Variety (June 1954)

«*■ * * < t » * 60 LEemMATI ***«■*.»« t t» *JP* •# " Sr -y . *■ * PffSSOgff Wefaewfaft June 2, 1954 Up Ira Light* 'Syracuse, May* 25. Boar's Head, of Syracuse U„ produc- tion, in cooperation with class of ’.W. or musical revue, with hook' by William Dixon and William Levine, music and lyrics by Harlan O'Kan and William Angelos. Dlrectedby Gerald Lelder; scenery-lighting. Peter _ Forward, Bar* bara Bnlrd and James Esmayj costumes, Mario Forte? choreography. Anita .Khan- zadlan. Production under supervision of Sawyer Falk. At Astor Theatre. Syracuse. • Syracuse U. has rung the bell again with “Up in Lights," its bright and bouncy annual musical show. . Two-act revue satirizes college life on the Hill and comes up with some fresh spoofs and several nice tunes, notably “Stop, Look and Love Your Lady" and “I Fell in Love with You Again." i College shows always rely upon local association for- their biggest laughs, but “Up in Lights" adds some good all-around pieces. There’s “Party Poopers" (the life and gay times of chaperoning), and an unbilled sneaker about a “cool" trio reading “John Brown’s Body.” Bill Angelos, Alfred Gross and Sam Baskin romp through another good tune, “Tum-a-Bout," and there is a zany dressing room skit about a co-ed football “dream team." Also on the credit side are a colorful “College Hayride" produc- tion using 60 persons and black lighting, “Trial by Joey,” a rib on the McCarthy bearings, and “Tip That Halo" teaming Vince Rigolosi, recruited from the college boxing team, and Bob Dishy, drama de- partment jack-of-all-trades. Latter does the best single in the show with “The Three Eiffels," panto- mimeskit with spotlights for play- ers. Pictures get a ribbing in “Good- bye Sam in 3-D" and Italian films similar treatment in “Scooter Thief.” Best ensemble dancing is offered in “Marshall Street Mope," a sort of 1954 extension of the Charleston and Jitterbug. Hayd. to an prevent this pair from fooling _.d making off with the money of two brphaned girls; and how they Anally return to Hannibal as heroes. , .. ' George Herman has done the book, music and lyrics, a banal job which at times is broadly hammed by-the cast, there being no other way to handle the situation. A few of the songs, but not enough, show promise. Best of them are “A' Travelin’ Show," “Saturday Night,’ and for topical patter, “If You Were a Tree." With all the wealth Of early and mid-19th century music to draw from, Herman seems o have found all the inspiration Jor his songs a century later in Broadway and Hollywood. Carole Macho, who plays Susan, he younger of the orphaned Wilkes sisters, stands out in the cast as a refreshing and promising come- dienne in the handling of both her spoken lines and songs. Henry Sutton, as the Dauphin, and Philip Bosco, as the Duke, also do strong jobs. Danny Ruslander is well cast as Huck Finn. Singing standout of he cast is Thomas Major, as Jim, the Negro slave. Choreography is considerably better than usual for Catholic U musicals. Jeri Nagle, who handled the dances, cut her numbers to fit the ability of the cast and the result is lively and colorful. Miss Nagle also dances a pas de deux near the finale with Robert Gorm- ey. Sets are good. Lowe. Marriage Wheel Westwood, Cal., May 25. U. of ^California at Los Angeles Theatre Arts Dept, presentation of a thesis pro- duction in three acts by Joel Climenhaga. Directed by the author. At Theatre 3K7, UCLA, Westwood, Cal; 85c top.. Hack Finn Washington, May 25. Catholic U. Speech and Drama Dept, production of musical In two acts, with book, music and lyrics by George Her- man, based on stories b'y Samuel Clemens (Mark Twain). Directed by Leo Ilrady; coached by Dr. Josephine CaUan; sets and lighting, James D. Waring; costumes, Joseph Lewis and Ann Tacik; choreog- raphy. Jeri Nagle; musical arrangements, Joseph Jenkins. At Catholic U. Theatre, Washington. Father Gilbert Hartke’s speech and drama course comes up this year with an original musical which is strictly collegiate level on all counts. “Huck Finn" is a pleasant idea, pleasantly offered, but is many rungs down the ladder from some of the originals unveiled at Catholic U. in other years. Story, for which Mark Twain gets the credit, of course, is the best part. It’ll be familiar to the readers of the Huckleberry Finn books—how Huck Finn, frightened by his no-good father, pretends to be murdered and runs off from Hannibal, Mo., with a runaway slave, how they pick up and can* get rid of two crooked actors who pose as the Lost Dauphin of France and a Duke. Then how Huck helps ADVANCE AGENTS! COMPANY MANAGERS! Wo have been serving' theatrical shows for over 42 years. Ours is the oldest, most reliable and ex- perienced transfer company on the West Coastl • Railroad privileges for handling •hows and theatrical luggage. • Complete warehouse facilitiesI • Authorised in Californio, Equipped to transfer and haul anywhere in V. S.I • RATES ON REQUEST f Atlantic Transfer Company GEORGE CONANT 1100 East 5th Street Los Angeles 13, Calif. MUlual 8121 or Oxford 9*4764 As a thesis production, this script revolving around the marriage cus- toms of the Pennsylvania religious sect in the 1800’s shows promise. It’s not for Broadway, but with minor revision here and there might serve for strawhat fare. Principal impediment to any solid commercial success of “Mar- riage Wheel" is its lack of action. Plot revolves around the key hour in the lives of a young couple whose names have come uj> in the marriage lists of the God’s Breth- ren Church. The gal’s domineering older brother had rejected, on be- half of another brother, the boy’s sister in a similar ceremony a few months earlier and since this re- jection automatically condemns a femme to spinsterhood, the boy is out for revenge. After too much conversation, romance and a touch of independent thinking smooth out the wrinkles. Climenhaga has pitched his en- tire script in a one-room set and at times all of his seven characters are crowded on stage. Such a setup makes for too much talk and too little action—and there’s nothing in the basic idea of the play that permits a change. So, in its present 'state, “Wheel” won’t turn much beyond the campus confines. . Author has directed with some degrees of tenderness and there are, considering the situation, good performances. Best is from Mary Jane Moffat, who shows promise with a sensitive portrayal of the gal whose future is at stake. Kap. BELLAMY, N.Y.C. SHOW TAX BID Ralph Bellamy, Actors Equity, prez, and James F, Reilly, exec di- rector of the League of N-. Y. The- atres, were among the legit stage spokesmen yesterday (Tues,> as the N. Y. City Council finance commit- tee heard testimony on the pro- posed 5% ’admissions tax. Bellamy said Equity’s records show that its members worked an average 10 'i'eeks per year for an $800 income. “Now is the time/ he declared, “to make adjustments allowing for basic human dignity. He put the Equity membership at 9,000 and stated prevailing Broad- way prices are such that people will only come to see smash hits. Murder’ Net 410G On $50,000 Stake “Dial M For Murder,” which folded at the Biltmore Theatre, Los Angeles, last Saturday (29K made a profit of nearly $410,000 in 94 weeks on Broadway and the road. On the basis of the usual 50-50 split between the manage- ment and the backers, that repre- sents a 410% profit for the latter on their $50,000 investment. Thus far, $322,000 has been distributed to backers of the James P. Sher- wood production, leaving a balance of almost $88,000. Maurice Evans starrer chalked up a profit of about $50,500 in 13 weeks on the road, following the windup of show’s Broadway run, Feb. 27, Profit at the close of play’s 556-performance Main Stem Stand was approximately $359,OPO. A second company, sent out last season to play Chicago, wound up with a $9,000 loss. The legit production of the Fred- erick Knott meller gets no revenue from the Wamfer film version, the screen rights having been sold prior to the original London stage presentation. Bernardino James B. McKenzie production of comedy in two acts (nine scenes) by Mary Chase. Directed by Aaron Frankel; settings, John Raymond Freimann; light- ing, Willard Merrill. At Dobbs Ferry (N. Y.) Playhouse, May 13, '54. Arthur Beaumont John Lehne Leonard Carney Vivian Matalon Morgan Olson Grandin MacFie George Friedelhauser .... George Zaborln Marvin Griner Frank Dana Will McElroy Peter MacDowell Dave Gibbs ............ Erick Van Tassel Helen Alene Hatch Buford Weldy Johnny Stewart Ruth Weldy .Julie Christy Vernon Klnswood Fred Vogel Selma Cantrick Betty Arnold Jean Cantrick Rawn Harding Fred Wllllard Merrill Woman Georgette Spelvln A. J. Witnick George Curley Man ....William Munchow Enid Cranshaw Barbara Torrence PRODUCERS DROP SUIT AGAINST SCENIC UNION Suit instituted two years ago by the “Women of Twilight” manage- ment against the United Scenic Artists Local 829 regarding the im- portation of foreign scenery has been withdrawn. Dispute stemmed from the use of foreign-made scen- ery in the 1952 Joseph Kipness- Jack .Hylton Broadway production of “Women," a British import. Both parties have accepted the agreement between the League of N. Y. Theatres and the scenic union covering the importation of foreign scenery. Suit was filed in the U. S: District Court for the Southern District of N. Y. SONGS With kenyo n nancy s currently jorie's playgoers club NEW YORK A Management Assoc* Attraction This rewritten version of Mary Chase’s “Bernardine” is a mirthful two-acter that should register as an audience pleaser. Comedy played a two-week run recently at the Dobbs Ferry (N.Y.) Playhouse. James B. McKenzie, operator of the Playhouse, and Willard C. Mer- rill, business manager, hold the touring rights to the play and plan sending it out on the road next season. In its original form, “Ber- nardine" had a Broadway run of 157 performances during the 1952- 53 season. With emphasis on the sex angle, Miss Chase has done a credible job of presentating the humor out of the capers, discussions and de- sires of a group of late-teenage boys. Play is spotted with a num- ber of funny lines and situations. Sparking most of the activity is a lad whose clumsy handling of girls has resulted in his being black- listed by the local bobbysoxers. Johnny Stewart, repeating his Broadway role as the pivot char- acter, registered effectively. Cast as his buddies'; John Lehne, Vivian Matalon, Grandin MacFie, George Zaborin and Frank Dana turned in believable performances, Fred Vogel's characterization of a young bookworm * was good for laughs. Of the femme contingent, Julie Christy was convincing as Stew- art's doting mother, while Barbara Torrence made a seductive looking divorcee. Aaron Frankei’s direction main- tained a lively pace. Scenery switches conducted by cast mem- bers in full view ot the mjulknre fitted in nicely with play’s frolic- some mood. Jew, Here Come the Clown* (CHERRY LANE, N.Y.) This Album Theatre production of "Here Come the Clowns" rates a bare par as the off-Broadway beat*] goes, but a recap of Philip Barry’s mystic saga is to the good, time having treated it well. The drama is about a child of misfortune, stagehand Dan Clancy, bent on finding the truth with a capital “T.” S*er Max Pabst is ready to play guide, letting fall by the wayside those who can’t stand the gaff. Luckily, these two prin- cipals are cast for strength, Edwin Gordon playing Dap with disarm- ing gaellc goodwill, and Haskell Coffin’s Max being sadistic and cooly detached. Sara Farwell is warm as Connie, the lass Dan ought to have mar- ried, and Jo Ann Friede petulant as the girl he did. Ma Speedy, en- trepreneur of the Cafe des Artistes, is played with a flair by Harry Bar- tron, while Leon B. Stevens is wary and rugged as the ventriloquist. Glen Styers makes his Major Arm- strong very moving. Larry Ward’s brooding press- agent never gets far out of his cups. Charles Collins acts Nora s boy friend with vigor, but makes him seem too nice a guy to have kicked Clancy when he was down. The balance of the company react with adequate concentration. Compounded of mysticism ana bewilderment, “Here Come the Clowns” is a tough assignment. Stephen Bates’ direction places the stresses where they belong, hut fails to eke out a uniformly good production. It is Philip Barry who emerges the winner, however, for despite obscurities this is still a beautiful play. Geor. The Jackal (SKYLINE THEATRE, N. Y.) Maxwell Glanville and Ruth Jett have taken‘off-Broadway to Har- lem, N. Y., with the production of “The Jackal," a new play by Sallie Howard and Evelyn Cornell. Pre- vented by licensing restrictions from opening at the Hotel Theresa, a last-minute switch was made to the Don Studios at 125th St. and Lenox Ave. The management showed cour- age in choosing a tryout for its opener instead of a tested product, but “The Jackal” is minor play- writing. Illustrating the theme that environment can drive people to desperate ends, the story is dif- fuse and blurred. Ed Jackson, the jackal, earns a dubious living feeding on others. Ed Harding plays him knowingly but without urgency.. His mistress, Marie, is sensitively done by at- tractive Frances Foster. Ed preys on the family next door, ambitious Cora Taylor-Hunt and daughter Gwendolyn. Louise Stubbs is un- derstandable as the mother whose passion for respectability and suc- cess has tragic results. Dolores Tompkin’s daughter is lively and bewildered by turns. Despite the jackal’s marauding, Helen Martin's wise Aunt Reid holds the family together. Kenneth Manigault, Service Beil, producer Glanville anti Freida Walker round out the cast, Miss Walker’s prostie having real style. Maxwell Glanville also directed. He is aware of the mainsprings of action, but has been unable to con- trol a discursive play. The Misses Howard and Cornell should settle for one topic and stick with it. The Skyline Theatre will have to try again with a sounder script. Geor. Montacrrat (BARBIZON-PLAZA, N. Y.) This revival of “Montserrat," adapted by Lillian Heilman from the French of Emanuel Robles, probably holds the distinction of being the only play to have re- ceived a pre-off-Broadway tryout. Drama, utilizing practically the same cast as at the Barbizon- Plaza Theatre, N. Y„ was given an Equity Library Theatre production this April. Play is now being of- fered on a commercial basis by Maurice Glazcr, who directed the ELT offering. Jack ana Harry M. Gresen are assoclated with Glazer in the production. When originally done on Broad- way in 1949, play folded after 65 performances. It still impresses as lacking in general appeal, a period piece dealing with Bolivar’s revolt against Spain, “Montserrat” tends to be weighty in its enun- ciation of tyranny. Play, howt^er does have sporadic moments of dramatic impact, brought out ef- fectively in this production via some fine performances. Topping the acting contingent are Alfred Sander, Sy Travers, Joseph Ruskin and Fran Malls. All four register with forceful per- formances. Edmund Johnston does okay as the sensitive title char- acter, while Alan Bergmann's por- trayal of a flamboyant actor is good. Remainder of the cast are generally satisfactory. Glazer, re- peating his ELT directorial stint, succeeds, for the most part, in keeping show well-paced despite the .overall statics nature of the action. Marvin Chomsky’s one- scene set is commendable. Jess. (Closed Saturday (29) after six performances ). Building Block* (TWO-BY-FOUR, N. Y.) Two-By-Four Productions is mak- ing its off-Broadway . bow with “Building Blocks,” a new drama by Eugene Feist. Described as the story of a man who comes of age through his love for a woman, the play relies on . characterization rather than plot. The author has failed to explain, however, how his hero ticks, and the drama fails to get down to cases until its last 20 minutes. Against parental wishes and the desirability of finishing college, Susan Randell marries tempera- mental Jeff. Marlin who is shortly for the Air Force. Junoesque Joyce Miles is convincing as Susan, which is lucky, for John Bracchit- ta’s task is to make Jeff under- standable, and despite sincere playing, he is pressed to provide motivations that are not in the script. Two years of Air Force and a baby are the blocks on which the pair build a life. Fredi Nacamee is good as Joyce’s mother, Harvey Mozer’s corporal is sharp and Edward Ragozzino, Mary Hara and George Hatch round out an efficient cast. Jean Armstrong’s polished direction is well adapted to arena staging. Playwright Feist adds nothing new to his venerable them?, writ- ing with a sheen that is only pan- cake deep. His staccato dialog crackles, but is drenched with cliches that sound effective but ex- plain nothing. It’s a good trick Only if you get away with it. Two-By-Four Productions has a neat though neck-craning theatre. If enough capital is on hand to stick around, the venture could be that will be good enough box- office to overcome geographical a going concern. A play is needed limitations. Geor. BROADWAY ANGELS, INC. Common Stock V Pric* 50e a Shar* Write or phone for an offering circular to BROADWAY ANGELS, INC. 29 W. 45th St., Now York 23 TRafalgar 4-1 IIS WANTED Back Issues (Before 19481 of Weekly VARIETY SAM STARK 71 N. La Sonda Drlvo South Laguna, Calif. CAB CALLOWAY 102nd WEEK (Sportin' Ufa) "PORGY AND SESS" Currently AUDITORIUM. D.nv.r Mgt.i ,tU MITtlER, 141, lr,idw«y. Nw Y.rk