Variety (December 1954)

9 70 LEGITIMATE The Jolly Fiddler . Glasgow, Nov. 12. Linnlt 8t Punfee Ptd, production of comedy-In three acts, by Rex.Frost; Stars' Gordon Harker. Marjorie Fielding. Di- rected ' by John Counsell; scenery. Hal Henshaw. At Kings Theatre, Glasgow, : Nov. 12. '54; $1.20 top. Spencer Crouch ...... J..1 P.IIIah Gladys Spiller Albert Alan Pryor. ...., Sheila Pryor Mr. Finch Mrs: Samson-Box Effie Rigler Mrs. Gamriion Caroline Mallett .... Peter Rosser .. , Jpan Harrison .. Gordon Ilarker ,.. Sydney King Rosemary Scott , Anthony Sharp Marjorie Fielding . Olive McFarland ladys Henson ...... Diana King Modest new comedy is about a hotel waiter. Though well acted, it adds up to little more than average entertainment, with a certain de- gree of. charm. It is a pleasant vehi- cle for thesping talents of Gordon Harker, vet English film-legit actor, as the elderly, shuffling waiter. Story, localed in dining-rObm of The Jolly Fiddler, a small country hotel near London, is about the ef- forts of management to replace the old with a fast and perky femme more in keeping with modern con- ditions, The local manager is» against the move, but a bumptious area supervisor keeps intruding to impose his wishes, and the old waiter philosophically prepares .to bow out, though not before show- ing he is still a past-master at un- obtrusive plotting. Author Bex Frost, himself in the catering trade, says he wrote the piece as a tribute to the conscien- tious old retainer, the type of ser- vant who knows everybody's busi- ness, but understandiiigly keeps himself to himself. It is a charming Characterization; aided consider- ably by Harker’s mellow matured acting. ,, Other roles are mainly stock caricatures, with Marjorie Fielding doing a capable job as the prim- ahd-proper oldest resident in the hotel and a skillful meddler. Syd- ney King is adequate as the hotel manager, and Rosemary Scott, as his wife, gives a first-rate perform- fcnee. Gladys Henson, established ac- tress of English pix, has a minor part as the copk. and dues her usual sound job. Diana King also clicks as the rather objectionable new maid. Gord, An Evening Willi Beall rice Lillie London, Nov. 26. H. M. Tennant Ltd. production of revue In two acts (nine scenes). Stars Beatrice Lillie; features Leslie Bricusse, Constance Carpenter,- John Philip. Frances Clare, Eadie and Rack, Gwen Plumb. Settings by Rolf. Gerard. At Globe Theatre, Lon r don, Nov, 25, ’54.. In broad ’essentials, “An Evening with Beatrice Lillie” follows the format of the layout which proved such a smash hit on Broadway two seasons back, but apart from the piano accompaniment of Eadie and Rack, the rest of the cast was re- cruited locally. The revue is ad- vertised for a limited season and the star's potent b.o. lure should make it a sellout, possibly en- couraging the management to ex- tend the run. To put it bluntly, some of the revue sketches in the first half are a. letdown. All too often the humor is labored, and a few of the items are unnecessarily protracted Even so, Miss Lillie succeeds in infusing a boisterous vitality into most of the material. In the first act she repeats a cou- ple of the items originally done on Broadway, “The Star’s First Night” and “References.” and adds a new sketch Called “Kabuki Lil,” in- spired by her recent, visit to Tokyo. For audiences without some back- ground knowledge of the Japanese theatre this may be obscure. It is in the second half of the layout that Miss Lillie comes into her stride. This is the nostalgia half-hour., ith a reprise of many of the specialty songs she has made famous over the years, plus a few numbers new to local audiences. With faves like “Lesson With a Fan.” “My First Affair.” “Maude” and “Fairies at the Bottom of the Garden,” she cannot miss. And for . good measure there is extra weight in comedy tunes like “Wind Around My Heart,” “Nanette” and a charming piece about a zither; Acting as emcee and filling a couple of major solo spots is Leslie Bricusse; one of the outstanders of the recent Cambridge U. Footlights revue which reached London last mmer, He is a natural comedian with unmistakeable talent poten- tialities; His guide to Britain, as delivered by an American, is funny stuff for local consumption. Constance Carpenter, is an ad- mirable foil to Miss Lillie when the latter invades the staiPsT dressing room and John Philip and Frances Clare brightly fill the other parts. Myro. The Night of the Ball Edinburgh, Nov. 23. * , Stephen Mitchell (in association- with Ethel Reiner) production of .drama in three acts, by Michael Burn. Stars Gladys Cooper, Wendy Hiller, Directed by Joseph Lospy; :scenery and costumes; Loudon Sainthill. At. King’s Theatre, Edinburgh; $1.20 top. Electrician Barry Foster Preston ....Gordon PhiUott Helen Eliot ; ... Jill Bennett Tom Skeffington Tom Macaulay Nell Skeffington ........... Gladys Boot Lady Yarmouth ..... V .;.; Gladys Cooper Toby Carter Brian Oultbn Margaret Tolleniache ,.... .-Wendy Hiller. Sir Richard Alleyri Robert Harris Julian Lovell Tony Britton Venetia YVonne Savage Anne. .. . * . : .. .........-. Thelma Holt Peter Terence Brook Sidney Willis Edward Mulhare Mirko . ' Manfred Felix Other Guests ............ Margaret Fry, Richard' Negus New play by Michael Burn; a newcomer, is generously served by toprate cast and . a splendor of cos- tumes and setting rarely seen on the United Kingdom stage, But it all ‘adds up to a negative piece, static and. pointless. Locale is a private balcony, room overlooking the dancefloor of a country estate near London. Off- stage, there is an almost continu- ous recorded sound of dancers shuffling and ah orch flaying Wal.tzr es and foxtrots, with occasional- silences: between dances. Atmos- phere of lazy luxury is well cap- tured. But the play has little action, arid is mainly a Conversation piece as the guests emerge arid re- emerge on the balcony to discourse on life, Communism, society, peo- ple and love. The talkie-talkie is vaguely clever as it reveals that the host, played by Robert Harris, is keen to marry a lovely widow, en- acted by Wendy Hiller. However, she meets a young idealist, por- trayed by Tony Britton, who turns out to have been her wartime lover and . father of her .. child. \ Gladys Copper is charming in a side role and Brian Oulton Is a humorous blueblood. The settings and costumes are the real stars of the show; But Miss Hiller and, Britton are skillful in difficult parts and Jill Bennett is good as lovelorn girl. Gord. Sabrina Vienna, Nov. 17. Josefstadt Theatre production of Sam- uel Taylor’s comedy in three acts (four scenes), translated by Elizabeth Gilbert. Stars Hannelore Schroth; features Anton Edthofer,.John van Dreelen, Hans Ziegler. Directed by Peter Preses; scenery, Inge Fiedler; costumes, Herbert . Schill. At Kammersplele Theatre, Vienna, Nov. 17, '34. Linus Larrabee ...... Maude ........,...,,. Linus Jr, David Tom Fairchild .,.... Sabrina Julia War Gretchen Margaret , Anton Edthofer Adrienne Gessner John van Dreelen .... . Peter Week ..\ Hans Ziegler Hannelore Schroth Elizabeth Markus ...... Greta Putz Ljdmulla Hell Those who enjoy Comedies of rrianners, as such plays are styled o here, should have a whale of a time in.the Kammerspiele. For the Aus- trian capital proper, it will have a limited audience, with a run of perhaps four weeks. Samuel Taylor’s “Sabrina” (the preem of the Paramount picture is Skedded for New Year’s) was “translated” by Elizabeth Gilbert. Seemingly no one thought it worth- while to “adapt” the play, so the references to U.S. names, situa- tions, etc., generally mean little here. Direction by Peter Preses'lhim- self an American) presents the play in the style of a Paris Boule- vard theatre. Family quarrels, mar- ital bickering, dollar aristocracy, psychoanalysis, etc., do not suffice to make the story of the poor-rich girl marrying the unsympathetic young suitor understandable or believable. Hannelore £chroth has, difficulty with the title role, and the comedy also suffers from the playing, of John van Dreelen as* Linus Jr. Hans Ziegler is good, as the chauf- feur, Anton Edthofer aind Adrienne Gessner are effective as the Lar- rabee riai'erits; Elizabeth. Markus as the sardonic friend is also skillful. Settings by Inge Fiedler are prosaic and the costumes by Her- bert Schill are frankly ugly. Maas. Leiicndia Zurich, Oct,-3d, .Schauspiolhaus production of ' comedy in five scones, by Jean. Anouilh; German adaptation, Tlelma . Flessa. Directed by Werner Kraut; sets, Pierre Monnerat:. incidental music, Francis Poulenc; chore- ography, Herts Bamert; technical direc- tion, Ferdinand Lange; lighting, Walter' Gross. At Schausplelhaus, Zurich, Oct; 30, '54. Amanda Orna Porat Prince ,..... .......... Alfons Hpcckmann Duchess i>.. Johanna Terwln-Moissl Baron Hector Herman Wlach Headwaitcr flelmUth Ebbs Taxi Driver .... Sigfrlt Steiner Ice Cream . Arinin Schwcizer Cafeteer ans-Helmuth Dickow Butler .............. Hanns Krassnitzer Gun-Charger .......,. Friedrich Carlmayr First local presentation of a lesser-khown Jean Anouilh comedy was chosen as vehicle for the comeback of the pre-war German- Austrian actress, Johanna Terwin- Moissi, widow of Alexander Moissi, considered the German - lan- guage Hamlet of his time. Mme Terwin, who has been in retire- ment in Switzerland for years, is now celebrating her 70th. birthday along with her 50th anniversary ori the stage. On Broadway, “Leocadia” would probably Share no happier fate than the same author’s short-lived “Mademoiselle Colpmbe.” It is . among Anouilh’s poorer efforts, -with a thin story arid trivial, but might be adapted as a. musical. Comedy involves a modern prince who. was in love With a beautiful singer. After her acci- dental death his aunt, an eccentric- duchess, hires a Parisian girl who looks like the late sweetheart, and the young, couple fall in love, ..With Anouilh the author,: this hackneyed yarn naturally has* subtlety and passages of poetic beauty. But on the whole it is tqo insignificant to interest a discrim- inating audience. Even a good per- formance, with colorful, dainty sets by Pierre Monnerat on the revolv- ing stage, cannot save itr The slightly heavy un-Parisian direc- tion. may also hurt. But French composer Francis Poulenc’s inci- dental music is charming and fits the play’s half-romantic, half- ironic mood. Mme. Terwin offers an amusing portrayal of the Duchess,. although the faulty play mars her comeback. As the Parisian girl Orna Porat, a talented young actress from Israel’s Habim^h Theatre,, also reg- isters'as an interesting personality; Alfons Hoeckmann is adequate in the stock, colorless role of the Prince. Mezo. Zarewllseli Vienna, Nov. 8. Rudolf Marik production of Franz Lehar's operetta. in three acts. Stars Jan Kiepura- and Maria Eggerth: features Josef Menschlk, Anny Stift. Directed by Alexander Pichier. Book by Bela Jenbach and Heinz Reichert;- dances. Dia Luca; scenery. Ferry. Windberger; costumes, Gcrdago; musical direction, Leopold Weninger. At Ralmund Theatre, Vienna, Zarewltsch •................ Jan Kiepura His Uncle -Kurt Wittels. Minister Milan Kamare Sonja ................... Marta Eggerth Servant .......; .. .'1 Hans ^ichta : Iwan Josef Menschlk Mascha Anny Stift Combo of Jan Kiepura high notes and Marta Eggerth charm plus clever staging of one of Franz Lehar’s less successful operettas results in a noteworthy theatrical occasion. The plot (the Zarewitsch, prefer- ring men’s company, is taught love by a girl from the lower ranks) remains complete melodrama and 19th Century ‘ spirit although Kiepura himself .gave it in some parts a new look. It did not help much, as the prolific authors, Bela Jenbach (“Czardas Princess,” etc.) arid Heinz Reichert, failed to make this story gripping. Kiepura’s Zare- witsch may he more sympathetic ; now. than the original one (which Lehar never himself ‘ liked J; and Miss Eggerth may be more be- lievable, but a bad story remains, a bad one. t The buffo duo, Josef Menschik and Anny Stift, is miscast. Since this operetta (Lehar wanted to make it an opera and asked Gia- como Puccini for his advice) suf- fers for lack of humor, the theatre should have hired funmakers. As it is, these two hardly cause enough laughter. Remainder of the cast has only to say “The Czar Ordered” and similar lines. Lehar's familiar songs, “Bank of the Volga,” “Why Is There Only One May in Spring” (one of his very few English waltzes), “Trust Me,” “When Love Wants It,” “Stars Stand Still” and “Tonight I Shall Come to You” get several encores, Leopold Weriinger’s di- rection of the enlarged orchestra is good, overcoming the question- able, acoustics of the ho.use. Laurels go to the Dia Luca bal- let’s dancing, of the “Eva” waltz (taken from one of Lehar’s more successful operettas). Soloists. Hedi Richter and Hubert Hendrik rate special credit. Sets by Alexander Pichier and Ferry Windberger amply encase the play arid create a solid atmos- phere of the Klemlin. Costumes by Gerdago. are also laudable. Direc- tion by Rudolf Marik is okay. Maas. Chi Bits , Chicago, Nov. 30. Richard Rodgers and Oscar Ham- merstein 2d were in town last Week for the Opening of “King and I” at the Shubert , . . Gertrude Brom- herg will pressagent the touring edition of “Teahouse of the August Moon,” with Mary Ward taking over as.p.a; for the remainder of the Old Vic’s “Midsummer Night’s Dream” tour* * Wednesday, December 1, 1954 “King of Hearts,”" which closed last Saturday ight (27) at the National, N. Y., may be sent on tour next spring or possibly the fqllowing fall, depending on available names for the Donald* Cook and Jackie Cooper parts. Elaine Perry’s production of the Jean Kerr- Eleanor. Brooke comedy will be on Theatre. Guild-American Theatre Society subscription on the road. , Two principal factors nixed a tour at. this time. One was that with “King and I” and “Oh Men, Oh Women” aheady set for subscription engagements iri Chicago in the next few’ weeks, the scheduling of “King of Hearts” would have meant tripling subscription shows there simultaneously.. The tour Skedded for Miss Perry’s production in* eluded a Chicago booking concurrently with the Rbdgers-Hammer- . stein and the Cheryl Crawford shows, and other dates couldn’t be; arranged. Also, Cooper, was riot available for the road and a suitable, replacement had not been found. Since the cancellation of the tour. Cook has signed for another Broadway show, Gayle Stine’s production of the Leslie Stevens coinedy, “The Champagne Complex.” Bapkers of the Paul Vroom-Herbert B. Swope Jrt production, “Fragile Fox/’ which folded at the B.elasco Theatre, N.Y., last Saturday (27); include William P. Nolan, head of the Nolan Scenic Studios, $2,100; Norman Brooks, the- play’s author, $1,400; • playwright arid radio-tv scripter Elaine Carrington,-$1,400; composer-producer Richard Rodgers, $1,400; producef Barnard S. Straus, $1,400;. Nathan Straus, head of radio station WMCA, N.Y., $1;400; Howard Dietz, lyricist and Metro veepee in charge of advertising and publicity, -$700; strawhat producer Gail Hillson, $700; legit director Marshall Jamison, $700; John Shubert; of the Shubert office, $700; co-producer Vroom, $350; actor Donald Woods, $350; R. H. Fleischman, publisher of the New Yorker niag, $5,600, and literary agent Sylvia Hahlo, $1,400. Production w r as fin* anCed at $70,000, with no bvercall provision. • “Dedication” of the ANTA Playhouse, N. Y.* announced for Dee, 20, preceding a preview performance of “Portrait of a Lady,” will actually be ‘‘revival” ceremony, or at least a “rededication,” The American National Theatre. & Academy already “dedicated” the house April 24, 1951, Feature of the ceremohy was the reading by Helen Hayes, then president of the organization, of a statement Written for the occasion by Maxwell Anderson. v Nancy Coleman will be co-starred with. Karl Malden in the Howard Ersklrie-Joseph Hayes production of “Desperate Hours’-' Albert Lewis and I. B. Joselow have added Rachel Crotkers* “We Happy Few” to their production roster, which, includes Harry Segall’s “Remem- ber Me” . . r Gloria DbHaven will make her legit debut as star of the musical version of “Seventh Heaven” which Gant Gaither and ;William A. Bacher plari bringing to Broadway next spring. Bernard Simon has exited as “Fifth Season” pressagent after two years with the; show on Broad- way and during the initial phases of its current road tour. He’s been replaced by Danny Newman, who recently Wound Up an assignment for Chicago’s Lyric Opera, George Zorn is company manager for the, touting “Season” . . Sammy Schwartz, Who played Nathan De- troit in the touring company Of “Guys and Dolls,” leaves shortly for the Coast to make his film debut in Par’s “Vagabond. King.” Richard Charlton has optioned Jerome Weidman’s “Skylight” for Broadway production next spring, with John O’Shaiughnessy set to direct . . . Cancellation of “Mister Roberts” as .an item of the winter drama season at the N. Y. City Center was at the- request of Leland HayWard, whose film, edi- tion of the Joshua Logan-Thomas Heggen play is due for Warner release next spring. As a substi- tute, the City Center will offer William Saroyan’s “The Time of Your Life” the fortnight starting Jan, 5, with Franchot Tone as star. Fred Finklehoffe will partner with Howard Hoyt in the produc- tion bf “Ankles A weigh,” so he has had to drop “The Man With the Golden Arm,” Jack Kirkland's: dramatization of the Nelson Algren novel, and Gant Gaither and George Brandt are in line to make the presentation . . John Latouche has Withdrawn as lyricist of “Can- dide” to concentrate with Sain Locke and James Mundy on “De- lilah” as a vehicle for Carol Chan- ging. So Leonard Bernstein and Lillian Heilman Will get someone else to supply the lyrics for the musicalization of the Voltaire satire. Maureen Stapleton and Anthony Ross will costar in “27 Wagons Full of Cotton,” to be presented by James S. Elliott as the first half of a twin-bill, of, Tennessee Wil- liams playlets,, opening Jan. 17 un- der New Orleans Opera Guild spo nsorship at Tula he U . . . For- mer producer James Russo will be production manager for Chandler Cowles- production of Gian-Carlo Menotti’s “Saint of Bleecker Street.” Dallas Bits Designer Jed Mace sailed Nov. 20, for Paris, to costume the new mu- sical, “Blues Opera,” for producers Blevins Davis & Robert Breen-. Baruch Lumet, who authored “Once Upon A Tailor,” has Written a new three-act satirical cqmedy, “Auitumn Fever/' which, may have a Dallas tryout . . . “Anna Liicas* ta” .was staged* last week by Dallas’ Negro, Roundup Theatre .. * Betty Blanchard’s Courtyard The- atre, Will stage “My 3 Angels,'* Dec. 8-18, with Robert Glenn di- recting. Show on Broadway One Eye Closed ". Haila. Stoddard production of farce in three acts (five scenes) by Justin Sturm. Features Tom Helmore,. Haila Stoddard, John Baragrey, George -Mathews, Parker McCormick, Iggie Wolflngton^ Staged by Romney Brent; scenery and lighting, Eldon Elder; Castumes, Virginia Volland. At Bijou. N.Y., Nov. 24, '54; $5:75-$4.60 top ($6.90 opChing). Gordon Cameron .......... Tom Helmore Denia Cameron Haila Stoddard Mary Benson Marjorie Eaton Frenchy Mulligan ......... Harry Ellerbe Trizie Tyson Moultrie Patten Cy Milton .John Fiedler Sheriff Meyers . . Iggie Wolfingtort Elsa Kinney ......... Parker McCormick Lowell Markey. John Baragrey Cokey Mulqueem George Mathews State Police Sgt. . Charles Beilin State. Policeman ichard Everhart Indian ............... .>Hal Thompson It would be easy to ridicule a show like “One Eye Closed” ~ too easy. Even, to the title, it’s a sitting duck.. But those, associated with the production have, done creditable things before and doubt- less will again. So just put this Justin Sturm farce down as one of those periodic, minor mishaps of Broadway and, as soon as possi- ble, forget it. The antic, tried out on the barn circuit last summer under the title “Reunion ’54,” is about an impov- erished. writer and his Wiffc living in Connecticut, in a converted stable. Well, partly‘converted — a horse liVes with them, at least during the first act, standing- with its head: poking through the set, placidly munching oats. Any- way, three former Yale classmates drop on their way to a college re- union. Recruiting the writer, they all don, convicts’ uniforms, which causes the expected complications when a Sing Sing escapee (a Har- vard man and thef wife’s ex-sweet- heart, no less) also drops in. Admit that there are a half- dozen or so isolated, . modestly amusing lines, and that’s about everything there is to say.. It’s all incredible, faintly silly and seem- ingly endless, although the playing time is actually rather short. It Was announced from the stage just before opening-night curtai that featured femme lead Con- stance Ford was ill, so producer- actress Haila Stoddard, who played the role in the strawhat tryout, went on as the Wife. She. and the other martyrs onstage somehow managed not to look as if they didn't believe a word - of the whole thing. That’s saying a good deal. The cast and other credits are printed above, Let it go at that. Hobe, , (Closed last Thursday night (25) after three performances ,)