Variety (February 1956)

56 LEGITIMATE P^RIETY Wednesday, February l, t 1956 Slows On Broadway Time Limit Theatre Guild production of drama In threer acts by' Henry Denker and Ralph Bertcey. Direction. Windsor Lewis; scenery and lighting. Ralph Alswang; costumes, Noel Taylor. Stars Arthur Kennedy; features Richard Klley, Harvey Stephens. Allyn McLerle. Thomas Carlin, Frank Aletter, Arthur Storch, Patricia Benoit. At Booth, N.Y., Jan. 24. '56; $5.20 top weeknights; $5.75 Friday, Saturday nights ($6.90 opening). T/Sgt. Baker ... Frank Aletter WAC Corp. Evans....Allyn MsLerle 2d Lt. Miller . Thomas Carlin Lt. Col. Edwards.Arthur Kennedy Sentry . Ch'Ao-Li 1st Lt. Livingston .Arthur Storch Capt. Jablonski . Alfred Sander 1st Lt. Wardell . Lionel Ames 1st Lt. Walden . Mark Weston 2d Lt. Mueller .. Robert Drew 2d Lt. Garland'. Jerry Morris Col. Kim ... Kale Deei MaJ. Cargill: . Richard Klley Maj. Cen. Connors ....Harvey Stephens Mrs. Cargill . Patricia Benoit Capt. Connors . John ConneU P Although problem plays tend to be an almost forgotten item of the mid-20th century stage, they’re evidently- not anachronistic. They can still be gripping and challeng¬ ing theatre—provided they’re well done. “Time Limit,” a first-produced script by Henry Denker and.Ralph Berkey, is tastefully and expertly done. It should be a substantial hit on Broadway and the Toad, and is an exciting screen property for Warner Bros., which acquired the rights in a pre-production deal. Incidentally, -dlrector.-p roducer Joshua Logan is reportedly part¬ nered silently with tho Theatre Guild on the venture and con¬ tributed script, casting and staging suggestions. Suppose you were a prisoner of the Russian Communist Chinese? How. long do you think you could hold out against fiendish, inhuman- izing psychological torture? That is the problem posed by “Time Limit.” It’s one of the dilemmas of our time and although this Denker-Berkey meller sidesteps it, the show is nevertheless taut, occa¬ sionally harjowing and at times stirring entertainment. It is tlie authors’ contention that there is a limit beyond which a man cannot be expected to with¬ stand the sort of psychological pressure .the Communist forces use. There should be, one of the leading characters insists, a time limit beyond which even the bravest and strongest individual should not be blamed for cracking. As the accused Army major as¬ serts;- a- man- may -be-a -hero - for- almost his'entire • life, but if he weakens in the last month, or even day or minute, he is damned as a traitor. A whole life can be negated by one unfortunate step. The authors make their point persuasively, even though they evade the issue at the end by re¬ vealing that the major agreed to serve the Communist cause not because of any diabolically subtle brain - washing, but under the sort of heavy-handed intimida¬ tion barbarian captors have used throughout recorded history. The prisoner withstood physical and mental torture, it turns out, but collaborated in enemy indoctrina¬ tion efforts and propaganda to save the lives of 18 fellow-officer POW’s. “Time Limit” is dramatized from the viewpoint of a lieutenant colonel in the Adjutant General’s office whose duty is to investigate the cases of men accused of grave charges and make recommenda¬ tions for Army action. Although the collaboration charge against the major seems airtight, the colonel is unsatisfied, for no clear motive is apparent and the de¬ fendant seems strangely eager to convict himself, even to the extent of* confessing to accusation which he is' Innocent. By relentless probing and shrewd psychologyv. the colonel’ uncovers what really happened in the North Koreen POW camp (with a key assist from the WAC corporal who is secretly in love with him—a touch of traditional stage hokum that, with the intra-office byplay involving a busybody T/Sergeant, should amuse average audiences). Having resisted his commanding general’s hurryup urging and made a clemency recommendation al¬ most certain to be ignored, he’s preparing at the final curtain to take on the defendant’s case in the approaching court martial. Despite the playwrights’ dodging of the real issue in the third act, “Time Limit” presents a genuine and baffling problem. Besides pro¬ viding absorbing and moving drama, it should send audiences out of the theatre thinking. As the stubbornly conscientious colonel remarks for the curtain line, re¬ varied in tone and pace, and pro¬ gressively - engrossing, while the flashback scenes in the POW com¬ pound are vividly shocking. Wind¬ sor Lewis, making his Broadway bow as a director, has staged the drama with a telling sense of stage values, and Ralph Alswang’s quick- shifting settings of the office and back-lighted prison area are graphically atmospheric (although the lighting of the former is marred by distracting shadows). "Arthur Kennedy, starred as the colonel, gives a dimensional and articulate performance. Richard Kiley, top-featured, gives an ex¬ pressively shaded portrayal as the accused major who is muted by determination to protect his for¬ mer fellow-prisoners. Other clearly etched and plausible portrayals are contributed by Harvey Stephens as the general who finds the truth a stunning, heartbreaking spectre; former musical comedy and ballet dancer Allyn McLerie as the alert WAC corporal; Frank Aletter as the canny sergeant with a useful knowledge of Army intrigue; Thomas Carlin as a nervous lieu¬ tenant who finally blurts out the truth; Arthur Storch as # the leader of the POW officers, and Patricia Benoit in the imperfectly written role of the major’s agonized wife. Hobe. The Hot Corner Eleanore Saldenberg. production of farce-comedy in three acts, by Allen Boretz and Ruby Sully. Directed by Sam Levene (Oliver Crawford, assisting). Fea¬ tures Levene, Vicki Cummings. Scenery, lighting, Ralph Alswang; costumes. Vir¬ ginia Volland. At Golden Theatre. N.Y., Jan. 26, '56; at $4.60 top weeknights; $5.75 Friday, Saturday nights ($6.90 Bobbie S> Stanley . Daryl Grlmes "Muldoon" Wilson .. Cliff Tatum Mae Stanley . Vicki Cummings Fred Stanley ., Sam Levene J. Rupert Wilson.Eric Brotherson Charley O'Connor .Harry Holcombe “Lefty" McShane . • • Hon Murray Jane Kaiser ._ Camila Ashland Maude Wilson . Dortha Duckworth Frances Halliday . Nan McFarland August Hegel . Horace Cooper Gus Markheim ... Eddie Genaro . Bern Hoffman Felix Cassidy .N ed Glass ^ In the old. old days “The Hot Corner” might linger a while at Leblang’s corner, but it’s too thin an entertainment for survival in the smash-or-crash economics of to¬ day’s Broadway. There are laughs, even some smart dialog, but over¬ fall-the- humor -is. - .slack _aikL the_| auips sparse. The play never gen¬ erates the momentum that hit farce-comedy demands. Story has a baseball hero that will remind almost anybody of Leo Durocher in the sense of his be¬ ing a play-to-win hellion whose temper gets him into trouble. Sam Levene gives an intelligent if somewhat familiar reading and saueezes whatever there is to sciueeze in humor from the small- situational goings-on. Repeat that comment as to his direction, a maiden apoearance in that depart¬ ment, and workmanlike, with a program “assist” credited to Oliver Crawford. Cast has been nicely selected, Miss Cummings, co-featured, being very likeable as the patient, loving wife, once in show biz, and Don Murray making an amusing goof- pitcher whose stubborn refusal to pass a peanut vendors’ picket line around the ballpark creates the “plot.” Scene is presumably Syra¬ cuse, a minor league club to which the bad boy manager has been exiled. Ralph Alswang’s set is appropri¬ ately middleclass and serves the action well. The players are attrac¬ tively costumed by Virginia Vol¬ land. In the end the failure is sauarely the script’s. Husband and wife team of Allen Boretz and Ruby Sully had an insufficiency of complication and, in baseball lingo, got trapped between bases. Land. (Closed last Saturday (28) after four performances.) London Bits Newly formed K. G. G. produc¬ ing company has signed Lizbeth Webb to star in new British musi¬ cal titled “The Jubilee Affair,” which opens March 5 in Bristol for a six-week tryout tour. Peter Saunders’ production of “One Bright Day,” former Broad¬ way play, currently touring with Clive Brook and Derek Farr star¬ red, opens Feb. 22 at the Apollo Theatse, London, replacing current show there “Summertime.” Play was acquired by Saunders after its ferring' to”the' impending'“court: ! ry , out at Worthing . . . Jack Wal- martial proceedings, “They’ll know Ier s musical production, “Wild we asked some questions.” And ! Grows the Heather," based on audiences will know they’ve seen J- M. Barrie's “The Little Minis- a show. ter,” is being held up due to Brit- “Time Limit” is superbly pre- ’ ish Equity refusing to grant a per- sented. Most of the action, taking mit to star American singer Wil- place in the colonel’s office, is liam Clauson. INFORMATION WANTED —Pat Somerset —Lola Smith —-Edith Day 12 Walnut St. Edison, N. J. Editor, Variety: For naturalization purposes I am trying to locate either Edith Day or Pat Somerset. I am the nurse that brought their little son over here in 1923. Bertha T. Jankins 2000 Canal St. ^ New Orleans, La. Editor, Variety: Can anyone fill me In on an American dancer named Lola Smith who was doing an act in Paris cabarets. I am anxious to verify and date the story and place. It is vaguely mentioned in the book, “Fair Fantastic Paris,” by Harold Ettlinger. Louthef I. Smith (Formerly with 'Musical Christies’) Show Out of Town Nemo Montreal, Jan. 21. Theatre Du Nouveau Monile produc¬ tion o£ comedy in three acts, by Alex¬ andre Rivemale. Direction, Jean Gascon; ’Settings, Alexis Chirlaeff; costumes, Solange Legendre. At Gesu Theatre, Montreal, Jan. 19, '06; $2.50 top. Consell .. Andre Caiiloux Aronnax . Guy Hoffmann Nemo .. Jean Gascon Le Second . Jean-Louls Roux Ned Land . Jacques Godin Felicie . Denyse Saint-Pierre Matelots Guy LTEcuyer, Gabriel Gascon Champoreau . Guy Provost Dutertre . Marc Cottel Laborne . Roland Laroche Paciflcque . Guy Provost Adolphe . Gabriel Gascon Leontine . Antoinette Giroux Arctyambaud .... Andre C.ulloux Choosing his characters from Jules Verne’s “20,000 Leagues Un¬ der the Sea,” playwright Andre Rivemale has contrived a weird comedy which has been premiered by le Theatre Du Nouvea Monde, at the Gesu Theatre, to a capacity but confused house. This is the second. comedy: by. the__author _that_ this capable company has present¬ ed within the year (the other was “Azouk,” an adaptation of his suc¬ cessful Parisian radio serial, “L’El- pliant dans la Maison”). It lacks the sparkle and pacing of the first. It seems contrived and unwieldy, and following a good first act, be¬ comes mired by reprises and sit¬ uations that lack humor and cumu¬ lative force. Using the argument (a la Luigi Pirandello) that fiction immortals exist beyond the printed page, au¬ thor Rivemale uses the crew of the Nautilus to prove his theory. He stops Verne’s book at Page 102 and wanders off into a fantasy, with a hero who has outlived his heroism. The Rivemale line between philos¬ ophy and feyness is very thin. Director Jean Gascon, in the role of Nemo, is convincing despite the youthful overtones throughout. Possibly direction by someone not in the cast might’ve been able to establish a more objective and less verbose offering. Denyse Saint- Pierre is excellent as first the young millner and then the wife of the captain; Guy Hoffmann comes through in good fashion as the scientist, while Jean-Louis Roux, as the First Mate of the Nautilus, maintains a top-level per¬ formance. -In the supporting cast the .work of Jacques Godin as one of the crewmen appeals, due to Rivem ale’s casting of him as a French Canadian. The three sets by Alexis Chiriaeff are massive and realistic, particu¬ larly his interpretation of the sub¬ marine Interiors, and Solange Le¬ gendre’s costumes reflect the 1873 period of the play effectively. Newt. SCHEDULED N. Y. OPENINGS (Theatres indicated if set) Middle of Night, ANTA (2-8). Someone Waiting, Golden (2-14). D ? sl £?' City Center (2-15), « Music Box (2-16). Debut, Holiday (2-22). Mr ™ ,r Bellinger (3-15), Mr. Wonderful, B'way (3-16). Affair of Honor (wk. 3-2C). Mister Johnson, Martin Beck (4-2). Strip for Action, Wint. Card. (4-12) King and I, City Center (4-25), Most Happy Fella (wk. 4-29). Kiss Me Kate, City Center (5-1G). Ziegfeld Follies, Wint. Card. (5 26) Shsngri-La (5-30). ’ Carmen Janes, City Center (€6) OFF-BROADWAY Salome, navenport (2-2). Miss Julto> Phoenix (2-21). Romeo A Juliet, Jan Hus (2-23). Shows Abroad Plain and Fancy Prince Llttler and Chappell & Co. Tra¬ duction of musical comedy in two acts (17 scenes), book, Joseph Stein and Will Gllckman; lyrics, Arnold B, Horwitt; music, Albert Hague. Features Richard Derr, Shirl Conway. Malcolm Keen, Joan Hovis, Jack Drummond, Grace O’Connor, Reed Du Rouen, Virginia Somers, Harry Naughton, Bernard Spear. Staged by Morton Da Costa; dance and musical number staging. Helen Tamaris, repro¬ duced by Philip Nasta; scenery and cos¬ tumes, Raoul Pene Dubois; orchestra¬ tions, Philip J. Lang; vocal arrangement^ Crane Calder; musical director, Reginald Burston. At Theatre Royal, Drury Lane. London, Jan. 25, '56; $2.80 top. Ruth Winters .*... Shirl Conway Dan King . Richard Derr Man . Terence Coopei*' Another Man . Ivor Emmanuel Katie Yoder .Grace O'Connor Papa Yoder . Malcolm Keen Isaac Miller . Bernard Spear Emma Miller . Virginia Somers Ezra Reber . Reed De Rouen Hilda Miller . Joan Hovis Peter Reber.Jack Drummond Rachel ... • Rita Varlan Samuel Zook .Harry Naughton Jacob Yoder.Michael Derbyshire Samuel Lapp . Joseph Sealy Abner Zook . Terence Cooper Ike Pilershelm . Barrie Irwin Moses Zook . Frank Raynor Abner Zook . Robert Algar Bessie . Leander Fedden Sarah . Renee Fellowes Esther . Barbara Lewis Rebecca . Olive Lucius Mary . Patricia Mortimer State Trooper . Ivor: Emmanuel Singers: Renee Fellowes. Jenny Gaye, Dorina Gregory, Jane Hill. Olive Lucius, Barbara Lewis, Doreen Marlow, Jean Manning, Glen Mildren. Patricia Morti¬ mer, Leonie Page, Sonia Peters, Robert Algar, Trevor Anthony, Terence Cooper, Andrew Cole, Ivor Emmanuel, Edwin Hill. Gilbert Harrison, Colin KembalL Roy Lees, Bernard Quinn, Frank Raynor, Mel Todd, Basil Yeo, Joseph Sealey. Dancers: Audrey Farriss (Principal Dancer), Patricia Berard, Sheila Cairne. Patricia Colbourae, Leander Fedden, Jacqueline Guise, Mary Levack, Joan Merritt, Ann Roberts, Wanda Sinclair, Joy Swanson, Harry Naughton (Principal Dancer), Gilbert Brunett, James Dark, Paul Elsom, Seamus Cordon, Ross How¬ ard. Barrie Irwin, Fred Owen, David Spurling. Brian Todd, Roger Tully, Charles Yates. Children: Sylvia Denman, Hazel Mer¬ cer, Michael Craze, Kenneth Kinner. [ “Plain and Fancy” is a disap¬ pointment. It seems the dullest musical entry into Drury Lane since Rodgers and Hammerstein set a new standard for musical productions with “Oklahoma.” In conception, story, score and im¬ agination this falls lamentably short, even though there is a dis¬ tinct slickness in the staging and a vivid quality in some of the choreography. Yet it does not necessarily fol¬ low that the Prince Littler-Chap- pell presentation is doomed to fail- I 'in®:~FArr~frdffr'tt;"''Tffe\DrG^jr Lane has, over the years, created its own loyal patronage (Rodgers and; Hammerstein have made-a major contribution in this direction), which will undoubtedly help to sustain “Plain and Fancy” for some months. But whether it can eventually pay off its substantial investment, reportedly in the re¬ gion of $100,000, and wind up with a profit, is questionable. The tuner starts off with what may be an insurmountable handi-; cap. The subject matter of the Joseph Stein-Will Glickman book is about dull people, and the re¬ sultant yarn is likewise dull. The locale and the characters, presum¬ ably quaint and interesting to. American audiences, tend to be re¬ mote and colorless to Londoners unfamiliar with this obscure re¬ ligious sect in rural Pennsylvania. Occasionally the show sparks in¬ terest with crisp dialog, but the pedestrian narrative needs a ma¬ jor hypo in the shape of a first class score. Neither Albert Hague’s music, nor Arnold B., Horwitt’s lyrics adequately meet the de¬ mand. The only number of any real note, “Young and Foolish” has already been heavily plugged here, and there was no element of sur¬ prise or freshness about it. The only other number of any note is “It Wonders Me,” but two likely songs are hardly enough to sustain a major production. The choice of the Amish setting as the background for a musical is perhaps no more unlikely than is a pajama factory. But although both “Plain and Fancy” and the previously imported “Pajama Game” may not be highest stand¬ ard, the latter has a vigor and a vitality lacking in the former. And that’s why “Pajama Game” is an assured b.o. success, while the fu¬ ture of the new Drury Lane pro¬ duction must engender some doubt. This reaction is particularly hard for the cast, and notably for the high grade performers who have come specially from the U.S. to appear in it. Shirl Conway and Richard Derr left the Broadway production to repeat their roles at Drury Lane. Miss Conway at once impresses as a performer with a superb sense of timing and the happy knock of making ordinary lines appear witty. . T h e few particularly good lines in her part are delivered with spontaneous sparkle. She doesn't get much of a break with her songs, but does the best possible with the trio of numbers that come her way. Derr is less ade¬ quately served, both in dialog and vocal opportunities. He works' with obvious professionalism, but is given little scope for personal impression. The most striking impact is made by Joan Hovis, who was a standin for the American produc¬ tion, but seizes her big chance as Hilda Miller in the role created on Broadway by Barbara Cook. Miss Hovis, a pert Texan lass with a warm personality, gives a charm- loaded interpretation of the young Amish girl who believes she’s fall¬ en in love with the city slicker from New York. She’s better served by the song and lyric de¬ partment, and socks home with a couple of numbers, particularly “This is All Very New to Me” and “I’ll Show Him.”' Grace O’Connor and Jack Drum¬ mond are a pleasing though con¬ ventional romantic team, with the advantage of having the hit num¬ ber “Young and Foolish” to them¬ selves. Virginia Somers, another American domiciled in Britain, makes her presence felt in the smaller role of Emma Miller, and ■puts some punch into her two songs. Reed De Rouen, also brought from the U.S., succeeds in making Ezra (the unwanted suitor) an unlikeable person, and Malcolm Keen makes a. distinct showing as the,stern Papa Yoder, In his direction, Morton Da Costa has the advantage of the big stage and the generous backstage facilities at the Lane to expand a little on his original Broadway production. The fire scene, with livestock being moved to safety, is a vivid piece of staging, as is the reconstruction of the burnt-out barn. These are among the visual highlights for which Da Costa de¬ serves particular .credit. The danc- fhg, too, has its colorful moments, but there is not enough of it. The original Helen Tamaris choreogra¬ phy is skilfully restaged by Philip Nasta. “Plain and Fancy” fails to make the grade, despite the obvious sin¬ cerity and hard work that has gone into the production. It just hasn’t the qualities which has made Drury Lane a world famous venue for musicals.' . vMyrtf; The Big Birthday Dublin, Jan. 24. Irish Nation Theatre production of comedy in three acts, by Hugh Leonard. Direction. Rla Mooney; setting, Michael OTIerlihy. Features Harry Brogan, Vin¬ cent Dowling, T. P. McKenna, Ray Me- Anally, Doreen Madden. At Abbey Thea¬ tre, Dublin, Jan. 23. 56. Patrick FarreU ..Harry Brogan Willie FarreU . Philip Flynn Moll Lehane ..... Marie O’DonneU Guard Lehane .'.. Michael O'Brien Milo Lehane . Vincent Dowling Maeve Lehane . Angela Newman Sally Lehane . Doreen Madden Liam CTHanrahaii . Peadar O’Luain Mrs. Haffirty . Brld Lynch Sean Scully .’.... T. P. McKenna Swinburne McKeefe....Michael Hennessy Basil Prescott . Eddie Golden Joe Gleeson . Ray Me Anally Hugh Leonard, a new playwright, varies the traditional locale of Irish comedy by switching the scene to a«city parlor and shifting the laughs from rustics to urban¬ ites. Otherwise. “The Big. Birth¬ day” is standard Irish family co¬ medy. The rather slim story involves a patriarch about to ^celebrate his 100th birthday (a couple of years too soon) and the multiple domestic intrigues of his various relatives, friends, neighbors, etc. There’s not much to it, but the first-night laughs were substantial. There ar 4 effective proforinances by Harry Brogan as the premature centurian, Philip Flynn as his sep- tugenarian son, and by Michael O’Brien, Maire O’Donnell. Vincent Dowling, T. P. McKenna (one of the Abbey’s most promising young actors), Michael Hennessy and Ed¬ die Golden. The staging by Ria Mooney is smooth and nicely placed and Michael O’Herllhy's setting is ade¬ quate if not exactly suitable for the income of the characters. All in all, “Big Birthday” seems a likely boxoffice entry for the Ab¬ bey, but doubtful fare for export. Marc. Whitford Kane, 75 years old last Monday (30), made his acting debut in London in 1903 in “Ticket of Leave Man.” He has made vir¬ tually a career of “Hamlet,” ap¬ pearing in 23 different productions (generally playing the First Grave¬ digger) in support of such stars as John Barrymore, Walter Hampden, Osmond and Godfrey Tearle, Mau¬ rice Evans and Mrs. Bandmann- Palmer, a “short-squat, middle- aged” actress who toured the Brit¬ ish provinces about 50 years ago in the title role.