Variety (October 1953)

LEGITIMATE Plays on Broadway Tin* ■*>«#» of Spring Austin A | hum** Noy«*-« ‘In t,., \ustm A Ihuma* N<iy***» H ,,lj st‘ul'l.ir<t. Hubara ", K V sia»-d t.v Bur){••*»# Meredith. >.«*(• li i aixl iHChtuiK. but is Ajoiisun; « u»- K.*v All'll •• »...•> Ha xlr* V V11 Kima liflili‘11 li.irmv Shaw ... Jjiii**s Alh*» •■•••• Alii' 1 Ki'inp • • • • (hail'-x Jtohbv ( In is AIIi-ii John All«*n .... Ill I iml'iuist Asa M K (i' lwK ks l.utli'i l«.iui»*l . Il.iil.t StoiMard Barbara Baxh*v .. Kevin Coughlin Anthonv Hus# Mary Grate Canfield . lin am Sherman Hillv (Minn Kenneth Kakos | . M.ilrolm Brodrick . . Boland Wood .lerotne KiMv .. Fred Gwynne II good tut UK* and crackpot b whimsy uni* enough for Broadway c success, " I lit* I* rogs ol Spi ing ‘ Mould he a natural But despite its amusing, in^ratialinr» qualities, this s Nathaniel llenchley dramatization ; e fiom his own magazine .sketches of i v backyard lil<* in Manhattan's : n browns)one belt .seems too unsuh- j a slantial for the sock-demanding I legit trade. There have been, it is true, com- 1 edv hits with no more than a sug- 1 gestion of story line. “You Can’t Take It With You," for example. J was one of the top smashes of mod- j ern Broadway history'. But if tliat ■ Kaufman-1 lart farce triumph had only the slimmest of plots, it was j uproariously funny. “Frogs" is diverting and disarm- ; Jng, with likable characters, plus : an admirable quality of tolerant l humor But it draws chuckles in- ; stead of boffs. Moreover, its laugh- , ter is not cumulative. It’s a lively item for the stock and amateur markets, hut not for Broadway. 'llu* author, sou of the late Hub- ert Benchley, obviously likes peo- ple. and has an especially soft spot for amiable screw balls. Moreover, j lie’s evidently observed enough of New York’s dazzling assortment of daffy characters to make them ; plausible on stage. And he has a ’ nice sense of understated droll . dialog. But the play’s only real action, j in which the two next-door-neigh- bor misadventurers go on a bour- bon inspired safari to (Jrant’s Tomb and one of them spends the night in the cooler, takes place offstage. Otherwise, they take down a fence separating their backyards, erect a miniature house on stilts so their children can play African natives.; and take advantage of their patient j wives’ absence to Install a swim- ming pool. I This almost invisible plot thre id Is rather attraotivelj presented. Anthony Boss and Hiram Sherman team effectively as the husband- pals. while Haila Stoddard and Barbara Baxley are believable in the smaller roles of the surprised* at-nothing wives. \ There are also acceptable per- formances by Mary Grace Can- field as a glum nursemaid and bride-to-be. Roland Wood as a helpful professor. Jerome Kilty as a neighbor with a cause. Fred Gwynne as a semi-conscious pros- pective groom, and an array 1 of scampering, shouting and generally unimpressed moppets. Burgess Meredith’s staging seems competent, if not exactly inspired, but Boris Aronson has designed a realistic big-city backvard setting. Ho be. women without men. widows most- 1 ly, but with a few divorcees, and all killing time with small, syn- thetic activity. Miss Parker and d’L’sseau have taken a sort of “Grand Hotel" form to present a group of these derelicts, focusing attention on Ihree of the more striking ones. Principal of these is a wealthy ern- igree widow from Akron who finds temporary outlet in an over- intense affair with a younger man Another, a wheelchair arthritic, uses an almost forgotten, unproven accusation to blackmail her weak- ling son into remaining her cap- j I tive attendant. The third, sepa- j rated from a rich, despicable bus- j hand, commits suicide when she; can no longer find refuge in al-! coholism. These are pitiable figures, and so are the secondary harpies hov- : ering conversationally in this baek- i water abode. But somehow the multiple yarn Seems calculated ( and, at times, as if composed of hits and scraps of other, earlier! plays of similar type. So the show i tends to be predictable and there- fore only mildly moving. There are. however, effective scenes and several eloquent per- formances under Harold Clutman’s somewhat studied direction. Out- standing among these is Edna Best, giving a brilliantly perceptive, touching portrayal, in which hu- mor and heartbreak are subtly blended in the characterization ot | the widow who fails to find Iut- ! self again in a new romance. Betty Field, in the awkward role of the young alcoholic, is believ- able and touching, despite one un- comfortably written solo scene Frances Starr is authoritative and skillful as the possessive cripple, and there are admirable secondary i performances by Walter Matthau as the widow’s young lover and ; Shepperd Strudw ick as the on- Off-B’way Shows l4ito ArrKal Blurkfrlars Guild production of comedy in three act# (six scenes) by Charles Onion. Directed bv Charlott Knight. Cos- tume#. Irene Griffin; setting# and light- ing. Floyd Allan At Blackfiiars* Theatre. N Y.. Oct 22. '33; *2 73 top Mr#. Sterling Mary Berkeley Mr#. Haswcll Marion tav Monica Sterling Marilyn hay Frieda . Use Bernnaid Barbara Sterling Sheila Fallon Doctor Sterling Torn Orjrmars .Jimmy Stevena John J. m?< Roger Well* .. T ..... *. * • • • Al Mifelow “Late Arrival” is an innocuous comedy with enough weight to j hold up for a limited run at the Blackfriars* off-Broadway show- case. Play, however, is not strong ! enough for Broadway hut could fill the bill as a summer stock vehicle in lesser situations. Despite formula characters and a telescopic plot. Charles Oxton’s play manages to create a pleasant atmosphere. A likable cast adds some charm to the work, which has j as its central character a 19-year- old college girl on an intellectual kick. Highbrow leaning is direct- 1 ed primarily towards campaigning for the independence of women to elevate them beyond their routine 1 functions as housewives and moth- Wednrfwlar. October 28. 19,>3 Plays Abroad Th<* King and I London, Oct. 13. Williamson Music. Ltd, presentation of musical in two acts with book and lyrics bv Oscar Haimnerstein 2d; music bv Richard Rodgers, based on novel. Anna and the King of Siam.** bv Mar' garet I.andon. Stars. Valerie Hobson. Herbert Lorn features Muriel Smith. Martin Benson, Doreen Duke. Sonya Hana. Jan Mu/uius. Staged by John van Druten; scenery and_ lighting. Jo M eUincr; costumes. Irene Sharaff; chore- ography. Jerome Robbins; orchestrations# Robert Russell Bennett; musical director opening night. Frederick Dvonch; produc- tion under supervision of Jerome Whyte. zVt Drury Lane. London, Oct. 8, ’53; $2.80 _ l l_ — TI.. Wish You tlopo Here London. Oct. 12 . H *lton. bv arrangement with r » and Hayward 4 Joshua Logan. proO K«K-r 0f a. m V Sl ? 1 *7 twu ac,s h > - Arthur Kober 4 Joshua Logan, based on n| v Having Wonderful Time.'* bv Arthur Kober: music and lyric#. Harold Rome With Bruce Trent Shan. Wallis. ElifabeU, Lauter, Dickie Henderson, Christopher Hewett. Mark Baker. Joe 'Tiger' Roi, m . son. Directed by Richard Bird. Chore,-, raphy. Richard France; staged bv Alee Shanks: musical duector. Cyril OrnaJrl At Casino Theatre, London, Oct. 10 '> *2 30 top. Teddy Stern ...... Elizaheih i | Captain Orton , I Louis l.eonowen# I Anna I.eonowens | Interpreter Kralahnme The King ....... I’hra Alack Tuptim ...... Lady Thiang ..... ■ Prince .......... •; j Princess j Lun Tha ....... Sir Rantsay ....... rk Dvonch: produc- Teddy Stern Elizabeth Lamer of Jerome Whyte. | Chick Miller Bruce Ti - it n, Oct. 8. '53; *2 80 Fay Tomkin ... Shani Walii# , „ g ckle Fletcher Dickie Henderson John Harvey Pinky Harris Christopher Hewvtt Roy Grant Harry ‘Muscles** Green ... Joe Robinwt .., Valerie Hobson Lou Kandel ............ Mark Bak i . ..Shaym Bahudur Herman Fabricant Glen ,Martin Benson Marvin John Saru. ,- Herbert Lorn Sonia Louise Gainsborough Thomas Hare Spud Milo Lewi# Doreen Duke Eddie Malcolm McDonald . Muriel Smith Gussie Jacqueline Howe# Timothy Brookings Miriam Susan Imng .-Virginia Tarleton Diver Vivian Spaulding ■ if.......... ,v... . Jan Muzurus Ronald Leigh Hunt ion Out- Campaign is upset when young Edna B«*st femme’s mother (in her 40s> be- perccptive’ 1 comes pregnant and eventually .. |,id. gives birth to a son. Play winds are sufitls u i> with girl’s attitude falling into! •rization <>| ' line with the normal distaff put- > find her* tern. [llan( . ( , Sheila Fallon is becoming as the kAvaid role teenager. Mary Berkeley and Tom is heliev- Gorman turn in top portrayals as ite one tin- her parents, while Marilyn Fay is olo scene <,k;, . v as ll( ’ r 12-year-old sister, .native .., u i Marion Fay’s characterization of a ve cripple >ss4>y family friend is standard. . secondary is llse Bernnard’s etching of a r Matthau German cook. Al Mifelovv’s por- lovcr ami trayal of an arty student is slightly is the ni- overdone. John J. Williams is okay as a typical cleancut, pipe-smoking night's direction is while Floyd Allan comfortable living Jess. The Knight of Iho ■turning IVnIIo Miranda d’Ancona 4 Audrey production of comedy in three Hilliard acts by slaved son ns a typical cleancut, pipe-smoxing In lesser roles. June Walker L college youth, convincingly shallow as a gahhv Charlott Knight s direction is corridor dweller. Vera Allen is be- satisfactory, while Floyd Allan Movable as her timid companion- provided a comfortable living in-boredom. Lonny Chapman has 1 room setting. Jess. dimension as an enterprising bell- j hop. Margaret Barker is effective) T , Knlifht Iho as career-woman-by-necessttv, and B Wl *" Clement Brace* is plausible as a! Ilurning PoNllo henpecked young lawyer. There | Miranda d'Anoona 4 Audrey Hilliard are also acceptable hits by Robert j production of comedy In three acts by Vin Mnnt.oi K.to if-irk in anrl If-,,* Francis Beaumont. Directed by Robert v an iiooten, Kate Hat km and Hat- , <aninK Sets and H„hting. Richard Bum#; riet MacCilbbon. costumes. Ruth Morley; incidental niuiic, Ralph Alswang's five setting-', Joseph Libeling At Theatre de Lys, N.Y., representing the lobby, a corridor < * <t i 2: ’* 53: . 60 top * ... .... and three different hotel rooms. v«nVu*re%| k *L”.V.V.V* i ee‘ a ?faupt'man are playable and atmospherically Metr>thought Raymond Johnson expressive, and Noel Taylor's cos- Jasper tumes seem appropriate. So much Viu'haer y . .’.‘.’.‘.'.V.'.V.V.'.' Vivian Mataion talent and effort have gone into Tim Del Parker “Ladies of the Corridor.” in fact. I ; John jJ°miberK that it s doubly disappointing thal Mistress Merrythought... .Norma Winters so little theatre results. Ho be. citizen • Dana Eicar l,n<lipM of Iho t orrhlor Walter Fried production of drams in two acts by Dorothy Parker and Arnaud d'l'sseau Stars Edna Best, Betty Field; features Walter Matthau. Frances Starr. Shepperd Strudwick. June Walker. Mar- garet Barker. Vera Mien. Lonny Chap- man Directed by Harold Clurinan; set tings and lighting. Ralph Alswang, costumes. Noel Taylor At l.ongacre. N Y . Oct. 21. *Vt; *4 80 top weeknights '•»? Friday. Saturday, opening 1 Mr Humphries .. . . Robert Van Hooten Mr* (Jordon .... .. June Walker Mrs. lauteihach Vera Mien Mr Humphries Mrs Gordon Mrs. lauteihach Sirs Nichols Chailes Nichols Harry . . ; .. . ... Casev l.ulu Ames Sassy i.j Mildred Tvnan . Frances Stair I Shepperd Snudwickj .... Lonny Chapman ...... I onis Cnss ; Edna Best I .. ..... Tassle .., ... Betty ®“,eld , Robert Ames .......... Clement Brace Betsv Ames ........ Carol Wheeler Constance Mercer ...... Mai garet Baik<*r Irma Kate ll.trkin Taul Osgood Walter Matthau Tom 1 Inscott ....... Donald McKee Mary I.inscott ...... Harriet MacGibbon Lonely, unwanted women may be pathetic and sometimes even dramatic, but they’re hardly at- tractive subjects for a gay eve- ning’s entertainment. So even if “Ladies of the Corridor'’ were a better play it would still he doubt- ful boxoffiee. Since this Dorothy Parker - Arnaud d'Csseau drama seems contrived and a trifle hack- neyed. it's probably a hopeless bet for Broadway, but may be a possi- bility for film adaptation. As the authors have explained to various interviewers, Miss Park- er was impressed during various sojourns in New York residential hotels with the tragic waste repre- sented by the wealthy but idle futile women living in those bleak surroundings. They are almost all ' Guild Dropping St Paul ■ r 's As Subscription City rjs . Minneapolis. Oct. 27. | T of Theatre Guild has dropped St. ally Paul as a subscription season city I after many years and now is con- ems centrating entirely on Minneapolis. »’pd. it’s further indicated that attrae- ‘d a ! tions other than the subscription ! season’s also will play their Twin c ' Cities’ engagements exclusively here, a trend that has been grow- ing during the past few years. m.iuIi ! Development has occurred be-! '■eid; ! cause of the many unsatisfactory ’m*"; St. Paul grosses and the fact that bap j the Tw in Cities' area of nearly 1.900,000 population can be served n v . : more economically by a single en- 1 '**’ gagement in Minneapolis, which is lotcrt I much the larger of the two towns. Mum 1 Transportation, advertising and stair other savings are effected in this iwick manner, it's pointed out. Cnss The lone offerings that so far have visited the area, “Maid in the F«*iri Ozarks" and “Pal Joey," have ir.ice played only the Minneapolis Ly- n**k«! ceum. “Love of Four Colonels ' akin ; and “Time Out for Ginger" are rKe* booked exclusively into the I.y- bbon ceum. Guild also promises a total of eight subscription season ofTer- ma V, ings. the most ever, of which “i’al t>ven Joey" is the first. a ;* i St. Paul last season had four if suhscr ‘P tlon season attractions and re . t Minneapolis six. St. Paul suhscrib- ers numbered around 900 and Min- othv neapolis more than 2.000. This ama season the Minneapolis subscrip- ack- tion season accounts for approxi- , bet mately 2,500 tickets at $33 top. ossi-jwith St. Paul supplying a large number of subscribers, i-nod , St. Paul newspapers, following •ark-, previous years’ policy, refuse to tous acc ept paid ads for legitimate at- mre- i tracUons Paying Minneapolis ex- idle r,usivel - v an( l w iU make no mention ileak in the ' r news columns of the t an ! shows* local presence. costumes. Ruth Morley; Incidental muiio. Joseph Lihelinu At Theatre de Lys, N.Y., Oct. 23. *33; $3.60 top. Prolog Speaker Vivian Matalon Venturewell I-ee Hauptman Merrythought Raymond Johnson Jasper Rlc Lavln Humphrey Paul Stevens Michael Vivian Matalon Tim Del Parker George John Robertson Luce Jo Gilberts Mistress Merrythought.. ..Norma Winters Citizen • Dana Eicar His Wife Gertrude Kinnell Ralph Robert Emmett Miranda d’Ancona and Audrey Hilliard didn’t get off to too prom- ising a start with their initial offer- ing In a scheduled three-month season of repertory at the Theatre de Lys in Greenwich Village. Sparse opening night audience Friday (23» didn’t seem to uphold the producers’ conviction that there’s a following for their off- beat roster of plays. “The Knight of the Burning Pestle,” kickoff production in the repertory series, has some humor- ous moments hut in its entirety doesn’t warrant showcasing at a $3 fiO top. An Elizabethan com- edy by Francis Beaumont, report- Drury Lane, traditional corner of the West End which has virtually - become the permanent London residence for the genius of Rodg- ers & Hammerstein. can safely sit back and relax for a matter of years. “The King and I,” which eventually reached London two- and-a-half years after its Broad- way triumph, has more than justi- fied the grapevine reports. It is sock boxoffiee in any language and can be rated one"of the outstanding American contributions to the British musical stage. Coming to London as a proven success, the Rodgers & Hammer- stein production had raised ques- tions. Would Valerie Hobson, with little stage experience and no repu- tation as a singer, adequately fill the Gertrude Lawrence governess role? Would Herbert Lorn, type cast for years as a screen heavy in international melodramas, do jus- tice to the Yul Brynner part of the King of Siam? After the event, there were no doubts about the answers. Casting of both the leads represents a triumph of imagina- tion and a bold departure from i convention. Admittedly, Miss Hobson is weak as a vocalist. Inexperience and nervousness opening night had her first numbers on the weakish side, but by the time she got around to singing “Getting to Know You.” with the moppet roy- al children to help her along, she 1 was more than firmly established. She was there. Fortunately, sing- ing is only a minor facet of the role. In the straight dramatic parts she is amazingly good, ra- diating the charm and sincerity which the part demands. Lorn’s contribution is one of the standout items of the production. Epitomizing, with almost flawless skill, the sinister, barbaric, yet childishly naive King of Siam, he plays the part with characteristic force and individuality, with his own personality adroitly toned down. In his case, too. there are vocal limitations, but they appear completely unimportant wiUiin the general concept of the production. Muriel Smith, in her second con- | secutive Drury Lane role (she played Bloody Mary in “South Pa- cific" i, provoked a spontaneous ovation on her first appearance and undoubtedly qualifies for top hon- | ors on the vocal side. Her rendi- i tion of “Something Wonderful” is one of the musical highspots and she evokes full response for “Western People Funny.” Other major vocal contributions come produced 1607.! from Doreen Duke and Jan “Pestle" draws a good portion of its humor from poking fun at the popular knight errant of that pe- riod. Three of the principals in the production are supposedly part of the audience, with one of the trio getting into the play and assuming the title role. It's a good bit but gets tiring after a while. Actors and play itself appear to he carried away by Beaumont’s j general ribbing of various habits; and subjects. It’s more of a romp for dramatic classes than for legit audiences. Cast and director Robert Laning take full benefit of the freedom of movement and expression that the work affords, plowing through it in a free-for-all manner. Of the cast, Robert Emmett. Dana Eicar and Gertrude Kinnell hold down the major comedy assignments. Raymond Johnson provides some pleasant moments as a jocular inn- keeper. Richard Burns’ setting is imaginative. “Moon in Capricorn.” by James Leo Herlihy. which will run in repertory with “Pestle,” bowed at the theatre last night (Tues.). Jess. ) Vet Mayfair Theatre Manager Herb Royster has moved to the ! 2.000 seat Oriental Theatre, new* home of legit shows In Portland, i Ore. zurus, as the tragic Burmese girl and her lover. From the strictly musical point of view, the songs and lyrics may not compare too favorably with earlier Rodgers & Hammerstein successes, but on this occasion they become a definite, integral part of the production and are logically and reasonably accepted as part of the natural plot development. There are no showstoppers in the conventional pop sense, but there are unmistakable reactions to Miss Hobson’s number, “Getting to Know You.” and to the final joint number she does with Lorn, “Shall We Dance?,” which rates an en- core. Because of normal restric- tions, most of the music will be fresh to British audiences and only one or two have crept through on the more elegant nightclub circuit. Decoratively, the staging and costumes give an exotic glitter to the finished production. Jo Miel- ziner's settings, conceived in a mood of splendor and restraint, have eye filling appeal, while the costuming by Irene Sharaff has a spectacular beauty. In his direction, John van Dru- The production cost of “Wish You Were Here,” Jack Hvlton's latest musical importation from 9 America, is reportedly in excess of $150,000 which is big money in any language, but exceptional for West End theatres. It is easy to see where the money has gone, for it is a lavish piece of staging. It is reasonable to expect the capital will be returned with some interest because there is an obvious mar- ket for this type of escapist enter- tainment. It is without doubt an extravagant enterprise with fine sets, lush costumes and the finest theatre novelty of all, a genuine swimming pool. This gives the show* a gimmick of immeasurable value which should reap dividends. The book by Arthur Kober and Joshua Logan reflects, as other recent importations have reflected, ' the tremendous American preoccu- pation with sex in the theatre. The holiday camp setting makes it a natural subject, with the girls thinking only of “fellers” and the men of “dames.” That is natural enough. But the point is somewhat overdeveloped w*hen almost the entire company takes part in an unashamed and unabashed orgy during the second half. This scene w*as staged with a realism which could prove to be an embarrass- ment to many people in the audi- ence, particularly to parents who are accompanied by their offspring. Harold Rome’s music and lyrics represent a sound, average score with at least a couple of tunes destined to hit the popularity roster. The title song had achieved something of an advance buildup, but the others were mainly new to British audiences. Among those likely to chalk up the best results are “Shopping Around.” “Could Be” and “Where Did The Night Go?” while “Social Director” and “Don Jose” were the best of the standard showtunes. An all-British cast did justice to the book and score. Romantic leads are played with an appealing naive charm by Eliz- abeth Larner and Bruce Trent. Shani Wallis, in complete contrast to her recent fairy tale roles (“Call Me Madam” and “As Long As They’re Happy" >, plays Fay Tom- kin with surprising vigor and with an overtone of stridency. Dickie Henderson again displays his ver- satility by his performance as the social director, but the hit perform- • ance is by Christopher Hewett as » the “wolf” of Karefree camp. He extracts every ounce of comedy and every bit of innuendo from the • script. Joe Robinson is a lively t hunk of beef as the camp’s muscle • man and Mark Baker is pleasantly 1 adequate as the boss. Smaller parts have been suitably ; filled, and there is a lively selection • of dancing girls and a competent i lineup of singers. Mirro. ihrisfopher l olumbuK Paris, Oct. 20 Madeleine Renaud-Jean Louis Barrault production of drama in two parts by Paul Claudel. Directed by Barrault. Music by Darius Milhaud; #ets and costumes. Max Ingrand. At Marigny Theatre, Pari,. SJ top. Paul Claudel, leading French poet, was long the French amtns- sador to Washington. His pi »y. “Columbus,” was written in Eng- lish, which he later translated into French verse. Now Jean-Louis Bar- rault has staged it in a majestic production, using motion pictures, music and Greek chorus to give it sweep and variety. Result of the Claudel-Barrault collaboration is J masterpiece of eloquent theatre, and “Columbus” is a smash sellout at the plush Champs Elysees house, the Marigny. Play is no mere attempt at a straight biog of the great explorer but a philosophical evaluation ot in ms uueewon, aonn van uru- uui <* i ill ten, who repeated his original his place in history. Company oi Broadway chore, has painstakingly assembles as though for rehear a . attended to detail and the entire crowding into the orchestra pn ui production, staged under the super- vision of Jerome Whyte, must be rated an outstanding theatrical contribution. Myro. clear stage for action. A common* tator reads from a history book ju outline of Columbus’ career, ana i (Continued on page 60)