Variety (February 1956)

56 LEGITIMATE Pfa&IETY Wednesday, February 8, 1956 * Shows Out of Town My Fair Lady New Haven, Feb. 4. Herman Levin production of musical in two acts, 18 scenes. Adapted from Ber- na'rd Shaw’s “Pygmalion," and suggested by the motion picture produced by Gabriel Pascal. Book - and lyrics, Alan Jay Lerner: mi'41c, Frederick Loewe; staging) Moss Hart; choreography and musical staging. Hanya Holm; scenery, Ollvei* Smith; costumes, Cecil Beaton; musical director, Franz Allers; musical arrangements, Robert Russell Bennett; lighting, Feder; dance music arrange¬ ments. Trude Rittman. Stars Rex Harri¬ son, Julie Andrews; features Stanley Hoi-' loway, Cathleen Nesbitt, Robert Coote. At Shubert Theatre. New Haven. Feb. 4, *56; $6 top. Buskers Imelda DeMartln, Carl Jeffrey. Joe Rocco Mrs. Eynsford-Hill .Viola Roaclie Eliza Doolittle Julie Andrews Freddy Eynsford-Hill....... Michael King Col. Pickering . ... Robert Coote Bystanders.Christopher Hewett. Rod McLennan Henry Higgins . Rex Harrison Selscy Man . ... Gordon Dilworth Hoxton Man . David Thomas Cockneys ... Glenn Kezer, Reid Shelton, James Morris, Herb Surface Bartender . David Thomas Harry .. Gordon Dilworth Jamie . Rod McLennan Alfred P. Doolittle ... Stanley Holloway Mrs. Pearce .. Philippa Bevans Mrs. Hopkins . Olive Reeves-Smith Butler . Reid Shelton Servants . . Rosemary Gaines, Colleen O'Connor. Muriel Shaw, Gloria Van Dorpe. Glenn Kezer Mrs. Higgins . .. Cathleen Nesbitt Chauffeur.. Barton Mumaw Footmen . Gordon Ewing William Krach Lord Boxl’ngton. Gordon Dilworth Lady Boxington .... Olive Reeves-Smith Ladies.. Rosemary Gaines, Patti Spangler. Lolo Fisher, Coleen O'Connor. Melisande Congdon Zoltan Karpathy_Christopher Hewett Flunkey Paul Brown Queen of Transylvania.. Marlbel Hammer Ambassador . Rod McLennan Bartender . Paul Brown Mrs. Higgins' Maid.Judith Williams Singers, dancers. well have done yeoman duty as TTwole* Vanva the complete setup for a straight : * . . * > ■■ ^- -. -‘ I David Ross revival of comedy-drama in four acts (four scenes), by _Anton “My Fair Lady” is going to be a whale of a show when they get it functioning w if h i n normal bounds. Qn the basis of a premiere that ran 30 minutes overtime, the musical contains enough smash potential to assure it a high place on the list of Broadway prospects. Show has so much to recommend it that only ,a radical (and highly improbable) slipup in the simoniz-. ing process can keep it out of the solid click class. George Bernard Shaw, whose play) and a sumptuous array oi costumes. The conducting of Franz Allers, arrangements by Robert Russell Bennett, dance music arrangements by Trude Rittman, and lighting by Feder all come in for credit. A substantial nod of approval for the adroit blending and proper dissem¬ ination of all these assets goes to ‘Moss Hart, who has done a note¬ worthy job of staging. Bone . Debut Boston, Feb. 6 . Richard Horner Sc JusMn Sturm pro¬ duction. of comedy in three acts (five scenes), by Mary Drayton, based on the Isabel Dunn novel, “Maria and the Cap¬ tain," Staging, John Gerstad; setting, John Boyt. Features Tom Helmore, Inger Stevens. G. Albert Smith, Edith*Grasham, Eulabelle Moore, Grace Raynor. Charles McDaniel, Osceola Archer, Alberta Hun¬ ter. At Wllbnr Theatre, Boston, Feb. 6, '56: $3.85 top. Mattie . Alberta Hunter Anna . Eulabelle Moore Maria Bcraud . Inger Stevens Marjorie Hansford. Grace Raynor Capt. Richard Beraud~... .G. Albert Smith Aunt Phoebe . Edith Gresham Lid . Osceola Archer Dabney Featherstone... .Charles McDaniel Wyn Spaulding . Tom Helmore Shows On .Broadway “Debut” is a sex mint julep just naughty enough, dealing as it does with the marital dalliance of a southern belle, to appeal mostly to the distaff side. That was evi¬ dent at the Wilbur premiere when a predominantly feminine audi¬ ence found it screamingly funny. But somewhere between Matunuck, R.I., where the Mary t)rayton comedy tried out last summer, and Boston, the magnolia has turned into corn. Perhaps the producers are. aiming for film and tv possibilities, because “Debut” seems pretty thin for Broadway, despite its reported operating nut of only around $ 12,000 a week. There has been little change in the script since Matunuck, but the playing tempo has been greatly speeded. First act is staccato, ap¬ parently aimed at overcoming the heavy exposition. Only three of the trpout cast flowergirl-turned-feminine orchid, play, “Pygmalion” is the basis for 5 remain. Tom Helmore, the au- the musical, never had it so good ? thor's husband, is still playing the as with this lavish production. One. lead. G. Albert Smith continues as scenic gem after another graces : the southern belle’s father and two revolving stages. A glove-fit-; Eulabelle Moore, remains as the ting score integrates beautifully | maid. All three turn in excellent into the spirit of this romp. A talented cast responds worthily to stellar direction. And a general aura of . quality embraces every¬ thing from performances to cos¬ tume materials. Whoever originally fconceived the idea of giving this Shavian opus musical treatment rates a bow. The two go together as solid entertainment. No little, credit is due the way in which melodies and lyrics have been employed to punctuate and embellish the orig¬ inal barbs of the diverting straight version. For the two leads, Rex Harrison and Julie Andrews, “Lady” is a magnified moment. As the callous Prof. Higgins, who. sees in the flower girl only a challenge to his skill with phonetics, Harrison comes through with a highly pol¬ ished and engaging performance, demonstrating how to “talk” a song when vocal talents are not all they might be. Miss Andrews, as Eliza, fulfills the promise exhibited in her “Boy Friend” performance as she under¬ goes the metamorphosis from gut¬ ter to boulevards. Personally attractive, she sings well and dis¬ plays an infectious charm. Stanley Holloway gives a ribald account of himself as Eliza’s imbib¬ ing father, and scores handily in song. Robert Coote offers an amus¬ ing stuffed-shirt interpretation of Col. Pickering; Cathleen Nesbitt-is appropriately grandedame as Hig- gin’s mother; Philippa Bevans is properly maternal as the profes¬ sor’s housekeeper; Michael King does a good solo as Eliza’s suitor Freddy; and other' supporting roles are Well handled by a sizeable cast. The script carries plenty of good laugh material, ranging from chuckles to a blackout howl as Eliza urges her nag in a horserace. : Lyrics, too, are replete with subtle (and not so subtle) humor. The score gets off to an early click with “Wouldn’t It Be Loverly,” picks up a lively pace in “With a Little Bit of Luck” and follows through with a listenable group that includes “Just You Wait,” “The Rain in Slfain,” “On the Street Where You Live,” “You Did It” and "Within You.” The dance routines hit a varied range, from a spirited “Bit of Luck” number to a stately “Em¬ bassy Waltz,” which makes a color¬ ful first act closer. The individual hoofing is modified, with primary emphasis on ensemble terping, which comes over well. Visually, “Lady” is beautiful, with a series of handsome settings portrayals. Inger Stevens, a blonde looker, has the femme lead vacated "by Marjorie Steele, who went into the recent Hub folderoo, “Dancing in the Chequered Shade.” She plays the southern hoyden with vehement enthusiasm, complete with mugging. Story line, unchanged, has to do with-*a dungaree doll from the old south who finds “necking cheesy” and wants “all or nothing.’.* She propositions a visiting foreign cor¬ respondent for a trial affair, but later spuns him and prepares to marry her dull fiance, played nicely by Charles McDaniel. . Laughs are all in the second act, with discussions laced with fast gags. John Gerstad’s direction seems hurried in' the first aci. Many bits and gags have been eliminated from the summer tryout version to speed up the action. Helmore turns in a fine, well- rounded performance and, in this version The par now seems to have her playing j straight for Helmore. Smith reg-1 isters strongly as the southern father and his part has also come in for more laugh lines. Miss Moore, who had a number of gags as the maid, is left with only a few, but uses them tellingly. The part of Lid, now portrayed by Osceola Archer, has been cut. Edith Gresham, as aunt Phoebe, handles a part which could be very corny in. nice fashion. Grace Ray¬ nor is good as the flirtatious cal¬ culating cousin. A new character, Mattie, played by Alberta Hunter, who is heard in offstage spiritual type vocaliz¬ ing, has been added for nice ef¬ fect. “Debut” seems to have been pretty well stripped down during its hiatus between last summer and now. The first act troubles ap¬ parent in the summer tryout are still there, despite the faster play- incr Rnfr tlioro’c ctill Dlor»f,r nf Chekhov, translated by Stark Young. Directed by Ross. Settings and lights, Zvi Geyra; costumes, Richard Mason. Stars Franchot. Tone. Signe Hasso. At 4th Street Thfatre, N.Y., Jan. 31, 56; $3.60 top. Cast: Mary Perry, Franchot Tone, George Voskovec, Clarence Derwent, Peggy McCay, Signe Hasso, Gerald Hiken, Olive Templeton, Sanford Seeger. “Uncle Vanya” has succeeded “Cherry Orchard” in the Chekhov series at the 4th Street Theatre, in Greenwich Village, N. Y. It’s strict¬ ly professional, and rates as an another impressive entry for pro¬ ducer-director. David Ross. Unani¬ mous critical praise by the daily reviewers and the name lure of costars Franchot Tone and Signe Hasso should guarahtee a hefty turnout at the small off-Broadway hideaway. The play, however, loses some of its edge because of the similar¬ ity of plot and characters with the preceding “Orchard.” Additional¬ ly, Chekhov's account of a bored Russian family doesn’t pick up steam until around the half-way mark. Despite these shortcomings, this 'Vanya” is a firstclass revival of the work of an author who’s had a powerful influence on the thea¬ tre. The performances are good, and Ross once again displays a capable directorial hand. Also on the plus side are the imaginative setting and lighting design by Zvi Geyra. Tone is effective as the weary doctor, a role he pjfeviously es¬ sayed in a two-performance run of the play at the Morosco Theatre, N. Y., in 1929. Miss Hasso is ap¬ pealing as the young wife of the retired professor, delineated in polished fashion by Clarene Der¬ went. George Voskovec does a fine job in the title assignment and Peggy McCay submits a warm por¬ trayal as the professor’s daughter pby a prior marriage. Olive Templeton is okay as Miss McKay’s maternal grandmother. Gerald Hiken, a regular at the 4th Street, turns in another commend¬ able performance in the humorous role of an impoverished landown¬ er. Mary Perry is competent as the elderly nurse^ while Sanford-| Seeger, another regular at the spot, contributes a competent bit as a workman. J ess. Marcel Marceau N Y. City Centre Theatre Co. (Jean Dalrymple. director), by arrangement with Ronald -A. Wllford Associates and Jean De Rigault, present the French pantomimlst “and his parner s," Pierre Verrv and Paul Sanchez. At City Cen¬ tre, N. Y., Feb. 2, '56; $3.60 top. An Evening of Wilde Paul H. A. Menard Sc Jeseph Guzzetti Jr. revival of two one-act plays, “The Florentine Tragedy'? and “Salome," by Oscar Wilde. Staged by Norah Alston and Guzzetti, respectively; settings. Menard; lighting, Edward McCabe; chore¬ ography, Robert Haddad; costumes, Douglas McClish and Marc Roth. At Davenport Theatre, N.Y., Feb. 2, '56; $3 top. Cast for “Tragedy"; Shirley Wilber Ellen Holly, Lou Spiegel, George Bar- tenieff. Cast for "Salome": Roger Morris, Ed Brazier, Robert Kirk, Don Lev. Francois Nesbitt, Lou Spiegel, Edward Fuorry, Jane Norvell, Shirley Wilber, Dan Hogan, James Coco, Debrah Hoch, John Hertz, George Bartenieff, Sy Hirsh. John Car¬ bone. Henry Crane, A1 Mitchell, Ellen Holly. Once they get past trifling with '&T£SrS the’ i" U gi”s s 1,,The T. raged , y " “VI rt played by Miss Stevens | on with “Salome,” producers Paul H. A. Menard and Joseph Guzzetti Jr. show that their off-Broadway foray has serious intent. Their prime difficulty is that they have given themselves a couple of toughies, “Tragedy” being almost completely inconsequential and “Salome” being too opulently overwritten for incisive dramatic effect. This “Salome” is an earnest effort, however, and if Wilde’s writing palls from its own effusive¬ ness, at least James Coco as a petulant Herod, and Jane Norvell as a rather mature Salome, do their best to create vital theatre. In the colloquies between these two (and the many-charactered play becomes close to being a duo- log) there is frequently tension and drive, but knowing and com¬ petent as their performances are, Coco and Miss Norvell cannot work to be done before this is ready for Broadway. Guyl. Arthur Laurents* “A Clearing in the Woods” is slated for Broadway production next season by Roger L. Stevens arid Oliver Smith, with Kim Stanley as probable femme lead. “Ponder Heart” will retain its original title when it opens Feb. 16 at the Music Box, N.Y. A tag change to “Happy Heart” had been contemplated. Rosalind Russell has signed for the title role in the scheduled ___ . ... .Robert Fryer-Lawrepce Carr musi - 1 that give this “Salome” its modi- (alraost any one of which could 1 caL woductioA ofi ‘(Auntie Maine/-’ii-PMhV !P{ M&ipgtjt > ;«u a mu Ccor. Wilde’s garrulity. Guzzetti has . directed “Salome*’ with pageant-like solemnity, al¬ though he and Menard, who dou¬ bles as designer, have made good use of the Davenport's diminutive stage facilities. Ellen Holly (who also appears to advantage in the curtain-raiser) as a slave girl, John Hertz as Caesar’s ambassador and Dan Hogan as the unfortunate prophet, make themselves more than mere supernumeraries, but it's Coco’s humorous imagination as Herod, and Miss Norvell’s con¬ centrated effort in the title role During the season of 1955-56, Marcel Marceau extended his area of artistic conquest to Canada, New York City, provincial America and Tokyo. Seldom does an entertainer achieve so much “make” in so short a time. Previously unknown on this side, practicing an art with no following, no nostalgia save perhaps as regards Charles Chaplin, Buster Keatoh and Harry Langdon of silent films, the French pantomimist scored rave N.Y. press notices and SRO at the downtown Phoenix in Manhattan, then a fort¬ night at the Barrymore on Broad¬ way. Now he repeats for a third N.Y. two-week engagement at the City Centre. Add to this, several television appearances, considerable general periodical acclaim and the word- of-word and Marceau has done himself, pantomime and la belle France great good, plainly he is an artiste of exceptional technical skill and imaginative power, ca¬ pable of making people weep for a crushed butterfly as if humanity itself had suffered a mortal blow; capable, too, in a brief few mo¬ ments of telescoping all life and coming to the limp head fallen in death from, the sickbed pillow, The simplicity of the figure in white against the black drapes and bare stage naturally carries its own strange contrast at the City Centre to the recent Orson Welles elabo¬ ration of “King Lear.” It is not clear what items of Marceau’s pro¬ gram are “new,” as the publicity insists. Most seem repeats, with several items already stamped as Marceau’s trademarked specialties. Detailed description is superfluous, but a number of critic's comments and questions may be footnoted to the record of the big golden year: (1) For future tours on this side Marceau should take into account the tendency of people to comment “great stuff—but too much same¬ ness for a whole evening.” ^Al¬ though Pierre Verry and Paul Sanchez get large main title print as Marceau’s “partners,*- they are confined to the holding of the placards. This is no small artistic flourish, but still only entre.’acte decoration. A twosome or three¬ some in pantodrama would be a showmanly break and more musical accompaniment would help, too. ( 2 ) A Canadian reviewer who wondered if Marceau’s stuff was “over the heads” of the audience up there also deprecated the cos¬ tuming of the star in “long white drawers.” As to whether the technique of pantftmine disallows change of costume, it’s something to be pondered come another time. (3) Marceau has some stunningly effective impressions and has an uncanny eye for movement. His footwork and handwork seemingly most impress the public (some thinking his facial effects less awesome as a communication in¬ strument), but here and there bits are obscure. Notably, “The Dice Players” simply is, not in the visual idiom for American crap shootrirs. Whoever saw 3 two-handed throw? Apparently the Frenchman has never witnessed the grand contor¬ tions of the Yankee worshippers of snake-eyes. In short, some editing for American taste is indicated next time around. (4) At least one out-and-out episode of human pain and agony ought to be included to offset an excess of whimsicality. “Bip Has A Sore Finger” is more a light spoof on a man.over-reacting to a minor malaise than a display of true suffering. Unrelated to the foregoing points, but a comment on any one- man show under American legit conditions: the executive credits far out-weigh the talent credits. Thus, exclusive management for the U.S. (Ronald A. Wilford), per¬ sonal representative for North America (Jean de Rigault), ad¬ ministrative director (Mme. M. P. Boulesteix), general manager (J. M. Grossman), company manager (Abe Enkelwitz) and personal press representative (Lillian Libman) imply that the visiting Frenchman is at least adequately administered. Laird. The Innkeepers Gordon W. Pollock Jin association with Richard Cook and Teter Flournovj production of dram? in three acts, liy Theodore Apstein. Staging, Jose Quin¬ tero; setting and lighting, David Hays; costumes. Guy Kent; associate producer Theodore Mann. Stars Geraldine Page; features Darren McGavln, Joe Maross, Boris Tumarin. At John Golden Theatre, Feb. 2, '56; $4.60 top weeknights; $5.75 Frlday-Saturday nights . $8.90 opening). Esperanza.... Miriam Colon Santiago .....Ernesto Gonzales Amy McGregor.. Geraldine Page David McGregory..Darren McGavin Georg Mainzer.Boris Tilmarin Rose Haddock.-r.Jean Barker Jim Haddock ..Truman Smith Butter and Cheese Woman.Carmen Zapata Lue ... - Sandra Zapata Refugio ‘.Anita De Soto Howard .. .Joe Maross It takes “The Innkeepers” one act to establish that the likeable young American couple in a Mexi¬ can resort town are vicitims of their . Government's security sys¬ tem. From that topical and pro¬ mising theme, however, the play shifts to reveal that the husband is a weakling, an overgrown child afraid of reality and the prospect of responsibility. Either slant would presumably be mettlesome stage material, but they’re not fused and neither is ao ceptably dramatized in this first- produced script by Theodore Ap¬ stein. As a consequence, “Inn¬ keepers” is a confused play, hope¬ less for Broadway and negligible as a potential for films, stock or tele¬ vision. , The painfully unheroic hero of the piece has lost his Government job on the flimsy charge- that his wife was a Communist for aboui six months while in college 15 years previously, when she was 17. When he refuses a behind-the- scenes job. back in the U.S., it ap¬ pears that he’s a man of principle and pride, but presently it turns out that he originally quit rather than fight the guilt-by-marriage case an<f is ready to rim away in¬ definitely to - avoid anything un¬ pleasant or. demanding. The wife, too, does a big switch. Instead of the wispy sort of mater¬ nal protector of the first act, she becomes a virtual psychoanalyst, who sees through her sniveling spouse’s evasions and procrastina¬ tions, carefully explaining to him his subconscious motivations in “punishing” her, and urging him not to disavow -the grievances he has hysterically blurted out. When she refuses his whimpered plea to do away with her unborn child and, leaving him crumpled in dispair on the bedroom floor, departs for the U.S., it should be a satisfying finale. The play itself has beaten her to the «xit, how¬ ever, and the whole effect is flat. Geraldine Page, who specializes in fluttery gals, keeps on improv¬ ing as an actress. Although her voice is still light and not always audible, she has simplified her playing, eliminating much of the “busyness’* and the mannerisms that used to be distracting. She retains 'her essential style and in¬ dividuality, however, and remains an affecting player and interesting personality, Darren McGavin gives all he’s got to the embarrassing role of the self-pitying husband, and manages to lend it credibility, if not stature or sympathy. Joe Maross is plausi¬ ble and ingratiating an old friend who drops in from New York with a job offer, particularly when he settles down after his edgy opening scene. Boris Tumarin gives a lucid portrayal of a hopeless Czech re¬ fugee, and there are acceptable bits by Jean Barker, Truman Smith, Mi¬ riam Colon, Ernesto Gonzalez and Anito De Soto. Joe Quintero’s staging seems properly atuned to the varying moods of the play, while the Mexi¬ can setting of David Hays and the costumes by Guy Kent seem ap¬ propriate, But nothing mitigates the unsatisfying quality of the play itself. Hobe. Igor Cassini (society columnist Cholly Knickerbocker for Hearst’s King Features Syndicate) will be coproducer with Howard Hoyt, in association with William G. Costin Jr., on the upcoming mu¬ sical comedy, “Strip for Action,’ in which Jack Pearl will costar with Yvonne Adair. • (Closed last Saturday night (4) after four performances .) SCHEDULED N. Y. OPENINGS 0Theatres indicated if set) Someone Waiting, Golden (2-14). Streetcar Desire,’City Center (2-15). Ponder Heart, Music Box (2-16). Debut, Holiday (2-22). My Fair Lady, Hellinger (3-15). Mr. Wonderful, B'way (3-22). Affair of Honor Cwk. 3-26). Mister Johnson, Martin Beck (4-2). Strip for Action, Wint. Gard. (4-12). King and I, City Center (4-18). Most Happy Fella <wk. 4-29). Kiss. Me Kate, City Center (5-9). Ziegfeld Follies, Wint. Gard. (5-26). Shangri-La (5-30). Carmen Jones, City Center (5-30). OFF-BROADWAY Thorntons, Provincetown (2-14). Age & Grace, Blackfriars (2-20). Miss Julie, Phoenix , (2?21). > Romeo A Juliet, Jan Hus (2-2.. • Beaver Coat, Giveenwleli JV1«VV6 (3-7).