Variety (February 1956)

56 LEGITIMATE UAtziety Wednesday, February 22, 1936 Shows on Broadway Xl»o Pointer Heart Playwrights Co. production o£ comedy in three gets, by Joseph Fields and Jerome' Chodorov, adapted from Eudora Welty’s short story of the same title. Staged by Robert Douglas; settings and lighting, Ben Edwards; costumes. Frank Spencer. Stars David Wayne; features Una Merkel, Sarah Marshall. Juanita Hall, Don Hanmer. Will Geer. At Music Box Theatre. N. Y., Feb. 16, '56: $5.7o top C$6.90 opening). Jacob . Theodore Browne Sarah . Vinie Burrows Mr. Springer . X*avid Lcland Edna Earle Ponder .Tina Merkel De Yancey Clanahan..Don Hanmer Big John . John Marriott Narciss .^ J Ju , ani £ a , H , a11 Purdel Peacock . Edwin 5 u £!f 1( r y Bruce Peacock . Richard Klein Treva Peacock . Helen Quarner Johnnie Ree Peacock.Jeanne Shelley Mr. Peacock . Harold Grau Mrs. Peacock . Charlotte Klein Eloise .Barbara Jean Gilliam Uncle Daniel Ponder.David Wayne Dorris R. Gladney . .. Will Geer Bonnie Dee Ponder.- Sarah Marshall Sam . Noel Williams Rodney . Johnny Klein Willie . . Junior Marshal 1 Teacake Magee . Judge Waite ... John McGovern Dr. Eubanks . Donald Foster Truex Bodkin . Dwight Marfield Mrs. Bodkin .: .• • • Map barrel 1 Al . T. Talbot Holland Clvde . William Dwyer Clerk .. James Karr Bailiff .- Tony Kraber Foreman . Alan Manson Jurors and Spectators... Daniel Bergin. Joseph Bishop, . Tom Geraghty, Join Holden, Richard Rothrock. Lieselottc Singer Imagine a sort of combination Will Stockdale and Papa Vander- hoff character in a small southern town. Throw in a third-act court¬ room goofier than “Trial by Jury."” Have it played as a campus rough- house, with David Wayne starring in almost a Burgess Meredith im¬ personation. That suggests some¬ thing of the quality of “The Pon¬ der Heart.” This is the Playwrights' Co. pro¬ duction of the Joseph Fields-Jer- ome Chodorov dramatization of Eudora Welty’s widely admired short story from th£ New Yorker mag. It’s a special dish, virtually certain to have its own ardent fol¬ lowing, but likely to leave literal¬ minded grouches baffled and vaguely irritated. It seems a ques¬ tionable bet for boxoffice popu¬ larity, but could conceivably be picture material, subject to careful revision and superior production. Taken as a fable, “Ponder” has a fanciful sort of sweetness and apparent charm, with the hectic third-act trial adding a slapstick climax to the first two acts of whimsy. But anyone who tries to take the play seriously js likely to be driven as near distraction as are the harried trial judge and the flabbergasted prosecuting attorney. Even a callous realist would probably admit that beneath all the antic nonsense, “Ponder” is a gentle, tolerant play about a group | of lovable, hopelessly fey charac- ; tors. In short, it’s in the nature 1 of a comic valentine—that is, os¬ tensibly just a jape but with un¬ derlying affection. In ease anyone else has missed Miss Welty’s original yearn, “Pon¬ der” involves a childlike old geez¬ er, with the naive eagerness and helpfulness of the hero of “No Time for Sei^eants," plus the adamant individualism of the ec¬ centric patriarch of “You Can't Take It With You.” This senescent pixy uses his in- heritence to buy candy and ice¬ cream cones for the kids, and give wholesale presents to his appreci¬ ative relatives and friends—and everyone in town is a kid, relative or friend. The lively old joker marries an even more simple- minded youngster so she can quit her stifling job in -the five-and-ten and will no longer have to shar the essentially incredible situa¬ tions while retaining the simplic¬ ity of Uncle Daniel Ponder and his bigness of heart, as well as the understanding of his devoted niece and doting friends. For those who may be enchanted „ __, by the antic quality of this back- 5b; 55 . ^ country f a j r y story, the perform¬ ance is likely to be a delight. The unregenerate may be annoyed, however, by its hectic pace and the rambunctious nature of Robert Douglas’ staging, the caricature tendency of Wayne’s quixotic charmer. But only the most dis¬ gruntled playgoer could fail to be touched by the scene in which Ponder learns that his bride has walked oiit on him, or the occa¬ sional other poignant moments. Although the performance as a whole seems a trifle unvarying in tone, Una Merkel gives a spirited and appealing portrayal of the loyal niece, while Sarah Marshall has a disarming quality as the frankly dimwit bride. Juanita Hall is agreeably hearty as the family servant. Will Gear seems unneces¬ sarily unctious as the prosecutor. Don Hanmer is plausibly rattled as the defence attorney badgered by his own client, and John Mc¬ Govern is amusingly dismayed as the helpless judge. There is a : large supporting company of rube i “characters.” j Ben Edwards has designed the I three vividly atmospheric settings j and Frank Spencer has provided 1 plausibly seedy costumes. There • are a number of likable things j about “Ponder Heart,” but its gen- j eral appeal appears to dwindle j during the leisurely first two acts, j after which the courtroorp, cutup ! seems an inadequate artificial stim- j ulant. Ho be. Knew Each Other When Fold of the Hedgerow Theatre last week after 33 years’ unbroken repertory operation in Rose Valley, Pa., Philadelphia and occasionally on tour, stirred reminiscences about some of the Broadway and Hollywood names former¬ ly associated with the outfit. Ann Harding, Morris Car- no vsky and John Beal were immediately mentioned.- Then it was recalled that legit., pressagent Sol Jacobson (“Teahouse of the August Moon,” “No Time for Ser¬ geants”) had publicized the Jasper Deeter troupe for sev¬ eral years before migrating to Broadway. Only a few old friends realize, however, that Jacobson acted with the com¬ pany when he first joined it after being a big wheel’ in Dartmouth College theatri- • cals. One of the handful who share Jacobson's guilty secret is pressagent Ben Washer (“Janus” ' and the incoming “Mister Johnson”). During his brief tenure as drama critic of the old Philadelphia Record, Washer covered Hedgerow Theatre openings and actually reviewed Jacob¬ son’s acting. There are flo readily avail¬ able clippings containing his comments, and Jacobson ain’t talking. Someone Waiting Eddie Rich production of melodr-'mi in three acts (five scenes), by Emlyn Wil¬ liams. Staged by Allen Davis; setting and lighting, Ben Edwards; costume designer. Gene Coffin; associate producer. Cliff Hayman. Stars Leo G. Carroll. Jessie Royce Landis; features Howard St. John, Robert Hardy; Norah Howard, Brook Byron, Ludie Claire. At John Golden Theatre, Feb. 14, *56; $4.60 top wcek- nlghts; $5.75 Friday-Saturday nights ($6.90 opening). John Nedlow . Howard St. John j Miss Lennie .. Ludie Claire \ Martin .. Robert Hardv | Vera Nedlow . Jessie Royce Landis : Hilda .. Brook Byror I Fenn .. Leo G. Carroll i Mrs. Danecourt . Norah Howard i Neighbors .... Herbert Voland. j Louise Buckley I has been too deliberately clever. He’s likely to be the someone wait¬ ing for this one. Hobe. Sireetcar IVanie^t Desire N. Y. City Center Theatre Co. produc¬ tion of drama in two acts (11 scenes), by Tennessee Williams. Staged by Herbert Machiz; sets and lighting, Watson Barratt, bared on Jo Mielziner originals. Stars Tallulah Bankhead; features Gerald O'Loughlln, Frances Heflin, Rudv Bond. At City Center, N. Y., Feb. 15, '56; $3.80 top. Negro Woman . Vinnette Carroll Eunice Hubbel . Je»n Ellyn Stella Kowalski . Frances Heflin Stan’ey Kowalski.Gerald O'Loughlin Mitch . Rudy Bond Steve Hubbell ...;. Bruno Damon Sailor . . . . David Anthony Blanche DuBois . Tallulalr Bankhead Pablo Gonzales . Lou Gilbert Young Collector . Sandy Campbell Mexican Woman.*. Edna Thomas Strange Woman . Dorritt Kelton Strange Man ... Bert Bertram For two acts, Leo G. Carroll , moves softly around an expansive! London drawing room like some- j one waiting. He’s waiting for the ! painstakingly plotted moment when | he’s going to avenge his son, who; was hanged for a murder he didn’t j commit. Meanwhile, the audience • has no choice but to wait, too. j “Someone Waiting” is the un- j comfortably appropriate title for! the cat-and-mouse melodrama by \ British actor-author Emlyn W T il- j liams. It had a five-month run in London and is a current success in Paris. But strawhat operator Eddie- Rich, who brought it to Broadway last week, has no such happy pros¬ pect. Moreover, the yarn would need plenty of vitamin injectiqps to offer much for pictures. When playwright Williams final¬ ly gets around to the showdown scenes, “Waiting” has bursts of swift action, and there’s a surpris¬ ing and satisfying twist at the fi¬ nale. But there’s too much waiting; it’s .too long and quiet, and the plot is too contrived. Carroll, an expert at this sort of stage hocus-pocus, pads around the set with.bland and deadly calm, bed with her swarm of brothers j underplaying softly as he fills in and sisters. j the situations with the small, sig- He takes her to live in his an-; nificant bits of melodramatic busi- cestral mansion, where she fills the ; ness at which the British are so living room with household appli- ac ^Pt. Jessie Royce Landis, regal ances out of the Sears & Roebuck but understandably disturbed as catalog, even though there’s no" the devoted wife of a lecher and electricity in the place to run I secret murderer, is properly m- them. When the child-bride dies • teiise - of fright during a lightning storm,! There is a moderately believable a politically ambitious state’s at- > performance by Howard St. John torney charges the retread hero • at * the odious villain who poses as with murder. j a public benefactor, fills his draw- But after that franlirallv emih.‘ in " room with spurious antiques, bled trial in which the irrpnrpc ■ tS’ranizes his foster son and dallies sible defendan iiterrSots to^or“: with the sorvant * irls - Acceptable reel theWitnessesmake secondary portrayals are given by lions to the iudM befriendI Robert Hard y as the <™bittcred “vn attorney £d &JW'ndilna^ ga^rSiSufmother of the phantli exonerated. j daughter and Brook Byron as a Fields and Chodorov, whose pre-; floo/.y servant, vious dramatizations from the i The meJler has been staged bv New Yorker have included. “My : Allan Davis with bushed but busy Sister Eileen” (plus its musical emphasis, against a sinisterly deco- version, “Wonderful Town”) and ! rative setting by Ben. Edwards and ‘Junior Miss,” have apparently: with authentic looking costumes done a remarkable job of putting j by Gene Coffin. It all adds up to a Miss Welty’s complex narrative ; respectable attempt. But this time style into characteristic-sounding ! the author of “The Corn Is Green” £iato£, ' They have alsd captured. and the chiller “Night Must Fall" The N.Y. City Center Theatre Co., prone to work surprises, offers as its windup of the mid-winter legit season, “A Streetcar Named Desire,” with Tallulah Bankhead grappling the lead role of Blanche DuBois. Despite the actress’ ob¬ vious and supetior talent, this .is palpable miscasting. Miss Bank- head misses altogether the softer, nebulous quality essential to make the neurotic ex-schoolteacher sym¬ pathetic. Youthful and trim-looking, Miss Bankhead tries hard. There are some fine moments, as when she describes the tragedy of her early marriage, or gets the return-ticket home from Kowalski. But she’s never secure or successful in the Blanche role, at times talking too harshly, and at other moments de¬ livering her lines so fast and so indistinctly as not to be under¬ stood. As result, “Streetcar” stalls. Direction of Herbert Machiz j makes the play sound too broad; ■ it seems played more now for laughs, and sometimes (on open¬ ing-night, anyway) the laughs come when they shouldn’t. The play drags at times, especially in the early part of the second act, though at other times it has the expected fascination, since it re¬ mains potent drama Gerald O’Loughlin gives a sturdy performance as Stanley Kowalski, gratefully not trying to ape Marlon Brando, but managing an effective characterization. Fran¬ ces Helfin plays Stella Kowalski naturally, simply and winningly, • and is in vivid contrast to Miss • Bankhead as her sister. The fourth : principal, Rudy Bond, is also an [asset as mama-boy Mitch, who ’ falls for Blanche, bringing a deal : of awkward poignancy to his portrayal. j Supporting bits are also good, I down to Sandy Campbell’s brief i moment with Miss Bankhead as a ; young collector, with Jean EJlyn ■ and Lou Gilbert rating citations. ; Bron. Shows Abroad SimiHwr °Lofidon, Feb. 17. George & Alfred Black production of musical drama in two acts (17 scenes); book, Hy Kraft and Eric MaschwUz; music, Anton Dvorak, arranged by Ber¬ nard Grun; lyrics, Eric Maschwitz. Staged by Charles Hickman; dances. Pauline Grant; decor and costumes, Thea Neu. Stars David Hughes, Sally Ann Howes: .features Lauvence Naismlth, Bonita Prim¬ rose, Van Atkins, Edric Connor, Mark Daly, Marjorie Rhodes. At Princess Thea¬ tre. Lmirton, Feb. 16, '56; $2.80 top. Tomasliek . Derek Sydney Dvorak . Laurence Nolsmith Porter . Thomas Baptiste Pepik. David Hannaford Karolka . Sally Ann Howes Father Jan . Trevor Griffiths Uncle Marek . Mrrk Daly Mrs. Maslo . Winifred Braemar Abe . Edric Connor Blndek . David Geary Milli . Bonita Primrose Marenka . Peggy Verhon Andula ... Roma Hodson Ruzena .Maureen McGregor Dorota. ^.. Alison McGuire Gilmore .'._ Frank Tilton Ma Flanagan . Marjorie Rhodbs Shaun . David Hughes Feeney . Michael Golden Maslo . John Adams Joe .‘ Van Atkins Jake . Derek Svdney Barstow ... .Joss Clewes Reporters. Raymond Lloyd, Joss Clowes Steward . . Clem HqII Sailor . Roy Pattison Singers: Joan Houghton, Tina Sunran. Peggy Vernon, Catherine :Dunn. Roma Hodson, Mary Nichols. Maureen Mc¬ Gregor, v vonne Chaplin, Patricia Mc- Crory. Alison McGuire, Colin Lees, Maurice French. Lee Calver, Paul Stuart, Trevor Griffiths, Herbert Steenkomn. Raymond Lloyd. Ted Hyde, Francis Johns. Wallace Stephenson,. Rov Pattison, Charles Holford. Clem Holt, John Adams. Dancers: Geraldine Lynton, Frederlque Sevier, Jennifer Stacey. Joan King. Patricia Jordan, Eileen Elt.on. Philipoe Perrottet. Ro"er Labbee, Jurek Czaola, Odell Crowther, Robert Gill, Jack Maguire. ! ‘Colony’ Gets 10G Aid I Greensboro, N.C., Feb. 21. The North Carolina Council of ■ Slate has approved an appropria- ; lion from the* state’s contingency j and emergency fund for “The Lost ! Colony,” production at Mantco. 1 The annual historical drama will i get $10,000 to help make up a ! $14,800 deficit incurred last sum- 1 mer, when hurricanes hurt busi- , ness. At last, a British musical that seems to have taken some note of Broadway standards. Not an out- and-out smash bv ajny means" “Summer Song” is nevertheless the best local tuner to have been staged m the West End since World War II. Whether the show can rival in’ staying power the best of the American imports is questionable. It’s at the offbeat location of the Princes Theatre, which housed “Pal Joey” and “Wonderful Town.” and both of tjiem failed to pay off. Summer Song” comes to the West End after a two-month try¬ out at Manchester, where it played to capacity and earned back about half of its investment. With that advantage, it is a fairly safe bet to make a profit particularly as the overhead has been kent reasonable.' Also, it has obvious film potential¬ ities and. with adaption and rewrit¬ ing, might well be considered for American production. Embellished from an incideent in the life of Anton Dvorak, the show repeats the successful “Song of Norway” and “Kismet” formula by using the music (now in the public domain) of a great composer and adding lyrics to suit the needs of the story. The result is a score of unrivalled quality, abounding in impressive ballads, with a flow of typically gay and lively show tunes. The lyrics, however, with one or two exceptions, rarely match the artistic standards of the music, as is more or less inevitable. According to a program note, Anton Dvorak spent a short time in a Czech lumber town in Illinois in 1893, and on that slender foun¬ dation, co-authors Hy Kraft and Eric Maschwitz have fashioned theiV book. Their principal setting is the Czech lumber colony, which the comDoser impulsively visits, hiding his identity so as to play the role of miracle maker as well as music master. The conventional story serves admirably to present the Czech composer as warm, likeable and human, a charcterization made be¬ lievable by the excellent portrayal of Laurence Naismith. He invests the part with requisite dignity, but eschews pomposity. His is a naU ural performance enhanced by an acceptable singing voice, although ironically, not always well served with his songs; The co-starring of Sally Ann Howes and David Hughes in the romantic leads gives the show val¬ uable marquee stature, and both acquit themselves admirably. Miss Howes, whose ability os an actress has developed from comparative immaturity to high professionalism in a few years, is an expert hand in dealing with ballads. At times, her treatment is a little on the hard side, but her delivery of the title song in the second half is one of (he highspots. Hughes, with an impressive string of disclicks to his credit, emerges as an appealing * per¬ former. Tlis acting is surprisingly natural and his vocalistics are con¬ sistently in the top grade. Bonita Primrose, in the main comedy role, has a pert and win- j ning slyle which she uses with tell- j ing effect in her delivery of “Once ja Year,” This is one of the best I lyrics, wilh a touch of'spice and sophistication which should make it a natural for nitery chirps Edric Connor’s portrayal of the Negro is distinguished by its ad mirable restraint and his render, ing of “Cotton Tail” has a distinc. tive air. Marjorie Rhodes sports a phoney Irish accent as the saloon- keeper. Van Atkins, as a travel- ling salesman who visits the lum¬ ber camp once a year, and John Adams stand out in featured roles “Summer Song”, is lifted out of the rut by the standard of the dance sequences. Pauline Grant’s choreography has. the right Bohe¬ mian flavor and the big corps-de- ballet was led on opening night by Philippe Perrottet ang Jurek Czapla, as last minute substitutes for William Barrett, who was taken ill with jaundice just before the opening. Bernard Grun has adapted Dvorak’s music to suit the needs of the show in a way which will please the audiences and not of¬ fend the purists. Charles Hick¬ man’s staging has an uneven qual¬ ity, allowing the action to lag need¬ lessly in^ the openin’g act, but speeding the pace for the final act. The decor is at times a little too drab, but the national costumes used for the dance sequences are first class. Myro. A Likely Talc Glasgow, Feb. 1. H, M. Tennent Ltd. & Robert Morley production of comedy ^in three acts, by Gdlald Savory. Staging, Peter Ashmore: scenery and costumes. Motley. Stars Mor- iey, Margaret Rutherford. At King’s Theatre, Glasgow, Jan. 30, '56; $1.10 top. Oswald Petersham ... Robert Morley Lola Petersham.Violet Farebrother Mirabelle Petersham , . Margaret Rutherford Ursula Budgeon . .- Judy Parfltt Gregory Lupton .Richard Pearson Jonah Petersham. Robert Morley Robert. Morley, doubling as a father and his own son, is co- starred with Margaret Rutherford in this comedy by Gerald Savory, whose “George and Margaret" had a pre-eWorld- War II run of 799 performances in London. The new play, titled “A Likely Tale,’” seems a likely success. As with “George and Margaret,” this new piece has a major charac¬ ter who never - appears. He’s a crotchety nonagenarian, dying on his deathbed 'upstairs and knock¬ ing with his stick on the drawing¬ room ceiling to attract the atten¬ tion of his 65-year-old son and two elderly spinster daughters. The opening act is lively, with wit and charm, and is splendidly acted by the two stars and Violet Farebrother as the second sister. Their nostalgic conversation about the good old days when England was a leisurely place and after¬ noon tea was always on time is halted by the word that their father plans to leave his money to a home for aged horses. Matters are further complicated by the arrival of the 65-year-old son’s 40-year : old son (played by Morley in a red wig, with a patch over-his eye) and a visit from an antique store, manager whose ro¬ mance- with the family’s pretty servant girl compounds problems. The farcical yarn ends on a satis¬ fying note of anticlimax. Morley gives a richly comic dual performance as the - portly, old- fashioned Englishman and his wily son, contrasting the two characters, one mannered and deliberate, the other rakish and quick. He uses a trick substitution of understudy on two occasions, Miss Rutherford gives an ani¬ mated portrayal of the sister living in a part of fictitious rejected suitors, and mutely terrified of a no-legacy future. Miss Farebrother, whitehaired and dignified, effectly contrasts as the more self-reliant sister. Richard Pearson handles the difficult role of the selNeffacing antique dealet nicely, although his voice is somewhat highpitched, and Judy Parfitt is appealing as the maid who blossoms forth. The decor by Motley is standout, and Peter Ashmore has directed the performance imaginatively. The play’s principal fault at the mo¬ ment is a heavy second act. Gord. Doctor Jo London; Feb. 16. Jack Waller production of drama in three acts (six scenes), by Joan Morgan. Staged by Jack Williams; decor^M 10 ]™ 01 Eve. Stars Sonia Dresdcl. Barbara Cou- per. Hugh Williams. At Aldwych Theatre, London, Feb. 15, 56; $2.25 top. Clare Berosford . Barbara Coupci Mrs. Fothergili .* Hazel Balnbndge Dr. Marlowe . Claude Jones Jim Beresford . < -' llve „rMi l i 111 1 Dr. Alan Beresford . Hugh Williams Joanna Marlowe . Sonia Dresdcl Roberts . John Wynyanl Mrs. Barnes ... Judith Ciuig Hailed as the event of the season at last year’s Edinburgh Festival, “Doctor Jo” has come to /own after a successful and profitable out-of-town tour, It's a disappoml- (ContihUed'oh page 58)