Julie Harris-'Camera’ $19,100 Click, Toronto Toronto, April 28. Julie Harris,in “I Am a Cam- era” grossed a profitable $19,100 at the Royal Alexandra here last week, with the 1,525-seater at $4 top, including tax. Reviews were lukewarm toward the John van Druten play, but raves for Miss Harris, with slow opening but buildup toward week’s end. Piece folds after current week at Her Majesty’s, Montreal, at $3.40 top with tax. • Meanwhile, repeat engagement at the Royal Alexandra of “Good- night, Ladies” had a $9,000 ad- vance on opening ad of fortnight’s run at $3.50 top, with the town be- ing flooded with twofers and hot art-teaser campaign. Piece is ad- vertised for two weeks, but -is set for five. Claiide Rains Set for Fall Dramatic Readings Tour Claude Rains has been set* for a coast-to-coast tour next fall in a one-man dramatic recital by the National Concert & Artists Corp.’s special attractions division, headed by Selma Warlick. Tour will open Oct. 12 in Washington, and trek to the Coast and back through No- vember. Attraction will be billed as “Claude Rains, the Strolling Player.” Program will include readings of poetry and drama, with sqcond half devoted to selections from Rains* major roles in legit and films. Pro- gram will be unusual, in that the first half will have a music back- ground, with a pianist going along on the tour. Harl McDonald, com- poser-manager of the Philadelphia Orchestra, has written some spe- cial music for the program. This • will mark the first time Rains has done a dramatic recital, although he’s made a few appear- ances in Philadelphia with the lo- cal symphony. He lives in nearby Bucks County, Pa. . Gino Smart has been named as* sistant conductor of the State Fair Musicals, Dallas. He was assistant to Lehman Engel, former musical director here.