Variety (October 1958)

71 Wednesday, Octol»er 8, 1958 __ KfistmTf _LEGITIMATE See South African Legit Changing; Indigenous Plays and Actors Union Shuberts Pay Common Stock Diwy, First in Select Theatres History --- Johannesburg, Sept. 30, Legit in South Africa is under¬ going significant change for both actors and authors. For the latter, it’s an upbeat in productions of locally-written works. For the for¬ mer it’s the recent organization of the South African Actors Equity Assn. The increased play being given native scripters is reflected in this city, where three of the top thea¬ trical entries are of indigenous origin. The trio comprise a drama, a comedy and a musical. The drama, “The Kimberly Train,” by an anonymous author, has created the biggest stir because of its controversial theme—a col¬ ored girl posing as a white. There’s been speculation that the play, presented at the Library Theatres, was written by a colored author with first-hand knowledge of such a situation. The comedy, at the Brooke Theatre, involves Cecil Wightman, popular South African comedian. He’s appearing in a visual version of his radio show, “Snoektown Calling,” a satire, set in a mythical South African town. “Ever Since Eve,” Anthony Farmer’s all-South African tuner, with music and lyrics by Ralph Trewhela, is being presented at the “Y” Theatre. In the case of Equity, the organ¬ ization met recently to elect offi¬ cers and to lay the groundwork for ; stablizing conditions for South I African professional performers. Radio performers Don Davis and Hugh Rouse were elected chair¬ man and vice chairman, respec¬ tively; while actor Robert Lang was named secretary and James Kantor was chosen treasurer and legal advisor. It’s figured that the new union will give top priority to two mat¬ ters, payment of actors for re¬ hearsals—long a bone of conten¬ tion between artists and managers —and the problem of amateurs, whose part-time work, particularly in radio and legit, is considere4 a threat to the security of the pro¬ fessional performers. Arena Stage Looks For Best Season, But Needs New D.C. Spot for 1960 Washington, Oct 7. The Arena Stage, opening its eighth season Oct 21 with “The Front Page,” is successful and hap¬ py in the old “hospitality hall” of the Heurich Brewery in Washing¬ ton’s Foggy Bottom district, where j it moved in 1956. But it can’t! stay there, because it’s in the way I of a new bridge to be built across the Potomac River. It will have to move when “construction com¬ mences in 1960. The fact that it will have to change quarters again isn’t deter¬ ring plans for the 1958-59 season. Eight plays, each to run four weeks, are being scheduled by managing director Zelda Fic- handler. If it were not for that bridge project, the 500-seat Arena Stage could stay where it. is and be a next-door neighbor of Washing¬ ton’s proposed new Cultural Cen¬ ter, provided $25 million is raised privately to build that center in Foggy Bottom. But the Cultural Center will dis¬ place a neighbor of the Arena Stage, the National Historical Wax Museum, now on the center’s site. The museum, biggest of its kind in the country, is a financial success. Its backers claim. Slated for the 32-week Arena season following the Hecht-Mac- Arthur opener are three one-ac- ters, Arthur Miller’s "A Memory of Two Mondays,” William Saroy¬ an’s “Once Around the Block,” and Tennessee Williams’ “The Purification”; followed by Agatha Christie’s “The Spider’s Web,” G. B, Shaw’s “The Devil’s Disciple,” Emlyn Williams’’ translation of Turgenev’s “A Month in the Coun¬ try/’ O’Casey’s “The Plough and the Stars" and Fry’s “The Lady’s Not for Burning.” ; The eighth play had not yet been chosen, and a place is being left in case a likely property be¬ comes available later. Last, sea¬ son's closer, “Summer of the 17th (Continued on page 75) Mex. Prof. Higgins d.O.’s B’way Version of‘Lady’ Manola Fahregas, who will co¬ direct and play Prof. Henry Hig¬ gins in the Spanish-language ver¬ sion of “My Fair Lady,” due to_ open this fall in Mexico City, is currently in Manhattan for a. few days studying. the musical at the Mark Hellinger, N.Y. He is the son of the Mexican actress, long¬ time star-operator of the Teatro de Fabregas. Big ballyhoo is in prospect in connection with the Mexican pro¬ duction which will break-in in Monterrey prior to, opening in the capitoL Aernaves de Mexico, the .airline which arranged Fabregas’ trip to New York, will carry Ed Sullivan and a party of American entertainers to the opening, and Sullivan will incorporate the Mex¬ ican premiere glamour in his tele¬ vision program of that date. 160 Paris Shows Include 5 Yanks Paris, Oct. 7. ^ Paris is in for a busy legit sea- s'on. Over 160 productions are planned for presentation during the 1958-59 semester. The prospect of many, of those being in the qual¬ ity groove is good since the lineup includes offerings by several prom¬ ising newcomers and a number of successful vet playwrights, who were absent from the local scene last season. Imports, which were principally ^responsible for bolstering the gen¬ erally lacklustre ’57-’58 session, will get heavy play again this semester. Included among the Broadway-originated plays set for production here are “Two for the Seesaw,” “Look Homeward, Angel,” “Inherit the Wind,” “Hap¬ piest Millionaire” and “Auntie Marne.” Also slated for produc¬ tion is an adaptation by Jean Pierre Aumont of Irwin Shaw’s “Lucy Crown” and an adaptation by Andre Obey of Reginald Rose’s “Twelve Angry Men.” Domestic product -includes Jean Canolle’s “Lady Godiva,” Jean Anouilh’s “L’Huluberiu” "(“The Muddlehead”), Marcel Achard’s “Bagatelle," Louis Ducreaux’s “La Folie,” Henri De Montherlant’s “Don Juan,” Alexandre Breffort’s “Rididine," Felcien Marceau’s “La Bonne Soupe,” Pierre Boule’s “William Conrad” and plays bv Andre Rousin and Eugene Ionesco. Several revivals are contem¬ plated and about 12 of last sea¬ son’s hits will be back on the boards for, at least, part of the semester. One-man shows and vaude bills, featuring singers, are also getting heavy legit house bookings. The operetta-styled musicals, which continue to be a top b.o. draw here, are relighting for the new season. They include “Mon P’tit Pote” (“My Little Pal”) at the Boino, “Vaises De Vienne” at the Chatelet, “Tete De Linotte” (“Wooly Head”) at the ABC, “Sym- phonie Portugese” at the Gaite Lyrique,” “Coguin De Printemps” at the European and “Naples, Baiser De Feu” ("Naples, Kiss of Fire”) at the Mogador. j Manchester Break-In For D. S. West Side Story’ London, Oct 7. “West Side Story” is set for its British start at Manchester Opera House on Nov. 14. After 27 per¬ formances it will transfer to the West End, opening at an unspeci¬ fied theatre in the first week of December. The entire cast of 32 perform¬ ers will fly from New York. Pre¬ vious all-American musical casts to be seen here since the war have been “0 k 1 a h o m a" and “Porgy and Bess.” ' A production of “The Captains and the Kings," by Lea Lieberaun, is planned by David March, head of a Coast talent agency. But No Clean Shirt? San Francisco, Oct. 7. Wolfe Kaufman, manager of Old Vic’s sixmonth U.S. tour arranged to get 63 players and four baggage cars full of equipment from London to San Francisco. Everybody and everything negotiated the 7,000 miles successfully—ex¬ cept Kaufman’s trunk. When last seen, Kaufman was buying a suit. Mass. Bans‘Moon As Sunday Show; O’Casey Riles'Em Framingham, Mass., Oct. 7. i The moon may be blue else¬ where, but not in Framingham on Sunday. Thats the effect of an edict of Raymond A. Marr, investi¬ gator of Sunday entertainment for the state of Massachusetts. He re-, fused to license to the Carousel Theatre for a performance Sunday (5) for the F. Hugh Herbert comedy, “The Moon Is Blue.” Accordingly, the show starring Donald Woods, had to close Satur¬ day (4) after opening Tuesday (30). The 3,000-seat musical tent, which has been going along on radiant heat in competition with Boston legiters .ends a 15-week, season with “Mister Roberts,” Which opened last night (Mon.) and closes next Sunday (12). Row Over ‘Dandy* Toronto, Oct. 7. As he’s done many times in his native Dublin and elsewhere, Sean O'Casey is arousing the anger of devout local residents with his comic scepticism. The resentment stems from the presentation of the Irish dramatist’s .play, “Cock-a- Doodle Dandy,” 'kt the Toronto Playhouse. The production is try¬ ing out here prior to an off-Broad- way run at the Carnegie Playhouse, N.Y. A few matrons have been walking out of the show at most perform¬ ances since it opened last week, and there was a mild disturbance in the theatre last Saturday night (4) when two patrons jumped up to protest against what they appar¬ ently regarded as anti-religious lines. The pair had previously urged the. audience to leave. They were escorted out and police have since been stationed in the theatre. Dennis Drew, an actor in the show, reported that four youths had accosted and tried to assualt him outside the theatre a few nights ago. There have also been suggestions that the O’Casey play should be banned, as objectionable to the church. O’Casey, interviewed by tele¬ phone at his home in Torquay, Eng., by the Toronto Telegram, commented that the individuals re¬ sponsible for the Saturday night disturbance had bad manners. He asserted they “had a right to op¬ pose my views; they had a right to express themselves, but not in-.] terupt the players.” Whl miles Bows Out As Stockbridge Producer Stockbridge, Mass., Oct. 7. William Miles, who operated the Berkshire Playhouse here as a strawhat for 23 years, has ended his association with the project in order to concentrate on his pro¬ ducer-writer assignment with Wil¬ ding Picture Productions, New York. It’s indicated that the thea¬ tre will probably continue its sum¬ mer stock policy next year, al¬ though no managerial setup has been arranged. Miles caine to Stockbridge in 1928 as an actor, when the Play¬ house was operated by Alexander Kirkland, and for the next several seasons Worked in various capaci¬ ties, including boxoffice man, stage manager, pressagent and director. He took over as producer in 1934 was one of the few strawhat oper¬ ators who bandied both managerial and staging assignments. Because of his increased duties with Wilding films. Miles bad only supervisory status at the Playhouse summer before last, with Eleanor D. Wilson as active producer. He was able to be present only week¬ ends again this year, while Betty Bunce and Louis Snyder were in active charge. K.C. Starlight Promotes Wm. Symon to Gen. Mgr. Kansas City, Oct. 7. In an effort to stem rising defi¬ cits, the Starlight Theatre here is expanding the authority of its busi¬ ness manager, William M. 'Symon. He will now have general manager status: The executive committee also has renewed Richard H. Berger’s contract as production director at the usual salary of $20,000, plus an expense allowance of $2,500. A 10-week season, in contrast to this summer’s 12-week spread, was also recommended by the com¬ mittee. The loss for .the 1958 semester is estimated at $41,000 as compared to $37,000 in 1957. Tentative in¬ come figures submitted by Symon included, $583,000 from ticket sales and $41,000 from concessions and other sources for a total of $624,- 000, against expenses of $665,000. Lou Lurie Buys The Biltmore, LA Los Angeles, Oct. 7. Louis R. Lurie, who operates the Curran and Geary Theatres in San Francisco, acquired title last Friday (3) to the Biltmore here. He will be partnered in the operation of the 1,636-seat legit house with Paul A. Cummins, who purchased it only last May from the Mar¬ cus Heiman estate. Also interest¬ ed in the project Is James A. Doo¬ little, managing director of the Greek Theatre here. The new setup means that the 34-year-old Biltmore, instead of be¬ ing razed by Cummins to make way for a commercial structure; will continue indefinitely as a legit house. Lurie plans to spend “a cou¬ ple of hundred thousand dollars” to renovate the property, with new dressing rooms, a backstage lounge and “whatever is needed.” It’s figured that under Lurie's management the Biltmore will be run in closer cooperation with his Curran and Geary Ip Frisco. The new setup also, means that the Theatre Guild, instead of switch¬ ing its local subscription setup to the Huntington Hartford Theatre, will probably continue it mostly at the Biltmore, with many of the top touring production thereby continuing to play the latter house. The road company of “Sunrise at Campobello” is already booked for i early next year. Although Lurie declines to re¬ veal how much he’s paying for the Biltmore, the price when Cummins acquired the property last May was $525-,000, including $210,000 down and the balance in two years at 6% interest Lurie, in addition to his pur¬ chase of the Biltmore and contin¬ ued operation of the Curran and Geary, Frisco, is a prolific investor in Broadway productions. He also has financial interests in the fil m business and other assorted ven¬ tures. Hylton and Pelbam Spat Over Ad Slides at ‘Mame’ London, Oct. 7. Jack Hylton and D£vid Pelham are bickering over the question of whether advertising slides shsmld be shown at the interval at the Adelphi Theatre; where Pelham has staged “Auntie Mame.” Pel¬ ham maintains that such '‘commer¬ cials” lower the dignity of the the¬ atre. Also that it presents a partic¬ ular problem with “Auntie Mame,’* because a slide is used as part of the play and interval advertising could confuse audiences. But Hylton, who holds the lease qf the Adelphi, is contractually ob¬ ligated to show advertsiing slides. Pelham was so Incensed by Hyl¬ ton’s edict that be contemplated paying for a slide which would apologize to the audience. But be had another look at bis contract with Hylton and, glumly, has had to admit that slides are in. For the first time in the firm’s history, the Shubert-controlled Se¬ lect Theatres Corp., has paid a dividend on its common stock. The payment, made last month, totalled $120,000 at 60c per on 200,000 shares. The bulk of the coin paid out went to members of the Shubert family, who own approximately 90% of the stock. Another $22,000 dividend was paid on 3&000 shares of preferred stock,- entirely owned by the Shuberts. Select broke the dividend ice last year by paying on preferred for the first time In 23 years. Select is also apparently continu¬ ing to polish up its annual state¬ ment and procedures in connection with its annual stockholder meet¬ ing. That’s indicated by the finan¬ cial audit for the year ending last June 30 and the stockholders' meeting held In New York last Monday (6). The latest accounting includes, apparently for the first time, com¬ parative figures with the previous fiscal year. The net income for the year climbed from $182,747 for the 1956-57 period to $222,878 for the 1957-58 session. The payment of a dividend on the common stock is believed to have been spurred principally by a protest made last year by John Gilbert, a professional harasser at stockholder conclaves. Gilbert sug¬ gested that the board was unjust in voting to turn over 5% of the net earnings to the Sam S. Shubert Foundation without payment of dividends to holders of common stock. Foundation In line with that, John Shubert, who presided at the stockholders’ meet, reportedly stated that he had informed the board he would not go along with making a contribu¬ tion to the Foundation if they did not consider the question of a divi¬ dend payment on the common stock. Following settlement of that matter, the board voted on a $12,- 000 contribution to the Foundation. It was divulged at this year’s stockholder meeting that John’s father, J. J. Shubert, listed as pres¬ ident and treasurere on the annual statement, gets an annual salary of $35,000, plus an approximate $30,- 000 expense account. John, who’s listed only as secretary on the (Continued on page 76) Lotsa Personal Shifts In B’way-Headed Shows; But It’s Par for Course Legit is sticking to form this season; with the new shows going through the usual flurry of pre- Broadway personnel changes. The most recent switches in¬ volve director replacements for two New York-targeted produc¬ tions. Jed Homer succeeded H. C. Potter last Saturday (4) as stager of “Patate” currently trying out in Boston, and Jerome Chodorov, has taken over for Ezra Stone as director of “Make a Million,” cur¬ rently rehearsing in New York. “Million,” which was in Phila¬ delphia last week, cancelled its scheduled holdover there this frkme in favor of the New York rehearsals. The show’s Broadway opening has also been postponed a-Week from Oct. 16 to Oct 23. Regarding “Patate,” it’s under¬ stood Potter will retain director billing. Besides the director changes, there have also been several im¬ portant cast switches made in other productions. They include Don Ameche, who succeeded Bar¬ ry Sullivan in “Goldilocks,” which opens on Broadway next Saturday (11); Susan Oliver, y/ho replaced Gigi Perreau in “Patate," and Joan Copeland, who took over for Piper Laurie in “Handful of Fire,” which folded on Broadway last Sat¬ urday after five performances. Cathleen Nesbitt withdrew last week from a featured role in “The Man in the Dog Suit,” currently trying out in Washington, with Kathleen Comegys stepping in, and Peggy Wood succeeded Dorothy Gish as costar with Imogene Coca in “The Girls in 509,” while the show was in rehearsal.