Variety (December 1954)

Wednesday, December#, 1954 LEGITIMATE 59 Show Finances THE BOV FRIEND (As of Oct. 30. '54) Original investment $140,000 Production cost 118.258 Operating profit, first 4>/2 weeks 46.959 J Cost still to be recouped 71.299 ! Ponds and deposits 5.873 Weekly Operating Budget Theatre share of gross (approx.) 22% Cast payroll (approx.) 5,100 Musicians (company) 2.768 Conductor and contractor 433 Stagehands (company) 900 Staff and general manager 813 Author, director royalties (including l 1 2 % to producers).... IV. 2 % Advertising salaries 260 Advertising (approx.) 1.600 Wardrobe salaries (approx.) 440 Wardrobe expense (approx.) 200 Electrical and sound rental, expense 200 | Office expense 350 BoxofTice expense (approx.) ’.... 215 Total company expense (approx.) 19,000 Cross needed to break even (approx.) 24.000 Weekly operating profit at $38,200 capacity (approx.) 10,700 (Note: At its present over-capacity pace, the Cy Feuer-Ernest H. Martin production, currently in its 11th week at the Royale, N.Y., is due to recoup the balance of its cost by next week.) GETTING GERTIES GARTER (As of Nov. 20. ’54) Original investment $11,500 Production cost 7,582 j Gross, first 10 weeks (approximate) 94.000 \ Operating profit, same period 2,920 Amount still to be recouped 4.662 i Weekly Operating Budget Cast payroll 1.550 Company crew 525 Pressagent (co-producer Max Gendel) 250 Company manager (co-producer John Yorke) 250 Extra musicians 378 Author royalties 6% Director 50 Advertising (approximate) 2.000 Departmental bills (approximate) 200 Rentals 105 Approximate break-even gross (standing still) 10,000 1 (Note: The revival is touring on two-for-ones.) 2 ^ j Off-Broadway Shows Tuelfth XljghI (JAN HUS AUDITORIUM, N.Y.) The upper eastside Jan Hus Auditorium is developing into a firstrate Shakespearean showcase. Last season the Shakespeare Guild Festival made its New York debut there with a click presentation of “Othello.” Now another group, The Shakespearewrights, has taken over the spot with an inaugural produc- tion of “Twelfth Night.” As was the case with “Othello." this lighter product has been given top- notch treatment. Donald H. Goldman, who did the settings, costumes and lighting for the ..Festival outfit, produced and designed the current offering. Pro- duction’s risible values are given full play under Norman Peck’s broad direction. It’s to the group’s credit that the basic plot confusion isn’t furthered by the lack of scene switches. Except for an occasional prop, the elongated stage is bare throughout. Cast shows up well, with Laurie Vendig as the shipwrecked Olivia, who assumes male guise. Robert Raines handles the role of the Duke with finesse, while Inga Swenson is an eyeful as the countess. Of the more comic characters, Thomas Barbour has some standout mo- ments as the Malvolio, while Ar- lene Hatch, Robert Cass and Philip Lawrence also help get laughs. Charles Forsythe, as the ship- wrecked twin, and Pemell Roberts as the tough sea captain, are good. Donald Mork is a credible jester, and the incidental music by Ellen Bower is okay. Jess. From Mark Twain to Lynn Rlggfi (ROYAL PLAYHOUSE, N. Y.) A pleasant mixture of folk bal- lads and folk tales is being offered °« Fri< ^ a y-Sunday basis at the oft - Broadway Royal Playhouse in Greenwich Village. Presented by Folksay Theatre, the program has an informal quali- ty that registers effectively. Ballads and sketches are nicely integrated and ably executed by a five-man fast. Sketches are mostly in a light, humorous vein, with initial j°f ^e two-part offering de- voted to excerpts from the works of Mark Twain. Will Geer gives an authontative characterization of the American humorist, and his monologues are all firstrate. Some the extracts are acted, with Hellerman, Don Marye, Fred Miller and Jimmy Gavin giving an okay assist. Represented in ,the second half of the program are such authors as E. P. Conkle, Erskinc Caldwell and Lynn Riggs. Conkle’s “Mule I ail Prime” has solid comic values. while Caldwell’s “The Crack” is also good for laughs. However. Riggs “Hunger I Got” is heavy with social implications. Balladeering throughout the two segments is handled mostly by Hellerman, with Gavin also pitch- ing in on the guitar-vocal work- overs. Former has a few solo spots in which he shows up well. Tunes include “Raise a Ruckus Tonight,’ “The Devil and the Farmer,” “Kisses Sweeter Than Wine,” “When The Saints Come Marching In.” “S-A-V-E-D” and “Green Grow the Lilacs.” The central-staging production involves noticeable defects. Ad- mission is on a contribution basis. Jess. A Doll's House (FINCH PLAYHOUSE, N. Y.) Club Theatre is having trouble with “A Doll’s House,” its revival at the Finch College Playhouse being only the shell of a great play. Miss Iza Itkin’s direction is badly off-focus, each actor being allowed to walk through the play in his own private world. The resulting lack of cohesion even the super- craftsman Ibsen cannot survive. As Nora, whose door slam was heard around the world, Lesley Woods is lithe and eager, her per- formance lending the production what little form it possesses. Danc- er Daniel Nagrin makes his acting debut as Krogstad, the bank clerk who is the unwitting instrument of Nora’s emancipation. His tor- tured reticence is correct in con- cept, but lacking in technical finesse. Karl Swenson and Roland Von Weber are among the also-rans. Geor. Cleve. Barn Seeks New Lessees for Next Year Cleveland, Nov. 30. Lease which strawhat producers William Van Sleet and Paul Marlin had on the Chagrin Falls Theatre here for two more seasons was cancelled last week by the subur- ban house’s board of directors. Latter group is seeking a respon- sible, experienced producer to or- ganize an Equity company for next summer. The 360-seat theatre was used by the Van Sleet-Marlin team for three seasons, but the arrange- ment blew up last September when Marlin was arrested n a mrals charge. Both the 26-year-old pro- ducer-actor and Richard Spears, of Chagrin Falls, O., were indicted in early October and the case is ex- pected to come to court this month. DEBORAH BOFF $27,500, ‘ITCH’ $16,000, DETROIT Detroit, Dec. 7. “Tea and Sympathy,” starring Deborah Kerr, drew a smashing first-week gross of $27,500 at the 2,050-seat Shubert last week. Play is certain to top that figure on the current week finale of the local stand, at $4.40 top. “Seven Year Itch,” starring Eddie Bracken, did a mild $16,000 in six days at the 1,482-seat Cass at $3.85 top. Current is “The Dark Is Light Enough,” starring Katha- rine Cornell and Tyronne Power, for two weeks at $4.40 top. Current Road Shows (Dec. 6-18) Shows on Broadway Mm. Pallerion Leonard Sillman production of drama in three acts by Charles Sebree and Greer Johnson, with incidental souks by Janies Shelton. Stars Eartha Kitt: features Enid Marker. Hulk Attawa>. Estelle Hemsley. Vianie Burrows. Mary Ann Hox- worth. Terry Carter, Avon Lone. Helen Dowdy. Joan Morgan. Mary Harmon. Emory Hichardson. Staged by Guthrie McClintic; scemry and costumes. Raoul l’ene duBois: orchestrations. George Si- ravo; musical director. Abba Kokin. At National. N Y.. Dec. 1. '54; $6.90 $5.75 top <$8.65 opening). Anna flicks Kuth Attaway Selma Mae Vinnio Burrows Theodora Hicks Eartha Kitt Willie B. Brayboy Terry Carter Aunt Matt Crossy Estelle Hemsley ]\j r D. Avon Long Bessie Bolt Helen Dowdy Svlvanus Emory Richardson Mrs. Patterson Enid Markey June Einbrcc Mary Ann Hoxworth Rose Embree Mary Harmon Fern Embree Joan Morgan Anastasia (Viveca Lindfors, F.u genie Leonlovitch) (tryout)—Wal- ! nut St., Philly *6-18) Reviewed in Variety this week). Black-Eyed Susan (Vincent Price) (tryout)—Locust St.. Philly (6-18) (Reviewed in Variety, Nov. 17. 54). Caine Mutiny Court Martial (Paul Douglas, Wendell Corey, Steve Brodie*—State Aud., Harris- burg (6-7); Rajah. Reading (8 >; Acad. Music. Philly (9-11); Wan Memorial Aud., Trenton (13>; Mos- que, Richmond (14); Univ. Aud., Charlottesville, Va. (15); Muny Aud., Norfolk (16-18). Dark Is Light Enough (Katha- rine Cornell, Tyrone Power) (try- out)—Cass. Detroit (6-18) (Re-] viewed in Variety, Dee. 1, ’54). Fifth Season (Chester Morris, Joseph Buioffi—Erlanger, Chi <6- 18). Flowering Peach (Menasha Skul- nik) (tryout)—Colonial, Boston (G- 18) (Reviewed in Variety, Nov. 17. ’54). Getting Gertie’s Garter—Shu- bert, Wash (6-18). House of Flowers (Pearl Bailey) (tryout)—Erlanger. Philly (6-13) (Reviewed in Variety, Dee. 1. ’54). King and I (Yul Brynner, Patri- cia Morison)—Shubert. Chi (6-18). Midsummer Night’s Dream <Rob- bert Helpmann, Moira Shearer, Stanley Holloway)—College Aud., E. Lansing (7-8); Masonic Temple, Detroit <9-12); Maple Leaf Gar- dens, Toronto (14-16); Forum, Mon- treal <18). Moon Is Blue (Jerome Cowan)— Pabst, Milwaukee (6-11); Cox. Cincy (13-18). Naughty Natalie—Nixon, Pitt ( 6 - 11 ). Oh Men, Oh W'omen (Ralph Bel- lamy)—Harris, Chi (6-18). Oklahoma — Marshall College, Huntington, W. Va. (6-7); Victory, Dayton (8-9); Shubert, Detroit <19- 18). Pajama Tops (Diana Barrymore) —Blackstone. Chi (6-18)) (Reviewed in Variety, Nov. 17, ’54). Plain and Fancy (tryout)—Shu- bert, New’ Haven (13-18). Portrait of a Lady (Jennifer Jones) (tryout)—Ford’s, Balto <6- 18) (Reviewed in Variety, Nov. 17, ’54). Sailor’s Delight (Eva Gabor) (try- out)—Hartford, L. A. (6-18' (Re- viewed in Variety, Nov, 24. ’54). Seven Year Itch (Eddie Bracken) —Keith, Grand Rapids (6-8); Pal- ace, South Bend (9); Paramount, Toledo (10-11); Colonial, Akron (13-14); Shea’s, Erie (15-16); Aud., Rochester (17-18). Silk Stockings (Ilildegarde Neff, Don Ameche) (tryout)—Shubert, Philly (6-18) (Reviewed in Variety, Dec. 1, ’54). South Pacific (Iva Withers, Alan Gerrard)—Forrest, Philly (6-18). Tea and Sympathy (Deborah Kerr) — Shubert, Detroit (6-11); Nixon. Pitt <13-18>. Teahouse of the August Moon (Burgess Meredith, Scott McKay) —Hartman, Columbus (12-18). Three for Tonight (Marge and Gower Champion, Harry Belafonte) (tryout) — Center. Norfolk (6-7); Muny Aud., Charleston, W. Va. (8); Orpheum, Spartanburg, S. C. (9); U. Theatre, Chapel Hill. N. C. <10- 11); Muny Aud., Shreveport (12); Muny Aud., Beaumont, Texas (13); Texas A & M Gym, College Station (14); Aud., Austin (15); Aud., San Antonio (16); Aud., Corpus Christi (17); Music Hall, Houston (18) (Reviewed in Vaude section of Variety, Nov. 3, ’54). Time Out for Ginger (Melvyn Douglas)—Curran, S. F. (6-18). Witness for the Prosecution (try- out)—Plymouth, Cleveland (6-11); Plymouth, Boston (13-18) (Re- viewed in Variety, Dec. 1, ’54). Wonderful Town (Carol Chan- ning)—Playhouse, Wilmington t6- 11); National, Wash. (13-18). Playbroker Eric Glass is agent- ing a new script by St. John Ervine, titled "Esperanza” . . . Philip King’s perennial farce, “See How They Run.” is being filmed at Southall Studios, with Ronald Shiner as lead. The taut, kinetic personality that took Eartha Kitt to stardom as a nitery. musical comedy and recording singer is evident hut less effective on the dramatic stage. In “Mrs. Patterson,” a play about adolescence suggestive of "Member of the Wedding.” the star is a magnetic but unevenly convinc- ing actress. The show is presented by Leonard Sillman, whose “New Faces of 1952” established Miss Kitt as a name. “Mrs, Patterson” is a play that hints at more than it succeeds in saying. Allowing for the limita- tions of the script, the Charles Sebree-Greer Johnson work might be more clearly intelligible and affecting with a more experienced, expressive leading player. But al- though Miss Kitt has undeniable personal magnetism, she is enig- matic as an actress. Partly for that reason, "Mrs. Patterson” seems un- resolved as drama and unsatisfy- ing as entertainment. It must therefore be rated as doubtful box- office, and it is negligible as film material. There is the suggestion of a provocative play in "Mrs. Patter- son.” It is an implicit but moving plea for racial equality, for one thing. But in a more general sense, it offers a scene near the end, between the restless, unquenchable girl and her quietly patient mother, a scene that glows with poignant life. Although the effect is quickly lost in a patently concocted finale, it leaves the impression that some- where between original conception and firstnight performance, the real theme was distorted and the emotional impact dissipated. From its colorful beginning, the story proceeds with the girl’s char- acter undergoing little change un- til the poorly-motivated finale. But the mother, subdued and resigned, is presently revealed as indomit- able and, despite her humble and illiterate background, a wise wom- an. To an unfortunate extent (since she is a subordinate character) she becomes the focus of sympathy and interest. This is apparently inherent in the writing, to a considerable ex- tent, but it also evolves in the performance. For despite Miss fcitt’s gifts as a personality singer, she is severely limited as an aet- ress. She vividly projects the rest- lessness, the occasional scorn and to some extent the timidity of the adolescent, and she moves with admirably feline grace. But her emotional range is mine- scule and her metallic voice tends to become expressionless. On the other hand. Ruth Attaway’s un- obtrusively honest performance as the mother is progressively com- pelling and, in her final scene with her daughter, genuinely touching. “Mrs. Patterson” is the story of a 15-year-old Negro girl, no longer a child and not yet quite a woman. To escape her drab life in a Ken- tucky shanty, she daydreams a glamorous existence (“when I grow up I want to be a white lady”) like that of Mrs. Patterson, the snobbish dowager she has never seen, but for whom her mother slaves as a day-servant. Not only Mrs. Patterson, but the Devil (Mr. D.), a Chicago honky-tonk singer and a flashy sporting man come to satirical life in the daydream scenes. Miss Kitt sings four incidental songs. “Mrs. Patterson,” “If I Was a Boy,” “Tea in Chicago” and “My Daddy Is a Dandy,” written by James Shelton. All are doubtlessly effective on their own but rather extraneous to the play. The star also does a part-reprise of "I Wish I Was a Bumble Bee” (music by Shelton, lyrics by Sebree and Johnson), first sung from a tree- hollow by Helen Dowdy as the depraved blues shouter. Also, as a curtain call, Miss Kitt offers "Be Good, Be Good, Be Good,” w’hich was deleted from the regular show during the 10-week tryout tour. Aside from Miss Kitt and Miss Attaway, the indivdual perform- ances are generally good within the limitations of the script and Guthrie McClintlc’c relaxed direc- tion. In the title role, appearing as a stereotype daydream concep- tion, Enid Markey gives an amus- ing, skillfully exaggerated portrail of a 4 southern dialect belle. Estelle Hemsley provides dimension to the role of a petty-thleving. evil- tongued old salvation-spouter. and Avon Long is curiously dispirited as the satanic Mr. D. Terry Carter is believable as the heroine’s intense, slightly more wordly eompanion-in-adolescense; Vinnic Burrows is properly ener- getic as a pre-adolescent busybody; Miss Dowdy is credibly blase as the blues singer doomed to life in a tree trunk for having defied Old Nick, and Mary Ann Hox- worth, Mary Harmon and Joan Morgan are briefly diverting as imaginary deep South maidens. Raoul Pone duBois has designed a realistically ramshackle house and yard, and the surprisingly un- imaginative costumes. Hobe. Hit I ho Trail Kli/abrth Miele production of musical cornedv in two acts (13 scene*), with book b.v Frank O'Neill, music by Fredcrico Valerio, lyrics by Miss Miele. Stars Irra Polina; features Robert Wright. Paul Valentine, Diana Drake. Donn Driver, Toby Deane, Fred Lightner. Charles Cl. Martin. Directed by Charles W. Christen- berry Jr. and Byrle Cass; dances and musical numbers. Gene Bayliss; sets and lighting- Leo Kerr; costumes, Michl; orchestrations, Don Walker; musical di- rector and vocal arranger. Arthur Nor- ris. At Mark Hellincer, N.Y., Dec. 2 . '54; $6.90 top ($8.40 opening). Jerry ....» Donn Driver Joan Diana Drake Willie Fred Lightner Clayton Harrison Paul Valentine Lucy Vernay Irra Petlna Murph Kobert Wright Aggie July Toby Deane Miller Charles G. Martin Waiters Jack Pursell, Rene Miville Dancers: Jeanne Belkin. Lola Bewley. Sandy Bozokl. Diane Consoer; Patty Fitziminons. Nancy Hackenberg; Robert Bakanic, Paul Gannon, Jack- Purcell, Alton Ruff. Buff Shurr. Fred Zoeter. Singers; Josephine Annunciate, Irene Carroll, Peggy Kinard. Dolores Miche- line. Michelle Reiner, Martha Rich. Iris Sinding, Flavine Valentine. Lola Van Pelt, Paul Brown, Michael King. Rene Miville, Robert Price, James Schlader. Elizabeth Miele, produced of “Hit the Trail,” went back to the 19th century for the locale of this mu- sical, and also for its other appur- tenances. A cornier mishmash of old plot devices, tired routines and hoary gags and lines hasn’t tried Broadway legit’s patience this se- mester. By all counts, “Hit The Trail” leads to no Broadway lode. All of the passe techniques and cliches of a pre-"Blossom Time” era are here. Everything is bor- rowed and familiar—the story of the stranded opera troupe in the mining town, the gambling saloon and dance hall, the scalawag im- presario. imperious primadonna, gallant liberal local banker. The songs and dances are de- rivative and familiar, In the rhymes, rhythms, terp formations and weavings. Not only is there little that is original (except Leo Kerz’s attractive, impressionistic sets), but there is, if anything, less that has taste or style, wit or dis- tinction. Or, for that matter, any other marks of professionalism. Known during its out-of-town tryout as “On With the Show,” this affair weaves a confused story path about the stranded opera troupe trying to keep alive by dancing in a Nevada saloon, while the primadonna runs a beauty par- lor for the locals. There’s little continuity to the sequences, as the plot breaks off every now and then without logic, to permit some du- bious specialty to Intrude. Miss Miele doubles as lyricist, contributing some trite verse to the music of Frederico Valerio. A couple of songs do have some mer- it, in “Mr. Right,” a romantic bal- lad which Irra Petlna sings, and "Remember the Night,” another ballad which Paul Valentine croons. The rest is tapioca. The dancing staged by Gene Bayliss is unin- spired. with the cancans borrowed and the hoedowns fitful. Overall staging has that old-fashioned look. Miss Petlna sings “Mr. Right” af-., feelingly, and shows in the other undistinguished numbers that she can still put over a song. Her man- nerisms and exaggerations spoil some of the effects, though. Valen- tine puts “Remember”* over sur- prisingly well, and on opening night stopped the show with his breezy, acrobatic rendering of “My Fatal Charm.” He lends the stage some professional air. Robert Wright is manly as the local banker and sings well, but hams it up. Diana Drake and Donn River are an attractive young pair and try hard, especially in “Just a Wonderful Time.” Toby Deane is a brash young lass, given an inane song to sing in “Men Are a 1 Pain in the Neck.” Dancing chorus has some talent, especially among the men. , .Bron. (Closed Saturday night (4) after four performances.)