Variety (January 1954)

legitimate Wednesday, January . 13, 1954 The Metropolitan Is On The physical fact is ihdubitaWe and undoubted. Most . people know that the Metropolitan Opera House stands on Broadway between 39th and 40th Sts;, in New York. This, flbviously, is not what I am talking about. I apt talking about Broadway, the Great White Way, the symbol of everything that is globing and glittering and sparkling in theworld of the American Theatre. . . W e claim that our opera house belongs with that symbol. Some people seem to doubt 11; to others, It just never occurred. When recently a motion picture was made which under the title “From Main Street to Broadway” contained everything pertaining to show business— from Miss Bankhead down and up— the producers . were mildly amazed when I inquired why the Metropolitan was left out When even the last theatrical kitchen sink was let in; To call the reaction to this inquiry flabbergasted would be a gross understatement. Whoever heard of an opera house pretending to be a theatre? Well, I insist that some people have heard of this presumptuous pretension and if others haven’t, it is about, time they did. What, may we ask, is an opera-house? . Is it by any chance a larger and fancy edition of parnegie Hall? And if so, why do we have a stage, a curtain, and dozens ol stagehands— all paraphernalia that go a long way to making up a large hunk of our sad deficit? Seriously speaking, everybody knows, or at least once knew, that an opera is a play in music, drama or comedy, as the case may be. If so many people are today only darkly aware of this state of affairs, this is to a goodly extent not their fault so much as it is the opera house’s, and in saying this, I am by no means especially or only referring to the Metropolitan. The tendency to regard an opera performance as a concert in costume, a vocal delivery with greasepaint on your face, is Widespread and obnoxious: All opera houses that are really intent on making opera the most exciting show on earth (which is of course what it ought to be) must resist this sloppy concept of non-theatrical opera. The management of the Metropolitan Opera today is eagerly conscious of this problem and — good music being almost a matter of Course in a firstrate opera house— By JOHN GUTMAN (Asst. Mgr., Met Opera House) considers the theatrical rehabilitation of opera one of its most urgent and also its. most exciting tasks. The increasing coverage which the Metropolitan efforts have been given by Variety are a fine testimonial to this, arid one which we are quite proud of. Two main factors account for the theatrical impact, if any, of an operatic performance. The design of decor and costume, and the. stage direction. However Important they are, they must of course be not only coordinated with but often subordinated to the music. Therefore, in inviting such stage personalities as Peter Brook, Tyrone Guthrie, Garson Kanin, Alfred Lunt, Joseph Maiikiewicz, Cyril Ritchard and Margaret Webster, in addition to. such fine opera experts as Herbert Graf and Dino Yannopoulos, , and in entrusting its scenic fate to people like Horace Armistead, Eugene Berman, Charles Elson, Rolf Gerard and Sam Leve, Met manager Rudolf Bing has made it a principle without exception that, at the very beginning of their chores, they, must consult with the. music director. All artistic planning of a show at the Metropolitan today is a three-cornered effort 'of conductor, director and designer. So far so good. Of course there is always the question' of acting. There is a persistent rumor about, and has been for the last 350 years, that opera singers just can’t act, and if only they sing well, why should they? Well, they should, and quite often can. The big mistake is to believe that acting in music is the same as acting, period. It isn’t. With all these leading stage directors milling about our theatre, I have often had the fascinating opportunity to ask them what the difference in the two types of acting really was. Alfred Lunt, with his usual charm, came up with this one: ‘‘there isn’t so much difference, except that on our side of the street we don’t sing so good.” This is putting it pleasantly, though not quite realistically. When it conies to acting in opera, what we really need Is less of it. Exaggerated gesturing, to the point of the ridiculous, has been the bane of this particular department for a long time. Of course, some of these stereotyped and often caricatured gestures are dictated by the physiological requirements of singing (although even that is denied by so smart a stage director as Brook). One thing is sure: acting in music cannot take a cue from acting on the legitimate stage, By this I do not mean that acting in opera would be Illegitimate, even if it i* perfectly true that— historically speaking — opera was an illegitimate child of the drama. The detailed kind of play acting which we see in the spoken drama or comedy is quite unsuitable for the larger space of the opera house and for the more al fresco type of opera as a very special kind of drama. v' I think it is correct to say that ho truly adequate style of acting has yet been found for opera. Nevertheless, even if in this sector much remains to be desired, we are not relinquishing our claim that an opera is a play, that very often an opera, is. also a show, and. that with the type of entertainment we are offering we are fully entitled to be considered . part and parcel of that exciting and slightly madT brotherhood that goes by the name of “Broadway.’' ’ One thing, we must admit, is as yet seriously hampering our efforts at being a theatre. If you go to a show, dona you want to know what is going on? If you dp, how do you find out if people are singing at you in Italian. French and German? Do I mean by this that I am advocating opera in English to the bitter end, even at the Met? 1 do not. As long as the Met remains an' international, as Well as an American opera house, where all the great foreign artists are expected to be heard, opera in the .original will remain the order of the day. Where, on the other hand; English as the; right operatic language has already proved its indubitable superiority is on television. But this belongs in another chapter and, may : I add, to one of the most fascinating chapters yet known to the history of opera.. Our experience in this hew medium so far has been entirely encouraging. So there is always hope that, even if Broadway should still continue making sour faces at us, the day may come when we will show on millions of television screens how utterly theatrical an art form opera really is. The Big Knife London, Jan. 4. Sam Wanamaker Sc Ralph Birch presentation of drama in three acts, by' Clifford Odets. . Stars Wanamaker, Renee . Asherson; features Frederick Valk> Directed by Wanamaker/ Sets. Richard Lake. At Duke of Yorks, London. Jan. 1. *54: $2.20 top. . Russell . John Harrison Buddy Bliss Philip Vickers Charles Castle . Sam Wanamaker Pattv Benedict Natalie Lynn . Marion Castle .......... Renee Asherson Nat Datiziser ........ . . Meier Tzenllker Mar.cUs Hoff Frederick Valk Smiley Cop ..... George Coulcu.ris Connie Bliss Heather Stannard ‘*Hank’‘ Teagle Joseph O'Concr Dixie Kvans Diane Cilento Dr. Frary Mayne Lynton" For the second time in just about a year, Sam Wanamaker has directed and starred in a Clifford Odets’ play in London. On the last occasion when he brought “Winter Journey” (“The Country Girl” > here, he scored a combined artistic and boxoffice success; on this occasion, the prospect of his new venture are less certain and they will depend largely on the personal drawing power of the stars ^nd the author. Odets’ searing analysis of Holly ADVANCE AGENTS! COMPANY MANAGERS! We have been serving theatrical shows for,; over 42 years. Ours is fhe oldest, most reliable and experienced transfer, company on the West Coast! • Railroad pri vile get for handling1 . . show* and theatrical luggage . • Complete Warehouse facilitieel • Authorised in California. Equipped to transfer and haul anywhere in U. 5.1 • RATES ON REQUEST f Atlantic Transfer Company GEORGE CON ANT 1100 East 5th Street los Angeles 13, Calif. MUtual 8121 or OXford 9-4764 ::;DI;R:EOT:0;n:'V':i Available to Anywhere PROSCENIUM and ARENA ALEXANDER WHITE 155 W. 46th St., New York 36, N. Y. Plaxa7>6300 wood bears the stamp of the intellectual’s contempt for a system which thrives on personalities and which demands the maximum protection for the. stockholder’s investment. Stars who are boxoffice must go on churning out films and cannot indulge in romantic nonsense about doing a play on Broadway or living in domestic happiness. ' The development of this theme allows for some good taut melodrama and for effective snatches of dialog. But the overall effect is not always satisfying and the. revelations not as surprising as the. author might have intended. The spark which is kindled in some, of the mdre dramatic sequences is allowed to dwindle too soon and the climax, although possibly in character, leaves the issue unresolved. .But it completes a picture of a sordid Hollywood. V/anamaker’s por tra y a 1 of Charles Castle, the star who is being forced to renew his contract for a 14-year term, despite its tense virility; represents one of the weaknesses of the production. As Wanamaker also takes the directorial credit he, not unnaturally, has nobody to restrain him. Hence, the role, which, keeps him on stage throughout most of the three acts, certainly calls for restraint both in the use of mannerisms and in its actual length. Let it be admitted, however, that he gives the fullest scope to other artists. .Renee Asherson’s performance as his wife is noted for its genuine sincerity. As the studio boss. Frederick Valk turns Ol a portrayal of outsanding quality; the character, is : richly etched and clearly defined. There is also a smash contribution by a blonde newcomer, Diane Cilento, as the starlet who has to be kept quiet at all costs. Heather Stannard, Meier Tzelniker and George Coulouris are among the fine performers recruited for this production. Myro. Opera-Concert Series In N.Y. Bow With ‘Paris’ The American Chamber Opera Society will bow its first annual subscription series of opera performances in concert form at Town Hall, N. Y., Friday (15), with the AriiericAn preem of Gluck’s : “Paris arid fteien.” Cast will include Mariquita Moll, Laurel Hurley, Maria Leone and Paul Franke. Arnold U. Gamson will conduct. i = = =q 1 ^j|j| CAB CALLOWAY Sportin' Ufa “Porgy and Bass? NATIONAL THEATRE, y/ash.. D. C. "As sauce for the feast there is the great Cab Calloway, e far steadier ‘Sportin’ Life, ‘ a characterisation of charmlng malevolence-^-and you haven't lived until vow ve ^seen him sing about 'Methusala's 900 Years'." —RICHARD L. COE, Wash., D. C., Post Mgt.: BILL MITTLER, 1619 Broodwdy, New York ■ ‘ ■* Future B’way Schedule ( Theatre indicated if boofeed) SSS Continued from pace 1—^^ three daily sheets were given seats on the furthest left aisle, instead of the usual center, next to the standees and exits. . At first the critics merely muttered into their beards. More recently they have taken to sniping indirectly at the management’s policy in their reviews, with iritro. remarks like “Fronv where I sat,-4t sounded like. . . or “From this side the viewing . . . ,” or that they simply couldn’t see or hear. Now they expect to take up the matter at the next meeting of the Music Critics Circle, for more formal protest. As for managements or personal reps of artists/ a good deal of. ill-will has been engendered this season. Ever since the house opened, decades ago, recognized managers 6f artists have been on the Met’s door list, able to drop in (free) to stand (no seat given) and hear their, artist in performance. Most agents don’t get a commission from their artists on their Met stints, although they still have to render certain services via an appearance at the house. This season the door list was summarily cancelled, without discussion or limiting. An artist can bririg in one person Tree on the night he or she sings (to stand around), but agents "mnw are generally barred, and several important execs haven’t been at the house all season, for their first such brushoff in memory. And the cloud of ill-will seems to be growing. Current London Shows London, Jan, 12. (Figures denote premiere dates) Affairs of State, Cambridge (8-21-52). Airs Shoestring, Royal Ct. (4-22-53). As Long As Happy, Garrick (7-8-53). Big Knife, Duke York’s (1-1-54). Birthday Honours, (Criterion (10-6-53), Boy Friend, Wyndham's (12-1-53). Carrington, V. C., Westminster (7-28-53 Champagne, On Ice, Hipp (9-17-53). Confidential Clerk, Lyric (9-16-53). Day By The Sea, Haymarket (11-26-53 Deer Charles, New (12-18-52). Down Came Blackbird, Savoy (12-22-33 Escapade, Strand (1-20-33). Fellas Berger*, Pr. Wales (9-24-53). For Better Worse, Comedy (12-17-52). Guys end Dolls, Colliseum (5-28-53). King and I, Drury Lane (10-8-39). London Laughs, Adelphi (4*12-52). Love From Judy, Savilie (9-25-52). Leva Match, Palace (11-10-53). More Intimacy, New Lindsey (12-29-53). Moesetrap, Ambas. (11-25-52). Oddly Enough, New Watergate (12-22-53 Old Vic Repertory, Old Vic (9-14-53). Paint Your Wagon, Majesty's (2-1L53 Pygmalion, St. James' (11-19-53). question of Fact, Piccadilly (12-10-53) Reluctant Heroes, Whitehall (9-12-50). Return, Duchess (11-9-53). Ring Out Bells, Vic. Pal. (11-12-52). Seagulls ;Sorrento, Apollo (6-14-50). Sevan Year Itch, Aldwych (5-14-52). Sleeping Prince, Phoenix (10-5-53). Someone Waiting, Globe (11-25-53). Trial A Error, Vaude (917-53). Wish You Were Here. Casino (10-10 53 Witness Prosecution, W. Card. (10-28-53 . wwvaw*# hM9l TOC CIV Living Room, Wyndham’s (4-16-53) Orchard Walls, St. Martin's (11-30-53] ■ . SCHEDULED OPENINGS Crime Punishment, Arts (t-13-54). Boychik, Embassy (1-13-54). Starcross Story, Royale, tonight (Wed.). ... . Corlolanus, Phoenix, Jan. 19. Caine Mutiny Court Martial, Plymouth, Jan. 20. Iihmoralist, Lyceum, Jan. 26. Lullaby, Jan. 27. Mardi Gras, Jan. 28. Confidential Clerk, Morosco, Feb. 11. Winner, Feb. 17. Ondine, 46th St, Feb. 18. Girl Pink Tights, Hellinger, 2/25. Burning Glass, week March 1. Child of Grace, March 18; By Beautiful Sea, March 25. Year Around, April 19. Pajama Game, May 12. Femme Star Continued from page 69 Lee Segall, $4,500; attorney Morris M. Schrier, representing Music Corp. of America, $3,000, and Actors Fund president Walter Vincent. $3,000. Aldrich and Myers are listed as general partners. “Dear Charles,” incidentally, is an adaptation of an old Broadway flop, by way of the French. Original version, written by Frederick Jackson, based on an idea by Roland Bottomley, was called “Slightly Scandalous.” With Janet Beecher as star, it played seven performances at the National, N. Y., during June, 1944. luatt^uuucii iiiauc version, titled “Les Enfants d’Ed ouard,” which was produced ii Paris several seasons later. Ani that was in turn adapted by Mel ville as "Dear Charles/’ It opene< Dec. 18, 1952, at the New, London Featured male lead, in support o Miss Arnaud, was Charles Gold ner, who left the comedy a coupl of months ago to costar with Rene Jeanmarie in “The Girl in Pin Tights,” musical currently in re hearsal for a. Feb. 25 opening a the Hellinger, N. Y. With “Charles” in abeyance, Aldrich & Myers, in association with Fleischmann, are going ahead With an immediate production of “Wooden Dish,” Edmund Morris drama, for which Herman Shumlin is set as director, with a cast probably including Jairies Westerfield Vicki Cummings, Howard Smitli and Edward Binns. It’s tentatively slated to go into rehearsal earlv in February. ' ■ Next on the A & M list is “Janus,” a comedy by Carolyn Green. It will probably be tried out next summer at the Cape Playhouse, Dennis, Mass., and/or the Falmouth Playhouse, Coonamessett. Mass., both of Which are operated by Aldrich; Plan is to bring the play to Broadway in the fall, Otto Preminger, who directed “Moon Is Blue” for A & M, will stagethe show. ‘OKLAHOMA’ $29,300 IN 2D MIAMI STANZA Miami, Jan. 12. “Oklahoma” took in almost $29,300 at the Dade County Auditorium here last Week. Take for the previous week at the Dade was around $24,800. Musical is splitting this week be* tiveen the War Memorial Auditorium, Ft. Lauderdale, Fla., Monday-Wednesday (11-13) and the Peabody Auditorium, Daytona Beach, Fla., Tliursday-Saturday (14-16). Shows in Rehearsal Keys : C ( Comedy ) , D ( Drama ) , CD ( Comedy -Drama) , R (Revue), MC (Musical Comedy) , MD (Musical Drama), O (Operetta). Corlolanus (D) — T. Edward Hambleton & Norris Houghton (Phoenix Theatre) prods.; John Houseman, dir.; Robert Ryan, star. Girl in Pink Tights (M) — Shepard Traube, Anthony B. Farrell, prods.; Traube/ dir.; Renee Jeanmaire, Charles Goldher, stars. Ondine (CD)— Playwrights' Co. prod.; Alfred Lunt, Lynn Fontanne, dirs.; Audrey Hepburn, Mel Ferret, stars. Winner (C) — Playwrights' Co., prod.; Elmer Rice, dir,; Joan Tetzel, Tom Helmore, stars. BROADWAY ANGELS, INC. Common Slock Prict 50c a Shara Write or phone for an offering circular to BROADWAY ANGELS, INC. M W. *SMi St., N*w York23 TRofolgar 4-1 81 5 WEEK-EN D I N TH E COU NTRY ? In the heart of America’s most famous liter: ary haunts and historic points of interest. Facing village green. Comfortable, restful. A peaceful place to read, write, paint, or get away from it all for a week-end. Modernly appointed rooms with bath. AdmirablecookingEuropean plan. Write, wire or phone your host Loring Grimes, Jr. COLONIAL INN, Concord, Mass. Telephone 460. ATTENTION PRODUCERS AND AGENCIES Experienced American Writer-Editor Will read, translate or adapt French Plays for Stag* or Television. Phone Ulster . 6-0560 or write ' Box VI 854, Variety, 154 W. 46 St., New York, N.Y.