Variety (June 1955)

64 IJEGITIMATC P^BsUSff - WeilnMdajr, Jane 22, 195S Bavnin Yankees 46TH STREET, N. Y. Relatively minor changes have made a surprising, substantial dif- ference ih “Damn Yankees.” Dis- regarding the customary manage- ment claims of an over-tense cast and a resultantly low-voltage pre- miere performance, it appears that some post-opening tightening and re-arranging, plus possibly in- creased confidence from warm au- dience response, has had a stimu- lating effect. Whatever, the explanation “Damn Yankees” is a considerably better , show than at the opening. It is now, even for an unimpressed first-nighter, a lively, generally sustaining musical comedy in the properly accepted Broadway tradi- tion. Not that the basic flaws have been eradicated. . They remain, but no longer seem particularly important or, at any rate, decisive. Specifically, the changes since the premiere are comparatively in- consequential, One number, “Not Meg,” has been killed, arid the! plot-only point is now covered with! a line of dialog. A reprise of “Heart,” sung by comedienne Jean Stapleton (a natural for character comedy parts in pix and/or tv), has been moved up from the sec- ond act to the first, and a long and dull first-act finale comedy dance number tin the guise of an ama- teur show) has been trimmed to a welcome minimum. There's still nq getting away from several uncomfortable obser- vations. “Damn Yankees” is about (or at least is related to) baseball, which means that some of the bet- ter episodes of the story must re- main offstage, and 'perhaps even more important, of limited famili- arity and interest to a segment of the public. Considerably more to the. point, the show still promises more than it delivers, since the transformed-by-Satan young hero frustrates every vicarious Lothario in the audience, by obtusely pre- ferring his middleaged, unexciting wife to the seductive blandish- ments of the Devil's femme agent, enchantingly played by Gwen Ver- don. Somehow, though, these basic drawbacks don’t seem as serious as they did on opening night. In fact, they’re now more or less inconse- quential and “Damn Yankees,” in- stead of being a promising but dis- appointing show, is now real good fun. Miss Verdon seems even more captivating as Old Nick’s delegated femme fatale, and Stephen Douglass has loosened up agreeably as the young hero, parti- cularly , in the key “Two Lost Souls” number that provides the only satisfaction .to the sin-yearn- ing romantics out front. Another welcome touch is the return of Miss Verdon in sexy young charac- ter at the finale, in contrast to the harridan she’s transformed into at the ball game. Also, the decibel- output of the orchestra and house amplification system Oias been pleasantly modified. Miss Verdon still comes on much too late and there’s still too much of the musclebound-brained ball-players, who tend (notably in the case of Nathaniel Frey as the numskull slugger) to make the small boy iqistake of thinking that grimacing is synoymous with comedy. But “Yankees” is a su- perior show on the second bounce, especially in its dancing* and the music. It now stacks up as a clear hit. Ho be. Can-Can (SHUBERT, N.Y.) After, more than two years on Broadway and changes of nearly all the principals, “Can-Can stands up as a lively, tuneful musi- cal. It looks like a natural to rack up hefty receipts on its upcoming road tour, beginning next Monday* (7) at the National Theatre, Wash- ington. The performers who’ll make the hinterland hike are cur- rently going through their paces at the Shubert Theatre, N.Y., where the musical winds up a 112-week run, a record for the house, next Saturday (25). . New femme lead, succeeding Lilo in the Cy Feuer-Ernest H. Martin production is Rita Dimitri. She's excellent as the brash, fiery and angle-wise proprietress of the Montmarte nitery. Her perform- ance is appealing arid her work- over of the six Cole Porter tunes alloted her is top calibre. Handling the lead dance assign- ment that originally put Gwen Ver- non into the spotlight is Ronnie Cunningham. Her terp talent is ably demonstrated, and her corri- edy playing is competent, but she lacks the personal magnetism that catapulted Miss Verdon to her present starring status in “Damn Yankees.” Conversely, Ray Kirchner, the lead male terper, dominates “The Garden of Eden” ballet, which pre- viously had brought acclaim to Mis? Verdon. Kirchner, inciden- tally;'gets featured billing, which wasn’t given to his predecessor. However, r the; only other mention .Kirschner fjets in the Playbill, be- sides hi^ featured billing, is a list- ing among the show’s dancers. He's the only one of nine featured players not given a program biog. As male lead, John Tyers is like- able and a pleasant singer. He’s essaying the role originated by Peter Cookson. George S. Irving is effective in the comic role of the Bulgarian sculptor, originally played by Hans Conried. As the art critic, Ferdinand Hilt is properly suave and shows up well on the “Come . Along With Me” number. The role was-orig- inally handled by Erik Rhodes. Richard Purdy, John Silo and Clar- ence Hoffman are okay in the les- ser roles of Montmartre artists. Purdy, incidentally, has been play- ing the same part since the musi- cal’s preem, while the Other two and Hilt were originally cast as waiters. ■Especially notable aspects of the musical, though, are Porter’s lilting melodies, Michael Kidd’s virile choreography, Jo Mielziner’s pic- turesque sets and Motley’s color- ful costumes. The book and direc- tion are by Abe Burrows. Jess . Show on B’way Almost Crazy John S. Cobb production of revue in two acts. OveraU direction. Lew Kessler; sketches staged by Christopher Hewett; choreography. .WUUiuH Skipper; sketches, ■James Shelton, Hal Hackady, Robert A. Bernstein; songs. Portia Nelson,JSaymond Taylor, James Shelton; costumes, Stanley Simmons; scenery and lighting, John Robert Loyd; musical director, A1 Rickey; orchestral arrangements, Ted Royal. Cast:. Kay Medford. James Shelton, Babe Hines, Betty Colby, Karen Anders, Kevin Scott, Alvin Beam, Nick Dana, Mildred Hughes, Gloria Smith, Vincent Beck, Lorna Del Mastro, Joan. Morton, Rita Tanno,. Richard Toweres, Ron Cecil, Phyllis Dome, William Skipper, Ann York. At Longacre, N, Y.» June 20, *55; $8.05 top. . Musical numbers: “Everything’s Gonna Be Much Worse Next Year,” "Mother’s Day,” “Why Not Me7” “But It's Love,” "Don't Bait for Fish You Can't Fry.” "Where Is the Girl '* "Coin* To the Moon,” "Chat Noire,’* *‘t Can Live With- out It,” "Come and Get Cozy With Me,” "Burlesque,” "Vertigo,” "Easy." "Here Come the Blues,” "Love Iii the Barn- yard.” ' ■ It’s tough enough to get a revue going on Broadway with a late June preem and it's tougher still when you don’t have, the merchan- dise. “Almost Crazy,” a quickie first-time effort by 24-year old pro- ducer John- S. Cobb, has little to recommend it in the song, sketch or talent departments and its only distinction, for the records, will be that it’s the first offering of the l955-’56 legit season. Major fault is the material. The songs, “mostly” by Portia Nelson, Raymond Taylor and James Shel- ton, lack originality and imagina- tion. They’re all routine affairs that are quickly forgotten after the final note. And the sketches, “most- ly” by James Shelton, Hal Hackady and Robert A.. Bernstein, don’t fare much better. There's some humor in a takeoff of Tennessee Williams’ “Cat On A Hot Tin Roof” (a Bern- stein effort) but it’s only a flicker. The ballet sequences, too, are hum- drum. The principals try hard and the company is energetic, if not too attractive. Kay Medford is the warhorse here. She carries the load in the sketch department and] is able to milk yocks with her vocal trickery. She’s especially good as a southern doll in the “Cat” se- quence and is whamino in a sketch in which she carbons such, femmes as Barbara Stanwyck, Bette Davis, Tallulah Bankhead and Miriam Hopkins. She gets most of her help from James Shelton, who plays with a broad hand. Karen Anders, a graduate from the nitery circuit, shapes up as a song belter with a wry delivery. She gets her best chance with a “what’s money”-type song called | “I Can Live Without It.-* Betty Colby, another songstress, comes off well in a takeoff of Eartha Kitt and displays an interesting style in several of the ballad numbers. Negro Warbler Babe Hines is okay in two Spots. John Robert Lloyd’s lighting and design bring a gay and colorful aura, but Stanley Simmons’ cos- tuming is a letdown. At the pre- miere, the amplifiers on each side of the stage made everything sound like a hopped-up jukebox. Gros. Show trains not only do not hurt local legit attendance in the towns from which they originate, but actually appear to stimulate local thea- tregoing. That has been suggested various times in the past, and is repeated by Norman S. Nadel, Theatre Editor of the Columbus (O.) Citizen. The scribe, who was cited by Variety recently for his de- velopment of the show train idea, predicts: “As more cities and news- papers adopt it, the New York theatre will feel the increasing impact qf this kind of patronage. Surprisingly enough, it seems to have helped the road "in the cities from which these show trains originate. In Columbus, people who formerly never attended the Hartman Theatre have become regular customers after one show train experience,” Sandy Wilson, author-composer-lyricist of “Boy Friend,” takes ex- ception to a recent reference in Variety to co-producer Cy Feuer as director of the musical. He points out that Vida Hope, who staged the original London production of the show, repeated the assignment virtually in toto for the Broadway edition, and was so credited in the program. The story failed to explain that Feuer took over the direc- tion of “Boy Friend” only for the final few days before the New York opening, and subsequently did the' same during the tryout tour of “Silk Stockings,” the other Feuer & Martin production of the 1954-55 season. 9 The Hams Club, a neiV group of Washington legit enthusiasts, had Its first public affair last week, a testimonial luncheon to Father Gil- bert Hartke, head of the Department of Speech and Drama at Catho- lic U. To date, the Hams Club consists of eight members, Ralph Becker, D.-C. attorney for the League of N. Y. Theatres and National Assn, of Legitimate Theatres; Jay CflVmody, critic of the Washington Evening Star; Richard Coe, critic for The Washington Post; Jajmes O’Neil, critic f.or The Washington Daily News; Herman A. Lowe, chief ^ of Variety’s Washington Bureau; Leo Brady, assistant to Father Hartke, at Catholic U; Patrick Hayes, concert bureau operator, and William Coyle, promotion manager for the Evening Star. SEN. WILEY LAUDS U. S. CULTURAL OFFENSIVE Washington, June 21. America’s growing cultural of- fensive, to demonstrate to the re- mairider of the world the falsity of Communist claims that the U. S. is a barbarian* nation, was lauded last week in, statements placed in the Congressional Record by Sena- tor Alexander .‘Wiley (R., Wis.). “We are making excellent prog- ress in disproving Soviet lies and in making up for lost time by ac- centuating the positive, as well,” the Senator’s statement'read. “All over the .world, there are radiating American musicians, theatrical troupes and others, showing'foreign j people at firsthand the real signifi- cance of American cultural pur- suits.” Wiley lauded ANTA for sponsor- ing American productions abroad, David Samoff, RCA-NBC board chairman for recommencing a broad psychological warfare pro- gram, the plans for a D. C, Cul- tural and Theatrical'Center under Government direction, and various newspapers which have been sup- porting additional overseas cultural programs by this country. Wiley, a strong hacker of the U. S. Infor- mation' Agency, also placed in the Congressional Record comments by our ambassadors on the great usefulness of USIA and. its Voice of America. When the National Ballet of Canada was dancing at Carter Barron Amphitheatre, the dancers visited the Senate gallery. Wiley made a short speech on the floor about the ballet troupe and had the young dancers stand and take a bow while they were applauded by members of the Senate. Tlie Trial Theatre 12 production of drama In two’acts by Aaron Fine and Bert Greene, adapted from the Franz . Kafka novel. Direction, Denis Vaughan; entire produc- tion design, Greene, . At Provincetotvn Playhouse, N. Y.» June 14, *55; $2.50 top. Cast: Myra Greene, Gordon Sterne, Marianna Brose, Mel Filllni, Drummond. Erskine, Sid Conrad, Gloria Tofano, Fanny Lyde, Faith Burwell, Barbara Soluners, Aldo Venturi, Richard Kronold, Joan Harrison, Lance Cunard, Paul Milli- kin, Mary Miller, Aaron Fine, George Currier, Lois Raeder. Only a touch of the horror in- herent in Franz Kafka’s “The Trial” is placed on the Province- town Playhouse stage by Theatre 12. The thumbscrews are tightened so little that it is possible to re- main dispassionate in face of the story’s frightfulness. Such was clearly not the novelist’s, intent, and the fault of the play seems to lie less with adaptors Aaron Fine and Bert Greene than with the production’s dreary mechanics. - Even in.the study, where there is time for reflection, Kafka's in- trospections are not easy to follow. On the stage* therefore, almost 100% lucidity is required. The es- sential story is straightforward enough, a bank employee being falsely accused, arrested, Convicted and executed, all without knowing the indentity of his accusers, or even the ~ nature of the charges against 7 him. The byways of .the plot, however, as the man sinks from a position of dignity to the death of a dog, are painfully ob- scure. In view of political overtones, both, pre-and post-World War II, the basic tale has harrowing im- port. Religion, too, is Kafka’s con- cern, and the paradoxical moral is drawn, “Because you are punished, you must be guilty.” Nobody could say it isn’t a provocative thesis, but as staged it’s also a bore. The acting does not assist off- Broadway’s burgeoning reputation. -Whether the company is. beaten down by the script's complexities is a moot point, but only rarely does an actor tackle his stint eager- ly. Luckily, Gordon Sterne, as the unhappy victim, hews to the main line of action closely enough to lend his two final scenes a limited emotional impact. For the rest, Marianna Brose has Commendable clarity as the .narrator, Lois Raeder is impassioned as one 'of the ac- cused’s mistresses, and Richard Kronold plays an artist with some flair, The physical mounting is wooden and labored, the lowering and fly- ing of a canary cage becoming a problem of distracting importance. Done in blacks and whites, the few dabs of color provided by the light- ing are enormously refreshing. Denis Vaughan’s direction is stiffly self-conscious, Ond he has allowed maladroit pantomime as well as some slovenly speech. Apparently the chore of Kafka is beyond the capabilities of Thea- tre 12. Geor. Russell Collins and David Clark have been added to the cast- of “A View from the Bridge,” the double- bill of Arthur Miller one-acters to be produced by Kermit Bloomgar- den and .Robert Whitehead. Inci- dentally, the show is now headed for the Coronet, N.Y., instead of the Fulton, and the start of re- hearsals has been moved up to July 25 . . , Ruth Green, secretary of the League of N.. Y. Theatres, has expanded her private syndi- cate for investing in Broadway shows, and now has a reported bankroll of $20,000 per season* '“Plain and Fancy” co-producer Richard Kollmar, choreographer Helen Tamiris, and production as- sistant Eddie Blum plane to the Coast .tomorrow (Thurs.) to com- plete hasting on the touring edition | of the tuner, which .opens Aug. 29! at the Lqs Angeles Philharmonic Auditorium, with Alexis Smith and Craig Stevens as leads * . . David Susskind, exec Veepee of Talent Associates, tv production firm, lias purchased Robert Alan Arthur’s “A Very Special Baby” for Broad- way production next fall. The Salute to France production of “Skin of Our Teeth,” starring Helen Hayes, Mary Martin, George Abbott and Florence Reed, will fol- low its June 28rJuly 3 Paris stand with limited engagements in Wash- ington, July 18-30; Chicago, Aug 1- 13; and N.Y., Aug. 15-Sept. 3 . . . Michael Gordon will direct the Martin Goodman production of Leonard Lee’s “Sweet Poison,” skedded to go into rehearsal next September, with Harold Bromley, as general manager. Robert Alton will handle the staging and choreography for “Delilah,” which Oscar Lerman, Martin Cohen and Alexander Car- son have scheduled for Broadway production next November . . . Richard Chariton plans a -Broad- way production this fall of Evan Hunter’s play, “King’s Ransom.” Alan Schneider will direct “Clel> ambard,” which Leo Kerz has skedded for Broadwajft production next fall , . . Albert Marre has gone to the Coast for confabs with Edwin Lester regarding the pro- ductions he’ll direct next season for the latter’s Los Angeles Civic Light Opera Co. Michael Shurtlee and Gene Wolsk, who were on the production staff of the N.Y. City Center Light Opera Co., have formed a produc- tion partnership for the presenta- tion of Robert Thom’s “The Sun Dial” next September . . , Lois O’Brien goes into the “Phoenix ’55” revue at the “off-Broadway” Phoenix Theatre. “The Fourth Son,” fantasy drama by Aldyth Morris based on a Chinese legend, will preem at the “off-Broadway” Phoenix Thea- tre next Oct. XI as the initial offer- ing of the new season. Jack Lan- dau will stage the production. . . Lehman Engel will write the in- cidental music -for the Shakespear- ean Festival production of “Julius Caesar,” slated to bow July 12 at Stratford, Conn. . . . Ethel Waters is scheduled to star on Broadway next fall in E. A. Krumschmidt and FrAnk Alexander’s “Gentle Folks,” which Stephen Murrow and Warren Stewart plan for pro- duction in association with Lester Hamilton.’ Dania Krupska will stage the dances for “Nine O’clock Revue,” which David Brooks and Ted Thurston' plan to present on Broadway next October, . .An- thony Soglio has optioned Sent Robin’s “Answered the Flute”. . . Beatrice .Arthur,: currently fea- tured in ’.‘Seventh Heaven,” is also doubling as standby for Shirl Con- way and Nancy Andrews in “Plain and Fancy.” Jo Hurt, previous standby for the pair, has exited' the show for stock engagements as the lead in “Annie Get Your Gun.” Adna Karns has scheduled “Heavenly Bodies,” a musicomedy which .Will have book and lyrics by Howard Rigsby and Theodora Barber and music by Harold Leo Stevens, for Broadway production, next fall. Marshall Jamison will direct. . Xeo Here has optioned Marcel Pagnol’s play, “Judas,” for Broadway production next Janu- ary. . .Molly Picon will star in “Farblondjete, Honeymoon,”, a new Yiddish musicomedy by Harry Kalmanowitz, which will open the season at the Palace. Theatre, Brooklyn late in September. Shows Out of Town Rose Petals and Rose Petals Hollywood, June 13. T. R. Joy production of comedy-drams in .three acts, by VOval Zodar. Stars Carol Joye. Staged by tlie producer. At Las Palmas Theatre, Hollywood, June 131 $3.30 top. Cast: Carol Joye, Elaina Smith, Audrey Lowell, Ruth Packard, Anton Valero, Cheerio Meredith, Frank Melton, Chester Morrison, Dan O’Dowd, Thomas Glynn* Jim Fetheroff. This comedy-drama, so billed, is a hopelessly amateurish effort about a redhead of the sort once known as a “tease,” who marries three different guys, the first two of whom go off to war and are sup- posedly killed, but return to con- front her with the third. There’* a threatened shooting,. but it fiz- zles and the heroine takes to booze. That much for the record. Any more would be squandering news- print. Hymie Crockett Hollywood, June 14. _ Leo Fuchs production of musical com- edy In two acts (six scenes).^. Starring and staged by Fuchs. At Civic Plnyhouse* Hollywood, June* 14, '55; $2.40 top. Cast: Leo Fuchs, Frances Welntraub* Marvin Arnold, Rick Davis, Cele Lance. Monte Fraser, Tom Batten, Shirley Mills* Colette McMahon, Roberta May. Here’s another in the series of goofy musical zanyisms by Leo Fuchs, subtitled “King of the Fairfax Tribe,” and as usual pegged on a current rage. It’s the familiar stock in trade of the Yid- dish-English combo comic, With just enough topical reference to avoid a Federal Trade Commission charge of mislabeling. As with other Fuchs concoctions, the punch lines are* in Yiddish* with enough English dialog for general understanding, - Main theme i* based, on I. Friedman’s “Wedding in Swing.” Show should be good for its special public* which means another long run for the star.