Variety (August 1955)

56 LEGITIMATE A View From the Bridge ■Coonamessett, Mass., Aug. 29. Robert Whitehead & Kermlt Bloom- garden production • of dual bill by Arthur Miller. Stars Van Heflin. J. Carroll Naish; features Russell Collins, Eileen Heckart, Gloria Marlowe. Biff McGuire. Tom Pedl, Leo Penn. Staged by Martin Ritt; scenery, Richard Mason. At Falmouth Playhouse, ^"VmEMORY 5 OP P TWO MONDAY* Bert Leo Penn Raymond . Davld Clarke Agnes Eileen Heektort Patricia Gloria Gus . J.CarrfU,Naish .Tim .................. Russell Collins Kenneth Biff Frank Jack Warden Jerrv ...... * Richard Davalos William Anthony Votuo Tom Curt Conway Mechanic a • t *•• ••■ • Mister Eagle Ralph Bell FROM UNDCR THE SEA Louis David Clarke Mike Tom Pedi Alfieri j. Carroll Naish Eddie .Van Heflin Catherine Gloria Marlowe Beatrice Eileen Heckart Marco Jack Warden. Tony Anthony Vorno Rodoloho Richard Davalos Immigration Officers ..... Curt Conway, Ralph Bell. Leo Tenn, Milton Carhey Mr; Linar 1 Russell Collins Mrs. Llparl .. Ann Driscoll Arthur Miller’s "A View From the Bridge.” having its preem here at Falmouth, is a combina- tion of two one-act plays, each ah entity in itself. Only connection between them is that each deals with the simple annals of the poor, and both occur in the Brooklyn Bridge vicinity. Presumably both are to some extent autobiographi- cal. . • First part, “Memory of Two Mondays,” is seen through the eyes of a youngster working briefly in an auto parts warehouse before going to college.' Kid is. impressed by the tedious lot of the-warehouse employees, most of whom have been around a long time end are in a dismal rut, with nothing to an- ticipate except a slow procession of dull Monday mornings. Among the workers is a profane, kind-hearted German, played to the hilt by J. Carrotf Naish, who, after his wife’s death, finds noth- ing left to work for and comes to a tragic end. Also on hand a are the drv. crusty old sidekick, played well by Russell Collins, and a young Irishman who auotes Walt Whitman but whose Celtic good snirits are eventually crushed by the monotony of warehouse work. Biff McGuire gives a top portrayal in the role. One trouble with “Memory” Is that it runs too long. Miller has a good ear for rhythrps of every- day speech and, .as usual, writes with power, but the basic theme doesn’t seem important enough for so much verbiage. The second part, “From Under the Sea,” is by far the more effec- tive of the two and seems worthy of expansion lhto full-length work. It occurs in the Brooklyn apart- ment of a longshoreman, played by Van Heflin, who has brought up his orphaned niece since her baby- hood. With her emergence into attractive womanhood he develops an unnatural love for her. Matters come to a head with the arrival of two Italian immigrants who have entered the country il- legally. The niece falls for one of them, _a handsome blond, played by Richard Davalos. The uncle nurses an overwhelming case of jealousy, unsuccessfully ridicules Davalos, "and Anally informs on the two newcomers to Immigration Authorities. Play ends in a pow- erful, emotion-packed scene, filled with violence, that is Miller at his best. The author's theme is that the emotion, drive and respect for per- sonal honor that made Italians empire builders in ancient times are still present and that these dualities come to -the surface , in hours of crisis. Heflin gives brilliant, wonder- fully-shaded portrayal as the long- shoreman. and he receives fine support from Davalos and Jack Warden as the two immigrants. Right in the groove, too, are Gloria Marlowe as the niece, Eileen Heckart as the longshoreman’s wife, and Naish as the lawyer-nar- rator. Double bill runs nearly three hours and certainly needs pruning. Martin Rltt’s direction is often imaginative, and Boris Aronson’s sets nicely complement the moods of both plays. Dias. Lake-'State’ About 5G In Michigan Sfrawhat Traverse City, Mich., Aug. 30. Veronica Lake in “Affairs of State” grossed about $5,000 last week at Ruth Bailey Swigart’s Cherry County Playhouse here. Sidney Blackmer is current in •‘Country Girl.” Barnett Owen Is Tesidept direc- tcrof'i Wa arena, tent*. Much Ado Aliont Nothing ~ Stratford, Conn., Aug. 26. American Shakespeare Festival produc- tion of comedy in two acts by William Shakespeare. Features Francis Bethen- court, Gwen Anderson, Anthony Kemble Cooper. Stared by John Burrell; scenery and costumes, Robert Fletcher; music arrangements, Donald Mork; production supervised by Lincoln Kirstein. At Amer-. Jean Shakespeare Festival Theatre. Strat- ford, Conn., Aug. 36. '55; S3 top. Cast: Bern Lenrow, Gwen Anderson, Rebecca- Lombard, Peter Donat, Anthony Kemble Cooper, Francis Bethencourt, Roger Hamilton, Casey Allen, Robert Geiringer, • Walter Mathews, Dorothy Whitney, Pola Chasman, Donald Mork, Rex Everhart, Jonathan Bush, Louis D'Almeida, Robert Hachar Henry-South- wick, Joseph Zeigler, Art Alisi, Thomas Daniels. - _ “— The third production, of the American Shakespeare Festival’s inaugural season, “Much Ado About Nothing,” is in the special category, drafting its players from the Academy of the Stratford operation and skedding all the per- formances op matinees apart from the , regular showings of “Julius Caesar-' and “The Tempest.” Under the guidance of John Bur- rell, the former Old Vic director who heads the Academy, “Mi ll Ado” evolves as generally happy addition to. the Connecticut Shake- speare list. It demonstrates that thetheatre can look ahead to the Academy as an important talent source. On its own the comedy stands up as an enjoyable presentation of the saucy, talky classic. Incidentally, production-wise the show lifts been anything but a financial problem. The scenery cost was $500, for in- stdnc6 Mostly on the forestage of the big. octagonal playhouse and in the boxes, “Much Ado” brings out par- ticularly Gwen Anderson and Fran- cis Bethencourt, as Beatrice and Benedick, Anthony Kemble Cooper as Don Pedro, Casey Allen as Don John and Rex Everhart as the con- stable Dogberry. The use of the theatre’s offstage facilities takes attention from the scenery of Robert Fletcher, but the same designer’s bright costumes enhance the production. Eliza- bethan music is effectively pro- vided by two roving troubadours with mandolin arid flute. Next Saturday (3) finishes the Festival’s first season of eight weeks. Elem. Sontiinentfil Journey Lake Hopatcong, N.J., Aug. ‘25. . Lakeside Summer Theatre production of comedy in .three acts, by Randolph Carter, adapted from Henry James' novel, "The Europeans." Staged by Herbert Machlz: scenery, Paul Georges. At Lake- side Theatre, Lake Hopatcong, N.J., Aug. 22, '55: $3 top. Stella Wentworth Irma Hurley Charlotte Wentworth ..... Shirley Smith Felix Da Costa *. .,. Mark Lennnrd Rev. Alfred Brand William Sheidy Clifford Wentworth Bill Fletcher Mr, Wentworth Lake Bobbitt Eugenia, Baroness Munster Audrey Barlow Maria Emy Bosclli Mr. Acton Michael Clarke Laurence Elizabeth Acton Carol Brown It is difficult to make successful theatre out of the works of that frustrated playwright, Henry James. The latest to try is Ran- dolph 'Carter, his “Sentimental Journey” being an adaptation of “The . Europeans”, one of James’ earlier and slighter, novels. The Lakeside Theatre production man- ages to generate only sporadic in- terest. In connection with his novel. James allowed that he did not wish to use “big situations.” He suc- ceeded and the result is a trifling yarn . about two Europeanized Amer i. c a n s who return, with thoughts of aggrandizement, to visit their Yankee relatives. James was particularly interested in contrast- ing the societies, and Carter has been unable to bring dramatic compulsion to this study. As mounted, there is hope early that “Journey” will develop into a pleasing comedy of manners. By the end of the first act, however, it is evident that neither adaptor nor director has been able to sal- vage enough of moment to make a play. Enormously skillful actors might embellish the slim, situa- tions and Wildean dialog, but it would be rash to predict good com- mercial prospects. The role of the Baroness, who hopes to strike a lucrative Boston- ian match, is of star calibre, and Audrey Barlow carries it with con- fidence, although losing color from a rather sing-song vocal pattern she has adopted. As her brother, who wins the American girl of his choice, Mark Lennard is person- able arid soft-spoken. Inna Hurley is the gil*l who suc- cumbs to her Europeanized cou- sin's blandishments, playing with reticent charm. As the man who barely escapes the Baroness' wiles, Michael Clarke Laurence gives a mature performance, while Lake Bobbitt does not similarly succeed 4,*$ the Jiost. ; JTrie, rest .of .tlie com*. Wednesday, August 31, 1955 Inside Staff-Legit Broadway may get a boxoffice boost from the following major con- ventions scheduled for New York during September and October (with the expected attendance of each indicated in parentheses)! Metropolitan Juvenile Style Mart, Sept, 3-12 (3,000); National Super Market Non- Food Exhibit, S.ept. 12-15 (7,000); American Institute-of Plumbing & Heating Supply Assn*., Sept* 18-21 (1,500); Industrial Packaging & Ma- terials Handling Engineers, Sept. 19-22 '(2,500); Federation of Paint 6c Varnish Production Clubs, Oct. 2-6 (1,400); Conference of Employment, for the Physically Handicapped, Oct. 6-7 (1,000); American Photo- Engravers Assn., Oct. 9*13 (1,000); National Assn, of Independent Tire Dealers, Sept. 9-13 (2,000); Order of the Eastern Star-—Grand .N. Y, Chapter, Oct. 10-13 (2,000); N. Y. Antiques Fair, Oct. 10-15 (60,000); National Electrical Industries Show, Oct. 11-14 (8,500); Broadcast Ad- vertisers Bureau, Oct. 13-14 (1,000); National Assn, of Assessing Of- ficers, Oct. 16-19 (1)000); National Business Show, Oct. 24-28 (130,000)* and National Electrical Contractors Assn., Oct. 30-Nov. 4 (1,200). Harold M. Bone, Variety correspondent in New Haven, has com- mented on a letter to the editor in last week’s: issue, fi;om Gail Hill- son, producer of the Triple Cities Playhouse, Binghamton, N. Y. As the reporter who gathered the original story to which Miss Hillson ob- jected, Bone points out that the piece did not purport to be a com- prehensive survey of summer stock for the season, but merely a report on nine specific spots for part of the season. The reports were based on conditions before the businessr-crimping heatwave mentioned by Miss Hillson. The facts in his story were accurate, he insists, adding that the straw- hat manager, was not justified in labeling- his piece “phony” and “fic- tion not fact,” or in impugning the veracity of such barn operators as Elaine Perry, of the Craggmoore (N. Y.) Playhouse, or William Miles, of the ^Berkshire Playhouse, Stockbrldge, Mass. William de Lys is back in N. Y., and has started a mail order business with an office in Christopher St., a short distance from the Theatre de Lys, He acquired the off-Broadway legit house several years ago, spent a small fortune renovating It and named it for himself. However, his first production in the spot was a flop and the operation failed to pay off, so the construction firm that held de Lys’ notes took over the property. They, in turn, recently disposed of the lease to Lucille Lortel, who already operates the arty White Barn Theatre, Westport, Conn. In reference to the increasing news about show trains, Ottawa at- torney John A. Aylen points out that local concert manager Antonio TremblCy has been operating such' junkets to -New York for more than 20 years. The lawyer reports that he has been a patron of several of the trips, which have been highly successful. The operations are lim- ited to 125 patrons and include about a week in New York for a fixed fee* covering transportation; hotel accommodations and orchestra seats for eight or nine Broadway shows. Aylen believes that Tremblay Is the originator of the show train idea. fi&jUSTr Who’d Review It? Edinburgh, Aug. 30. With nearly 309 music, legit and film reviewers from all part* of the World here for the annual International Fes- tival of the arts, the Daily Scotsman has suggested a “march of the critics” to be held in fashionable Princes Street. “It Would be quite unlike any of the countless military parades which have been seen here,” the local paper points out; “If for no other reason than that critics are "rarely if ever in step with one another. There is also .the possibility that some of them, instead of being preceded by a b&nd in the usual manner, might pre- fer to blow their own trum- pets.” . pany comport themselves with ap- parent, comfort. Paul Georges suggested cottage setting is agreeable, if not particu- larly redolent of New England. It imposes tough entrance-exit prob- lems on Herbert Machiz, whose di- rection has been generally sensi- tive to the play’s humor and style. Gcor. Sign of Winter Westport, Conn., Aug. 28. Lucille Lortel production of drains by Ettore ReUa. Stare Ruth Chatterton. Staged by Sherwood Arthurs setting. Stephen G. Saxe; lighting, Marv Gelman. At White Barn. Westport, Conn.. Aug. 28-29. *55. • Henrietta Taylor Ruth Chatterton Ilenry Stone ........... Allan Hancock. Jackson Thorpe X.. Ian Hunter Homer Jones Rai Saunders Jimmie Taylor Roy Bacon Flora Taylor .. Anne Meacham Wycherly Perk Richards Ruth' Chatterton, star actress- turned-novelist, has been lured from theatrical retirement by the poetic writing of -Ettore Rella, a young playwright who has a mov- ing vocabulary and emphatic if .still uncharted dramatic talent. “Sign of Winter” has long, soar- ing monologues of theatrical elo- quence that identify the play- wright as one to be watched. In addition, there is that surefire sit- uation of a faded beauty with memories of other days searching the skies for answers as she tried to hold a tottering world together. Miss Chatterton portrays a boozy chatelaine of a Manhattan room- ing house that' was her childhood home. Among her tenants are a shifty precinct politician, once her lover; a streetcorner astrogolist. rung in for symbolic purposes, ana a young Negro student-handyman. Widow of a once successful pros- pector, the heroine has a weakling son who has become the tool of the politician and a daughter the politico covets. Miss Chatterton is commanding in the central role/ reminding Westport of her own past glories as well as those of the character she plays. Anne Meacham is par- ticularly moving as the daughter. Among the others, Ian Martin is well cast as. the earstwhile lover and Rai Saunders has several be- lievable scenes in an assignment that paradoxically seems the least credible. Sherwood Arthur's direction builds helpful suspense and has given the play a generally impres- sive production Doul. Stag at Eve Sharon, Conn., Aug. 23. Jiidson Philips production of comedy in three acts by Dennis Hoey, adapted from Elswytb Thane's hovel. “Melody." Staged by Atwood Levensaler; setting, Leon Munier. At Sbaron (Conn.) Play- house. Aug. 23. '55; <$2 top. Roberts Dennis Hoey Adrian Locke Leonard Hicks Blanche Gordon ......... DorlB Belack Caroline Manning Marie Andrews Madge Forbes. ......... Elizabeth Dewing Monica Norma Burton David Gordon Richard Cuyler Rupert Perry ........ Bradford Dillman Dorothy Perry Wanda Hutchinson Sharon Playhouse has moved Out of the barn into a new theatre. Built since last summer through the enterprise of residents of Sharon and surrounding towns, some actors also chipping in, the new Sharon Playhouse is an attrac- tively comfortable theatre. Accord- ing to producer Judson Philips, the project had moved out of the red into the black until the rains'came: to western Connecticut. Committed to a tryout each sea- son, Philips this year has chosen “Stag At Eve,” a dramatization by actor Dennis Hoey of Elswyth Thane’s “Melody.” The adaptation (which might also, be called “Stag At Bay”) is faithful to Miss Thane’s novel, and as inconsequential. The idea of an eligible aging bachelor being besieged by preda- tory females is hardly new. The twist of a revered former flame posirig as her own daughter, and dropping In for an incognito visit under a floppy-brimmed hat, may have been acceptable iq the book, (CQhtyauqd DriaDAge 5fl) ' NEW HUB TOOTER PACT SETS $120 BASE PAY Boston, Aug. 30. New contract between the Shu- berts and the Boston Musicians Assn., Local No. 9, American Fed- eration of Musicians, represents a compromise between the original proposals of the two groups. Terms of the deal were revealed last week by Samuel J. Marcus, union business agent. The contract calls for a flat rate of $120 per week per man, a boost from the old rate of $97 for house- men and $107 for sidemen. An increase in rehearsal rate from $3 to $4 per hour is also a feature of the two-year pact. Hub tooters will work .on a two-to-one ratio with musicians who come in with touring shows. The new agreement was reached at a meeting in the Shubert office in New York. Attending were Marcus, J. J. Shubert, head of the Shubert firm, and Michael Cav- anaugh, Boston rep for Shuberts. “We found J. J. Shubert very co- operative,” Marcus reports, “He showed understanding and sympa- thy with our problems.” Basil Langton Stages Two Classics at Once British actor-director Basil Lang- ton is a busy man this week, with a pair of staging stints coming to a head almost simultaneously. He’s been hustling back and forth be- tween them for the last couple of weeks. Langton’s interpretation' of “Electra,” by Euripides, opened a five-performance engagement last night (Tues;> by the Group 2Q Players at the Theatre on the Green, Wellesley, Mass. His other project for the week, a production of Shakespeare’s “Tempest,” with a musical score by Jan Sibelius, is playing two performances Friday and Saturday nights (2-3) at the Empire State Music Festival, Elv lenville/N. Y, The Group 20 edition of “Elec- tra” has a cast including Nahcy Wickwire, Michael Higgins, Dee .Victor, Harry Faversham and Tom Clancy. The Empire State pres-: entation of “Tempest” will have Lee Henry, Frederic Warriner, Ray Boyle, Louis Edmonds, Jeanne Jerrems, Archie Smith, Robert El- lenstein and Lloy.clHarrijs a^ pviri" cipais* •. • Frisco’s Old Green St. Slated for Wreckers; Had Checkered History • San Francisco, Aug. 30. The old Green Street Theatre, where San Francisco snickered at “Easy for Zee Zee” for 50 weeks just before the stock market crash, is going the way of the all-but- forgotten Orpheum, Tivoli and Columbia here. The Bank of America has bought the old four-story building, with its 250-seat house, to provide more room for its adjacent North Beach branch and a parking lot. Demoli- tion will start in about three months. The Grpen Street Theatre started life- as a Congregational Church in 1865 and remained a church until 1924 (it had been re- built after the quake and fire of 1906). It was converted into a the- atre, the Nuovo Teatro Italiano de Varieta, and presented silent films together with Italian stage shows. In 1927, Sidney Goldtree took over the house and it had its palm- iest days with a series of farces bearing such titles as “The Peep- hole,” “The Married Virgin,” “Ex- Mistress,” “The Flat Tire” and the long-lived “Easy for Zee Zee.” Several times during the Goldtree era police raided the theatre and closed it. j High spot—artistically, at least —ih the house’s history occurred in the spring of 1937, when the San Francisco Theatre Union pre- sented the first performance of John Steinbeck’s “Of Mice and Men.” But by the late '30’s legit was nearly dead ip San Francisco and the house was operating only j intermittently. In 1942, Harry. A. Farros, who operates a Market Street theatre specializing in girlie films, bought the Green Street house and booked “The Drunkard” into it. That lasted five years, with much of its success due to the fact that Farros kept his cast together during World Wal* IPs housing pinch by building rooms for the players on tlie theatre’s upper floors. In 1947 Farros imported “The Blackguard” from Hollywood, but it never went over. The hquse reopened with a'curi- ous mixture of girlie films and travelogues in 1952, but they failed to take and the Green Street The- atre has been dark for, the last