Variety (January 1956)

72 LEGITIMATE! P%Mety Wednesday, January 11,; I95fr Shows Oat of Town Th© Ponder Heart New Haven, Jan. 4. Playwright* Co, production of comedy In two acts (seven scenes), by Joseph Fields and Jerome Chodorov, adapted from the navel by Eudora.Welty. Dircc-. tlon, RoUatt .‘Douglas; -settings .and light¬ ing, BenlSaSlwprds; cpbtumes. Francis Spencer. sfSrta David Wayne; features Una Merkel, Sarah Marshall, Dan Hanmer. WU1 Geer. At Shubert Theatre, New Haven, Jon. 4, '56; $4.50 top. Jacob . . . . Ted Browne Sarah . Vlnie Burrows Mr. Springer . . David Leland Edna Earle Ponder . . . .Una Merkel De Yancey Clanahan . Don Hanmer Judge Waite . John McGovern Big John . John Marriott Narciss . Evelyn Davis Purdel Peacock . Edwin Buckley Bruce Peacock . Richard Klein Treva Peacock . Helen Quarrler Johnnie Ree Peacock.... Jeanne Shelley Mr. Peacock . .Harold Grau Mrs. Peacock . Charlotte Klein Eloise . Barbara Jean Gilliam Uncle Daniel Ponder...... David Wayno Truex Bodkin . ... Dwight Marfield Dr. Eubanks . Donald Foster Bonnie Dee Ponder . Sarah Marshall Sam . Noel Williams Rodney . Johnny Klein Willie . Junior Marshall Teacake Magee . . Ruth White Al . T, Talbot Holland Clyde . . William Dwyer Dorris R. Gladney . . -Will Geer Clerk . James Karr Bailiff . Tony Kraber Foreman . Alan Manson Jurors. Spectators ....... Mary Farrell. Richard Rothrock Despite its unlikely title, this newest effort of the Joseph FieldsJerome Chodorov scribbling team, seems promising. There’s an ex¬ cellent piece of characterization turned in by David Wayne, and a flock of first-rate supporting per¬ formances. Story itself is offbeat and the production has been staged in an interesting manner involving flash¬ back narrative and musical inter¬ ludes that set a deep South flavor. Following the customary preGoth a m simonizing, “Heart” should ultimately tip the Broad¬ way scales on the favorable side. Unusual story opens with the murder trial of an aging scion of a southern family accused of dis Eatching his child bride. The flashack of events leading up to the trial, and the trial itself, border on the screwy at times. With less skillful writing, directing and act¬ ing, they might readily have seemed ridiculous. It is this com¬ bined skill, however, that produces the effect of believable theatre. Wayne flashes a new histrionic facet in the lead role at least a score of years beyond his own. He makes the character of the not-toobriglit bridegroom a personality of considerable warmth, and his delivery of laugh lines and busi¬ ness is topflight. Una Merkel scores handily as his sympathetic niece, Sarah Mar¬ shall is a fine choice as the youth^ ful bride, Will Geer is tops as a smalltown prosecutor, Don Han¬ mer registers as Wayne's legal eagle, John Marriott's handyman role garners chuckles* Ruth White is good as a jilted fiancee and Ted Browne’s incidental vocalizing* rates mention. Scenically, the production is okay. A ramshackle hotel set gives way to an imaginative house inte¬ rior featuring various technical quirks in a thunderstorm scene. Also, there’s a courtroom setup providing good background for the second act trial scene. There’s a lot of intricate timing involved in this production and it adds up to a directorial feather in keeping the play’s progression from falling over itself. Film prospects are favorable. Bone. co-adaptor, says this is its first performance on the North Amer¬ ican continent. With the exception of a production at The Old Vic in London five years ago (with Don¬ ald Wolfit in the title-role), there is no Tecqpfl *o£ its having been pro¬ fessionally produced since the 16th century. It’s no wonder why. “Tamburlaine” is the tale of a conquering king who, with his gangster cohorts — some of them double-crossed — starts out as a common thief and then ultimately controls the then known world, comprising Persia, Egypt, Arabia, with side passes at India and northern Africa. Marlowe wrote two plays on Tamburlaine’s dicta¬ torial exploits, but these have been telescoped into a single show in this Guthrie-Wolfit adaptation. On sadistic brutality and man’s inhumanity, “T a m b u r 1 a i n e” is marked by eye-filling stage pic¬ tures that will probably be unfor¬ gettable to spectators. Guthrie has rung in most of the forms of torture, including arrow target practice on the captured king of the Persians, who is hoisted by his wrists on a trapeze for direct hits. Adding to the royal chamber of horrors scenes are the ritual shed¬ ding of blood in buckets, the beat¬ ing of a man’s brains against his cage, tongue-tearing for blasphemy against the conqueror, the handing over of screaming virgins and con¬ cubines to the shaggy, shouldercarrying cohorts in leopard skins. It’s visually, magnificent, but likely to be shocking to the squeamish. It’s an opulent extravaganza In its blood-filled pageantry of animal bestiality that? travels in terrific pace as Tamburlaine consistently knocks over his territorial rivals and has his blinded and defeated kings draw his golden chariot of victory. To get? enough stage room for such orgies, Guthrie has masked over the orchestra pit, re¬ legating the musicians to upper boxes for their bugle calls and percussion thumpings. On pillage, rape and looting, this is horror unleavened by any sense or pity on the part of a lust-hungry emperor who wants . to rule the world; and, at the end, Tambur¬ laine is an old and sick man with nothing left to conquer and no pathos at his deaths* With all the bloodthirsty action and the florid lines of Marlowe, Anthony Quayle swaggers through the title-role till madness and the lust of killing overcomes him. Coral Browne, his co-star, is a proud figure as a captured em¬ press, and Barbara Chilcott is also standout as an unforgiving Egyp¬ tian princess who spurns the bar¬ barian’s love. Miss Chilcott' s death-bed scene is particularly moving and, paradoxically, a relief. Donald Davis also deserves kudos as the king of Amasia. Among the numerous principals, thre are notable performances by Lloyd Bochner as the avenging son of the Turkish king, and Robert Christie and William Hutt as Tamburlaine henchmen. The show is the epitome of cruelty, a rousing stage spectacle that leaves the customers stunned by its sadistic inhumanity and senseless killing. The production and the Guthrie handling of mobs and warriors overshadows the players. Me Stay. The Hot Corner Philadelphia, Dec. 27. Tnmliurlaine the Great Toronto, Jan. 4. Stratford Festival Foundation of Can¬ ada (in association with Producers Thea¬ tre) production of melodrama in two acts, by Christopher Marlow?, adapted by Tyrone Guthrie and Donald Wolfit. Direction, Guthrie; scenery and costumes, Leslie Hurry; music. John Gardner; light¬ ing and scenic .supervision. Paul Morri¬ son; musical director, Louis Applebaum. Stars Anthony Quayle, Coral Browne. At Royal Alexandra Theatre, Toronto, Jan. 4, '56; $5 top. Mycetes . Eric House Cosroe . Tony Van Bridge Meander . Robert Goodier Therldamas . ._ . Robert Christie ^HhMenaphon . Ted Follows ^^■Tamburlaine . Anthony Quayle ■^r Zenocrate . Barbara Chilcott WT Agydas . Donald Davis ^ Tcchelles . William Hutt Usumcasane . William Shatner Anippe . Deborah Cass Bajazetli . Douglas Rain Klhg of Fez . John Hayes King of Morocco . Harry McGirt Zabina . Coral Browne Ebea . Margaret Braldwood Soldan of Egypt . Lloyd Bochner Capolin . Eric House Governor of Damascus . Eric House Celebinus . Ted Follows Calyphas . Neil Vipond Almeda . ; . Douglas Rain Physician . Bruce Swerdfager King of Soria . Tony Van Bridge Perdicas . BrUce Swerdfager Governor of Babylon. .. .Robert Goodier Thanks to bizarre sets and cos¬ tuming, plus offstage smoke pots, “Tamburlaine the Great” is a great big spectacle hovering scenically between "Aida” and “Chu Chin, Chow/’’ hut the Marlowe meller' has little sustained motivation. Tyrone Guthrie, the director and; Eleanore Saidenberg presentation of comedy in two acts, by Allen Boretz and Ruby Sully. Direction, Sam Levene; as¬ sistant director, Oliver Crawford; scenery and lighting, Ralph Alswang; costumes, Virginia Volland. Features Sam Levene, Vicki Cummings, Don Murray, Bert Thorn, Daryl Grimes, Horace Cooper. Paul McVey. At Locust, Philadelphia, Dec. 27, *55. Bobble Stanley . Daryl Crimes Clarence “Lefty" McShane Don Murray Mae Stanley . ...Vicki Cummings Fred Stanley . Sam Levene George “Muldoon" Wilson _ Cliff Tatum J. Rupert Wilson . • . Bert Thorn Charley O’Connor . Paul McVey Frances Halllday . Nan McFarland Maude Wilson . Dortha Duckworth Jane Kaiser . Camila Ashland August Hegel . Horace Copper Gus Markhelm . Dave Starr Eddie Genaro . Bern Hoffman Felix Cassidy . Ned Glass Song: "Mi-CabaUero," lyrics by Boretz and Miss Sully, music by Ted Saidenberg. Now that "Damn Yankees” has routed the jinx that' proverbially hovered over any attempt to fuse legit for films) and baseball, there will probably be other shows deal¬ ing in one way or another with what sports writers like to call the great American pastime. "The Hot Corner” (whose title, well enough known to ball fans as referring to third base, is rather vague in its application here) is the first of these. It is conceivable that the Allen Boretz-Ruby Sully comedy, given some sharpening, editing and redirection, might at¬ tain a modest amount of success. Judging by the .first-night audi¬ ence reaction, the femme delega-j tion found nothing too hard to un¬ derstand in the show’s action or dialogue. The play has a funny first act, lets down in the second* but comes back in the final stanza with more good laughs, interlarded with not-too-objectionable senti¬ ment and winding up with a whale of a curtain line. "Corner” also has the added lift of a top-drawer performance by Sam Levene in the central role of the former ball player and big league manager who, 10 years be¬ fore, was fired for slugging the teams’ general manager. The latter* representing the traditional "front office,” known to all baseball fol¬ lowers, serves as the "heavy” of this -comedy. The hero’s headache in his present minor league berth is that his current general man¬ ager has banned the sale of pea¬ nuts in the ball-park because of the expense involved in cleaning up the shells. The ensuing complications in¬ volve picketing by the peanut vendors, a romance between a young hillbilly ’ pitching star and the harrassed manager’s daughter, and the controversy between the manager and his wife who prefers bush league life to the hectic ex¬ istence of the majors. The cast is generally good, with Levene outstanding through a warm and believable characteriza¬ tion which, as the play’s director, he might modulate just a trifle in spots. Vicki Cummings is appeal¬ ing as the loyal but assertive wife. Daryl Grimes bounces around the stage attractively in swirling bouffante skirts or teenaged slacks. Don Murray is agreeable as the hillbilly lefty and there are other good types, deftly played. "Corner” is no grahd slam homerun, but has good comedy ingredi¬ ents and may click if prooerly doctored. Waters. ( Michael Gordon has taken over the staging of the show from Levene , who continues as star. Ed. ) Fallen Angels New Haven, Dec. 28. Charles Bowden & Richard Barr (in as¬ sociation with H. Ridgely Bullock Jr.) revival of comedy in three acts, by Noel Coward. Direction. Bowden; settings and lighting, Eldon Elder; costumes, Patton Campbell. Stars Nancy Walker. Margaret Phillips; features William Windom. Wil¬ liam LeMassena, Pauline Myers, Efrem Zimballst Jr. At Shubert, N«Y.. Dec. 20, '55: $4.50 top. ^ Julia Starbuck . . Nancy Walker Frederick Starbuck . William Windom Sounder* . Pauline Myers William Danbury . ...WlUiam LeMassena Jane Danbury . Margaret Phillips Maurice Duclos Efrem Zimballst, Jr. Here’s a show that might clean up on the road, but seems destined to catch a crab on Broadway. It offers heroic clowning by Nancy Walker, with an able assist from a small troupe of capable farceurs. But when all is said and done, this revival of an earlier Coward opus spreads itself pretty thin. There are a number of laughs, some of them from the bright dialog, some from the buffoonery, but they be¬ come a bit repetitious as the eve¬ ning wears on. In resuscitating this particular work, involving the tale of two faithful wives who find the ghost of a pre-marital romance after a seven-year lapse, the main reliance is on "business” to put the comedy across. The fact that the two dis¬ taffers manage to hold interest for almost a full act by the simple ex¬ pedient of working up a jag. is a credit to their trouDing ability. Co-producer Charles Bowden, dou¬ bling as stager, plays this angle heavily and for a spell maintains the fun at a good pace. Miss Walker and Margaret Phil¬ lips carry off the spouse roles well, in contrast to a couple of stuffed shirt husbands who get okay treat¬ ment from William Windom and William LeMassena. Pauline Myers is excellent as an omniscient maid, and Efrem Zimbalist Jr., as the old flame, has a brief but engag¬ ing scene in the final stanza. A nicely designed and lighted set of a sunroom in a New Yorkaoartment makes an attractive playing area, and the costuming bits an appealing note despite its 1930 vintage. Bone. ( Alice Pearce has taken over the role of the maid, replacing Miss Myers. — Ed.) Waiting lor Godot * ' Miami, Jan. 6. Michael Myerberg production of tragi¬ comedy in two acts, by Samuel Beckett. Direction, Alan Schneider; setting, Mary Schcnck. Stars Bert Lahr, Tom Ewell: features Charles Weidman, J. Scott omarx. At Coconut Grove Playhouse* 3' 36; S3*75 toP weeknights; £4.75 Friday, Saturday nights. Eftragqn . Bert Lahr yiadimir . Tom Ewell ,ucky . . Charles Weidman £ozzo . . . . J. Scott Smart B°y . Jimmy Oster It's difficult to figure why even such a devotee of the offbeat as Michael M.verberg should have chosen "Waiting For. Godo<” as the (Continued on page 75) Y es, We Have No ‘New Act’ Review Advertisement on p. 496 of last week’s Golden’ Jubilee Number of Variety for “The Great Sebastians,” "The only act ever to read minds in five different languages” was, of course, a stunt for the new Lunt-Fontanne starring vehicle of the same name., In small type the ad's wording, "Open for American Bookings^— Manage¬ ment Harry Wilson, 17 Gerald Road, London S. W.” was part of the gag, Wilson being a former Lunt manager and the street num¬ ber being Noel Coward's British address. History partly repeated itself via the above-quoted ad. On March 25, 1936, at the time of Sherwood’s “Idiot’s Delight,” the previous vaudeville incarnation of Alfred Lunt — Harry Van and His Six Honeys — also produced a gag ad in Variety quoting imaginary press notices from Budapest and Zagreb. In "Idiot’s Delight” 'an actual smalltime vaude turn was perI formed within the frame of the legit show." Entering spirit of the 1936 ballyhooliganism, the late Jack Pulaski (Ibee) juxtaposed to his straight legit review of "Idiots Delighc” a naudeadpan,. half-facetious "New Acts” notice on Harry Van et Les Blonds. _ • In the' instance of "The Great Sebastians,” Miss Fontanne is bowing off as the play begins and Alfred Lunt milks the audience for a one-track encore. Otherwise, no routine. Hence the present •" circumctances do not lend themselves to a reprise of the 1936 make-Kfelieve of a New Act notice. And maybe it wouldn’t be so amusing 20 years later. Land. Shows On Broadway Th© Great Sebastians Howard Lindsay & Russol Crouse pro¬ duction of their own comedy-melodrama in three acts (four scenes). Stars Alfred Luntt Lynn Fohtanne; features Ben Astar, Simon Oakland* Amy Freeman, Joseph Holland, Eugenia Rawls. Jose Ruben, Anne Francine. Direction, Bretaigne Windustj settings, Raymond Sovey; lighting, Jean Rosenthal; Miss Fontanne's gowns by Main Bocherf At ANTA Theatre, N. Y.,,Jan. 4, '56; $6.00$5.75 top ($8.05 opening). Essie Sebastian . .' . Lynn Fontanne Rudi Sebastian . Alfred Lunt Manya . . . Susan Frank Security Police . Burns Oliver Martin Brandt Josef . Amy Freeman Sgt. Javorslcy . V. . Simon Oakland Gen. Otokar Zandek . . Ben Astar Soldiers. .Peter Gumeny, Michael Egan, Sheppard Kerman Col. Bradacova . Anne Francine Vlasta Habova . Peg Murray Sophie Cerny . Eugenia Rawls Karel Cerny . Jose Ruben Novotny . . . . n„ . . . Grant Gordon Pavlat . Ben Hammer Dr. Balzar . . Edward Moor Marie Balzar . Doris Fesette Bacilelc . ; . . . Joseph Holland Corporal . Ted Gunther For what seems like ages, the Lunts have been turning makeshift vehicles into substantial hits. Not since Robert E. Sherwood’s "There Shall Be No Night,” 16 years ago, have they had a really challenging play, and even that was the first since the same author’s "Idiot’s Delight.” "The Great Sebastians,” in which they returned to Broadway last week, may not be distinguished drama, but it is a,spectacular show. Billed by co-authors Howard Lind¬ say and Russell CroUse as a melo¬ dramatic comedy, it is a skillfully wrought piece of footlight hokum that gives the incomparably theat¬ rical stars and the audience a treat. Even without the large theatre party bookings and mail order ad¬ vance, it would be a snap for a long run on Broadway and the road. After that, NBC should get a sock television show from it and then Columbia Pictures will have a lustrous screen property. The latter two pre-production deals, incidentally, make the LindsayCrouse presentation a lead pipe cinch for multiple payoff. _ Although "Sebastians” is a nat¬ ural for general audiences, it’s a special dish for the trade, being a backstage yarn about a couple of vet vaudevillians, and is packed with show biz touches by such old pros as Lindsay and Crouse. Also, as it happens, Alfred Lunt himself is a longstanding vaude fan with ari affectionate understanding of greasepaint ham. Add the fact that Lynn Fontanne is a virtuoso per¬ former and the combination be¬ comes virtually Irresistible. As an "international” mind¬ reading act, billed as The Great Sebastians, the stars open with the bowoff of their turn on the ornate stage of a variety theatre in Prague. The year is 1948, shortly after the takeover of Czechoslova¬ kia by the Russians, and in no longer than it takes to say com¬ missar the troupers *have heen tricked by their own egos ‘ into providing after-the-show entertain] ment for a party at the home of a Red general. As political innocents abroad, they become ensnared in police state intrigue, gravely complicated by news that their old friend Czech patriot Jan Masaryk, has committed suicide on the day they’ve been his guests at a private luncheon. Just as they’re about to become victims of Red terrorism they use some of their vaude hocus-pocus to outwit the Com¬ munist officials and escape. No one is likely to put up an argument that "Sebastians” is quality drama, and there'll be no public outcry when it fails to be mentioned for the Pulitzer and Critics Circle awards. There will even be inevitable perfectionists1 who’ll complain that the play is inferior to the same authors’ “State of the Union.” It won’t really matter. Lindsay and Crouse ob¬ viously set out to write a solid, professional theatre piece, and on that modest but valid and difficult assignment they’ve succeeded handsomely. They are supported enormously by the Lunts, of course (just as they obviously counted on being). As the childishly egotistical but likable hams, the stars are superb, repeating their familiar trick of invariably ■ seeming, even, more brilliant than the last time. Lunt, with an expert touch of pompous¬ ness, is disarming as he milks an extra curtain call at the bowoff of their act, or circulates through the audience to cue his partner’s bogus telepathy. He’s amusingly indig¬ nant at being called by his offstage name (something unpronouncably middle-European) and crushed at the realization -that the British consul has never heard of the act. Miss Fontanne, stunning as al¬ ways, has a blonde wig, a cockney accent and an attitude of cool mockery, and then is impressive in the letdown melodrama scenes in which the clairvoyant suddenly stands out as a person of adamant principle. Among the large sup¬ porting company, Ben Astar is notable as a secretly terrified Soviet general and Simon Okland is properly sinister as a political undercover agent in th.e Red army. Other “ commendable perform¬ ances in lesser parts are given by Susan Frank as a‘ puppet-like So¬ viet functionary, Amy Freeman as. a cowed theatre manager and Anne Francine, Peggy Murray, Eugenia Rawls, Doris Fesette, Jose Ruben, Grant Gordon, Ben Hammer, Ed¬ ward Moor and Joseph Holland as visitors at the general’s home. Bretaigne Windust has provided uncluttered direction, with authen¬ tically rococo scenery by Raymond Sovey, and uneven lighting by Jean Rosenthal. The show is at the ANTA Theatre on an interim book¬ ing through Feb. 4, then moves to the Coronet to continue indefinite¬ ly. The Lunts are contractually permitted to take an eight-week layoff startinf June 4. Hobc. Red Roses lor Me Gordon W. Pollock production of drama In four acts (single intermission), by Sean O i Casey. Direction, John O'Shauglinessy; choreography, Anna Sokolow; scenery and lighting, Howard Bay; music, Edwin Fipckel; costumes, Ballou. Features Kevin McCarthy, Eileen Crowe/ Joyce Sullivan. E. G. Marshall, Michael Clarke Laurence, Virginia Bosler, Shamus Locke, Ann Dere, Whitford Kane, Casey Walters, Katherine Hynes, Eamon Flynn, At Booth Theatre, N. Y„ Dec. 28, '55. $4.60 top Weeknights; $5.75 Fnday-Saturday nights ($6.90 opening). Mrs. Breydon . Eileen CroWe Ayamonn Breydon . Kevin McCarthy Eeada . . Ann Dere Dynipna . Katherine Hynes Finoola . . . Virginia Bosler Neighbors . Farell Pelly, Page John .. ,T son, Vincent Dowling Sheila Moorneen . . . Joyce Sullivan Brennan o' the Moor _ E. G. Marshall Sammy . . David McDaniel Roory O Balacaum . Eamon Flynn Mulcanny . Casey Walters Rev. Clinton Michael Clarke Laurence Railwaymen . James C. Kelly. Lou -Frizzell, David McDaniel Inspector Finglas . Shamus. Locke Loungers. . . .Paul Sanasardo, Jeff Duncan Old Woman . Beatrice Seckler Idle Woman . Judith Coy Lonely Man . David Gold Girls . Sandra Pine, Ever Beck Drifter . Jack Moore Samuel . Whitford Kane Foster . . . . . . Barry McCollum Dowzard . . . . . Jock McGraw Lamplighter . David Ryan In the theatre, at least, all Irish¬ men seem to have the gift of gab. Of them all, though, none has the eloquence and the fire of Sean O'Casey. Hi^ is a soaring voice and spirit; singing of modest scenes aqd humble people, but in exalted and inspiring tones. For all of that, however, the ex¬ patriot Irishman has had few suc¬ cesses in the commercial theatre, and he’s not likely to cros° up the (Continued on page 75)