Variety (February 1955)

58 LEGITIMATE Wednesday, February 16, 1953 Shows ■f • Saint *l«an • London. Feb. 10. Ilrnry Sherek revival of drama in three acta by Bernard Shaw. Stars Slobhan McKenna. Direction. John Fermldt scenery and costumes. Paul Mayo and Michael Ellis. At St. Martins’ Theatre. London. Feb. 8. ‘95; 82.30 top. Joan .. Siob.ian McKenna nerlrand de Poulenfey. Peter Whitbread Archbishop of Rhelms Frank Koyde Monseigneur de la TremouiUe Edmund Gray GiUes de Kals Seymour Green Captain de la Hire Stewart Weller Dauphin . . Kenneth Williams Dueness de la TremouiUe Rowena Ingram Dunois Robert Cartland Peter Cauchon Oliver Burt Inquisitor Chas. Lloyd Pack Brother Martin Iadvenu Desmond Jordan When “Saint Joan" was revived recently at the Arts Theatre Club, Siobhan McKenna’s stellar por- trayal drew unanimous huzzahs . from the London critics, and this prompted Henry Sherek to take over the bulk of the company for a regular West End run. It looks like a shrewd decision which should pay off financially and artistically. Shaw’s drama of the Maid of Orleans is given fresh and vigorous tieatment by John Fernald’s deci- sive direction, but the entire pro- duction is allowed to revolve round the star. And rightly so, for her sincere and Impressive perform- ance has a rare magnetic appeal and is the main b.o. asset of "the show. Miss McKenna, whose Irish brogue has a fascination of its own, portrays the simple peasant girl- saint with a touching naivette. Her real dramatic strength emerges, however, in the momentous trial scene. In the large cast, Kenneth Wil- liams as the Dauphin and Charles Lloyd Pack as the Inquisitor stand out. The other roles are suitable filled. Decor and costumes hit the right note. Myro. The GIiomI Wrilern • London, Feb. 10. Art* Theatre Club, by arrangement with Oscar Lewenstetn. production of drama in three acts, by Ted Allen. Stars George Coulouris. Direction, Bernard Braden; scenery. Paul Mayo. At Arts Theatre Club. London, Feb. 9. '55; 81.50 top. Paul Finch George Coulouris Barber Stuart Hutchison Mike Bedford Jerr^ Stovin Nick Lovell Gordon Tenner Bruce Martin Lew Davidson Maggie Paulle Clark Ralph Sherman John Colicos Julia Bedford Andree Melly Marge Lovell Jill Melford Secretary Sheila Mackenzie A starkly dramatized picture of Hollywood in the grip of Congres- sional investigation is painted by Ted Allen in “The Ghost Writers.” It has little light or shade and might be described as a political leaflet in three acts. Although it should hold firm for its limited run at this club theatre, it is a questionable bet for West End transfer and an explosive subject for Broadway. Facts, like beauty, are a matter for the beholder. The playwright gives his impression of the Holly- wood scene and a grim picture it is. Named writers are selling their scripts for a pittance without screen credits, and despicable lit- tle characters without talent suc- ceed In getting on to the studio payroll with long-term contracts by Abroad fsiisp Call Mo Immodialoty I (Agent* and Producers, That Is) PLaia 7-6300 ROYCE KANE Character Actress Credits; A round two doton dramatic tv shows, •roadway and Summor Stack. Tv Commercials. means of evidence they are pre- pared to fake. Author Ted Allen has chosen as his central character a glib, fast- talking producer who is quite will- ing to go in for this under-the- counter trading and cash in on the high-grade scripts which he is able to buy for a few bucks. The victim is a named scripter who is awaiting a rap for ’contempt, but meantime pursuing a breach claim against his former studio. An active observer Is a young, almost naive Canadian writer who revolts against the Hollywood convention of putting a fast buck before principle. Bernard Braden's direction lacks the force and urgency which the script demands, and there is evi- dence of inadequate rehearsal. Despite this, there are some solid performances, notably by George Coulouris as the producer, Jerry Stovin as the Canadian, and Gor- don Tenner as the named writer, Jill Melford shines in one scene as the latter’s wife. Myro. Pygmalion Paris, Feb. 1. Jean Marais production of comedy in two acts (five scenes), by George Bernard Shaw, adapted by Augustin ana Henriette Hamon, new version by Claude-Andre Puget. Direction, costumes and sets by Jean Marais. At Bouffea-Pariaiens Thea- tre. Paris. Jan. 27. '55; $3 top. Eliza Doolittle Jean Moreau Henri Higgins Jean Marais Madame Pearce Suzanne Dehclly Alfred Doolittle ....... . Noel Roquevert Col. Pickering Michael Etcheverry Madame Higgins Colette Regis Sarcastic Bystander Alain Nobis Zara Hill Francoise Soulie Madame Hill Blanche Ariel Fred Hill J. C. Fontana Vulgar Bystander Paul Rieger Chamber Maid Hugette Donga Passerby Leon Schultz Passerby . Yvonne Marial Woman of the People ... Andree Lelievre The plays of Bernard Shaw, handicapped by dull French ver- sions made by his Belgian Social- ist friends, Augustin and Henriette Hamon, to whom he entrusted ex- clusive French translation rights, have never gotten to first base in France. Sole exception was “Saint Joan,” produced by the Pitoeffs in 1925. Now, 41 years after its first ap- pearance in London, “Pygmalion” is at last a Paris hit thanks to a bright, fresh version by capable playscribe, Claude-Andre Puget, which carrys over the Shavian humor and satire, and a stylish, well-acted production that makes the most of the sprightly dialogue and situations. The comedy has broken the house record at the 100-year-old Bouffes-Parisiens, a theatre once managed by Offenbach and the site of the premieres of most of his operettas; Jean Marais, legit-film matinee idol, one. of the few screen stars who can draw his screen fans into a playhouse, has directed the new staging in addition to designing its scenery and costumes and playing lead as Prof. Higgins. /Jean Moreau, a talented film beauty, scores strongly as the guttersnipe Eliza Doolittle, the slum girl who has all Mayfair ..and her professor at her feet before evening is out. All supporting roles have been artfully cast, with Noel Roquevert as Eliza’s comic cockney father, Michel Etcheverry as Higgins’ smooth colleague, Suzanne De- helly as the prim housekeeper, Col- ette Regis as the professor’s un- derstanding mother and J. C. Fon- tana as a nit-witted playboy who courts Eliza. Success of “Pygmalion” has kindled interest here in produc- tion of other Shaw plays, though revisions of the old Hamon trans- lations is an admitted necessity. Revivial of this one profits enor- mously from intelligent direction and sure-fire performances, as well as from the adaptation and attractive costumes and sets. Curt. G«*n«»raf iom k n (Generations) Berlin, Jan. 31. Frele Volkabuehne production of drama in four acts, by Gert Weymann. Stars Herbert Huebner. Paul Edwin Roth. Anne- marie Steinsieck. Direction. Christoph Grosser; scenery, Ekkehard Cruebler. At Theater am Kurfuerstendamm, Berlin; 82.30 top. Prof. Baum Herbert Huebner Mathilde Annemarie Steinsieck Rolf Paul Edwin Roth Von Schneidewitz Otto Stoeckel Wanda ...» Use Fuerstenberg Hilde v. Schneidewitz Marion Dealer Bodo v. Schneidawitz.... Wolfgang Woelz Klaus Krueger Gerd Martienzen Sierins Hans Albert Martens “Generations” is by Gert Wey- mann, one of Germany’s most promising young writers and co- THEATER DE LYS NOW BOOKING for SUMMER, 1955 for information: writo Anita Pott, Ganaral Manager, 121 Christopher St„ NYC or Phone WA 4-6232; WA 4-8782 winner of last year’s Gerhart Hauptmann Prize. Dealing with German postwar problems, the tragicomedy is plire accusation against German elements that seem to have forgotten about their country’s past and now feel them- selves “good democrats.” Such works usually have tough sledding in the repertoire of local theatres. Whatever the play’s political point of view', its general impact is strong. It may even have a chance for the U. S.. perhaps getting at- tention for its treatment of Ger- man postwar problems which are also of international and general human interest. Piece shows the contrast between the older anjl younger generation after Germany’s recent defeat. Story involves a war veteran just returned from captivity in Siberia, and his career-conscious father,' a professor who faithfully served un- der Hitler and now is due to get a top local political position. Latter fears that the dark spot in his son’s wartime past (he hung five soldiers because of desertion) may threaten his career and manages it to put his son’s deed in a more favorable light via a newsaper ar- ticle, incidentally easing his own conscience by explaining “Tiis son did it by command of his superiors.” The son, however, feels respon- sible for the death of the five sol- diers. The message going through the w'hole play is that nobody is free from human guilt, even if he did something wrong by superior command. “Generations” also ar- gues that a man’s politics rather than his ability is a vital factor, that there’s only a short step from concession to corruption and that too many Germans merely turn their coats when a new regime takes over the power. “Generations.” w'hich was given a studio production, is not clear-cut all the way and some of the char- acters appear rather vague, yet this doesn’t spoil the overall impres- sion. It’s one of the most important provocative German plays written since World War II. The dialog is tight and there are brillliant com- edy lines. Direction by Christoph Groszer is first-rate, and Ekkehard Grueb- 16r’s single living room set adds authentic flavor. The action is kept rolling swiftly. Herbert Huebner as the professor and Paul Edwin Roth as the returned soldier make full use of their possibilities. Anne- marie Steinsieck as the professor’s w ife, has a number of good scenes. Otto Stoeckel portrays a retired colonel competently, as does Ilse Fuerstenberg, but Gerd Martien- zen’s role as young reporter ap- pears not clear enough. A good supporting performance is turned in by Hans Albert Martens in the part of a town-concillor. Marion Degler and Wolfgang Voelz are okay In short roles. flans. Montfwrrat Zurich, Jan. 29. Schauapielhau* production of drama In three acta, by Emmanuel Roblen; German adaptation, M. Vereno. Direction, Kraft- Alexander; aet, Hannea Mever: technical director. Franz Eberhard; lighting, Kurt Rrogli. Tt Theatre am Neumarkt, Zurich, Jan. 28. '55. Izquierdo Sigfrit Steiner Montaerrat Wolfgang Stendar Morales Kan Wagner Zuazola Eduard Abel Antonanzaa Hans Jedlitschka Father Coronil Heinz Woester Potter Friedrich Braun Merchant Edwin Parker Mother Anneliese Betachart Actor Hans-Helmut Dickow Ricardo Peter Brogle Elena Beatrice Foehr-Waldeck This is Schauspielhaus* first *54- ’55 production away from its own house. It’s at the small Theatre am Neumarkt. destined as an outlet for offbeat plays as well as for the younger set of players who are rarely able to grab any juicy parts at regular performances. “Montserrat,” first drama by French novelist Emmanuel Robles is an excellent choice, offering a variety of topflight roles, beside being a shocker whose tension builds up to a nerveracking climax. It has already failed in the U.S., as adapted by Lillian Heilman. Aided by excellent reviews, this could easily develop into a sleeper here. ‘Staging by Kraft-Alexander is standout and shows a lot of promise for this young director. Hannes Meyer’s one set, simple but effective, contributes impor- tantly to the sombre atmosphere. Performances range from fine to superb. In the laUer category are Sigfrit Steiner as the sadistic officer, and Anneliese Betschart, Erwin Parker and Hans-Helmut Dickow as hostages. Mezo. Equity Shows (Feb. 14-27) i Man In Whit*— Lenox Hill Playhouse. N Y. <18 20*; Clinton H.S., Bronx. N Y. <25 26*. Bryant H.S., Queens, N.Y. j (18 19). Cy & Ernie, Modern but Classic ■—- Continued from page 51 ■— - their new show, ‘Silk Stockings,’ will be a smash. I only wish I had it, right now. “The boys drive everybody they work with a bit crazy, of course. What would you expect? They’re perfectionists. As I understand it, Cy used to be a difficult guy when he. was musical director of Univer- sal Pictures in Hollywood. He was never satisfied with less than the best, so, naturally, he was tough to work with. They tell ine he’s slill> a nice guy, but still difficult to please about a show, at least his own show. Tough Realists “Ernie was a brash production executive and ex-page boy with CBS in Hollywood. He was a freak in that paradise of yes-men, never hesitating to contradict Bill Paley himself, and he got away with it because he wasn’t afraid and was almost always right. Ernie still acts as if he knew It all, and that in- furiates people. But it’s hard to object when it turns out that he knows what he’s talking about. “Another thing, both Cy and Ernie are willing to listen and are not too smug to accept other peo- ples’ ideas. But they’re both real- ists, very tough realists. And since they’ve always been right as pro- ducers, who’s to argue with them? When they have their flops, we’ll see. But so far, how can anyone dispute 100% success. Certainly backers won’t, in spite of the pro- ducers’ royalty off the top.” From their start on Broadway, it’s recalled, Feurer & Martin have pursued their own ideas, regard- less of whom they’ve alienated or whose feelings they’ve injured. On their first show, “Where’s Char- ley?” they tiffed with librettist- director George Abbott, and have not again been associated with him. Same with George Balanchine, choreographer on the show. There was also supposed to have been a spat with Ray Bolger over the ques- tion of a summer layoff. After "Charley,” composer-lyri- cist Frank Loesser told friends that he was through with F&M, but couldn't resist the opportunity to work on Damon Runyon material, so he supplied the songs for “Guys and Dolls,” and was thereafter even more emphatic in swearing off Feuer Si Martin. Several librettists were rumored to have burned at the producers for turning down story treatment attempts, and there were hints that George S. Kauf- man resented the F&M brand of perfectionism in regard to his stag- ing. Who’s Excited “Can-Can” was an exception in its relative freedom from produc- tion hassles, as relations with com- poser-lyricist Cole Porter and li- brettist-stager Abe Burrows seem- ed to be- comparatively amiable. Any differences were presumably overlooked in consequence of the lucrative royalties. But “Boy Friend” brought the barring of Wilson ^nd Miss Hope from rehearsalsr~0ir top of that. Kaufman withdrew a couple of weeks ago as co-librettist and direc- tor of the incoming “Silk Stock- ings,” evidentally after differences with the producers. Nor is that all, by any means. While “Guys and Dolls” was a hot touring item, a national political party could probably have been formed from the ranks of road the- atre managers enraged over F&M sharing terms for the musical. The partners went to bat with Music Corp. of America over a tentative- ly-set film sale of “Guys and Dolls,” and succeeded in getting four times as much ($1,000,000), from Sam Goldvvyn for the property. They’ve since been on the outs with MCA over that and the ques- tion of whether agents should take a commission on the producer’s share of film sales. The latter hitch has also involved other agents and appears to be a major factor in the long delay in a new basic agree- ment between the League of N. Y. Theatres and the Dramatists Guild. F&M have made a habit of get- ting advantageous theatre terms on Broadway as well as the road, which hasn't endeared them to the Shuberts. And, like virtually all producers, they’ve had their share of wrangles with actors and the lat- lers’ agents. In one recent instance, they haven’t even hesitated to tell off a drama reporter of the N. Y. Times. As the envious producer ex- presses it, Feuer & Martin are a throwback to the great days of Broadway, when a producer was the boss of his own show'. “i m . agine,” this observer marvels, “not being pushed around by authors directors, stars, agents or even the Shuberts. “Just think of It—keeping up the pressure to get the script and direction the way you want, even barring the author and director from the theatre if necessary. Four hits in a row, and no matter whose names have been on them as au- thors, composers, directors, and so on, they have been Feuer Sc Martin shows. “As for ‘Silk Stockings,’ you can be sure that’s a Feuer Sc Martin show, just as the others have been Hit or flop, it’ll be their own, and it’ll have their trademark.” Star Temperament ■5ES Continued from page 57 terward as to whether the star walked out of the show or threat- ened to do so. Last week’s incidents involved an explosive statement attributed to Douglas during the “Caine” en- gagement in Greensboro, N C abruptly ending the show’s tour! and Miss Kitt’s sudden exit from the theatre during a performance of “Mrs. Patterson.” with subse- quent announcement that she is under hospital treatment between shows. In Douglas’ case, he claims he was misquoted; in Miss Kitt s it’s explained that she is in ill heaRh. There are also trade whis- pers that the singer-actress is re- luctant to go on tour, as scheduled. Such incidents as the recent ill- nesses of Lynn Fontanne, requiring the cancellation of a performance of “Quadrille.” and of Tallulah Bankhead, causing several per- formance cancellations of “Dear Charles.” clearly do not involve any question of temperament or self-indulgence, any more than, does the case of Tyrone Power, or of Joan Fontaine in “Tea and Sympathy.” Who can say, for sure, when ill- ness is merely temperament, or emotionalism, or self-indulgence, or deliberate tactics to obtain re- lease from or revision of a con- tract? It may be a matter of degree. Some cases are obvious, or appear so. But management, Equity, doctors or psychiatrists, or even the star himself, cannot be Certain. But, making all allowances, this has been a season for star “tem- perament.” Brings Equity Charges Hollywood, Feb. 15. Proceedings have been filed with Actors Equity by Paul Gregory, producer of “The Caine Mutiny Court Martial.” charging that re- marks made by Paul Douglas, a member of the troupe, caused the cancellation of seven bookings in the South. Gregory said the dates would have amounted to $134,000. The star was quoted In the Greensborough, N.C., Daily News as saying “The South stinks. It is a land of segregation and sow bellies.” Although the actor claimed he was misquoted, the re- marks jvere widely printed throughout the southern states. The show closed last Saturday night (12) in Pittsburgh. Congressman Defends South Washington, Feb. 15. Rep. L. Mendel Rivers (D., S.C.) last week lambasted Paul Douglas for his “intemperate, un-called for, unnecessary, unwarranted, and untrue” attack on the South. The Congressman, a courtly man who represents the city of Charleston, told the House of Representatives in a speech that the Douglas com- ment “caused the disbanding of the entire troupe and the cancella- tion of the remaining program of this company, over 70% of which w'as scheduled to take place in that land of fable, song, tradition, hos- pitality and prosperity known as the South.” Rivers added that one member of the troupe said recently w'hen the unit played Charleston that “Douglas considered himself too good to travel with the rest of the company.” One of the other costars of the show was quoted as saying. ‘He does not even see the South; he travels by airplane.* ” The other stars were Wendell Corey and Steve Brodie.