Variety (January 1956)

Wednesday, January 4, 1956 Golden Jubilee Z'fi&IETY 50th Anniversary LEGITIMATE 471 [ From Variety , Jan. 4, 1925] IN NEW YORK WITH A HIT By VICTOR MOORE When you have traveled, and traveled, and traveled, And for a change, you travel some more; And you’ve played in every one-horse town That there is from shore to shore. When you’ve had to stop in bum hotels That almost gave you a fit, You can appreciate how nice it is To be in New York with a hit. When you play the first half in Toledo, And the last half in Kalamazoo; And you have to do four shows a day in Dayton. When you only expected to do two; When you have signed for a whole week in one town, And on Saturday they change it to a split. Then is the time that it’s kind of nice To be in New York with a hit. When you sit in the cold train and shiver, And get so hoarse you can hardly speak; When you are hungry and the only restaurant Is the Vienna cafe run by a Greek. Then you appreciate home and a good cook; When you eat you clean up every bit. And your legs are under your own table. When you are in New York with a hit. If you have a good home and you like it, With kids that make a home worth while; When you’re had the same wife for over 20 years, And she still knows how to smile; When you have a bed that is a bed, And "comfy” chairs when you sit, Then’s when it’s kind of nice To be in New York with a hit. And on matinee days you dine at the club, With the pals you like to know, And there’s always time for a pool or billiard game Before you go back to the show, And on Sundays, if there’s no benefit to do, You can stay at home and read or knit. And life is really worth living then, When you are in New York with a hit. But after you have rehearsed for five long weeks, And you buy a wardrobe you can’t wear on the street, And you keep saying you have a great part To every friend you happen to meet, You try out and come in fo,r the big opening night, Hoping you soon will be way up on top, And the piece only lasts for just one week, Then it’s hell to be in New York with a flop. Paris Stage: 1905 and 1955 The More Things Change the More They Remain the Same’ Truer In France 50 Years After ‘Variety’s’ Debut By TOM CURTISS Paris. ! of the aristocracy and the very "Evervthing changes and every wealthy but an avenue of shops, ... , f , „ | cafes and cinemas (though the BETTY GARDE I Stage — Pictures — Television — Radio Greetings to VARIETY on its GOLDEN JUBILEE thing is just the same as before' is a celebrated French adage and one applicable in large part to both the French stage and Paris* itself during the course of the last halfcentury. That city that has undergone two wars, the Occupation and countless political regimes since Variety was born has kept its spirit, heart and beauty intact. Paris, 1956, in at¬ titude if not in complete appear¬ ance, resembles the affluent, smil¬ ing legendary Paris of 1905 far more closely than it resembles, for example, the jittery wartime Paris of 1915 when the Germans were at the gates and Big Bertha bom¬ barded the Madeleine; the Jazz Age Paris of 1923, when Prohibi¬ tion was increasing the American tourist rate; the bleak, barren, frightened Paris of 1943; or even the postwar, muddled Paris of 1947. The Champs Elysees, true enough, is no longer the residence Off-B’way Show Biz Started To Perk Back In 1949 LIBRARY THEATRE RECORDS By GEORGE FREEDLEY • ( Theatre Curator, N. Y. Public Library) By JESSE GROSS In 1949, Actors Equity discovered off-Broadway. The bustling activ¬ ity in the smallseaters outside of the Times Square area prompted the union to take steps to cover its members employed in these hideaway showcases. The Equity move made it offcial. Professional legit had branched out beyond the Main Stem. That year there were five prin¬ cipal operations functioning offBroadway. They were The Interplayers, Off-Broadway, Inc., Peo¬ ple’s Drama, Studio 7 and We Pre¬ sent. • Newspaper coverage (daily and Sunday features), plus first and secopd-string reviews of vari¬ ous production offered by these Many people find themselves hopelessly confused when search¬ ing for an unpublished manuscript of an old production. Quite often they could find just what they were looking for in the archives of the Theatre Collection of N. Y. Public Library. Many such scripts as well as theatrical records and scrapbooks have been donated to the -Theatre Collection and are now available for study and research to those who need them. For instance, the Actors’ Fund of America turned over the musi¬ cal show scripts of Hap Ward (& Vokes), famed at the end of the century and the first two decades of the present one. These road stars had a particular interest for me because the first theatrical pro¬ duction I ever saw was Ward & Vokes at the Academy of Music, Jan. 6, 1911, in Richmond, Va. ‘ Another musical luminary to be represented by a collection is Hassard Short who donated his scrap¬ books of reviews, photographs and programs covering his entire Lon groups, accentuated the growing family alcove in the book stacks of i importance of off-Broadway as an the Theatre Collection. ' ' 2 ’ 2 Anyone with particular children’s for a minimum $85 salary. The showcase is a 1.150-seater that at one-time was a Yiddish theatre and later a film house. Another former picture outlet, the Theatre de Lys has developed into a major offBroadway showcase since moving over to legit in 1952 with a flop production of "Frankie and John¬ nie.” Besides the Phoenix Circle and chestnut trees are still there) and the Bohemians frequent Saint-Germain-des-Pres and not Montmartre. But these are merely surface al¬ terations and one looks in vain for deep changes in Paris life. The theatre has been through several evolutions since the turn of the century, and the important contributions of such directors as Lugne-Poe, Dullin, Baty, Jouvet, Copeau and the Pitoeffs have left their mark. Claudel, Cocteau and Giraudoux, with their poetic dra¬ mas, have taken over the stage of Rostand and his ilk. Classic re¬ vivals are less tradition-bound than they used to be and acting has become, if not better, more subtle. It is Jean-Paul Sartre today who writes the protest plays just as Bricux used to. But the problem play, the poetic drama, the Grand Guignol thriller, the Palais Royal bedroom farce and the comedy of the boulevard — all solemnly pro¬ nounced dead at one time or an¬ other by the critics — flourish as of old and often seem familiar friends dressed up in new clothes. ] _ Bernhardt and Lucicn Guitry | The golden voiced Sarah Bern¬ hardt, Marthe Brandes, Coquelin, Lucien Guitry (Sacha’s papa), were the top Parisian stars and MounetSully the leading light' at the Comedie-Francaise when Var ety first hit the stands. All these noble artists, alas, have quit the scene and gone, too, are the authors of their modern vehicles, names that still ring in memory: Sardou, Ros¬ tand, Henri Lavcdan, Maurice Donnay, Alfred Capus and de Curel. Yvette Guilbert sang in the chansonniers; Little Tich was at the de Lyf, “V*1 pr0™i"?r‘ ! Cirque Medrano; the Olympia, then theatre interest will revel in the completeness of the business and artistic records of the iate Clare Tree Major who dominated the field for several decades. ;USO-Camp Shows & Ziggy’s Wires! integral part of the N. Y. legit scene. This post-World War II develop¬ ment actually had its inception prior to World War I with the Lit ! way theatres currently operating include the 4th Street Playhouse, Proscenium Production, and the Shakespearcwrights. All these groups arc accorded first-string coverage by the New York dailies except the Daily News. The tab¬ loid’s critic, John Chapman, reports on the Phoenix offerings, but gen¬ erally avoids the small-seater pro¬ ductions. Talent Incubatorium | The off-Broadway surge has been as now, was the “Palace of Paris” and the cancan and apaches dances were specialties at the Moulin Rouge, just recently restored to the glory it enjoyed when Toul¬ ouse-Lautrec was a nightly cus¬ tomer. Maxim’s was as popular in 1905 as in 1955 and a little girl called Yvonne de Bray was making her debut in Rejane’s company, playing the tot who held the home together in "Zaza.” And a little boy called Maurice Chevalier was getting his start in the suburban music halls. ‘Arsene Lupin’ vs. ‘Dial M’ Those interested in wartime the¬ atre activities will be grateful that Lawrence Phillips turned over to the Library scripts, publicity and promotion data concerning USO C Tm o n g °1 iterar y materials donat ! ate. j"1®, ^ _ particularly effective as a springtie "" Theatre*’ movement” "that’ saw i uoard for perlormers. Kim Stanley, ! playwright Eugene O’Neill emerge j wbo Recently had the lead iemme . . . , " from the Provincctown Playhouse J in the Broadway production | The Paris playgoer today wants in Greenwich Village, and the j ot “Bus Stop,’ was prominent in : very much the same thing as he a numoer of the Off-Broaoway Inc. ■ wanted in 1905 and only styles have productions at the Cherry Lane changed. Instead of "Arsene LuTheatre in 1949, while Jack Pal pjn»* there is "Dial M for Murance, w»ho was a member of tne ■ der,” and instead of the sex dramas Interplayors during that group s . of Porto-Riche there are the sex run at Carnegie Recital Hall in ; dramas 0f Anouilh which are not, | 1949, has moved on to starring as ; on examination, so very different. in Greenwich Village, and the Washington Square Players as the incubator for the Theatre Guild There w'ere other groups active at that time and in the ensuing years, but it wasn’t until the late ’40s that the little theatres began to gradu ed, the outstanding collection was that of the late William C. deMille. "The Warrens of Virginia” in which Mary Pickford made her debut in New York in the Belasco production of "Strongheart” in which Robert S. Edeson starred for several seasons are the best known , ! Although 1949 was a big year ; signmenls in pictures, Geraldine Page *’ Vaudeville after a total eclipse photographs presented by Mrs. de¬ Mille. Lula Volmer’s radio and don and New York career from 1 playscripts were 1900 to the present. Aileen Pringle, the celebrated film vampire of Elinor Glyn’s "Three Weeks,” presented stills and scrapbooks (1920-1935) relat¬ ing to her cinematic life. The brothers, Frank Conlon and John Dale Murphy’s scrapbooks are to be found in the Theatre Collection. Adrienne Ames, a film and radio star, was honored with a collec¬ tion given by her daughter, Bar¬ bara Ames. Constance Collier’s col¬ lection is here. Mady Christians, who died a few years ago, left her library which included playscripts, photographs and other material with particular reference to “I Remember Mama.” Basile Anglin presented prompt¬ books, scrapbooks, and photo¬ graphs of her aunt, the celebrated star, Margaret Anglin. Margaret Webster, who recently went to England to direct "The Strong are Lonely,” starring Donald Wolfit, gave a selection of photographs of various members of her famous theatrical family, some of which are hung in the Webster nephew. The Joe Laurie Jr. collection of comedy contains gagbooks as well as wit and humor and has been much in use in the N. Y. Public Library. off-Broadway, the smallseaters, us j lieraicime page advanced to has returned in triumph and, in ually with capacities under 300. : leading roles on Broadway after , stead of Yvette Guilbert, there is had a setback in 1950 when most ! appearing at the Circle-in-thc : Edith Piaf who also sings senti of the operations fell into a mar | Square, while Jose Quinteros di i mentailly of the Paris street life ginal state of existence. However, ' j rectorial work at that basement ; an(j lost amours. The musical com off-the-Stem theatre got a big lift j operation has led to Broadway j Cdy stage has hardly changed at all the following year with the launch ; staging jobs. , and recent Magador productions .... aie me uest Known , Q£ circle-in-the-Square in ! Also on the list of off-Broad• ]iave been revivals of "The Merry titles among the PromPtbooks* i Greenwich Village. That group, i waY alumni is Ben Gazzara, cur; Widow and “The Belle of New manuscripts and scrapbooks, and i whjch wag laud(fd for its iniUal ! rently co-starring with Shelley Win: York.” presentation, “Summer and , f®rs in Broadway production of Some foreign innovations have ,. , • , V>u Smoke.” is still operating and is j of Rain. He had an im had lasting influence, others, intro aaaea Dy ner ra<ecj as one 0£ yie foremost of portant role in^ the 1953 de Lys , duced excitedly as world-savers, ' the off-Broadwav outfits. j production of "End as a Man” and j have left not a trace. An event of — — ■ ,^ater moved to the Main Stem with , great theatrical importance was : _ Any^hii^Fo^A^Sbowcas^ ; ; that production as well as having j the initial perform ance of the 1 Churches, former niteries. film 1 PIayed the son of Burl Ives in "Cat : Diaghilev ballet in Paris about houses, lofts and even a living j 011 a Tin Roof.” ; 1910. This revolutionized the dance ; room have been used as off-Broad| There are numerous others and stage decor on the French Aline MacMahon not only gave ■ way showcases in recent years. The j who’ve made the jump from off! stage and today Serge Lifar, a her scrapbooks covering her entire circle is located on the site of a | Broadway to Broadway. But most ■. Diaghilev pupil, is ballet director stage and screen career, but the ; onetime cellar bistro, while the | have been actors. There have been ; 0f the Opera and has completely portrait bust of her by Noguchi : Broadway Congregational Church j some playwrights lor whom off revised the old-time repertory, which adorns the Ferenc Molnar at iooth~ St. and Broadway, spot Broadway showcasing has paid off. , while in the set designs of Wahkedesk in my office overlooking lights Sunday performances by an , The most notable is Leslie Stevens, ‘ vitch and Cocteau one detects Bryant Park. Equity group tagged the Broadway ■ author of "Bullfight,” presented at echoes of Baskt and Picasso. Chapel Players. i tbe ^e Lys *asl -year* was | German Expressionism, which Last year a group called the • subsequently represented on Broad; Came to Paris in the ’20s, on the 12th Street Players worked out of I waY as *be author of "Champagne 1 other hand, and created a great stir the home of one of its members, ! Complex” and has several other at the lime, is a forgotten commodbut not yet performing every Sunday night in ; Plays which have been optioned for ; ity. And the modern playgoer a living room holding a capacity of j Broadway. • prefers revivals of Marcel Achard 25. This year, that same group \ Besides 'Quintero, other direc . comedies of the same period to the ^ _ _ operated at ’the Provincctown ; tors who've moved up from off: hysterical Teutonic dramas. The time to timei^ A solid file of the Plavhouse/. One of the most impor Broadway include Joseph An' political play, rampant after Birmingham (England) Repertory tant off-Broadway developments of thony and Frank Cossaro. Anthony, j World War II, has become less Theatre (1942-1955) programs has recent vears. however, was the for who directed "Bullfight," has ] popular with the easing of political just arrived. The John Golden Col. mal ion of the Phoenix Theatre on staged several Broadway shows ; tension, and the eternal triangle lection is intact in the Library An 2nd Avenue and 12th Street. ' since then, while Cossaro is the di is back in full force, nex awaiting formal release by the The Phoenix, which originally , rector of "Hatful.” ] Paris theatre styles have changed lawyers of his estate. A full report operated under a slock contract, is | In short, the off-Broadway little j since 1905, but the subjects that on this should be made in next j now functioning under a regular ; theatres have been making a lot | appeal to national taste are the year’s anniversary issue. ' I production contract, which calls | of noise in recent years. same ones. The late James T. Powers is an¬ other comedian to be so hondred. He and Mrs. Powers (Rachel Booth) are the subject of a collection re¬ cently presented cataloged. English, European and Latin American programs come in from