Variety (December 1954)

LEGITIMATE Wednesday, December 29, 1954 48 Shows on Broadway The Sain I of Bleecker Sirret Chandler Cowles production of a music drama in three acts. Music, libretto and staging by Gian-Carlo Menotti. Production supervisor, Lincoln Kiratein. Features David Poleri. Virginia Copeland. Gloria Lane. Davis Cunningham. Gabrietle Rug- giero. Leon Lishner, Maria Dl Gerlando, Maria Mario. Catherine Skos. David Aiken. Scenery and costumes. Robert Randolph; lighting Jean Rosenthal; con- ductor. Thomas Schippers; associate. Sam- uel Krachmalnick: assistant director. Bill Butler. At Broadway*Theatre. N.Y., Dec. XI, '54; $6.90 $6 top ($9.20 opening). Assunta Catherine Akos Carmela Maria Di Gerlando Maria Corona Maria Mario Her Dumb Son Ernesto Gonzales Don Marco Leon Lishner Annina Virginia Copeland. Gabrlelle Ruggiero Michele David Poleri. Davis Cunningham Desideria Gloria Lane Salvatore David Aiken Concettina Lucy Becque A Young Man Richard Cassilly An Old Woman Elizabeth Carron Bartender Russell Goodwin First Guest Keith Kaldenberg Second Guest John Reardon A Nun Dorothy Krebill A Young Priest Robert Barry Neighbors. Friends. Policemen, etc.; Theodora Brandon, Betsy Bridge, Lor- raine Bridges. Elizabeth Carron. Doris Davis. Mignon Dunn. Elizabeth Dunning. Joyce Duskin. Elaine Galante. Jeanne Grant. Mary Hensley, Caroll Jones. Dor- othy Krebill. Leslie MacLennan, Bessie Milahovich. Doris Okerson. Francesco Roberto. Donna Sanders. Robert Barry. Michael Bulzomi. Richard Cassilly. Rico Froelich. Russell Goodwin. Gary Gordon. Don Grobe, Fred Jones. Keith Kaldenberg. Chester Ludgin, William McCully. Michael .MacLennan, Dan Merriman. John Rear- don, Reid Shelton, Alan Smith. Robert Watts. Although some stray ends dangle In Jthe libretto of “The Saint of Bleecker Street,’* Gian-Carlo Me- notti has successfully married dra- matic music to dramatic action. To the solid merits of score and script he has added sheer loving care in production The casting, the scenery, the work of the orchestra under Thomas Schippers (who got an opening night ovation of a kind seldom vouchsafed a conductor in the Broadway theatre) all shine with sheer competency and obvious pride of craftsmanship. The result is theatrical entertainment of high distinction. Some may quibble as to whether this is opera. The official desig- nation is music drama. While in- cluding a fair amount of recitative it is entirely sung. And what mag- nificent singing it is. The princi- pals have responded to the de- mands of perfectionists. The •stagemanagement of the ensemble is peculiarly vital and alive, the chorus doubling as “mob” on several occasions and creating convincing menace. The sets and costumes by Robert Randolph give the visual note of authenticity. This is the way Bleecker Street and en- virons in Greenwich Village look on ordinary days and on the feast of the Neapolitan San Gennaro. The music sets the mood and maintains it throughout. But the acting and the tensions inherent in the plot situations key up the volt- age. Menotti has again brought home a stunning parlay as musi- cian, dramatist and director. As to what he is trying to say about sainthood or life on Bleecker Street, that leaves room for spec- ulation. The character of the ill- fated brother (David Poleri plays this role in alternation with Davis Cunningham) seems unresolved at the end. He was bitter to start with and is bitter (i.e. unchanged) at the tragic denouement. His rage against life is believable enough and the part Is superbly played and sung by Poleri. Still he is not dramatically resolved. All his woes do not teacn him anything, and he has no word of remorse for having killed a particularly loving sweet- heart along the way. It is perhaps ungrateful to focus on a couple of dangling angles in a production which is otherwise superlative. For instance, Gloria Lane as the lusty Italian sweet- heart snubbed by the respectable folk of Bleecker Street, is a true showstopper both as singer and actress. Her final clash with the lover who will sleep with her but not marry her is charged with emotion which builds to a scorch- ing second act crescendo. She taunts the lover with an in- cestuous interest in his saintly sis- ter and is stabbed to death, dying in his sister’s arms while the slayer flees arrest. The fugitive has earlier sung a moving aria of soul torment and of homesickness for the Italy he has never known. This does much to help explain the bit- ter introspective nature of the character. Menotti steers an adroit course through the shoals of religious sensitivity.' The overall note is one of piety and compassion. The saintly girl, yearning for nunhood, is not overdrawn despite the sym- bolic first scene where in a trance of agony she shows the stigmata (nail wounds in the hands, emu- lative of Christ on the cross). This role puts a heavy singing-acting burden upon Virginia Copeland and she came Ihrough with total conviction opening night. (Her alternate is Gabriele Ruggiero). The third-act climax brings the girl to the hour of her death and simultaneously of her takifig the veil in a ceremonial within her Bleecker Street cold water flat by special dispensation of the Church. For a comparable theatrical use of sacerdotal pageantry memory prob- ably must go back to Max Rein- hardt's “The Miracle” in the 1920’s. Leon Lishner as the parish priest is especially forceful and versatile in this scene. High theatre is implicit in the dying girl, garbed in the white wedding gown of a noviate. The renunciation of the - world which precedes a nun’s “marriage” to Christ, complete with wedding ring is an act of primitive but deeply- felt faith. The staging of this scene is a model of taste, tact and taut- ness, even though the brother’s final outburst has no true resolu- tion (which is a libretto item). Because it packs so much sheer theatre and professional distinc- tion. it would appear that “The Saint of Bleecker Street” should enjoy boxoffice success. The doubt would centre on the economic factor. There are some 19 princi- pajs, 45-odd choristers. 60 in the pit and another platoon of stagehands, i With so many employees, why was there nobody in the front lobby opening night to help people find the right aisle?) At a guess, the Italian religious processions, the party in the neigh- borhood spaghetti joint with the murder sequence, the bit in the subway where the brother hides out, all suggest good pictorial pos- sibilities for screen translation. Film version would have to be mounted and produced in operatic terms, since the plot, alone, would be too meagre. This would be a problem but also an innovation. The widescreen treatment would find lots to exploit. Meanwhile, as a show on Broad- way. Menotti has labored and brought forth excitement. Land. TVIml Even Woman Knows N.Y. City Center Theatre Co. revival of cometl.v in four act*, by James M. Barrie. Stars Helen Hayes; features Kent Smith, John Cromwell, Betsy von Furstenberg, Viola Roache, Philip Bour- neuf. William Lantcau. Stages by John Stix; scenery. John Koenig: costumes. Grace Houston; lighting. Feder: music arrangements, Max Mariin. At City Cen- ter. N.Y., Dec. 22. *54. James Wylie William Lanteau Alick Wvlie Farrell Pelly David Wvlie Philip Bourneuf Maggie Wvlie Helen Hayes John Shand Kent Smith Comtesse De La Briere... Viola Roache Lady Tenterden... Betsy von Furstenberg Feikie Sid Cassel Maid Virginia Low Mr. Venables John CromweU Manservant George Cathrey Bagpiper James Roche Electors and Townspeople; Linda Ber- lin. Jarmila Daubek. Anne Edwards. Mary Hara. Alison Landor, Lily Lodge. Jill McAnney, Rosemary Shein. Mearl Allen. James Bernard. Marshall Breeden. Richard Buck. Wescott Carpenter. Russell Chase. Vincent Dowling. Mark Fleisch- man. David Friedman. Bernard Gilmore. Smn Gordon, Erie Hall, Austin Hay. Ben Jemne. Mary Halp. Howard Lanser. Rich- ard Marr. Paul Marin, Nelson Miller, Philip Morini. Hale Matthews. Tom Bran- num. Cecil Rutherford. Kenneth Sleeper, Ted Theoharous. Matthew Tobin. David Eliot. Jay Sweeney. Don Wadley; Charles Williamson. The N. Y. City Center Theatre Co. has started its winter drama festival auspiciously with its two- week revival of Barrie’s “What Every Woman Knows,” starring Helen Hayes. It’s a handsome pro- duction. with some unusually at- tractive sets by John Koenig, sprightly direction by John Stix, and flavorsome performances by a well-chosen cast. Result is a pleasant, nostalgic evening, al- though not a completely successful one. The Barrie comedy about the poor but ambitious young Scot who rises fast in politics and on the social ladder, thinking it’s by his own doing and unaware that a woman’s brain and hand are guid- ing him. holds many a nugget of universal truth. But it’s a little dated by now\ though in a fra- grant. harmless way. It has to be played completely in character— especially by its central figure, the woman. Miss Hayes, who first did the Barrie classic in 1926, is admirable for the most part as the canny Maggie. Every entrance lights up the stage, to keep it radiant all evening. But Miss Hayes occasion- ally overacts, even burlesques the role, dropping as suddenly into farce as she as quickly pulls back from it into character again. This tends to jar the mood a little and cause the play to lose some poig- nancy. Her support is generally first- class. Kent Smith is perfect as the humorless, priggish John Shand, in a performance that Kay Ashton-Stevens widow of Hio Doom of Amoricoa dromo critics, recoils Ashton Stevens’ memorable inter- view with Lionel , the Big Brother of the Barrymores * * * an Interesting editorial feature in the 49th Anniversary Number of y&fZIETY OUT NEXT WEEK holds its own against Miss Hayes’. Philip Bourneuf plays Maggie’s eldest brother superbly, investing it with a good deal of stature. Viola Roache lends considerable distinction to the role of the Comtesse; John Cromwell plays a Cabinet minister with assurance and flair, and William Lanteau is fine as another brother. Betsy von Furstenberg is attractive as a titled young lady who almost lures Shand away from Maggie, but she isn’t always convincing in the dif- ficult birdbrain role. Bron. Pori rail of a Ladv a' Lyn Austin St Thomas Noyes and Pro- ducers Theatre production of drama in three acts (seven scenes) by William Archibald, based on the novel by Henry James. Stars Jennifer Jones; features Robert Fleming, Cathleen Nesbitt. Doug- las Watson. Barbara O'Neil.' Halliwell Hobbes, Kathleen Comegys. Jan Farrand. Staged by Jose Quintero; scenery and lighting. William and Jean Eckhart ;cos- tumes. Cecil Beaton. At ANTA Playhouse, N.Y.. Dec. 21. '54; $5.75-S4.60 top ($6.90 opening). Lord Warburton Peter Pagan Mr. Touchett Halliwell Hobbes Caspar Goodwood Eric Fleming Ralph Touchett Douglas Watson Isabel Archer Jennifer Jones Mrs. Touchett Kathleen Comegys Henrietta Stackpole Jan Farrand Serena Merle Barbara O’Nell Gilbert Osmond Robert Flemyng Pansy Marcia Morris Countess Gemini Cathleen Nesbitt As a stage actress. Jennifer Jones has beauty, a suggestion of emotional depth and a sort of per- sonal glow. Those gifts are not enough, however, to give more than flickers of animation to “Por- trait of a Lady," a dramatic wax- work which opened the renovated ANTA Playhouse (formerly the Guild Theatre) last week as the most sumptuous legit house on Broadway. The film star has taken on a paralyzing assignment in the sin- gle-dimension heroine of the Henry James novel, which William Archibald has adapted for the stage. Under the circumstances, she comes through rather credi- tably. Making her first Broadway appearance* (she .was a child ac- tress in stock and was in a couple of plays on the Coast several sea- sons ago), she appears to be a stage personality of considerable prom- ise. Besides looks, Miss Jones has an air of not only self-possession, but of some stature and authority, plus a degree of emotional depth. Al- though her present role offers lit- tle range, she seems to have learned something about projec- tion. The ability to develop and sus- tain a characterization, plus a feel- ing for pace and variation, are still beyond her. of course, as is the experience-bred knack of making each line a kind of entity in itself. But at least the actress has poise, and gives a direct, clear perform- ance, with an expressive quality. Except for Miss Jones, however, there’s little of interest in “Por- trait of a Lady.” The James char- acters seem anaemic, and Archi- bald’s overly faithful dramatiza- tion is static and tedious. In that sense, the piece is well named, for it has the immobility of a portrait and its subject is relentlessly lady- like. The jaundiced yarn about Amer- icans abroad, either self-righteous- ly butting into the life of the un- sophisticated Albany belle or cyni- cally destroying her illusions and happiness, is a slow-motion conver- sation piece. The conversation is all terribly literate, and always seems to imply more than it actu- ally says, but the effect is elusive and unsatisfying. Perhaps the pivotal lady learns something from her decadent com- patriots, and in her misery is a wise and better, or at least deeper, person at the curtain. But that's not certain, and indeed not much is except that “Portrait” has only Miss Jones’ person and name in the way of life expectancy. Allowing for th® inadequate script, the star is well served in the production. She has an im- pressive supporting cast, including the expert Robert Flemyng as the heroine’s detestable husband and the uncannily deft Cathleen Nes- . (Continued on page 50) Shows Out of Town The Southwest Forner New Haven, Dec. 23. John Huntington production of comedy in three acts (six scenes) by John Cecil Holm, based on novel by Mildred Walker. Stars Eva LeGalllenne; features Enid Markey, Parker Fennelly. Staged by George Schaefer: scenery, lighting and costumea, Ralph Alswang. At Shubert Theatre, New Haven, Dec. 23. '54; $4 top. Orville Greenstead Parker Fennelly Marcia Elder Eva LeGallienne David Keating Ra.v Boyle Bea Cannon Enid Markey Edith Summers Jean Gillespie Sam Wilson Joe Latham Hattie Carew Muriel Pearce “Southwest Corner” is an ex- ample of why legit shows require out-of-town breakins. If this one were to storm Broadway as is, it would probably rate as merely a commendable try. However, four more weeks’ tuneup can conceiv- ably multiply present values satis- factorily. . Obviously meant to be a com- bination of heart tugs and rustic humor, “Corner” has moments of audience sympathy, and others that generate laughs. There are three interesting character studies, and the production is attractive decora- tively. But it requires stiffer the- atrical backbone for Broadway competition. Show’s billing as a comedy is misleading. It concerns an octo- genarian widow who is about to have the lifelong treasures of her Vermont homestead sold at auc- tion. Via a classified ad. a subtly domineering smalltown Massachu- setts widow moves in to care for the old lady, presently marries the devoted handyman neighbor and arranges to auction off the house- sold belongings. However, she dies and a returning newspaperman and his wife acquire the property, and allow the old lady to finish up her days in the hollowed wing (south- west corner) of her ancestors. Eva LeGallienne’s performance of the octogenarian seems in per- fect tune with the role, which does not tax her talents. Enid Markey is capital as the housewife-turned- farmhouse - mistress, playing a heavy without being too obnoxious about it. Parker Fennelly is a nat- ural as the handyman, his rural drawl and unobtrusive humor be- ing especially suitable. In support, Joe Latham does a good job as a smalltown auctioneer, Ray Boyle and Jean Gillespie are okay as the youthful lovers, and Muriel Pearce adds a competent bit as the housekeeper’s friend. Ralph Alswang has created an interesting farmhouse kitchen and George Schaefer has utilized play- ing areas of this single setting to good advantage in keeping the story moving. - Bone. Festival Boston, Dec. 25. Walter Fried (In association with Felix Brentano) production of comedy in three acts, by Sam and Bella Spewaek. Stars Paul Henreid. Betty Field; features Luba Malina. George Voskovec. Stagett by Albert Marre; scenery and lighting, Rob- ert O’Hearn; costumes. Noel Taylor. At Colonial. Boston. Dec. 25, '54; $4 top. Sally Ann Peters Betty Field Wong Harry Shaw Lowe Joey Foster Abbott Lee Ruskin Max Granada Paul Henreid Ruby Patricia Englund Sacha Rostov George Voskovec Martova Luba Malina Joe Foster Pat Hingle Emily Foster Ann Barlow Dr. Algernon Burton James Reese If “Festival” is not at the mo- ment exactly a festival of laughter there are many signs along the w'ay that Sam and Bella Spewaek may make it so before this interesting bit of nonsense reaches Broadway. It is interesting, not so much for the highly evolved and sometimes absurd story line, but for the re- markable ears these collaborators have in catching the special idioms and points of view of the contrast- ing characters involved. The fur- ther emphasis of this aspect of the comedy, as well as the omission of the more intrusive elements of slapstick in the second act, is clear- ly an obligatory bit of dramaturgy 1 if the show is going to get by. The basic situation, though wild- ly improbable, is ingenious. There appears in the Beverly Hills man- sion of a harrassed musical impre- sario a scholarly virgin with a very lively though not so virginal mind. With her—for she is a piano teach- er— is her prize pupil, an eight year-old piano prodigy whom she likens to the young Mozart. Her project, and it is a relentless one, is to induce the impresario to give the youngster a debut. The impresario, who hates music and is distracted by the fact that a piano virtuoso living in his house is refusing to fulfill a contact to ap- pear at a Mexican music festival suddenly sees in his visitor and her prbdigy a stratagem to lure the pianist to Mexico. The develop- ments thereafter, though they often defeat themselves by being too developed, rise to moments conveying much amusement, if not i hilarity. The particular strength and i $ promise in the play is in the con- trasted personalities involved as well as in the many contemporary witticisms—and, in fact, in the fa- miliarity of the audience with the general prototypes of the action. Everyone will recognize in the mu- sic teacher for instance, the intel- lectual conceits and “frame of ref- erence” vocabulary of the type. So, too, will everyone recognize the ego-maniacal charms of the hypochrondriac musical virtuoso as superbly represented by George Voskovoc and Luba Malina (with- out whom this would be a dismal affair indeed). Added to this is the prodigy himself, one of the first stage moppets in recent years who doesn’t drive an audience out of the house. On the contrary, the boy, Abbott Lee Ruskin, does play the piano like a prodigy and is an attractive kid, though no actor. Well endowed with pleasantly recognized conventionalities of ec- centricity, also, is James Reese as the venerable composer with a hearing aid, while Harry Shaw Lowe manages an ovation by means of his teeth only. Patricia Englund contributes a handsome portrait of the impresario’s girl of all tasks. Nor must either Pat Hin- gle or Ann Barlow be overlooked I in brief turns. As for Betty Field, her artful * virginality as she makes her suc- cessful stand in the enemy’s camp is a neat example of life observa- tion and techniques, while Paul Henreid as the impresario, if occa- sionally a little too bombastic and assertive, demonstrates his com- mand of the stage. There is little doubt, how'ever, that it is the knowing reading of the knowing lines by Voskovec and Miss Malina that keeps this one in the running. It is a character piece, in short, and if the Spewacks can remove the farcical elements with- out destroying the line, they have another hit on their hands. Robert O’Heam’s set, incidental- ly, is a little incomprehensible to the Bostonian (but amusing), while Albert Marre’s direction, save in the opening moments, is adroit and well-paced. Elie. The brand Prize Hartford, Dec. 24. Shepard Traube production of comedy in three acts (five scenes), by Ronald Alexander. Stars June Lockhart. Jonn Newland; features Betsy Palmer. Di- rected by Traube; scenery and lighting, Pat Cambell; costumes. Virginia Volland. At Parsons Theatre, Hartford. Dec. 23, '54; $3.80 top. George Ken Harvey Lucille Cotton . June Lockhart John Condon Mitchell Bill Gibberson Brenda Johnson Nancy Wickwire Mack Perry Bruskin Kate Wilson Betsy Palmer Robert Meredith John Newland Edward Martin Tom Poston Green Donald McKee In its initial tryout state, “The Grand Prize” is not a contender for Broadway success. It needs re- writing, strengthening, tightening and polishing. Considering nis material, direc- tor-producer Shepard Traube has done an excellent job of blending his talented cast to the rather verbose, lightweight script, an- other item in the season’s growing list of sex comedies. Play is about a secretary who, as a tv contestant, wins the privilege of becoming her boss’s boss. She resists his advances, but ultimately marries him. “Prize” pokes fun at tv con- tests. man-hungry girls and vice- versa, Madison Ave. ad executives and assorted other contemporary metropolitan characters.. Former actor Ronald Alexander has au- thored some funny lines and situa- tions. Nancy Wickwire, Ken Harvey, Perry Bruskin and Bill Gibberson have a laughable scene about tv contests, and Kate Wilson is a vivacious commedienne. John New- land gives an effective perform- ance as the boss on the make, and Donald McKee is poised and re- sourceful as the butler. Tom Poston is amusing as a stuffy ad man who goes on a tear. June Lockhart is charming, though tense, as the boss’s boss. Pat Cambell’s single set of a secretarys one-room utility apart- ment is ably executed. Eck. Current Stock Bills (Dec. 27-Jan. 9) Fourposter. —Playhouse, Houston (27-1). Hemlock Cup (tryout), by Ed- ward Hunt—Theatre ’54, Dallas (27-9). The Miser (tryout), Miles Malle- son adaptation of Moliere—Arena Stage, Washington (5-8). Time Out for Ginger —Paper Mill Playhouse, Millbuoi, NJ> (27-9).