Variety (May 1957)

56 LEGITIMATE Msmm Shows on Broadway New Girl In Town Frederick Brisson, Robert E. Griffith Sc Harold S. Prince production of musical comedy-drama In two acts 18 (numbers), based on the Eugene O’Neill drama, "Anna Christie." Book. George Abbott; music and lyrics, Bob Merrill; production directed by Abbott; dances and musical numbers staged- by Bob Fosse; scenery and costumes, Rouben. Ter-Arutunian; or* chestra director, Hal Hastings; orchestra¬ tions, Robert Russell Bennett, Philip J. Lang; dance music by Roger Adams; nair styles, Ronald De Mann, Stars Gwen Ver¬ don-, Thelma Ritter; features George Wal¬ lace, Cameron Prud'homme, Mark Daw¬ son, Lulu Bates,. Eddie Phillips, Michael Quinn, Del Anderson, H. F. Green. At 46th Street Theatre, N. Y„ May 14, 57; $8.60 top weeknights; $9.20 Frlday-Satur- day nights . .$13.80 opening. Lily ...Lulu Bates Moll ...Pat Ferrier Katie . Mara Lynn Alderman ,..... Michael Quinn Chris.. Cameron Prud’homme Johnson ... Jeff Killion Seaman *... H. F» Green Mar thy .Thelma Ritter Oscar .....’. Del Anderson Pete ..Eddie Phillips Mrs. Dowling .Ann Williams Smith ...Stokley Gray Mrs. Smith .Dorothy Stinnette Bartender.Mark Dawson Ivy .... Rita Noble Rose .Ginny Perltfwin Anna . Gwen Verdon Flo ...Drusilla Davis Pearl . Mara Landi Mat ......George Wallace Mrs. Hammachcr ...Jean Handzlik Reporter .Herb Fields Masher . John Aristides Svenson ...,.. Ray Mason Violet .. Dcedy Irwin Walter ...*.Louis Polacek Dowling ...Ripple Lewis Politician .H. F. Green Krirtp ‘.. John Ford Henry .Edgar Daniels Dancers: Claiborne Cory, Drusilla Davis, Dorothy Pushock, Pat Ferrier, Marie Kolin. Mara Lynn. Ethel Martin, Joan Petlak, John Aristides, ..Robert Bakanic, Harvey Hohnecker, Harvey Jung,. Dale Morgda, John Nola, Eddla Phillips, Alton Ruff. Singers: Jean Handzlik, Deedy Irwin, Mara Landi, Rita Noble, Ginny Perlowin, Dorothy Stinnette, Ann Williams, Del An¬ derson, Edgar Daniels, Herb Fields,. John Ford, Stokley Gray, H. F. Green, Jeff Killion, Ripple Lewis. Ray Mason, Louis Polacek, Michael Quinn. Numbers: "Roll Yer Socks Up," "Anna Lilia,” "Sunshine Girt,"--'On the Farm ” "Flings," "It's Good to Be Alive," "Look at 'Er," "Yer My Friend. Aintcha?" "Did You Close-Your Eyes?” "At the Check Apron Ball." "There Ain't No Flies on Me," “Ven I Valse." "If That Was Love." •'Ballet," "Chess and Checkers.” actress who’ll be able to make the switch to straight plays. Miss Ritter, as the tatterdema-. lfon waterfront belle, Martha, is a one-woman riot. Whether slyly outmanouvering- her “squarehead” sweetie, Chris, getting a snootful and spilling the-dirt about Anna at a lowbrow society ball, or just cracking over a line or singing a tune, she invariably bullseyes. She’s Broadway’s gain and Holly¬ wood’s loss. ' There are also notable perfor¬ mances by the previously little- known George Wallace as the head¬ strong, thickskulled Mat, as well as by Cameron Prud’homme as Anna’s fiercely possessive, innocent father, and such lesser players as Lulu Bates, Del Anderson, .Eddie Phil¬ lips, Mark Dawson, Mara Landi and Michael. Quinn. The orchestrations by Robert Russell Bennett and Philip J. Lang are eloquent, and Hal Hastings pro¬ vides expressive musical-direction. Kobe. This is a'rijce way to end the season. As the final new show of 1956-57 we have a slick musical with the George Abbott trademark. With Gwen Verdon reaching new heights of stardom and Thelma Rit¬ ter making her Broadway debut as an expert character comedienne, “New Girl in Town” should pro¬ vide a spark for the summer trade and a profitable tenant* for the 46th Street Theatre. The show is., a musical version of Eugene O’Neill’s 1921-22 Pulitzer Prize drama, “Anna Christie.” Without being the sort of smaSh- eroo that sets an audience on fire or stampedes the ticket brokers, this is a consistently entertaining song-and-dance offering, with ac¬ ceptable music, exhilarating hoof¬ ing, a handsome physical produc- ° tion and the sort of • compression and pace for which Abbott is noted, The adaptation overcomes the tough flavor of the O’Neill play to a surprising degree, and is best when it takes the greatest liberties with the original. It’s better in the first half, as Anna arrives on the New York waterfront 1 to join her' barge captain’ father, whom she hasn’t seen since childhood. There I time is the early 1900’s (moved j back about 20 years from the orig¬ inal play), and the action is lively, colorful and amusing as the hero¬ ine meets and falls in love with the .rugged but unsophisticated sailor, Mat. , ’ . ’ The second half, with its melo¬ dramatic expose of Anna’s past and the ugly quarrel between the*lov¬ ers, bogs down a bit, despite, a cou¬ ple of knockout musical numbers. It apparently was' improved con¬ siderably during the tryout tour. Improved enough, at any rate,. A b'b o t £’ s ’ adaptation of the O’Neill, classic can’t .entirely re¬ move the’bitter quality of story, so if'hicks touch of the romantic aura likely to brings mass popularity, but it’s solid and propulsive. Bob Merrill, in his first try as a stage composer, hasn’t come up with any theatre-galvanizing numbers, but what could become pop hits with “It’s Good to Be Alive,” “Look at *Er” and “Did Yoh Close Your Eyes?” The choreography of Bob Fosse, including a greatly modified bawdyhouse ballet in the second half, is a highlight of the produc¬ tion. It’s vigorous and graphic, if possibly limited in range. Rouben Ter-Arutunian’s scenery and cos¬ tumes are appropriately pictur¬ esque. Miss Verdon, who first drew ma¬ jor attention in a featured role in “Can-Can” and then took the town by storm as the divertingly wicked but susceptible siren in “Damn Yankees,” easily surpasses her pre¬ vious performances in the more dif¬ ficult part of the tarnished sweet¬ heart of this new show. Her danc¬ ing is electrifying again and she puts over a song with a wallop, but ,, tax fhe .time ..impresses. 9 % Tlie Pajama- Game N. Y. City Center Light Opera Co. (Jean Dalrymple. director) revival of musical comedy in two act* *(20 numbers), based otf Richard Bisaell’a novel, " r l x h Cents.” Book, George Abbott and Blssell; music and lyrics, Richard Adler and Jerry Ross; staged by Jean Barrece, based on original direction by Abbott and Jerome Rpbbins; scenery and costumes, Lemuel Ayers; .dances staged by Erik Kristin, based on original choreography by Bcb Fosse; lighting, Peggy Clark; musical di¬ rector, Frederick Dvonch; orchestrations. Bob Walker; dance music arrangements, Roger Adams; costume supervisor, Ruth Morley; assistant producer, - Alan -Greene. Stars Paul Hartman, Jdfte Keap, Larry Douglas, Pat Stanley; features, .Stanley Prager, Marguerite Shaw, Thelmk Pelish. Ralph Chambers, Ann Buckles. Jack Wal- droivWllliam David, Eugene. Wood, Rich¬ ard Trance. Cy Young. At City Center, N.Y.; May 13, #7; $3.80 top. 1 Hines .%». - Paul Hartman Prez.*... Stanley Prager Joe . Sam Kirkham Hasler ..Ralph W. Chambers Gladys ... Pat .Stanley Sid Sorokin. . Larry Douglas Mabel . Marguerite Shaw Helpers...Richard France, Cy Young Charlie ..Eugene Wood Babe Williams . Jane Kean Mae ....■ Thelma Pelish Brenda ... Ann Buckles Poopsle . Chele Graham Salesman. .. Jack Waldron Pop .. William David Dancers: Dorothy, Etheridge, Chele Graham, Mickey • Gunneraon. Rosemary Jourdan, Vivian Joyce, Barbara NSiman, Bonnie West, Jim Brusock. Richard Cola- cino. Jack Konzal, Richard’ Manahan, Tom Snow, Keith Willis, Emanuel Winston. Singers:. Helen Baisley, Julia Gerace, Betty Graeber, Miriam Gulager, Peg Handley, Sheila Mathews, Barbara Saxby, Mildred Slavin, Don Becker. Norris Branstrom, Arthur Dilks, Peter Held, Sam Kirkham, Vince McMahon, Stanley Page, Ralph Vuccl. 40-Seat .Parlor Theatre Berlin, May 14. Another “parlor” theatre has opened here, this one seating 40 at the Galerie Springer, an art shop. Group counts seven members, director' included, performs without costumes or scenery. It attempts to explain the loneliness of mankind in the atomic age. Whether con¬ sidered over-intellectual or just plain unintelligible, it’s all pretty esoteric stuff, as befits an audience which hardly qualifies as a crowd. “Buttons” it’s called and by poetess Ilse Aichinger. Di¬ rector is Adalbert Norden. Heretofore the span between birth and death notices of “parlor theatres” here has been a short one. This is a fine climax to what has turned* out to be one of the best spring .musical comedy seasons the N.Y. City Center has. ever had. After a poor start with “Beggar’s Opera” and a mediocre followup with “Merry Widow,” the series came.to life with a tasteful revival of “Brigadoon,” topped by a stun¬ ning edition of “South Pacific” and this production of the rousing “Pajama Game.” This revival lacks the polish and tempo of the original, although stager Jean Barrere as faithfully followed the original pattern set by George Abbott and Jerome Rob-" bins, and Erik. Kristin has copied Bob Fosse's original dance direc¬ tion. Considering the Center’s budget limitations, the opening was fairly smooth, notable excep¬ tions being several ragged scene •shifts by the stage crew. The casting is uneven.. Larry Douglas, who played -the role on tour, is acceptable: as the he-man pa'jatoa' factory 'foreman, his sing¬ ing being perhaps superior to his acting. In the thankless but Vital part of the grievance committee chairman, Jane Kean handles the song number^ with professional ease, but- gives the impressiofh ’ Of hgrdfy thinking;of her lines or of listening or reacting‘emotionally to the other players. ‘ Paul Hartman is* &' believable and funny time study man in his own individual style, and Pat Stanley, another touring company veteran, is a deliciously pixie dahcer-com- edienne. There are also enjoyable secondary performances by .Stanley Prager as the union prez (a role he played in the Broadway original), Marguerite Shaw,’ Thelma Pelish (also an original), Ralph Chambers, Ann Buckles, Jack Waldron (an¬ other original), William David, Eu¬ gene Wood, Richard France and Cy Young. As before, “Paajma Game” de¬ pends more on the numbers and the zip and drive of its staging than it does on book. That’s in the musical comedy tradition. The songs, notably such hits as “I’m Not at All in Love,” “Hey There,” “Once a Year Day,” “Small Talk,” “Steam Heat” (a choreographer triumph), “Hernando’s Hideaway” and “IVz Cerits” as the surging finale, stand up just great. It’s a swell show, a fitting wrap- up to a sprint-finish City pen ter se^scpv^.i , • .. , i, vi Quebec Allots lOOG.For French-English Theatre; Brewery Donates House Montreal, May 21. A dream of 19 years came true for actor-producer Gratien (Frido- lin) Gelinas last week when Prem¬ ier Duplessis announced the crea¬ tion of a permanent.theatre for,the production of French and English-, language plays by Canadian writers.. . The theatre, which will be known as . Theatre de la Comedie Canadi- enne, has. been promoted by^Geli- nas and made possible through a $100,000 appropriation' by thfe Quebec . Government, plus a con- tribution by a Montreal brewery. The new legit project will be housed in the Radio. City Theatre ip midtown Montreal, purchased by’ Dow Brewery for $250,000. House was formerly the Gayety, local bur- ley showplace for many years. Although not far from the "tender¬ loin district, its central location should be Convenient for both French and English language audi¬ ences. , . The 1,000-seat house, one of .the best theatres in town, will be re¬ furbished by the brewery at a cost* of .$50,000. La Comedienne will have a 25-year lease on the property with the right to purchase. The first year will be rent-free and the following years charged at 4% of the purchase price. Site is direct¬ ly opposite property selected for Montreal’s future concert hall. The government grant will be in the form of a yearly donation ,of $25,000 for “at least” four years, Gelinas, currently 'playing a nitery date in Quebec City, has slated his first production (as yet unnamed) for October and will run the theatre strictly on a profession¬ al basis. -It’s hoped to present .pri¬ marily Canadian playwrights with am interchange of theatrical talent between all cities in Canada. The fact that the liquor; interests have once again come to the aid of one' part of Canada’s culture (the Calvert Distillery gives major support to the Dominion Drama Festival every year) has raised a few eyebrows in some quarters, but is dismissed.by Premier Duplessis who said, “The example set by Dow Brewery is a marvelous example which we hope will be followed by other wealthy interests.” SAGA Repping 8 Spots For the Summer Season Eight theatres are thus far scheduled to fly the Stage & Arena Guild of America circuit banner this summer. Included in the lineup hre the Gateway Playhouse, Somers Point, N. J., and the Le¬ gion Star Playhouse, Ephreta, Pa., both operated by Jonathon Dwight. Others, with the respective managers listed parenthetically, are the Southern Tier Playhouse, Binghamton, N. Y. (Peter and Peggy Fldurn’oy), Myrtle Beach (S. C.) Playhouse (Jim McEwen), Peabody Players, Daytona Beach, Fla. (Roy Trombley and A1 Fish), Hyde Park (N. Y.) Playhouse (Allen Swift), Northland Summer Theatre; Det. (Ken Schwartz) and the Atlanta (Ga.) Arena Theatre (Joe Kennedy). SAGA also has an arrangement with the Dayton (O.) Summer The¬ atre, which John Kenley will op¬ erate, and is the casting and book¬ ing agen„ for John Hale's Malden Bridge (N. Y.) Playhouse, Isobel Rose Jones’ Starlight Theatre, Pawling, N. Y„ and Col. Eben Henson’s four Pioneer Playhouses JFfojbe. . Jin Kentucky* , Wednesday, May 22, 1957 Legit Bits Michael Kane will play Laertes in “Hamlet” at the Stratford (Ont.) Shakespeare Festival opening July 1. He succeeds William Shatner, who withdrew for a Metro film as¬ signment. Araby Lockhart re¬ places Gloria Rand . (Mrs. Shatner) as the'Player Qqeen in “Hamlet” and William Cole takes over Shat- ner’s role of Fabian In “Twelfth Night.” ' Howard S. ’ Cullman sailed last Friday (17) on the United States to attend the dedication of the 1958 Brussels Festival, for which he’s U. S. commissioner. * The first collected edition of plays by Arthur Miller will be published Thursday (23) by Viking Press. The book, which will in¬ clude “Death of a Salesman,” “All My Sons,” “l^he Crucible,” “A Memory of Two Mondays” and “A View from the Bridge,” will also contain a lengthy introductipn in which the author .explains the genesis of each of-the dramas,' the conceptions behind them and the. aim in the different methods of execution. Ron Singer has been added to the Hillard Elkins personal man¬ agement staff. George Litta, formerly with the William Morris Office legit depart- ment, is n<5w managing Eddie Bracken. The touring production of “Ap¬ ple Cart” has taken on a new pro¬ ducer. Huntington Hartford has joined"Charles Adams -and Joseph Neebe in sponsoring the balance of the show’# road hike. It’s under¬ stood, Hartford is guaranteeing the show against loss on its scheduled engagement June 10-29* at his the¬ atre in Hollywood. The Repertory Theatre of Amer¬ ica, a new theatrical foundation, formed by a group of actors, play¬ wrights: and directors, 'marked its inception last Sunday (19) eve with a cocktail party and dance at the Hotel Picadilly, N. Y. * Robert Penn Warren is adapting his narrative poem, “Brother to Dragons,” for Broadway presenta¬ tion next -season, Hermit Bloomgarden has acquir¬ ed Ketti Frlngs’ dramatization of the Thomas -Wolfe novel, “Look Homeward Angel,” for Broadway production next'season. The Paul Gregory'production of “Rivalry” is scheduled to open- Jan. 27 at the Plymouth Theatre, N.Y., after a 72-city road hike, be¬ ginning. Sept. 22 in Victoria, B. C. Sol Stein’s play, “The Laby¬ rinth,” formerly under option to Hume Cronyn, is now scheduled for production by Roger L. Stevens’ probably with a co-producer. Also on Stevens’ production slate is “The Old Lady's Visit,” which he’s purchased for presentation' by the Producers Theatre, of which he’s a member. The play is Maurice Valency’s adaptation “Der Besuch der Alten Darned by Swiss drama¬ tist Friedrich Duerrenmatt. Jule Styne is seeking middle¬ weight boxing ..champ Sugar Ray Robinson for the lead prizefighter role in a contemplated production of a revised version of “Golden Boy.” The revival would first play the road and then London, with a Broadway stand dependent on the venture^ success. Lester Osterinan Jr. would be a production associate. Alexander H. Cohen has dropped “The Duchess and the Don” from his production sked; He’s still got “The Countess to Boot” under op¬ tion and is slated to-plane next Friday (24) to London for an ap¬ proximate 10-day looksee at the new productions there. Leonard Sang has taken an ex¬ tended leave as manager of the Royale Theatre, N.Y., and publicist for the Shuberts to succeed David Ferguson as executive secretary of the Jewish Theatrical Guild. Fer¬ guson, who held the post for 24 years, has retired because of ill health. Frederick Brisson, who co-pro¬ duced “Pajama Game,” “Damn Yankees” and “New Girl In Town” with Robert E. Griffith and Harold S. Prince, will not be associated with their forthcoming production’s of “West Side Story,” to be done by arrangement with Roger L. Stevens, and “Too Many Doctors,” v/ith George Abbott, who’ll also direct. “Story” is the Leonard Bgrnstein-.Stephen .Sondheim-Ar¬ thur Laurents musical, while “Doc¬ tors” is by Hollywood scenarist Claude Binyon and a physician using the nom de plume of Max Edwards. “The Women at Glyn,” a meller by Jack Barefleld, is scheduled for, Broadway production next fall by Jonathan Edwards. Margaret Web¬ ster will direct the play which was previously tagged , “the Good Pretender.” The Greek company of Basil Logothctidio J will launch a brief U. S. tour .next Friday (24) at Carnegie Hall, N. Y. The group wilLalso play major eastern 1 cities, through June 12. Theodore Kritas is presenting the troupe, which will also present a modern Greek comedy, “The Screwball,” by Dlmitros Psathas, The New York preem of a con¬ cert reading of '“The Son of Don Juan,” by Jose Echequary,” will be presented for one performance next Sunday (26) at the Barbiafon Plaza Theatre by Richard Novello, who’ll also star in the production. John Tobias will direct.; “Trinidadeo,” a musical • with a calypso background,' has 1 been written by Sammy Stept (music and lyrics) and Charles W; Curran (book). Herman Yablokolf and Sol Dick- stein, vet Yiddish theatre opera¬ tors, have set up a Times Square office as a clearing house for Yiddish-American talent in .all en¬ tertainment media. The move has been approved by the Hebrew Ac¬ tors’ Union. The Playwrights Co. has dropped its option on “Marlowe,” the Leslie Stevens drama about Christopher Marlowe, which had been Slated for production in London in part¬ nership with a West End manage¬ ment. i ' Patricia Peardbn, actress-wife of corrmany manager Richard Horner, returns today (Wed.Ffrom a week’s Stay in Havana, where she ap¬ peared in the filming of Jack Lon¬ don stories for . tv by Guild Films. Legit, producer Alexander ; If. Cohen will guest tonight (Wed.) on Mike Wallace’s “Nightbeat” on the DuMont television network, prior to planing tomorrow (Thursr.) to London for a long weekend visit. John Keating, Cue' magazine legit critic, and director Jack Lan¬ dau, will guest tomorrow (Thurs.) gt the final seminar of the Ad¬ vanced Play writing class of Colum¬ bia U., taught by JVJlIlam Talbot, editor of Samuel French, Inc. Two Yiddish plays, Peres Hereh- bein’s “Raisins and Almonds” and Marc Arnsteln’s “The ' Eternal Song,” translated by Etta Bloch, will be presented next Saturday* (25) at Steffen Zaeharias’ Theatre Club, N. Y, The program staged by Lester Robin, will also feature songs by Elly Stone. }Valter Slezak, who had the star¬ ring role in “The First Gentle¬ man,” which folded on Broadway last Saturday (18), moved Monday (20) to a 200-year Georgian home he recently purchased in Larch- mortt, N. Y. Will Glickman has bowed out as Joseph Stein’s collaborator on a musical version of Sean O’Casey’s “Juno and the Paycock,” with the latter handling the'adaptation on his own. Marc BUt$stein"is "han¬ dling the music and lyrics. Glick¬ man afid Stein, however, will Con¬ tinue working together on ofher projects. 4 Producer Fred Coe and director Arthur Penn are talking with Paul Newman about, a Broadway appear¬ ance next season in William Gib¬ son’s new two-character play “Two on a See-Saw.” Shepard Traube , is discussing terms with Paul Henreld for the latter to star in “The French Death,” Michael Blankfort play based on the film “Diabolique.” Brian Moore, Irish-born, Mont¬ real-resident author of “The Lone¬ ly Passion of, Judith Hearne,” leaves this week for a three-month visit to Europe. The play, which he adapted from his own novel, is listed for Broadway, production by Cheryl'Crawford. Morris Jacobs, currently on leave of absence from the Rodgers & Hammersteih office because of curtailed activity there, will* be general manager for the Lyn LoeS- ser' production of the .Robert• Wright-George Forrest musical adaptation of Moliere’s “Doctor in Spite of Himself.” “Career,’’ the. title of James Lee’s play current at the Seventh Avenue South Theatre, NX, was also the tag oh a 1943 vehicle by Nan Kirby, produced by Modern Play Productions, Inc., at the Provincetown Theatre, N.Y. Lee’S play is about a struggling actor, while Miss Kirby’s was an expose of the operatic field. A new adaptation by Burnet Hershey of Edouard Bourdet’s French drama, “The Captive,” is planned for production by Dorothy Waring and Ben Boyar. A* 1926 New York production of Arthur Hornblow Jr.’s versioir of the play had to be halted because of police interference. Alfred Stern, director of the American National Theatre & Academy's Dept, of Community and Industrial Showmanship, has been appointed by the U:S. Dept, of Commerce, Office of Interna¬ tional Trade Fairs, as coordinating producer for U.S. participation in the Vienna Internatipnal Autumn CCoutim^ed'* PU 6Q) :