Variety (March 1955)

66 LEGITIMATE Wednesday, March 30, 1955 tJBitETr . Show on Broadway I'at on n Hot Tin ltoof Playwrights Co. production of drama In three acts by Tennessee Williams. Stars Barbara Bel Geddcs, Burl Ives;, fea- tures Mildred Dunnock. Ben “-Ga/zar.i. Direction. Ella Kazan; 6ecnery and light- ing, Jo Mielziner; costumes, Lucinda B:;l- Jard. At Morosco, N.Y., March 24, *u5; $;>.90-$5.75 top. _ „ I,acey Maxwell Granville Sookey . Musa Williams Margaret Barbara Bel Gecldes Brick ’ Ben Gazzara Mae Madeleine Sherwood Cooper Pat Hin rie' Big Mama Mildred. Dunnock Dixie Pattline" Hahn Buster D- rflyl 'IUcihard Sonny Seth Edwardr Trixie ; Janice Dunn Big Daddy Burl Ives Rev. Tooker Fred Slew.vrt Dr. Baugh R. G. Armsironi: Daisy Eva Vaughan Smith Brlghtie Brownie McGhee Small Sonny Terry 1 4 I “You're certainly on a talkin’ jag tonight.’ remarks the drunk- en son during his exasperated father’s interminable monolog m the second act of “Cat on a Hot Tin RooV’ The comment could also be applied to the author. But although the new Tennessee Williams drama is uncomfortably gabby and a bit obscure, it is an arresting, absorbing play that’;, likely to provoke discussion and draw attendance. It stacks up as another success for the author of “Glass Menage vie’’ and “Strb-tcar Named Desire,” perhaps with best- Of-tlie-season honors. It’s also a credit to stager Elia Kazan and a boxoffice hit for the rejuvenated Playwrights Co. As usual, Williams is writing of neurotics, with possibly even more than his customary emphasis on sex. But if “Cat” lacks the drive or clarity of “Streetcar,” it again reveals the author as a dramatist of extraordinary sensitivity and theatrical power, a writer with something compelling to say, mor- bid and troubled though the ideas may be. It also seems to suggest increasing interest in character and less in mere .decadence. Locale of the show is a bed-sit- ting room of a plantation home in the Mississippi Delta, more or ’ess the scene of several previous Wil- liams plays. The title refers to the situation of a young wife trying to recapture a passionate relationship with her husband, who now sleeps on a sofa in disgust because he be- lieves her responsible for the death of his inseparable chum. The youth hobbles about (his crutch presumably symbolizes his self-imposed illusions) with a bro- ken ankle sustained in a boozy at- tempt to leap a high hurdle. He keeps trying to drink himself into a stupor, explaining that at a cer- tain point a “click in his head” will bring him a sense of peace. Open* tonight in Trio at Malin Studio* STAGE - TV - RADIO LEXINGTON 2-1100 But mostly he just stares, occa- sionally repeating the questions his wife and father keep asking him. Maggie the Cat, as she calls her- self, rants on and on at him through the first act, revealing her own brand of self-torment at hav- ing told him the “truth” about his friend. She castigates his brother and sisler-in-law as hard, shallow and cruel, and their children as “no-neck t v monsters.” Admitting that' she “never could keep my, lingers off a sore,” she bedevils her husband until he finally tries to brain her with his crutch. Most of the second act is an- other talkathon as the father, in- furiated by the hypocrisy of his avaricious prospective • heirs,- rages at Irs son to find out why he’s an alcoholic emitter set on destroying himself. Occasionally a bird cry is heard beyond the balcony, while snoopy members of the household wander in and out, several scream- ng children stampede in to cele- brateHhc old man’s G5th birthday, and he takes time off to express his loathing of his wife. The third act is an intermittarit and attenuated yelling match as t lie patriarch’s wife learns he is dying of cancer, his expectant heirs ca’lously quarrel over the estate instead of offering sympathy. Fi- nally, the young wife cajoles her 1 husband back to the marital bed, at least temporarily, after deceiv- ing her father-in-law that she is at last pregnant. It is a cryptic but vivid finale. Much of the garrulous dialog is explicitly devoted' to sex and is frequently repetitious. The author and director have also left in an extraneous and very old smoking car story, perhaps as a .gesture to- ward authenticity or color. How- ever, "Cat” throbs with life and compulsion. Despite its vulgarity, prolixity and opaqueness, it is un- deniably engrossing. . Kazan’s staging has lus familiar intensity, with expressive feeling for mood and pace, and charac- teristic use ‘of sound effects and varying light shadings. In the lat- ter. he has been immeasurably aided by Jo Mielziner, whose raked stage with a bed, sofa and bar, with rear areas for supple- mentary action, plus streaked light- ing effect to suggest latticed doors and windows, are a Vivid creation. As the needling, long-winded wife (do southerners really talk so much?). Barbara Bel Geddes is glowing, forthright, and irresistibly moving, although it’s not hard to understand why the husband tries to conk her with his crutch. Burl Ives, in his first non-singing part on Broadway, is convincing as the enraged plantation owner, though he and director Kazan have not entirely avoided monotony in the endless second-act harangue. Mildred Dunnock is effective as always, despite miscasting as the slatternly Big Mama, and Ben Gaz- zara is acceptable in the virtually unplayable role of the inarticulate- ly bitter souse. There are good sup- porting performances by Madeline Sherwood as a greedy daughter-in- law, Pat Hingle as her spiteful hus- band and Fred Stewart as a sanc- timonious parson. Although “Cat” hardly* seems likely screen material, there’s been some Hollywood interest and the drama could conceivably be adapt- ed for pictures, if substantially re- vised. In any case, it’s a potent grosser for legit. Hope. Signe Hasso will star in Rose- mary Casey’s domestic comedy “Late Love,” at the Fred Miller Theatre, Milwaukee, April 5 through 17. it'- ■ LEO FUCHS the international star in his riotous English speaking role 10 smash weeks in his madcap musical comedy 'This Is Your Life -MENDEL" Breaking all Box Office Records at the CIVIC PLAYHOUSE • 755 N. La Cienega Blvd. • HOLLYWOOD Marathon Eric Elgar did 11 walkons between last Friday noon (25) and Sunday night, 'in four dif- ferent N. Y, productions, in- cluding two operatic houses, and his total gross for the bits was $20. He walked on four times ea-c.ii at the Met and City Cen- ter in opera repertories, along with an off-Broadway produc- tion of '"Streetcar Named De- sire,” and- the Originals Only and Playhouse productions. nismet’ to Open Dallas’ 14th State Fair Season; $500,000 Budget Okayed Dallas, March 29. With an approved record budget of $500,000 for its 14th annual State Fair Musicals season, June 6- Aug. 23, managing director-produc- er Charles R. Meeker Jr. will open t ie 12-week run with “Kismet.” New York cast will have a fort- night’s run at State Fair Audi- torium, Other five shows tenta- tvely set are “The Vagabond King,” “South Pacific,” “The Tea- house jo N the August Moon,” “Carousel” and “.One Touch of Ver.us.” Gordon MacRae would head “Carousel” and Dennis Day is set for /"Venus.” A second re- vival here of “Texas, Li’l Darlin’ ” will replace one of the s { x shows if Jack Carson is availably to repeat his 1952 role here. Meeker is in New York to finalize shows and casts. Last season’s staff will return, including musical di- rector Franz Allers; stage director George Schaefer, and art director Peter Wolf. Off-B’way Show v The Story of a Soldirr T. E'lwr.rd Hnmbleton & Norris Hough- ton's “Side Show” presentation of “L’His- toire du Soldat,” music drama by Igor Stravinsky, as suggested by Hamuz. Spoken text, N. Richard Nash; chorc- nsraphy, Edward Caton; musical director, Erich Leinsdorf; costumes, Stanley Sim- mons. At Phoenix, N.Y., March 28, '55; $8.45 top. Cast: Franchot Tone, Paul Draper. Ed- wj rd Caton,. Janice Rule, Nancy Milton, Mavis Walters. Orchestral ensemble: Alexander Schneider. Julius Levine, Dflvid Oppenheim, Loren Glickman, Rob- ert Nagel, Erwin Price, Alfred Howard. Fusing together a number of tal- ents from diverse branches of the entertainment industry, the Phoe- nix entrepreneurs have made “The Story of a Soldier” another engag- ing Monday evening in their “Side Show” series. Igor Stravinsky’s music drama of a devil-tempted soldier is embellished by perform- ers Paul Draper, Franchot Tone, Janice Rule and Edward Caton; Erich Leinsdorf has been engaged to conduct the seven-man orches- tral ensemble, and N. Richard Nash has provided the spoken text. It is a pleasant collaboration. Informality is the keynote. Tone, as narrator, come’s to the apron and calls class (the audience) to' order. The .ensemble, in hepcat togs, wander down the aisles and force their way across customer- filled Row B to the pit. Somebody shouts for Leinsdorf, who soon ambles down an aisle in si>ort- jacket and beret and festivities I begin. j It’s largely Draper’s show. His dancing takes priority over music and. narration as he ' pantomimes the Myopian soldier whose joy in a simple violin straiihyields to lust for gold,- power and a princess. This probably disappoints avid Stravinskyites who may have hoped for a heavier accent musiewise, but nonetheless the score is given a refreshingly delicate reading by Leinsdorf. Playwright Nash’s text is satiri- cal and imaginative. Apart from a slight coyness toward his “pupils.” Tone’s narration admir- ably reflects the soldier’s changing moods, whether of joy, nostalgia Or despair. Janice Rule's voluptu- ous and slyly humorous dancing of the devilish princess lends vitality to the final episodes, Edward Ca- ton’s choreography is not always fresh but he has flashes of wit as the devil. This is a minor tour de force 1 for the artists involved and re- flects favorably on the Hambleton- Houghton combine for offering the offbeat piece. It’s strictly special, however, and would run serious risks if attempted commercially. For. obscure reasons, an unpro- 'grammed trio called The Wayfar- ers Is allowed to preface the bill. Geor. Shows Abroad Misery Me! London, March 18. E.- P. Clift & Daniel M. Angel produc- tion of comedy- in three acts by Dennis Cannan. Stars Yvonne Mitchell, George Cole, Clive Morton. Directed, by Alas- talf Sim; decor. Hutchinson Scott. At Duchess, London, March 16, '55; $2.20 top. Adam George Cole Romilda Eileen Moore Prosper ., PhllfP Stain ton Dr., Vince Leonard Sachs Cornelia Yvonne Mitchell Carlo Bombas Clive Morton. Julius Ring Colin Gordon Daniel M. Angel,, independent film producer, takes a flyer into legit management by staging Den- nis Cannan’s new comedy in. part- nership with E. P. Clift. But even with their combined talents, they have failed to pick a wihner. Even with its modest operating nut it can’t hope to do well at the inti- mate Duchess Theatre. Although officially tagged by the author as a comedy, “Misery Me!” is a curious blend' of farce and tragedy, thoughtfully written and constructed, but wiOl little point or purpose. The direction wavers between the conflicting moods, and an over-fussy set doesn’t add to the appeal. Curiously enough, the author succeeds at times in ^making sui- cide a laughing matter, and makes a big joke of George Cole’s failure to take his own life. He’s just a simple fellow, despairing of the future; Yvonne Mitchell, who also Sees no hope, talks him into a sui- cide pact. Then along come the two men in her life, Clive Morton, the armaments king with a mink- lined overcoat, and Colin Gordon, the left-wing agitator dressed, natch, in a red shirt. The two rival lovers almost succeed, in their, sep- arate efforts to involve Cole in as- sassination plots in which he can have a martyr’s death, but are finally left standing while he walks off with the girl. The principal characters are as exaggerated as the plot, and the' author has packed a great deal of incident, niainly. of a farcical na- ture, into the three acts. Perform- ances are of a varied standard. Miss Mitchell makes like she’s ap- pealing in a great tragedy. Cole underplays his role, while Gordon and Morton act with commendable vigor and authority. Eileen Moore provides an appealing touch as the waitress of the Arcadian inn in which the action is centered. Philip Stainton as the innkeeper and Leohard Sachs as the village doc- tor are more than adequate. Myro. Frueliling (Springtime) Zurich, March. 20. Stadttheatre production of operetta in five scenes by Rudolf Eper. Music by Franz Lehar. Directed by Otto Daue; musical direction, Eduard Hartogs;, sets and costumes, Rene Rougemont; chore- ography, Jaroslav Berger. At Stadt- theatre, Zurich, March 19, '55. Cast; Ingeborg Fanger. Erna-Maria Duske, Reinhold Guether, Heinz Rhoeden, Ellen Schwanneke, Karl Pistorius, Wolf- gang, Hess, Gertrud Flecker, Paula Smeikal, Margrit Ocxie, Ilildegard EU- mann, Gottlieb Zelthammer, Gretl Henar. World-preem of a posthumuous Franz Lehar operetta has raised considerable interest here and abroad. Musical is based on one of the late. composer’s early one- acters, written in 1922, which he sought to extend into a full-length operetta during the ”last years of his life. When his death prevented termination of the project, libret- tist Rudolf Eger assumed the task of finishing it, all by keeping close- ly to Lehar’s intentions. The result; unfortunately, is not very impressive. Although belong- ing more- to the comedy-with-music than the traditional operetta cate- gory, it is about as far .from an American, musical comedy as “Lo- hengrin” from “The Merry . Wid- ow.” Originality, zest, witty lines and catchy tunes are almost com- pletely missing. The book, built along formula lines, is thin and shows definite signs of its original destination as a one-acter. The music makes it hard to believe that it was penned by the same man who created such masterpieces in the light vein as “Merry Widow” and “Land 'of Smiles.” Although it makes for pleasant listening, there are no potential hits in the score. Most of the waltzes, duets and ensembles somehow sound like old acquaint- ances. “Springtime” looms as A doubtful bet for the. U.S., despite the familiar Lehar name. The story takes place in Vienna, beginning of this century. It pre- sents the story - within - a - story frame, so that most of the players have twin assignments. A girl working in a typing bureau is wooed by three men—a shy com- poser, a wolf-type writer and a middleaged man “with honorable Intentions.” As she is about to type a manuscript with a situation similar to hers, the characters Come to life, thus enacting the story forming thfc—eCntral part of the plot. The fatter doesn’t amount to much more than the girl finally making her choice; the composer. The Stadttheatre performance made whatever possible out of this trite material. There are some lively moments, thanks to a hand- ful. of competent players, notably Ingeborg Fanger as the girl, Karl Pistorius and Heinz Rhoeden as the men she finally rejects, whereas leading man- Reinhold Guether in the part of the com- poser is not exactly an ideal choice, neither vocally nor acting-wise,. Highlight of the show is an ex- cellent ballet number in the third scene taking.place in a big fashion store, whereby a number of dummies come to life. This emerges as a delightful spoof of the Roaring 20s. Another dance in- termezzo in the same scene, lam- pooning the typical female bargain madness in a big store, also reg- isters strongly. Dance director Jaroslav Berger rates kudoes for this. Direction, sets and costumes -$re adequate, though rather conven- tional. Conductor Eduard Hartogs, who also did the orchestration of the Lehar numbers, does an able job. Me,'o. ATTRACTIVE DEAL for Good Summer Stock Operator Fully Equipped lighting. One complete sot on hand. ' Air-Conditioned Lakewood Theatre BARNESVILLE. PENNA. Contact: ABE I. FEINBERG 1650 ■’way. Now York City PL 7-7093 PRODUCERS You ero invited to ettond e PRIVATE PERFORMANCE of e now comedy (1 Set; 9 cherecters). Any evening, April 12-17. For Informetlon or reservations, write on yotir lettorhoad to: SHOWCASE THEATRE, 425 West 57 Street, New York It, N. Y, . DAVIDSON CO. INCORPORATED Insurance Brokers WORLD-WIDE INSURANCE FACILITIES FOR ALL THEATRICAL ENTERPRISES _ 167 West 58th St., New York 19, N. Y. • JUdson 2-9360 ROBERT DeCOST As Comdr. Harbison THANKS: Mr. Rodgers, Mr. Hammer- stein, Mr. Hayward; Mr. Logan . . for the Two enjoyable years with the National Company pf “SOUTH PACIFIC/ 1