Variety (February 1957)

SS EJBCniMATB Vednegday» February 20» 1957 To leatre Owners am Operators. In The United States and Canada ^ The Independent Booking Office, Inc., announces the open¬ ing of its offices at 137 West 48th Street, New York City, I Our policy is impartial booking service available to any theatre or production office which desires it, at the lowest possible cost. 2 The Independent Booking Office was planned and devel¬ oped to serve both the producer and the road theatre with equal fairness. 2 All theatre owners and operators may participate in this booking service and enjoy the. advantages which attach to its operation. This office wjil represent all producers regard¬ less of their affiliations. All theatre owners and operators are invited to participate in the official adfninistratidn of the book¬ ing service. ^ . The Independent Booking Office, a NON-PROFIT ORGAN¬ IZATION, breaking cleanly with the past, does not make the theatre shoulder the full burden of the booking fees, as in the past. The theatre and the attraction will absorb them equally. The fees have been set at $75.00 per playing week to each, based on the estimated operating costs of the office. NOW BOOKING My Fair Lady The Diary of Anne Frank Hotel Paradiso Cat on a Hot Tin Roof Damn Yankees ALSO WHEN AVAILABLE Bells Are Ringing The Most Happy Fella The Tunnel of Love We want to hear from theatre owners and operators all over the country, including those in cities which do not now receive legitimate plays. We welcome recommendations for the cor¬ rection of past booking faults. Recommendations may deal with matters of a purely local nature or matters which affect the theatre's^welfare generally. We are ably equipped to send shows to your theatre. A letter or a telegram will bring you more complete information on the advantages available to you. For a speedier, more informed service to you, please send advices on your theatre as to stage dimensions, capacity, and all the details required by the managers of touring shows. The imEPEmEUT BOOKM OFFICE, Ine. 137 WEST 48th STREET • NEW YORK 36, N. Y. HAROLD GOLDBERG Manager Telepfione Circle 7-3311 OFFICERS AND DIRECTORS HERMAN LEVIN PRESIDENT LOUIS kOTITO 1st VICE PRESIDENT MRS. MARTIN BECK A. L. BERMAN HERMAN BERNSTEIN KERMIT BLOOMGARDEN 2nd VICE PRESIDENT ALFRED DE LIAGRE, JR. MAX GORDON ROBERT E. GRIFFITH HERMAN SHUMLIN SECRETARY LAWRENCE LANGNER ERNEST MARTIN RICHARD MYERS ALEXANDER H. COHEN T. fDWARD HAMBLETON GILBERT MILLER TREASURER IRENE M. SELZNICX ROGER L. STEVENS SHEPARD TRAUBE ROBERT WHITEHEAD Legit FoDowups My Fair Lady (HELLINGER THEATRE, N. Y.) As it’s been doing since opening night, March 15 of last year, “My Fair Lady” is still justifying its tremendous reputation. At the premiere nearly a year ago the Alan Jay Lerner-Frederick Loewe musicalization of G. B. Shaw’s “Pygmalion” had to live up to a phenomenal preliminary buildup. Its rep has since become interna¬ tional, and although many people may come to it pre-conditioned to enchantment, it’s potent enough to captivate the perverse few who may approach it in. the mood of Eliza Doolittle's song, “Show Me.” Not even the absence of the musical’s top star, Rex Harrison, Seems to make serious difference. Subject to surprisingly slight broadening of the performance, the show has held up beautifully. In some respects it hfis even im¬ proved, nOtabljr in the., some, what greater color, projection and im¬ pact of .costar Julie. Andrews as Eliza. Stardom, ‘as well as 11 months of playing, niay account for her increased confidence and authority. Edward Mulhare, the little-; known Irish ^actoi: whom producer Herman Leyin, ;C0-authprs Lerner and Loewe . and stager Moss Hart spotted in London to sub during Harrison’s vacation (he’s since been signed for three years, and will, fully inherit the role, of Prof. Hig¬ gins next Dec. 2, when Harrison’s contract expires), is a remarkable find, and he makes the original star’s absence a comparatively minor matter as far as performance is concerned. However, Harrison’s, name draw may be missed at that seemingly remote time when the show begins to taper off at the b.o. The substitute Higgins is ob¬ viously copying Harrison’s per¬ formance, probably according to direction as well as to conform to the whole . company’s established pattern. Although that’s undoub¬ tedly a protection to some extent, it must limit Mulhare a bit, since he would presumably be more com¬ fortable and relaxed in a charac¬ terization he had worked out for himself. In the established pattern, he does amazingly well, though naturally lacking the detail, the texture and the star “presence” of Harrison’s portrayal. The fact that Mulhare has a physique along the same general lines as Harrison’s also tends to make the substitu|ion more or less inconsequential for audiences, even repeaters. Incidentally, the new¬ comer resembles a sort of combina¬ tion Leslie Howard and Gary Cooper, with the former’s facial appearance and the latter’s lean, sinewy build. Mulhare’s click appearance puts a heavy burden of proof on Actors Equity to justify its extreme alien rules, particularly its unsuccessful campaign in this instance. It seems a tough thesis to argue that anyone from the union’s regular member¬ ship would have been such an almost perfect choice for the assignment. The fact that Equity went to such lengths to exclude Mulhare tends to make its entire alien attitude appear arbitrary. Stanley Holloway and Robert Coote are still standout in the respective comedy roles of Alfred P. Doolittle and Col. Pickering. In the secondary parts, Viola Roache is acceptable as Higgins’ amused mother, although she lacks Cathleen Nesbitt’s high-comedy ele¬ gance. Philippa Bevans (Miss Roache’s daughter offstage) is still effective as the professor’s house¬ keeper. Robin Craven is believable as the Roumanian (recently chang¬ ed from Hungarian for interna¬ tional political reasons — how silly can you get?) speech expert. John Michael King is passable as the admiring Freddy, and Regina Wal¬ lace, Olive Reeves-Smith, Glenn Kezer and Rod McLennan are adequate in lesser roles. Hart’s staging retains its keen edge, but the enunciation of lines in some of the chorus numbers has become a bit slovenly (Miss An¬ drews’ superb clarity is in contrast). Oliver Smith’s handsome scenery and Cecil Beaton’s stunning cos¬ tumes have been keept immaculate, and Franz AHers’ pit conducting is still expert (he gets body-English assistance fx-om practically the whole audience, which has un¬ doubtedly worn out at least one original-cast record album apiece). Kobe. The Country Wif© (ADELPHI THEATRE, LONDON) London, Feb. 12. One of the best examples of bawdy Restoration comedy, Wil¬ liam Wycherlej^’s “The Country Wife” has transferred to A regular West End theatre after a short run at the Royal Court, where it w’as originally presented by the English Stage Co. In its new venue the same management is operating, by arrangement with Jack Hylton. Apart from one or two minor cast changes, the Adelphi presentation uses the same first-rate team of players, and they respond to George Devine’s racy staging to keep the action at a fast pace. In its new home the comedy should succeed for a moderate engage¬ ment, but it really deserves a more intimate theatre for maximum im¬ pact. ' Laurence Harvey, with a deft combination of charm and author¬ ity, plays the man-about-town who feigns impotency to win the trust of all husbands and thereby be left securely with their women. Diana Churchill, as his main target, Is not at her best in the role of Lady Fidget and Joan Plowright, in the title part, tends to overdo the bumpkin aspect of the character. Esme Percy, John Moffatt, Moyra Fraser and George Devine head the able cast. ‘ Myro. Show Out of Town Good as Gold Boston, Feb. 16. Cheryl Crawford Sf 'WllUam Myers pro¬ duction of comedy In two acts (13 scenes), by John Patrick, based on the bdok by Alfred Toombs. Stars Roddy McDowaU, Pa.ul Ford, Zero Mostel; features Loretta Leversee. Robert Emhardt, Blackbui'n Twins. Staged by Albert Marre: scenery* Peter Larkin; lightlne,, Al' Alloy; .cos¬ tumes, Noel Taylor; production manager* Billy Matthews;' produ<^tion . assistant, Sylvia Driilie. At Shubert Theatre. Bos¬ ton, Feb. 16, '57; $3.85 top weeknlghts; $4,40 Friday-Saturday nights. Commentator . Edward Fuller Benjamin '....' . ' Roddy JVIcDowall Policeman . . Dana Elcar Doc Penny . . . Zero Mostel Barbara . Loretta Leversee Congressman Fairweather . Paul Ford Congressman Jason . Robert Emhardt McDougal . Royce Blackburn McFadden . Ramon Blackburn Jail Officer . Thomas Ahe.irn Radio Announcer . John Harkins Radio Engineer . Ell HiU Reporter . Clarence Stemler Photographer . John Harkins TV Announcers . . Edward Fuller, Eli Hill Caucus Room Guard.. ..Clement Brace Committeemen. .Lou Gilbert, Hugh Evans Scribe . Kenneth Santos Vault Director . . Hugh Evans Fredei-ica . Juleen Compton Pilsudski . Lou Gilbert “Good as Gold” is a hilarious spoof of Government aiid the Washington scene, with trick plot twists in which gold is turned to dirt and the dirt grows vegetables of gargantuan size on stage. It looms large for the hit bracket.** Sharply etched portraits of Gov¬ ernment officials, smart dialogue, freshly topical references to the FBI, Congress, radio, tv and bu¬ reaucratic bungling are offered at a swift pace, and the entire pro¬ duction is studded with laugh lines that had the Boston first nighters rocking. The show seems almost as big as the mammoth vegetables, acres of forests and oceans of seaweed growing in the gold-turned-to-dirt that con¬ founds the Pentagon. The two act comedy is a natural for films, with slick potential for trick photography in the Instantly mushrooming vegetables, plants that dwarf houses and autos, plus the broadly etched Capital scenes and a back-home-in-Oregon exposi¬ tion. The John Patrick dramatization of Alfred Toombs’ hook Is stun¬ ningly unusual, a sort of musical comedy without music, done in whirling series of Washington scenes. Although the second act bogs down a bit while girl tries to nab boy in the weighing room of a U.S. storage Vault, there seems to be nothing wrong that tighten¬ ing and cutting can’t fix. Acting honors are well shared in this laugh fest. Ro(Idy McDowall, as the botany prof, has just the right touch of wide-eyed wonder¬ ment and academic preoccupation. Zero Mostel, as the Washington character with whom the prof falls in, gives a brilliant performance as a bewhiskered charlatan who savvys the politico scene. Paul Ford, in the meaty role of A Congressman who becomes in¬ volved in the effort to get the gov¬ ernment to turn over gold to make the magic dirt, is outstanding. Robert Emhardt, as a Congress¬ man of another party and a bitter foe, turns in a fine acting stint, Loretta Leversee is a 811010 come¬ dienne as the Congressman’s daughter who nabs the botany prof at last act curtain. The Blackburn twins play FBI investigators to broad comic effect. Juleen Compton, as the prof’s girl from his Oregon home, is a click with a sexy dumb-smart character portrayal. Hugh Evans has a nice bit as U.S. Storage Vault director. Albert Marre’s direction is neat and Peter Larkin’s amazing sets, in which vegetables are apt to grow through the walls at any moment, earn the applause they get. Guy,