Variety (April 1953)

Wednesday, April 29, 1953 Variety LEGITIMATE 75 Plays Abroad Over the Moon Glasgow, April 18. Tom Arnold production of revue In 28 scenes. Stars Cicely Courtneidge; fea- tures Thorlcy Walters, Eunice Gayson. piter Felgatc, Douglas Argent, Aud Jo- hansen' Lyrics and music by Vivian El- lis- extra numbers by Harold Home, nnutflas Furbcr, Ronald Jeans, Noel Gay, Arthur Macrae, Peter Myers & Alec Gra- hlmt, Tborley Walters, Harry Wall; dances by Jack Hulbert and Irving Da- vies. assisted by Eunice Crowther, Pro- duced by Jack Hulbert. Orchestrations bv Arthur Wilkinson. Dob Probst orch. jit Alhambra, Glasgow. New revue discloses once again the unimpaired vitality of Cicely Courtneidge, British musical com- edy star. Despite her 60 years/ actress has much bounce and ener- gy plus distinctive comedy and bur- lesque flair. In 26 scenes, show wins top marks for its lighting and dancing effects. This is particularly noted in a Central Park, N.- Y., scene, with Peter Felgate, as a GI abroad in a London park, recalling happy days in Central Park. Dancing ensembles, ar- ranged by Jack Hulbert (Miss Courtneidge’s husband) and Irving Davies, earn warm mitting, lineup of chorines being well-groomed and lookers. Courtneidge is joined by Doreen Arden and Mona Sandler in a clever takeoff of an Andrews Sis- ters type act. Miss Courtneidge is to the fore in several comedy sketches, one of her best being “How To Sack A Maid.” She is the mistress, Thorley Walters her hus- band, and Eunice Gayson, revue newcomer, the insolent maid whom her employers are afraid to fire, . Miss Gayson is a real addition to the revue, being a comely brunette and has nice tbesping ability. British institutions are the main butt of the revue’s wit. Including holiday camps, policemen, India, TV, dinner parties and the British Empire. Two poignant scenes standout. In “Small Time/ Walters imper- sonates a second-rate Music Hall trick cyclist playing the sticks but holding on to his dreams of being favored by the beautiful dancer in the show across the street. In “Red Carnation,” he is a sailor having a blind date in the park with spinster (Cicely Courtneidge). For a closing number, Miss Court- neidge, using a special makeup and wig, impersonates Noel Coward at London's Cafe de Paris in scene titled! “Rip Van Winkle of the Stage.” This is fairly effective. Felgate, pleasant-faced dancer 4 i I I 8 8 —♦ STARS' CARS ! X'COUNTRY Going from B'way to Hollywood, 1 or vice versa? “Tlie Best Way” Is . to ship your car, not to drive it, • advises Judson Freight Forward- , ing Division of National Carload- 1 ing Corporation, now celebrating , its 75th anniversary. Judson has 1 shipped thousands of cars and . trunks for stage, screen, radio and 1 TV celebs. t You save wear and tear on you I and car, actual .driving costs, storage enroute, and expenses in- • volved in the long trip. Besides, you have much better chance of I arriving in one piece yourself if , you take rail or air and let Jud- 1 son ship your car and belongings. . If your trial engagement on | either coast extends into a solid 1 spot, just call Judson and have | your car shipped to you. See your telephone directory for nearest National Carloading Of- » fice or write to: Judson Forward- ing, National Carloadlng Cor- » poration, 19 Rector Street, New , York 6. N. Y. • I ADVANCE AGENTS! COMPANY MANAGERS! I We have been serving theatrical shows for over 42 years. Ours is the oldest, most reliable and ex-' perienced transfer company on the West Coast! • Railroad privileges for handling shows and theatrical luggage . • Complete warehouse facilities! • Authorized in California* Equipped to transfer and haul anywhere In (/. S./ • RATES ON REQUEST f Atfaniic Transfer Company. GEORG* CONANT 601 East 5th Street los Angeles f2, Calif. Mutual 8121 or OXford 9-4764 and vocalist, impresses while a sil- ver-blonde from Stavanger, Nor- way, Aud Johansen, is suitably decorative and useful in sketches. Show adds up to an uneven but fairly entertaining revue, well lighted and danced, and with Cicely Courtneidge the vital pivot. Sev- eral sketches could have better tag- lines. Jack Hulbert has produced with imagination. Gord. Doctor In Bean Street _ London, April 17. r Soskin (for Hampstead Theatre Lta.), production of play In three acts by Catto. Stars Stephen Murray. Di- rected by Frank Hauser. At Embassy Theatre, London, $1.50 top. Doctor Saunders Stephen Murray Mary ..... Shela Ward Janey Baxter Gwendoline Watford Julian Soniers Ma Paterson Blanche FothergUl 'L 0 ™* 1 * Ray Jackson Danny Colin Campbell Anna ...... Renee Goddard Inspector Evans Oliver Burt In its look form, this story must have been far more satisfying, and it could follow the imprint of many topical films. Transferred to the stage it is spasmodically dramatic, being cluttered up with small cameo sets to facilitate change of scene. As a consequence, this loses much of its coherence. The prob- lem of juvenile delinquency is a major headache for most police courts, and this play sheds uncom- fortable light on an unsavory en- vironment swarming with budding gangsters. As a study in the han- dling of these youngsters, it is in- teresting to a point. But as a whole, the play is unlikely to arouse much public concern or attract at the boxoffice in its present form. Focal character is a plodding young doctor set in the grimy walls of a poor hospital in the polyglot Soho district in London. He is friend, father confessor and help- mate and accedes to a dying wom- an’s request to care for her 12-year- old grandson who is following in his crooked brother’s footsteps. The child hates him, and a belligerent companionship develops. When the older boy jumps to his death after killing a cop, the younger one is gradually won over to the prospect of a decent life. The sorely tried doctor proposes marriage to the boy’s schoolteacher, plans to leave the district with the boy and start life afresh in New Zealand. Apart from Stephen Murray, who makes a realistic figure of the kindly doc, young Colin Campbell takes much of the acting credit for his performance as the kid brother. Ray Jackson is a swaggering glori- fied young thug and Gwendoline Watford is a cool, matter-of-fact type of schoolmarm faced with sharing her husband with a half- grown son. Supporting cast is well selected while Frank Hauser’s di- rection is commendable. Clem. High Spirits Glasgow, April 18. Stephen MitcheU production of revue. Stars Cyril Ritchard. Diana Churchill; fea- tures Ian Carmichael. Sketches by Peter Myers, Alec Grabame and David Climle; music, John Pritchett and Ronald Cass. Directed by William Chappell. Set, Os- bert Lancaster. Music under direction of Van Phillips. Dance arrangements, Wil- liam Chappell. At King's Theatre, Glas- gow. New British revue, in on tune-up tour prior to Coronation stint in London, shapes up as lively on its sketch material, with plenty of smart humor. Show is in 30 scenes, not all up to standard, and consid- erably more entertaining in its sec- ond segment than first. Cyril Ritchard, its male star, and recently in New York version of “The Millionairess,” reflects his ex- perience with a versatile perform- ance. He is rarely off the stage. Diana Churchill, femme lead, is well fitted for most of her chores, but lacks the punch essential for revue stars. Marie Bryant, Negro blues singer from the U. S., has real personality. She shines espe- cially with “Honky Tonk Blues” and “A Plea.” Show is notable for introducing newcomers, Thelma Ruby; English comedy actress Joan Sims and young American Maxwell Coker. Ian Carmichael and'youthful Ron- nie Stevens also have promise. Scenes follow each other" chron- ologically, from 1583 through the English reigns to the present Coro- nation. As result, first-segment sketches are. all period pieces, and this tends to monotony. Modern touch is achieved after interval. ' As always in intimate British re- vue, typical English customs and institutions are the object of the barbs. Cricket on the Village green, Emlyn Williams reading Charles Dickens, the dying aristocracy, a Guard on parade outside Bucking- ham Palace, and the British .musi- cal comedy; ah item called “The Shopgirl Princess,” are all covered with varying degrees of wit. Tenderest scene Is “Mr. Hender- son,” in which a hat*check gal sings and talks with sad nostalgia of a certain Mr. Henderson who fell for her. This scored. Wicked tilt at troop entertainers in Korea is qiade in “Something for the Boys.” Show Is very English, sophis- ticated ahd clever, but omission of certain sub-standard episodes, such as “The Serialis’d Wife” (a radio skit) and “Et Ego in Arcadia” should help. Musical backing undpr the Van Phillips baton is expert. Cord. SC iel de Lit , (The Fourposter) Paris, April 16. Yvonne Printemps production' o£ play in three acts (six scenes) by Jan de Har- tog, adapted by Colette. Stars Francois Perier, Marie Dacms. Directed by Pierre- Fresnay. Sets and costumes, Jean Denis Moillart. At Michodiere, Paris; April 14, '53; $3 top. He Francois Perier She Marie Daems 1 Jan de Hartog’s two-character play about the first 40 years of marriage, “The Fourposter,” has* received a smooth translation job from Colette. Acted by two pic- legit favorites, Francois Perier and Marie Daems (Mrs. Perier) in a silky, tasteful production at Yvonne Printemps’ plush house., the Michodiere, it is set for a long * Paris run. Play has been sought- by many French managers and ac- tors since its Broadway click, but it is unlikely that any other stag- ing. could have served it better than present one. Play’s plot, carrying the story of a married couple down through the years, is by now familiar to everyone. De Hartog has managed to give his text required variety and to keep it constantly interest- ing. His theihe is a sentimental one, but he has laced its writing with plenty of comedy. Francois Perier as He and Marie Daems as She are a perfect team, giving »each scene its proper shad- ing, and making most of Hie funny stuff de Hartog has supplied. Set- tings and costumes by Jean Denis Maillart are fancy and contribute much to the sense of passing time, as play moves from the rococo boudoir of the ’90s to its finale In the bare-walled, deserted bed- chamber. Pierre Fresnay, though not credited in program, is responsi- ble for pungent, sharp direction that aids play in all scenes from R&H-‘Jaliet’ I jsssa Continued from page 71 ssssssl noted that the first scenes are “rather slow and without warmth.” Complex story also “lacks a strong central unifying point,” in his opin- ion, but he predicted its faults might be corrected before it reach- es Broadway. Arthur Spaeth, of the News, la- beled it “another sock hit, their largest and most lavish,” for H&H. However, Omar Ranney, of the Press, termed it a “colorful, ingeni- ously staged and often high-spirit- ed show—without what it takes to lay vigorous hands on your heart.” He also rated the score “far from the composer’s best,” whereas Mc- Dermott had asserted that Rodgers had written “some of his gayest, richest, most light-hearted music” for the offering. Scalpers Reports of wholesale scalping of “Me and Juliet” tickets, at prices up to $50 a pair, steamed up Milton Krantz, manager of the Hanna. Theatre’s advance mail, order and boxoffice sales were so carefully watched that there was no oppor- tunity for mass scalping, he de- clares. Theatre Guild and the Hanna’s own subscribers took 70% of the ticket supply, with the bal- ance taken by mail orders and win- dow sale, he says. Regarding reports "that individu- als, including newspaper execu- tives, has paid excessive prices for seats in under-the-table deals, Krantz asserts that “only a very few tickets” could have fallen into the hands of individual “diggers” using the names and addresses of regular subscribers. Even the Ty- son agency, a licensed hotel bro- kerage, was allotted very few seats, he claims. “Since most of our patrons are regular customers, we believe the Hanna has one of the cleanest and best boxoffice operations of any theatre in the country,” he insists. “For the ‘Me and Juliet’ opening, every ticket was allocated, so there could have been ho scalping. After .that, there was little opportunity for more than small-scale black- marketing by individuals operating on a wildcat basis.” ‘After the current week’s second stanza here>- “Me and Juliet” goes to Boston, opening next Wednesday night (6) and continuing through May 23 at the Shubert, It premieres May 28 at the Majestic, N, Y. beginning to end. “Fourposter” may duplicate its U.S. success in France, since, when it has run its course at Michodiere, an extended tour is set to follow. Curt. Tu< to Fa Broadway (Broadway-Crazy) ■ J . Genoa, April 7. Tealro Augustus presentation of musical review by Metz & Marches!. Directed by Marcello Marches!. Stars Walter Chiari, Carmen De Lirio, Carlo Campanlnl. Music. Pasquale Fucilli;' dances, Gisa Geert; sets. Ratio and Hoffer; costumes. Veccla, Polco. With Rolf Hiller Girls, Roman New Orleans Jazz Band, Ttldy, Gllda Marino, Lucy D’Albert, Edward Lane. Alex Young, Leona, James Fields. At Teatro Augustus,- Genoa; $3,50 top. If this new musical winds up in one of the year’s top money spots, as it probably will, all credit must go to zooming young comedian Walter Chiari for putting it there. Besides the star, there is little to recommend the show except a few so-so tunes and some flashy but overlong production numbers. At 28, Chiari is already a top name in pictures and onstage, with a buoy- ant, fresh personality and charm that has captured the fancy of the younger set here. He’s also one of the few young comedians who’s developed a style and delivery of his own without carboning the rou- tines-of the Italian stage-vets. His future appears solidly booked. Review’s title- furnishes pretext for spinning various routines sup- posedly necessary for the “Broad- way touch/’ but their actual kin- ship to the showcase street is dis- tant. Carmen DeLirio, a Spanish Import, works with unsuited mate- rial which allows pipes and per- sonality little chance for projec- tion. Carlo Campanini ably sup- ports Chiari in various numbers. Tildy, Lucy D’Albert, and show's other femmes provide looks and some talent, despite thin material provided by Metz & Marchesi, as well as the latter’s slow, often in- (Continued on page 78) Allens From the Commonwealth (YALE DRAMA DEPT.) New Haven, April 23. Yale Drama department brings another annual session to a close with a final major production tagged “Aliens from the Common- wealth,” original three-act drama by playwriting stude M. Carl Hol- man. It has a pretty sober theme, be- ing a racial problem situation in- volving the question of admitting Negroes in a southern state college. Despite its undercurrent of sus- pense and eventual tragedy, its cumulative effect is absorbing rather than depressing, due to a combination of Interesting writing and capable direction ot a well- chosen cast. Story, which could be taken from today’s headlines, concerns Clay- born Dennison, dean of a southern Negro college. Himself a Negro, he regards as liberal the fact that his own faculty includes white mem- bers, but when his son becomes the test case in a movement by a Negro association to eliminate segregation, at the adjacent State College, it spells trouble for the dean. Dennison is about to be made the first Negro president of his college, but his son’s involvement in a rally-riot threatens that ap- pointment. When the dean restores order, his son misinterprets' the deed as a selfish act and eventually the lad ends up in the river. Play’s finale has the newly chosen presi- dent trying to comfort his wife, deranged by the boy’s death, as the lad’s fiancee dedicates herself to pick up the association banner as his successor. Bernard Barrow does a capital job as the dean. Others who reg- ister well in principal roles are Marion Villani, Sue Ann Gilfillan, Bro Herrod, Bayard Leary, Jon Stone, Paul Lukather, Ronald Bazanni, Russell S. Doughton, Jr. Staging by faculty member Frank McMullan includes an interesting technique which has a Prolog sub- sequently blending with a later scene to pick up story thread. Other credits include scenery by Richard G. Mason, costumes by Carl Michna MicKell, lighting by Anne De Coursey. Efforts of these three add up to good technical con- tributions. - Bone. Chi Status Quo Continued from page 71 situation. Instead of arguing or pleading with the critics, they’re delaying openings a day*or two in each case to permit adequate prep- arations for smooth first-night per- formances. For example, instead of rushing in for an opening last night (Mon.), Leonard Slllman has scheduled the local preem of “New Faces of 1952” for tomorrow night (Wed.), taking the extra two days for brushup rehearsals and to hang the production prop- erly. Similarly, “Pal Joey” has slated its local bow for May 20, a Tuesday night, to allow a full day for setting up the production and holding a full dress rehearsal. In each case, it’s figured, the aim is to avoid a haphazard opening per- formance such as marred the ar- rival of “Paint Your Wagon” here several months ago. Slightly different setup is in- volved in the case- of “Deep Blue Sea,” due here May 8, a Friday night. In that instance, instead of moving directly here from Mil- waukee, where it closes a week’s stand next Saturday night (2), the Alfred de Liagre. Jr.-John C. Wilson production will play next Monday-Tuesday .nights. (4-5) in St. Paul and Wednesday-Thurs- day (6-7) is*. Madison, Wis., to give Uta Hagen a chance to play a few performances as femme lead before hitting Chi. Actress is tak- ing over as star, succeeding Mar- garet Sulla van. Scheduled B’way Openings Men of Distinction, 48th St., April 30. Can-Can, Sbubert, May 7. Me and Juliet, Majestic, May 28. cfmTrmjAk md eriteft&iMiw} to tilt Uf^Mu/edt. THIS WEEK of the Theatre ^'atj^ouje tfite/wrifa “AN EVENING OF GILBERT AND SULLIVAN” Starring HELEN ROBERTS iand RICHARD WALKER IRONWOOD—April 29th DULUTH— April 30th-May 1-May 2 -SAM SCHWARTZ— Starring as NATHAN DETROIT In the National Company of “GUYS AND BOLLS" Currently FOX THEATRE Spokane, Washington Thanks to FEUER & MARTIN CAB CALLOWAY Sportin’ Life “Porgy and Bess" Currently ZIEGFELD. NEW YORK “Cab Calloway's remarkable performance as 'Sportln Life' makes a vital comment on 'Porgy and Bess' as a classic."—William Hawkins, World, Telegram A Sun, N. Y. Mat.: BILL MITTLJER, 1419 Broadway. New York 9