Variety (November 1956)

56 LEGITIMATE PftteltiTY Wednesday, November 21, 1956 Shows on Broadway Li?l Abner Norman Panama. Melvin Frank & Michael Kidd production of musical com¬ edy in two acts (20 scenes), based on characters from the A1 Capp comic strip. Book, Panama, Frank; lyrics. Johnny Mercer; music. Gene de Paul; direction •and choreography, Kidd; scenery and lighting. 'William and Jean Eckart: cos¬ tumes. Alvin Colt; musical direction, con¬ tinuity and vocals. Lehman Engel; orches¬ trations, Philip J. Lang; Genevieve Pitot. Features Edith Adams, Peter Palmer, Howard St John, £tubby Kaye. Char¬ lotte Rae. Tina Louise. Joe E. Marks, . Bern Hoffman. A1 Nesor*. Ted Thurston, Julie Newmar. William Lanteau, Stanley Simmonds. At St. James Theatre, N.Y., Nov. 15. *56; $8.05 top ($9.85 opening). Lonesome Polecat.Anthony Mordente Hairless Joe .• Chad Block Romeo Scragg ... Marc Breaux Clem Scr'agg.James Hurst Alf Scragg . .Anthony Saverino Moonbeam McSwine.Carmen Alvarez Marryin* Sam . Stubby Kaye Earthquake McGoon.Bern Hoffman ■ Daisy Mae.. Edith Adams. Pappy Yukum .Joe E. Marks Mammy Yukum . Charlotte Rae Ll*l Abner . Peter Palmer Cronies Marc Breaux. Ralph Linn, Jack Matthew, Robert McClure, George Reeder Mayor Dawgmcat . Oran Osburn Sen. Phogbound. Ted Thurston Dr. Finsdale .. Stanley Simmonds Government Man.Richard Maitland Available Jones.William Lanteau Stupefyin* Jones . Julie Newmark Colonel . George Reeder Radio Commentators .....James Hurst, Robert McClure. Jack Matthew Gen. Bullnoose ... Howard St. John Secretaries. Lanier Davis, Robert McClure, Jack Matthew, George Reeder Appassionata von Climax... .Tina Louise Evil Eye FI eagle.. A1 Nesor Dr. Smlthbom ... George Reeder Dr. Krogmeyer ... Ralph Linn Dr. Schleifltz . Marc Breaux State Dept. Man ..Lanier Davis Wives.. Carmen Al vn rez. Pat Creighton, Lillian D*Hanau, Bonnie Evans. Hope Holiday,*Deedee Wood .Butler . James J. Jefferies Colonel..Lanier Davis Singers; Margaret Baxter, Joair Cherof, Pat . Creighton, Joyce Gladmond, ‘Hope Holiday, Jane House. Louise Pearl, Jeanette .Scovottl, Don Braswell. Lanier Davis, James Hurst, Jack Matthew. Rob- ' ert MCClurei Oran 0'*)urn, George Rltner, • Anthony Saverino. ^Dancers. Carmen Alvarez. . Lillian D'Honaiu, Bonnie Evans, Maureen Hop¬ kins, Barbara Klopfer. Christy Peterson, Sharon Shore. Rebecca Vorno, Deedee Wood, Chad Block, Marc Breapx, Grover ; Dale, Robert Karh- Ralph Linn. Richard Maitland. Anthony Mordente, Tom Panko George Reeder. Others: Jan Gunnar, Lucky Gargo, Mario Lamm. Reed Morgan, Aldo Ven¬ tura, Robert Wiensko. Songs: "A Typical Day." “If I Had My Druthers,** "Jubilation T.- Cornpone," *Rag Offen the. Bush," "Namely You." ‘Unnecessary Town." "What's Good for General Builmoose/* "The Country's In the Very Best of Hands," "Oh Happy Day,’* "I’m Past My Prime," "Love in a Home.'* "Progress Is the Root of All Evil, "Put 'Em Back," "The Matrimonial Stomp. Now that the inhabitants of Dog- patch, U.S.A., have finally reached Broadway, it seems fair to inquire what all the fuss was about. The characters from A1 Capp’s comic strip, “Li’l Abner/* are unquestion¬ ably the “characters’* they’ve been touted, but although the show stacks up as a boxoffice hit, it’s no great shakes as musical comedy entertainment. A song and dance treatment of “Li’l Abner” has been in the talk¬ ing phase for several seasons, with various songwriting combinations reported working on the project. With film scenarist-producers Nor¬ man Panama and Melvin Frank fi¬ nally settled to the task, Paramount arranged to supply the financing in return for the screen rights, and Johnny Mercer was engaged to pro¬ vide the lyrics, with Gene de Paul as composer and Michael Kidd as stager, choreographer and, in part¬ nership with Panama and Frank, co-producer. If there are any heroes of the oc¬ casion, credit Capp and Kidd. Discounting the theoretical audi¬ ence from Capp's syndicated read¬ ership, the cartoonist’s ragtag ec- • centrics provide a sort of built-in color and vitality. Add Kidd’s vigorous staging and his lively, in¬ ventive choreography and the show’s essentials are complete. Other elements, such as the Mer- qer-de Paul songs, the Panama- Frank book, the William and Jean Ecftart scenery and even some of the; engaging performances, are merely helpful additions. “Li’l Abner” is probably the loudest musical Broadway has had in the last* season or so, likely even rivaling the personal session put on by Sammy Davis Jr. at the climax of “Mr. Wonderful.” This new entry jumps into action with the introduction of the Dogpatch denizens and a succession of broad- ly-comic, roof-raising numbers. The pace begins to wear before the intermission, however, and dur¬ ing the second half the show be¬ comes snarled in complicated plot and labored political satiye. Even so, the momentum from the first half carries it to the final curtain. On that basis, and because it has a unique flavor that’s likely to stimu¬ late word-of-mouth and publicity, plus the established title and syn¬ dicated following and the fact that it’s the first new musical of the fall season, “Li'l Abner” seems an odds- on bet at the b.o. There will probably be some objection to the caustic^flavor of the show, mostly nlr-sticking politics, but with extra barbs at big business, science, society and contemporary mores. But that, added to the zing of the outlandish locale and characters, tends to give the show its unusual point of view and, in a curious way, some sub¬ stance. Without the satirical zing, “Li’l Abner” would tend to be a tame antic. The Panama-Frank book centers on the slow-fuse romance between the outsize hero, Abner Yokum, and Capp’s version of a dream girl, Daisy Mae. The plot complications involve a Government scheme to evacuate Dogpatch and use the site for atom-bomb tests, with added wrinkle including the amorous ef¬ forts of Earthquake McGoon to hi¬ jack Daisy Mae and the mechina- f ions of Gen. Bullmoose to grab the small portion of the national re¬ sources his super-corporation doesn’t already control. Especially in the first half-hour or so, the rushing, noisy proces¬ sion of uncouth characters, slap¬ stick comedy and Songs and dances not only keeps the audience divert¬ ed but is in a curious way believ¬ able and interesting. Kidd’s stag¬ ing and especially his choreo¬ graphy are largely ' responsible, with a notable assist -from the imaginative scenery of the Eckarts. Mercer’s lyrics get attention, al¬ though they're not particularly sub- tie or penetrating. On the basis of a single hearing, de Paul's music is ; merely acceptable, with no especi¬ ally hummable tqnes. j A newcomer, Peter Palmer, dis¬ covered as a guest on a television show, is visually right in the title role, but naturally lacks the author¬ ity, resourcefulness or personal projection that an experienced leading man might have. Edith Adams is an emphatic click as Daisy Mae. Among the secondary players who emerge engaging are Stubby Kaye as the agreeable-for-anytbing Marryin’ Sam, the old vaudevillian Joe E. Marks and Charlotte Bae as the proud and protective Pappy and Mammy Yokum, Bern Hoffman as the menacing Earthquake Mc¬ Goon, Howard St. John as an old- fashioned caricature of sinister business tycoon, Ted Thurston as the opportunist Sen. Phogbound, Oran Osburn as the bombastic Mayor Dawgmeat, Julie Newmar as a humorously sexy Stupefyin’ Jones, Tina Louise as the would- be-seductive Imassionata von Cli¬ max and A1 Nesor a# the amusingly slinking Evil Eve Fleagle. As¬ sorted other freaks are lampooned by various minor members of the company. • - Among the songs that could con¬ ceivably catch ■ on for popularity are “If I Had My Druthers,” “Ju¬ bilation T, Cornpone,” “Namely You,” “The Country’s in the Very Best of Hands,” “Oh Happy Day,” “I’m Past My Prime,” “Love in a Home,” “Progress Is the Hoot of All Evil” and “Put ’em Back.” Incidentally, readers of the comic strip may find special value in this tune and^terp version, but familiarity with the original isn’t necessary for comprehension or en¬ joyment of the show. Hobe. Girls of Summer Cheryl Crawford production of comedy- ama in three acts (five scenes), by N. chard Nash. Stars Shelley Winters; atures Pat Hingle, Lenka Peterson, •orge Peppard, Arthur Storch. Staged Jack Garfein; setting, Boris Aronson; stumes, Kenn Barr; lighting. Dee Wat- n: production assistant, Sylvia Drulie. ; Longacre Theatre, N.Y., Nov. 19, 56; .75 top ($7.50 opening). M , :ne Mitchell,... Arthur Storch ickey Argent . i....... George Peppard Ida Brookman ........ Shelley Winters nnie Brookman .• Lenka Peterson les Taggard ..... Pat-Hmgle immy Brookman .. John Harkins lyllis Brookman. .Sartdra Stevens I S. Mitchell .. Nellie* Burt V It’s getting to be unnecessary for anyone to consult a psychiatrist j anymore to learn about his neu¬ roses. About all an inhibited soul has to do is attend some of the Broadway plays providing an “analytic” approach to crazy, mixedup characters onstage. Any reasonably enterprising playgoer can just go along for the ride as the playwright works out his prob¬ lems in public. The latest little excursion into Freudian psychology is N. Richard Nash’s “Girls of Summer,” present¬ ed by Cheryl Crawford, with Shel¬ ley Winters as star. The play is a bit of a case, itself, with flashy scenes, frustrating moments and a generally confused state. It may have a fair engagement. “Girls” is a comedy-drama about a seemingly healthy, thirtyish spin¬ ster who is secretly afraid of life —and as any pre-Karen Horney Freudian knows, life is synony¬ mous with sex. When 18-year old sister arrives home with a go-get¬ ter he-man and is all eager for carnal romance, the visitor turns out to be,the catalyst who clarifies i everyone’^ hidden emotional drives. Big sister’s prissily ardent suitor emerges as a mother-hating latent homo. Little sister discovers that she’s made a mama image of big sister. And big sister, after thwart¬ ing little sister’s assignation with the big sex-appeal stranger, re¬ alizes that she really wants him herself. After a couple of scenes bordering on hysteria, big sister is about to have the guy (well, at least she finds out what he wants for breakfast), and everybody’s basic psychological selves are clear to everybody. All this wilLdoubtless be utterly fascinating to the army of Freu¬ dians, and it’s even reasonably en¬ tertaining to the uninitiated sort of bloke who thinks couches are for taking naps. The characters have enough emotional corners to keep a psychiatric therapy group happily occupied for weeks and weeks, although they may not enthrall non-devotees quite all, evening. Still, Nash’s creations are a lively a&ortment who keep the premises jumping with colliding egos, and the dialog is.salted, with human and rather amusing turns and touches, which are generally exploited expertly by director Jack Garfein and the talented cast. So while the show is occasionally al¬ most as baffling as a problem child, it has frequent enjoyable and laugh-winning passages. Miss Winters, who wowed Broad¬ way last season as the deceptively unsure dope-addict’s wife in “Hat¬ ful of Rain/’ gives another deftly- shaded, expressive and warmly- projected performance as the seemingly poised spinster whp has taken refuge in being a foster- mother to her brother and sister. It’s not the showiest role in the play, but it has the most dimension and range, and Miss Winters plays it with perception and persuasive sensitivity. Pat Hingle, in the big and juicy but somewhat, unvarying part of the male animal who upsets every¬ one’s pretenses, including his own, is properly direct and vigorous, although his playing starts at too high a pitch and therefore tends toward mohotony until the final scenes, when he achieves an effect by moderation. I There are vivid supporting per- I formances by Lenka Peterson as the intense younger sister who’s so hot for love that she’s got the fidgets, Arthur Storch as the dance coach who’s terrified at the con¬ sciousness of his~ home tendencies, George Peppard as a teenager in dungarees, sweatshirt and a fum¬ bling urge for sex, and John Harkins, Sandra Stevens and Nellie Burt in bit parts. Boris Aronson’s single setting of a Manhattan * apartment living room-bedroom and cqurtyard is comfortably playable and looks not only authentic btit almost lived-in, and the costumes of Kenn Barr and the lighting of Lee Watson are of professional calibre. But it seems doubtful if there are enough Freudian-happy playgoers to sup¬ port “Girls of Summer” very long. Incidentally, Nash adapted “Girls” from *his own tv script, “The Brownstone,” which was orig¬ inally done on.Philco Television Playhouse. Hobe . Child of Fortune Jed Harris production qf drama in three acts (five scenes) by Guy Bolton, based on the Henry James novel, "Wings of the Dove." Staged, by Harris; scenery and lighting,. Robert O'Heam; costumes, William Pitkin. Features Edmund Pur- dom, Betsy von Furstenberg, Mildred Funnock, Martyn Green, Norah Howard, Stafford Dickens. Peter Fagan. Bert Bertram. Anthony Palazzo, Mary Foskett, Pippa Scott. At Royalo Theatre, N.Y., Nov. 13. '66; $ 5.75 ($7.50 opening). Bennett .;.: Bert Bertram Lionel Croy . Martyn Green Kate Croy ....... Betsy voni Furstenberg Richard Denning.Edmund Purdom Milly Temple . Pippa Scott Mrs. Lowder. Norah Howard Susan Sheplferd .Mildred Dunnock Dr. Strett ..... Stafford Dickens Lord 1 Annersley. Peter Pagan Eugenio .Anthony di Palazzo Bianca .. Mary Foskett Although Henry James was a distinguished novelist, he was un- I successful as a playwright and his stories have generally defied adaptation for the stage. Of the various dramatizations of his works, only “The Heiress,” based on his novel,“Washington Square,” was a real boxoffice hit, although “The Innocents,” based on “Turn of the Screw,” was respectfully re¬ ceived. To the steadily growing list of failures add “Child of Fortune,” Guy Bolton’s still-life dramatization of James’ “Wings of the Dove.” Jed Harris, generally credited with the success of “The Heiress,” tak¬ ing it over and sharpening it into absorbing dramatic form after Oscar Berlin closed It as a flop during a tryout tour, has a tepid article in this new stab at a James work. The “typical” James story in¬ volves an American heiress, vic¬ timized by greedy, conniving Eng¬ lish acquaintances, but gaining not only* happiness in her dying hour but also bringing poetic retribution (Continued on page 61) Inside Stuff—Legit George Jean Nath tin, whose drama reviewing column for King Fea¬ tures Syndicate appears in the NL Y. Journal-American, has recovered from a serious illness and is resuming his coverage of Broadway shows. His first notice, published the day after the preem, wai a rave for Eugene O’Neill’s posthumous tragedy, ^ong Day’s Journey Into Night.” Nathan didn’t actually attend the production at the Helen Hayes Thea¬ tre,. N.Y., but reviewed it qn the basis of reading the published text. Besides praising the script, the critic commented as follows on the cast, “The local company, headed by Fredric March and Florence Eldridge, is by no means a brilliant one, and it shows, here and there, something in the nature of. shop good, but it probably serves well enough to bring out a sufficient measure of the play’s inner power, and to bring another touch of size to a native drama that all too often has been lacking* in it, and has substituted mere loud emotion for the troubled torment of the human soul/’ The acting drew rave reviews from the other New York firstnighters, & ,-- . -- Robert Sylvester, columnist and former drama editor of the N. Y. Daily News, joined the sheet's drama critic, John Chapman, last week in deploring early curtains for Broadway openings. Chapman has re¬ peatedly, complained of the estrly ring-up, which is intended to give critics more time to write reviews and was originally started a if the request of several critics. Sylvester got into the discussion with a reference to Variety’s story reporting a wave of producer gripes against drunkenness on the part of a few critics, plus misuse of first- night and second-night press spats and some instances of wholesale “borrowing” by drama editors and columnists. Without mentioning the press seats and “borrowing” aspects of the matter, the columnist com¬ mented that the early premiere curtains leave “worn and haggard” critics only time enough for a “few” drinks before the show. Shows Out of Town Unelc Willie New Haven, Nov. 14. Albert Lewis & Samuel Schulmau (in association with I. B. Joselow) production of comedy in three acts, by Julie Berns and Irving Elman. Stars Menasha Skulnik; features Nita Talbot. Edith Fellows, John Connell, Arline Sax, Harvey Korman. Martin Rudy. Staged by Sidney Walters; setting and lighting, Ralph Alswang; in* cidemai music. Sol Kaplan; costumes. Guy Kent. At Shubert Theatre, Nov. 14, *56;. $4.50 top. Uncle Willie . Menasha Skulnik Leo . Harvey Korman Esther. . Arline Sax Kathy .Eileen Merry Sheila .. Haine Lynn Peggy . Kathy . Dunn Charlie . John Connell Francey . Nita Talbot Mrs. Simon.Dorothy Raymond Ellen . Edith Fellows Sgt. McNamara . Martin Rudy Mr. Smith . John Kane Miss Baxter . Muriel Ault There’s a place on Broadway for “Uncle Willie.” Not among the Pulitzer or Critics Circle contend¬ ers, or even in the smash hit cate¬ gory, but rather in the pleasant- evening, money’s-worth x classifica¬ tion. Production has a serving of tear jerking, a plausible story, a num¬ ber of laughs, a segment of toler¬ ance propaganda and/ above all, Menasha Skulnik. And of its premiere, it’s a mixture of narra¬ tion, straight playing, hake and vaudeville, the latter steffiming from various comedy monologs that could very well serve as a routine for the vet Yiddish comic. The conglomeration somehow jells into acceptable entertainment that should improve during the tryout tour. Laid in the Bronx early in the century, “Willie” is essentially a nostalgic picture of the beginnings of the Jewish-Irish melting pot phase of New York history. Basi¬ cally, however, it’s the familiar situation of the little guy who, with the best of intentions, finds himself behind a perennial eight ball. In this version of the yarn, Uncle Willie sends passage money to bring to America an orphaned niece he has never heard of. He concocts a wedding for her, takes on a second mortgage so she can have a home in the “country” (Bronx) and does what he can to smobth things when an Irish fam¬ ily takes over upstairs quarters in the niece’s house. Willie’s only thanks for all this is a blasting for his “meddling,” but he survives the t o n g u e-lashing and eventually brings about a happy situation for all concerned. p Menasha Skulnik plays the cen¬ tral character with considerable ap¬ peal/ Hl3~longtime following tyill enjoy his antics and a new gen¬ eration of playgoers will find him a talented thesp. Half-dozen featured roles are generally well handled, with Arline Sax as the niece, Edith Fellows and John Connell as the young Irish parents, Nita Talbot as ..a dollar- conscious chatterbox, Harvey Kor¬ man as the niece’s husband, Martin Rudy as a police sergeant. Eileen Merry, Elaine Lynn and Kathy Dunn, figure importantly in the story and are effective in- moppet roles. Dorothy Raymond is ade¬ quate as a widow. e Combination of writing and stag¬ ing, plus a narration technique wherein-Skulnik is in and out of the story, makes an interesting overall presentation. It’s done against an attractive two-level sin¬ gle setting of a Bronx homestead. Bone. Shirley Booth planed to the Coast last week to begin rehearsals for an engagement in “Desk Set” at the Curran, Frisco. Tonight, Lincoln Vs« Douglas Hollywood, Nov. 9. George Boroff production of drama Sn two acts and epilogue, written and di¬ rected by Norman Corwin. Stars ’Jeff Morrow, Mala Powers. Philip Pine. At Circle Theatre, Hollywood, Nov. 8, *56. In the light of the current con¬ troversy over desegration, the ideas expressed in the Senatorial race in Illinois in 1858. when an attorney named Abraham Lincoln debated the incumbent Stephan Douglas, have strong topical interest. On the basis of last week’s preem of Norman Corwin’s platform- staged version of the famous de¬ bates, if appears that when the author uses the stenographic rec¬ ord of the confabs the show is at its best. Even today, the clash of those keen minds offers not only intellectual nourishment but also strong drama. Both Lincoln’s pointed humor and Douglas’ adept rough-and- tumble campaigning stand pp with striking clarity. Corwin has done a skillful job of editing the thou¬ sands of words spoken without doing damage to the substance. The attempt to focus the drama of the debates through the eyes of Mrs. Douglas doesn’t entirely suc¬ ceed, although several scenes be¬ tween the Senator and his wife serve admirably to point up the former’s combination of variety and strength of character. The passages between Mrs. Douglas and Lincoln are delightful. The cast of three includes Jeff Morrow as Lincoln, Mala Powers as Mrs. Dodglas and Philip Pine as the Senator, Occasional overemo¬ tionalism on the part of all three I is presumably at least in part the | fault of Corwin, who also directed. This is especially inappropriate the case, of Lincoln, who, at least according to tradition, leavened his reasoning with dry wit. Moreover, the treatment here fails to con¬ trast the personalities of Lincoln and Douglas and thereby dramatize their natural antagonism. In many instances, outside of the 'content, tkexshief difference in characteriza¬ tion is that Lincoln is tall and Douglas is short. Otherwise, Morrow is impressive as Lincoln, showing both a keen appreciation of the ideas he is ex¬ pounding, and a skillful portrayal of the rail-splitter’s towering per¬ sonality. The real surprise of .the evening however, is Pine as the peppery, self-centered Douglas. On the strength of this performance, the actor rates as a promising star. Miss Powers doesn’t measure up fully to the role of Mrs. Douglas, appearing at various times too immature, stiff and uncertain. She’s hampered by the script, of course, but appears to lack dimen¬ sion, although showing flashes of new penetration and ability. * Corwin's central staging needs revamping, especially for the tiny Circle Theatre. Basically, the debate scenes are placed on a raised jilatform in the rear of the playing area, while the personal scenes are staged in the fore por¬ tion. While the players use the confined space lyell, the personal scenes are too close to the audi¬ ence, tending to destroy the illu¬ sion. The lighting scheme evolved by Barry McGee is sound, although several cues .were missed on open¬ ing night. Kove.