Variety (September 1955)

72 LEGITIMATE IS&RIETY Shows Out of Town Wednesday, September 28. I 95 Dclilnli Detroit, Sept. 26. Oscar S. Lerman, Marlin B. Cohen & Alexander F. Carson production of musi¬ cal comedy in two acts (11 scenes), with book by John Latouohc and Sam Locke; lyrics, Latouche; music, James Muntl.v. Stars Carol Char.ning; features David Atkinson: Bi’oi Osterwald, Robert Rippy, Patricia Ilammcrlee, Matt Mattox. Helen Wood. Jack Waldron, Paul Upson, Mal¬ colm Lee Beggs, Will Geer, Steve Reeves, Sandyl Cardell, David Kashncr. Overall direction and choreography, Robert Alton: scenery and costumes, Raoul Pene du Bois: musical direction and vocal arrange¬ ments, Milton Rosenslock; incidental music composed bv Jack Pfeiffer; produc¬ tion staged by David Alexander; associate producer, Manuel D, Herbert. At Shubert, Detroit, Sept. 20.. *55. Myron H. Hubbard .Jack IN aldron Bessie Blsco . Bibi Ostcrw.-.Iil Swami . David Neuman Tattoo Man . Steve Reeves Barney Ostertag .. Paul Lipsnn Oliver J. Oxheart.David Atkinson Ticket Girl ... Phyllis Dome ‘Dick Ilicks . Robert Rippy Stark Clayton . Malcolm Lee Be.g.gs Elsie Chelsea . Patricia Hammerlee Bluestone . Jack Harrold Flora Weems . Carol Channing Uncle Garvey . "Will Geer Aunt Hester . Sandyl Cordell Scavecrow . David Neunvo Fire Commissioner.Roger Franklin Snake Charmer . David Neuman Samson . Steve Reeves Whip Man . David Kashncr Charlie . Matt M-*lox Dolly . Helen Wood C-mcv-man . . 1 “"‘ f ' Dancers: Cathry't Damon, Mary Jane Docrr, Phyllis Dome, Susun Harim-i.o, Barbara Heath, Betty Koerher, Lucia Lambert, Barbara Leigh, Lila Former, Helen Silver. Pat Whnrion. Mark Aldan. Chad * Block. Ron Cecil, Robert D 'lc”. Pepe de Chazza. Burnell Dietsch, Rudy Del Campo. Hugh Lambert, David Neu¬ man. Robert Norris, Don Salinaro, Mike Stevens. Singers: Charleen Clark. Joyce Gla.d- mond, Bernice Massi. Donna Sanders. Kelley Stephens. K*y Turner, Dick E-kcli. Roger Franklin. Stokly Gray, William ICrach, Vincent McMahon, Ralph Wayne. There’s, nothing wrong with “Delilah” that a 40-minute cut in running time wouldn’t cure. It’s a lush musical comedy which Carol Channing turns into an uproarious tour de force in spoofing the early screen vamps. All the potentials of a hit are present and only the most inept trimming and firming would put the Oscar S. Lerman-Martin B. Cohen-AIexander F. Carson pro¬ duction into the also-ran class. “Delilah” is a natural for wide¬ screen picture adaptation and for tv spectacularizat ; on. Although the first act, in five scenes, ran an hour and a halt at tonight’s break-in performance, it had terrific pace and interest. Particularly effective was the use of film clips to show “rushes” of scenes “shot” onstage. A screen is lowered in front of the curtain for this projection, complete with typical captions, and the footage —interspersed with trains, war¬ ships, cavalry and other extrane¬ ous matter—convulses the audi¬ ence. The screen also is used to project the play credits just before the opening curtain. It is the second- and final act. in six scenes and running an hour and 20 minutes,-which needs the most cutting and reworking with, perhaps, som-e of the excellent first net numbers being shifted for bet¬ ter balance. A few of the specialty numbers such as the “You’re Col¬ ossal” reprise, “The Impossible She,” and “Ragtime Romeo.” could be amputated with the least pro¬ duction difficulties. These all come in the second act. The book by John Latouche and Sam Locke” is deftly satirical and as entertainingly implausible as the "early silent flickers treatment of love, honor and fate. James Mundy’s music and Latouche’s lyrics have hit possibilities in “I’ve Always Loved You.” “Mister Right.” and “I’m Everybody’s Baby.” Outstanding is the choreography by Robert Alton, with featured dancers Matt Mattox and Helen Wood turning in such splendid per¬ formances that they are called back to reprise “The Vamps” number. Sets and costumers by Raoul Pene du Bois are excellent. With all the excellent support and material, it is Miss Channing’s show. She was called upon time and again tonight for encores. The audience was most demanding for a reprise of “I’m Everybody’s Baby,” even though the star for¬ got some of the words. However, she picked up the promptings nice¬ ly or hummed a few bars. These lapses, were quickly for¬ given by the audience which plain¬ ly liked Miss Channing’s treatment of the song. Her voice alternates between sweet and lilting—in por¬ trayal of a nice girl—and lowdown and ranoous as she plays the vamo, Miss Channing plays a farm- girl who gets involved with a pioneer silent film company shooting a scene on her uncle’s farm. She falls in love with the star, well- played by Robert Rippy, as a cow¬ boy whose only love is his horse. In the pursuit of the cowpoke, the heroine is persuaded to become the screen’s first vamp. Woven into the plot are the first genius-direc¬ tor, ably lampooned by David At¬ kinson; the first Hollywood colum¬ nist, with Blbi Osterwald giving a sparkling performance, and the tearful screen heroine, played to the hilt by Patricia Hammerlee. “Delilah” has what it takes, if those responsible can only pull it all into proper place. Tew. The f lialk Gordon New Haven, Sept. 22. Irene Mayer Selznick production oil c*iin- edy in three acts, by Enid Bagnold. Si -vs Gladys Cooper, Siobhan McKenna; fea¬ tures Percy Waram, Norah Gorsen, Fritz Weaver, Marian Seldes. Staged by George Cukor; scenery and costumes. Cecil Sea¬ ton; set supervision and lighting, n-iy- mond Sovey; costume .supervision. Anna Hill Johnstone. At Shubert Theatre, New Haven. Sept. 21, "55: $4.80 top, 1st Lady (Miss Madrigal) Siobhan McKenna Maitland .. Fritz Weaver 2d Lady .. Georgia Harvey fid Lady .JEva Leonovd-Buyne Laurel .. . Novah Gor-en Mrs. St. Maugham.’.Gladys Cooper Nurse .Marie P >\lon Olivia . Marian Seldes Judge . Percy Waram Unless there is drastic steppuig- up of interest in the first lvtlf of “Chalk Garden,” Cain’s is in for one of the most attractive settings to utilize its storage space in some time. Assets as of the premiere in¬ clude a solid third act, a fine phys¬ ical production, an occasional dia¬ log gem and some good trouping. Play promises much more thvu it delivers, however, especially in a red herring implication of dire happenings that never material.'.'. Improvement of its early segments can raise the net result to a mod¬ erately interesting level, but over¬ all smash hit prospects are dubi¬ ous. Story is built around two da¬ tallers, one a self-centered English grandame who has reared her granddaughter as a falsely-cata¬ loged.psycho, and the other a mur¬ der suspect who eventually re¬ stores the child to normal be¬ havior and a reunion with her es¬ tranged mother. Play draws its symbolic title from the soil con¬ tent of a manor garden in Sin-sex, England. Both femme leads are well cast, the former being Gladys Cooper, who gives a characteristically ef¬ fective performance as mistress of manor where she divides her lime between cultivating a garden and fostering fantasies in her granddaughter’s mind. Siobhan (pronounced Shi-vaun) McKenna, making her American debut, has some excellent mo¬ ments as a woman returning to society after a 15-year confinement as a murderess. Her projection of the role is topflight, but oc¬ casional inaudibility proves ag¬ gravating. With this defect re¬ moved, Miss McKenna’s metropoli¬ tan reception should be warm. Fritz Weaver makes capital of the character of an eccentric house servant who has - spent five yoavs in prison as a conscientious ob¬ jector. His comic contribution is handled with skill. Percy Waram fits nicely as the judge who pre¬ sided at the murder trial ard sub¬ sequently encounters the defend¬ ant in the home of his friend. Norah. Gorsen, as the adolescent, presents a wealth • of charm and expressive features, but lacks in¬ telligibility of delivery in the speed and marked accent of her soeceh. Physically, she is a terrific bet for pix. (Miss Gorsen was subse¬ quently replaced by Dierdre Ow¬ ens. who gives a commendable reading on short notice.) Marian Seldes does well in the supporting assignment of the child’s mother. Minor roles get satisfactory treatment from Geor¬ gia Harvey and Eva Leonard- Bayne as applicants for household companions, and Marie Paxton as a nurse. Dialog reflects the conversations of the genteel people whose ac¬ tivities it records. Also, various passages have considerable force and sagacity. Handsome setting in a room in the manor house is an outstanding example of attention to detail. It is effective both visually and func¬ tionally. Staging’s best period comes in final stanza. Until then, it’s too leisurely. Bone. A Roomful of Rosos Washington, Sept. 26. Guthrie McCIintic & Stanley Gilkcv pro¬ duction of comedy In three acts bv‘Edith Sommer. Stars Patricia Neal; features Russ Conway, Alice Frost, Warren Bev- v D *Yi d „.Y ,rh . lte ' Betty Lou Keim - Started by McCIintic; setting and lighting, Donald Oenslager; costumes. Audro. At National, Washington, Sept. 26, '55. Will a may . Lulu B. King Larry Ballon.Darryl Richard Nancy Fallon . Patricia Neal (.race Ilewitt . Alice Frost Jane Hewitt . Ann Whiteside Puk Hewitt . Warren B<*rJin«<v Jay Ballon . Rusn Conway Bridget Macgowan.Betty Lou K.-un Carl Macgowan . David White adolescent. “Roomful of Roses” manages to come off as a believ¬ able, sometimes exciting study of the confusion, misery and feeling of rejection in a child of divorce. Story is about the reunion of a teenage girl and the mother she hasn’t seen for eight years, since the latter's highly publicized di¬ vorce and second marriage. The mother, ably played by Patricia AT eai. has established a second and happier home in a midwest town, wiui her editorial writer husband and seven-year-old son of the sec¬ ond marriage. News of the teenager’s arrival, without warning, hits t.he home like a bomb. Background is estab¬ lished in a conversation between the divorced mother and friend, played by Alice Frost. This indi¬ cates that .the father is sending on the daughter because he has re¬ married and doesn't want her to know. Play shows the effort of the mother,- her husband, her friend and the latter’s teenage son and daughter to win the confidence and affection of Bridget, the 16-year-old daughter. Latter, despite some artificiality In the initial moments, evolves into a bitter, unhappy child who feels rejected by both he’ parents. « From a seemingly cold, preco¬ cious and boastful youngster, the girl gradually turns into her true self—a seared, insecure juvenile seeking love and security. The happy ending brings out the hankies in the audience, for an effective curtain. Despite a tend¬ ency . toward pat situations, “Roses” builds in intensity, through the big scenes involving such things as a young girl’s heartbreak when she is stood up for her first dance. Some trimming oE the first act and a sharper buildup toward the climax are needed. Play takes its name from the roomful of roses prepared for the girl's arrival, which turns into a houseful of thorns for the family. Script, which occasionally sinks into platitudes, is rescued by the acting of Miss Neal and Betty Lou Keim as the daughter. M’ss Frost’s role is a sort of Greek chorus, ex¬ plaining what has happened or what is going to happen. Ann Whiteside is fine as an uninhibited, tombov tyDe juve; Warren Berlinger does well as the boy who brings the unhappy daugh¬ ter her first taste of normal activi¬ ty. then bitter disillusionment,, and finally the incentive for settling down with her mother. Russ Conway makes the role of second husband and stepfather a sympathetic one. David White is properly hateful in his brief ap¬ pearance as the girl's father. Donald Oenslager’s single set of a low-slung modern rambler, is a bell-ringer. Direction by Guthrie McCIintic reflects in smooth and competent performances, but fails to hurdle all the brittleness of the script. Flor. L© Bourgeois Gentilli onam© (The Bourgeois Gentleman) Montreal, Sept. 25. Comedie Francaise production of two- act comedy by Moliere. Stars Louis Seij- ner, Beatrice Bretty; features Georges Chavarat, Jean- Piat, Germaine Bouer, Michellne Boudet. Marie Sabouret. Staged by Jean Meyer; costumes and sets, Suzanne Lallque; original music. Lull!; musical director. Andre C-'.dou. At St. Denis Theatre, Montreal. Sept. 24, '55; $3 top. Dorante . Maurice Escande Covielle. Jean Meyer M. Jourdain . Louis Scigncr Maitre a Danser . Jacques Charon Maitre de Musiqiue - Robert Manuel Maitre de Phllosophie. .Georges Chavarat Cleonte . Jean Plat Nicole .. Beatrice Bretty Mine. Jourdain . Germaine Rouer Luoile . Michellne Boudet Donmene . Marie Sabouret This first produced play by film-; tv writer Edith Somers is another! entry in the theatre’s psychological i derby, with accent on the insecure i The Comedie Francaise first offi¬ cial North American tour got off to a smash start Saturday night (24) at the St. Denis Theatre here to capacity biz and one of the most enthusiastic receptions ever ac¬ corded a theatrical company lo¬ cally. The high-key performance of the cast and the enthusiasm of the audience marks this event as the highlight of the French-Canadian season. Although this is the first time the company has plaved as a unit on this side of the Atlantic, all the players, and the plays being offered are favorites with localites. To every young Quebec actor, the Comedie Francaise is the ultimate goal, and to every tourist, this 275-year-old institution is a must. If the present company of 22 actors, technicians and managers, etc., survives the Montreal engage¬ ment with the endless receptions parties and such, it will play Que^ bee City, Ottawa and Toronto before opening in New York late in October. As a first-night selection, “Le Bourgeois Gentilhommc" is an almost routine but surefire item to pick from the 2,559 titles that make up the Comedie Fnr.r^o listings (Continued on page 78) Shows on Broadway A Day Iiy ilie Sea Huntington Hartford Sc " Stephen Mitchell pi'oductlon of comedy in three acts (four scenes) by N. C. Hunter. Stars Jessica Tandy, Hume Cronyn, Dennis Kin?; features Aline MacMahon, Halllwell Hobbes, Mcrts Jenkins, I.eo Britt. Staged by Cedric Hardwicke; scenery and cos¬ tumes. Jay Krause. At ANTA Playhouse. N.Y., Sept. 26, '55; $4.60 top ($5.75 Friday. Saturday nights; $6.90 opening). Laura Anson . Aline MacMahon David Anson. Halliwell Hobbes Julian Anson . Hume Cronyn Dr. Farley . Dennis King Frances Farrar . Jessica Tandy Elinor Eddison . Veronica Cole Toby Eddison . Barclay Hodges Humphrey Caldwell ....:.Leo Britt Miss Mathieson . Megs Jenkins William Gregson.John W. Austin In London, where several of his plays have been produced, N. C. Hunter is known as a sort of Brit¬ ish Chekhov. It’s not an inaccurate designation as such things go. Like the grekt Russian classicist, he writes what might be called slice of still-life comedies. “A Day By the Sea” is typically Chekhovian. It is profound, dis¬ cerning, leisurely and resigned. Despite a generally skillful per¬ formance and a tasteful produc¬ tion, it seems to lack sufficient vigor or excitement for Broadway. None of this need have surprised anyone, least of all producers Huntington Hartford and Stephen Mitchell, who announced it for a “limited” engagement but clearly wouldn’t be reluctant to continue it indefinitely if public response warranted. Even in London, where Mitchell presented it originally with a typically star-loaded cast in¬ cluding John Gielgud, Ralph Rich¬ ardson, Irene Worth, Sybil Thorn¬ dike and Lewis Casson, it had only a moderate success, desfffte fine reviews. Admitting that “Day By the Sea” isn’t everyone’s dish, how¬ ever, there’s no denying its nice writing, shrewd observation, inter¬ esting characters and relationships and the deft if slightly bitter-sweet humor. As earnest drama students invariably say of Chekhov’s works, “Day By the Sea” is a study of failures and frustration, but a com¬ edy because it regards life as in¬ evitably humorous even when its events are tragic. Like Chekhov, it offers a picture of ai day in the life of an over-civilized family slowly going to seed. The life is faded, but it is real and genuinely en¬ grossing. As pliantiy and expressively, staged by Cedric Hardwicke, this quiet conversation piece is played with distinction. The mixture of accents and, to an extent, styles is only briefly noticeable and of negligible importance in the gen¬ erally high level of performance. Jessica Tandy and Hume Cronyn, particularly, gjve eloquent por¬ trayals of the former childhood sweethearts reunited briefly and pathetically as adult failures on the scene of their former happiness. The woman’s character is neither as fully dimensioned nor as explicit as the man’s, but both actors give superb performances, expertly blending poignance with humor, with revealing nuances suggesting inner feeling. Their scenes to¬ gether, especially the proposal of the final act, are the standouts of the show. Dennis King gives fine defini¬ tion to the character of the has- been doctor, ,with little interest in life, seeking refuge from his de¬ spair in constant tippling. It’s a rewarding part, but might easily have been too showy in less know¬ ing hands. Halliwell Hobbes mops up in the surefire role of a decrepit old man and Aline MacMahon gives clear outline to the somewhat acid and imperfectly explained character of the hostess. Megs Jenkins offers a decep¬ tively artful repeat of the gov¬ erness role she played in the original London edition, and Leo Britt, John W. Austin, Veronica Cole and Barclay Hodges are be¬ lievable in support. The garden and seaside settings by Jay Krause are handsome and playable. Despite its undeniable merits, “Day By the Sea” appears too placid for the Broadway trade. Even if it should catch on, it would have to vacate the theatre Nov. 5 for the previously-booked “Reuben Reuben.” Hobe. New Outdoor Theatre Greensboro, N.C., Sept. 27. East Carolina College has begun construction of a new Flanagan Memorial Sylvan Theatre. A sum of $10,000 for erecting the new outdoor theatre was given to the college by Mrs. Rosa II. Flana¬ gan, of Greenville. \ Henry IV, Part I New York City Center Theatre r. (Jean Dalyrymple, Director^ Y^f alre Co. of Brattle^Shakespfeare 0 Co/s^^evivnY* 011 drama in three acts (nine Val ( »* • William Shakespeare. Feature« en ? sl Kilty. Jan Fa?rand Bryant 8 Michael Wa?er. Thayer David Cass, Cavada Humphrey, Paul’ c^ y Directed by Kilty; settings n 1 ’, Cr ; O Hearn; costumes, Robert F?ltchei- N. Y. City Center, Sept. 21, '55; $3.60' lop* Henry IV . Thrive t. Earl of Westmoreland ...*.. g y j d Prince John . Davlrtn- 1,1 Sir Richard Vernon .Clayton CmSl'T!' 11 Archbishop of Wells .... MorS ill'! Henry. Prince of Wales... Michael Waal.* Sir John Falstaff . Jerome vn? 1 Edward Poins .. 7.. Staniov* 1y Earl of Worcester . Lesler R-iwiin^ Earl of Northumberland.. Larkin Forri Henry Percy (Hotspur)... .Bryant Halicta? Bardoliili 7.7.7.7.7.7.777. A .& Hotspur’s Messenger.*.7.7.'.* Al"n Coates S38S Quicuy 7 ■ 7.7.7. gwri* • . .. P«nel* , n„b,r5 Edmund Mortimer . John Harkins Owen Glcndower . Paul Su-n-»» Lady Mortimer .Cavada HmnphS e" r \<? f 1 P ou $ as ..Pernell Roberts Walter Blunt.Paul Sparer Soldiers and Servants: David Antlionv. Bob Burland, Alan Coates. John Copeland, John Enmes, Cornelius Pri/ell, Walter Gorney, Hem" Holth, Joe Mitchell. James Oberlhi. Art Ostrln, Alex Palermo. Naomi Powers, Ken Reisdorff, Ted Roberts Following its earlier offering of “Othello” at the N. Y. City Center the Brattle Shakespeare Co., spir¬ itually out of Harvard and geo¬ graphically out of Cambridge, now presents “Henry IV, Part I.” Leav¬ ing the fine shadings to the schol¬ ars, the average theatre-lover should find this better-than-aver- age mounting of the Bard, esne- cially in the richly colored costum¬ ing of Robert Fletcher, via Brooks and Eaves. In a play of so much action, so many speaking parts, and with an emotional range from slapstick to melodrama, it’s not surprising that there is some unevenness in per¬ formance. diction and pacing of scenes. But on the whole. “Henry” has been brought to life with in¬ telligence. taste and due attention to the infinity of detail necessary to unspool the somewhat sprawling story-line. Take it for a lot of Shakespeare at $3.60. The immediate questions will be about the Falstaff, Hotspur and Prince Hal roles, the acting plums. That wintertime film exhibitor and summertime actor, Bryant Haliday, makes much of the brash Hotspur, for all his staring: blue-eyedness at the outset. When he gets away from his original key he displays considerable light and shade. Falstaff is managed with perhaps more technique than depth by Jer¬ ome Kilty, who also- directed the play. He doea not quite seem the age (60> at times and his waddling gait and sly mannerisms are some¬ times more from the brain of the actor-director than from the mar- now of the character. Which is not to deny him many adroit moments, and especially his clever beat in setting up certain lines for the boff. Since Falstaff Is such a well- known role about which aficinados of the legit have theories, memo¬ ries and invidious comparisons galore, it is perhaps only simple justice to Kilty to report that his is really a considerable job of trouping, though no new "standard for the part and though a bit too intellectualized. With regaixl to the role of the Prince of Wales it also is worthy of remark. It is extremely tough to act, since he must be both was¬ trel and hero, the companion of stew-bums and at the same time capable of a high princely elo¬ quence and a rugged battlefield derring-do. Michael Wager is strongest on the rhetoric, less con¬ vincing in realizing the tangled motivations of the royal juvenile delinquent. Wager is a handsome actor in tights, indeed rather too much so. His breeding is close to exquisite and his 14th century hqjrcut seems too chi-chi, with the result that he never ouite belongs with that motley riffraff at the Boar's Head Inn. Wager should repress a tendency to be self-con scious about his doublet, which he keeps pulling down, though it has no s.lreteh. Perhaps the great virtue of this “Henry IV” is its clarity. Shake¬ speare speech in recent years has .so often been mumbled and swal¬ lowed or woodenly declaimed Hi at the intelligibility of the lines un¬ der Kilty’s direction rates special commendation. Nearly everybody speaks well and seems alert to tr.e audience’s wish to get every word, not just an occasional emphasized phrase. Paul Sparer is a model ot vocal projection as the moonstruck ■ Welshman. Owen Glendower. and is significant that reference <0 the pv-nted program a - ’ 0 ''' ’denti- (Continued on page 78)