Variety (February 1959)

72 l^imun P’Sau^fi CASTING NEWS Following ate available parts in'upcoming Broadway , off-Broad- way touring, films, industrial and television shows. All information has been obtained directly by the Variety Casting Department by tele¬ phone calls , and has been rechecked as of noon yesterday (Tues.). The available roles will be repeated weekly until filled, and addi¬ tions to the list will be made only when information is secured ,from responsible parties. The- intention is to service performers with leads provided by the managements of the shows involved rather than to run a lengthy list of oKnd items. -2ft addition to the available parts listed, the tabulation includes pro¬ ductions announced for later this season, but, for which, the manage¬ ments, as yet, aren't holding open casting calls. Parenthetical designa¬ tions are as follows: (C) Comedy, (D) Drama, (MC) Musical Comedy, (MD) Musical Drama, (Rep) Repertory, (DR) Dramatic Reading. Jose Quintero, c/o Circle in the* Square Theatre. Casting all parts through agents only. OUT OF TOWN (Parts Available ) Ballet Florence & Frederic De Paris, c/o Music Corp. of America, 598 Madison Ave., N.Y. 22. Avail¬ able parts for femme dancers, 5' 5W-S’ 6V6” (without shoes); mod¬ ern ballet essential. For tour of U.S. and Europe, Mail photo and resume. CHICAGO “Duley” (C). Producer Carl Stohn. Parts: male character lead in in 50’s; wife, 30 T s; young male lead in 30’s; character butler, 30-40; comedian, 30’s. Auditions Feb. 13; contact producer at Drury Lane Theatre, 2500 W. 94th PI., Evergreen Park, Ill., PR 9-4533. STOCK “Song of Norway” (MD), to be repeated from mid-June through Sept. 7 at Jones Beach, N.Y. Pro¬ ducers, Leonard Ruskin & Guy Lombardo. 730 Fifth Ave. N.Y.C. Parts available for leading and ensemble singers, ensemble dancers. Mail photo and resume to above address. NEW HOPE, PA. Bucks County Playhouse; pro¬ ducer, Michael Ellis. Mail photo I and resume of Broadway and stock ] credits to Jack Lenny, c/o Lenny- Debin, 140 W. 58th St. N.Y. OFF-BROADWAY (Parts Available) “And the Wind Blows?' (D). Pro¬ ducers, George Charles, Joan Hor¬ vath & Luis Martinz; director, Martinz. Available parts for Mex¬ ican Indian and peasant types: hoy, 10-13, small, loveable; male, Por¬ tuguese, late 40’s, short, stocky, Akim Tamirrof type; male, 50, resolute, irritable, wiry. Auditions, Feb. 15 from 2 to 6 p.m., St. Marks Playhouse, 2d Ave. and 8th St. Bring photo and resume. FUTURE SHOWS “And So Farewell” (D). Pro-J ducer, Norman Twain (no produc¬ tion office set). “Before the Fall” <D). Pro¬ ducers, Betty Lee Hunt & Ira Cirker (no production office set). “Happy Town” (MG). Producers, B & M Theatre Productions, c/o Lenny-Debin, 140 W. 58th St. “Lend An Ear” (MR). Producers, Stephan Slane & Jenny Lou Law, (no production office set). Let's Go Steady (MC)—producer Edward Padula (1501 Broadway, LA 4-4860). “Purging of Simon Madden” (C>. Producer, Norman Twain (see above). “Satin Legs Smith” (MC). Pro¬ ducer, Warren Coleman, 729 Sev¬ enth Ave. “Skin Deep” (MC>. Producers, P. R. B. Productions. “Tobacco Road” (CD). Producer, David Moss Productions,. 580 Fifth Ave. SHOWS m REHEARSAL BROADWAY “Desert Incident” (D). Pro¬ ducers, Tad Danielewski & Morris Feld, 234 W. 44th St. “Destry Rides Again” (MC). Pro¬ ducer. Daivd Merrick, 246 W. 44th St. f LO 3-0830. “Look After Lulu” (C). Produc¬ ers, Playwrights Co. (745 Fifth Ave., PL 3-7500), Charles Russell, Lance Hamilton & Gilbert Miller. Lovely Star, Good Night. (D,>. . Producer, Richard Krakeur, 55 W. ttSd St. “Courtyard” (D). Producers, An¬ thony & Goodman Productions, 1225 Sixth Ave.. Accepting photo and resume of performers via mail only; also resume of potential tech¬ nicians, managers, stage managers, “Gentlemen” (MC). Producer, Vista Production; director, Jerry Alder; musical director, Harold Glick. Parts: Two young male and two femme leads, also character couple. Operetta type voices re¬ quired. Mail photo and resume to producers, at 112 W. 89th St. Audi¬ tion to take place in July, rehears¬ als start { n opening’ in September. “Our Town” 'CD). Producers, Leigh: Connell, Theodore Mann & “Say Darling” (M>. Producer, N. Y. City Center light Opera Co., 131 W. 53d St., JU 6-2828. OFF-BROADWAY “B*aux Stratagem” (C). Produc¬ ers, T. Edward Hambleton & Nor¬ ris Houghton,. 189 SecoEd Ave., OR 4-7160. “Golem” (D). Producers, George Morfogen & Robert Kalfin, 244 W. 14th St. • “Royal Gambit” (D). Producer, David Ellis. Sullivan St. Theatre, 181 Sullivan St. “Widowers'-Houses” (D). Pro-’ ducer, William Landis (no address available). SIGNED BROADWAY Destry Again: George Reeder, v ' Swenson, Scott- Brady ur o? John Ireland). Look A . Lula: Ellis Rabb, Barbara Louen, Arthur Malet, Eric Cbristmas,«Reva> Rose, >David Hurst, Grace Gaynor, Earl Montgomery, Paul Smith, Philippa BeVans, Bill Berger, Sasha von Scherler, Craig Huebing, Rory Harrity, Ina'Cum¬ mins, John Alderman, Bill Griffis (Succeeding Frederic Warriner), David Faulkner, David Thurman (succeeding' Joe Cronin), Patricia Roe. Films “Parrish,” adaptation of Mildred Savage novel. Producer, Warner Bros.-Joshua Logan. Available: title role, 18-22, about 6 ft., medium build, handsome, an “unknown” actor. Mail photo and resume to producer-director Logan, c/o War¬ ners, 666 Fifth Ave., N.Y. Television Camera Three, educational, drama, CBS; producer, John Mc- Giffert. Submit photo and resume for consideration, Nat. Greenblatt (524 W, 57th St.). Dela McCarthy Assoc., 515 Mad¬ ison Ave. Casting, Cohn D’Arcy. Submit photo and resume for con¬ sideration. “Ellery Queen” (D). Producer, Alan Neuman. Casting from files; photo and resume accepted by mail only. Send to Marian Doughterty, NBC-TV, 1270 Sixth Ave. “For Whom the Bell Tolls,” drama, CBS-TV, JU 6-6000; cast¬ ing, Nat Greeblatt. Available parts for Heavies only; phone for ap¬ pointment. Grey Advertising, 430 Park Ave. Casting, Jim Kaye. Submit photo _and resume by mail only. L filmed on location—CBS; pro¬ ducer, Gilbert Ralston; casting through Marc Merson; address by mail only, Barbara Tuck, CBS, 524 W. 57th St Available parts: un¬ usual types, interesting faces, good physical conditions, will consider applicants having had odd occupa¬ tions. Submit photo and resume. J. Walter Thompson ad agency, 420 Lexington Ave.; casting direc¬ tor, Evelyn Peirce. Commercials only; cast from file; application for appointment, photo and resume by mail. Kastor, Hilton, Chesley, Clifford & Atherton ad agency, 420 Lexing¬ ton Ave. Casting, Richard King. Mail photo and resume. Lamp Unto My Feet, religious drama, CBS; producer, Don Keller- man; director, James MacAllen. Submit photo and resume for con¬ sideration. Nat Greenblatt (524 W. 57th St.). / Lawrence Welk show (Plymouth Motors), ABC-TV — Seeking teen¬ age vocal and instrumental per- pormers for guest appearances or as permanent band members. Sub¬ mit disk or tape uome-recorded acceptable) of wellknown pop or standard numbers, plus recent photo, short biographical summary. Address Plymouth Show, ABC Studio, Hollywood, or 2623 Santa Monica blvd.. Santa Monica. Look Up & Live, religious- dramatic, CBS. Producer, Jack Kuney; casting, Marc Merson, 524 W. 57th St. . Casting from files. Mail photo and resume. N. W. Ayer & Sons, Inc., ad agency, PL 7-5700; casting direc¬ tor, Guy Wallase. Casting for Breck Shampoo, available parts for pretty natural blondes or femmes with light red or light brown hair, about shoulder length or there¬ abouts. Phone for appointment. National Screen . Service, 1600 Broadway. Casting, Carl Carbone. Submit photo and composite for consideration. North Advertising, 6 E. 45th St. Casting Frank Higgins. Cast from files for the Toni commercials. Pre¬ fer models with good hair. Mail photo and resume for considera¬ tion. Reach, Mediation & Co., 505 Park Ave.; casting, Esther Latterell. Photo and resume accepted via mail only for commercials; boys, girls; middleaged and elderly men and women; also young and mature women for shampoo, commercials. Ted Eshbaugh Studios Inc., 1029 E. 163d St., N.Y. 59. Experienced models with good figure; send bath¬ ing suit and leg photo u and com¬ posite to Jack Grey, above address. The Verdict Is Yours, unre¬ hearsed courtroom dramas. CBS; producer, Eugene Burr; director, Byron Paul; casting contact, Liam Dunn, CBS, 524 W. 57th St. (do not phone). No open casting; all done from files. Submit photo and res-' ume for consideration. WRCA-TV. (30 Rockefeller Plaza, N.Y. 20), accepting appli¬ cations for auditions for all gen¬ eral talent, except dramatic a dors, alternate Tuesdays. Apply by mail to “Open Auditions.’?*- j. *. Wednesday, February H, 1959 Bedhead Robert Fryer & Lawrence Carr presen¬ tation of two-part <10 scenes) mnsioal comedy; book by Herbert and Dorothy Fields, Sidney Sheldon and David Shaw, music by Albert Hague, lyrics by Dorothy Fields. OveraU direction and choreog¬ raphy. Bob Fosse; scenery and costumes, Rouben Ter-Arutunian; lighting, Jedn Rosenthal; orchestrations, Philip J. Lang and Robert RusseU Bennett; musical- di¬ rection and vocal arrangements. Jay Blackton; dance music arrangements, Roger Adams; associate choreographer, Donald -McKayle; production manager, Robert Linden. Stars Gwen Verdon; fea¬ tures Richard Kiley. Leonard Stone, Doris Rich, Cynthia Latham. William Le Mas- sena, Ralph Sumpter. Patrick Horgan, Buzz Miller. Joy Nichols, Pat Ferrier, Lee Krieger, Elizabeth Kerr. Opened Feb. 5, '59, at the 46th Street Theatre, N.Y.; $9.20 top. Ruth LaRue . Pat Ferrier Maude Simpson.Cynthia Latham Sarah Simpson . Doris Rich May. Joy Nichols Tilly . Pat Ferrier Essie Whimole.Gwen Verdon Inspector White.Ralph Sumpter Howard Cavanaugh.. William Le Masse.na George Poppett .. Leonard Stone Tim Baxter . Richard KUey Stage Doorman .. Lee Krieger Sir Charles . Patrick Horgan Tenor . Bob Dixon The Blonde.Bette Graham Jailer . Buzz MiUer Singers: Marne Dennis, Joan Fagan. Lydia Fredericks, Bette Graham, Dee Harless, Janib Janvier, Kelley Stevens, Bob Dixon, Clifford Fearl, John Lankston, Larry Mitchell, Stan Page, Shev Rodgers. Dancers: Margery Beddow. Shirley de Burgh, Pat Ferrier, Reby Howells, Patti Karr, Elaine King. Ii3ne Plane, Dean Raliaferro, John Aristedes, Kevin Car¬ lisle, David Gold, Harvey Hohnecker. Kazimir Kokich. Dale Moreda, Noel Parenti, Alton Ruff. Musical numbers: "The Simpson Sis¬ ters,” • “The Right Finger of My Left Hand.** *‘.Tust for Once,” “Merely Mar¬ velous.” “The Uncle Sam Rag,* “Erbie Fitch’s Twitch,” “The’s Not Enough Wom-n for Me.” “Behave Yourself,” “Look Who's in Love,” “My Girl is Just Enough Woman for Me,” Essie’s Vision ” “Two Faces in the Dark,” “I’m Back in Circulation,” We Loves Ya, Jimey,” "Pick- Pocket Taftgo,” ‘Til Try.” Besides being the biggest box- office smash of the season thus far. “Redhead” brings a “new” great musical comedy star in Gwen Ver¬ don. The dancer-singer-actress was already an established star, of ! course, but in the painstakingly tailored “Redhead” she enters the tiny circle of greats, with such names as Ethel Merman, the fabu¬ lous Gertrude Lawrence and the legendary Marilyn Miller. i The new shfcw. which opened at the 46th Street Theatre last week, is primarily, a dance fiesta, and so obviously a personal vehicle that it's difficult to imagine it without Miss Verdon. But she's the core and apparently the inspiration of it, so the matter is academic and the production should be good for months and months of sellout houses, or at least as long as she remains with it. There may be criticism pf the second part of the musical, when the story lapses to an anticlimax and there are only a couple of standout numbers. There may also be quibbling about the unevenness of the score, although a half-dozen or so numbers that set the theatre swaying are considerably above par. It would take a chronic fault¬ finder to object to the show's danc¬ ing, however. Director-choreogra¬ pher Bob Fosse (who was reputed to be trying to fashion a sort of personal showcase for Miss Verdon —and. natch, liimself), has come up with an assortment of rousing routines, including virtuoso solo spots for the star and electrifying ensemble turns. With due credit to the composer, lyricist and authors, and emphati¬ cally to the director-choreogra¬ pher, it is unmistakably Miss Ver- don’s show. Although she was al¬ ready recognized as a talent and personality, notably in “Damn Yankees” and “New Girl in Town,” she now emerges with new stature and lustre. Presumably she's no better dancer than before, hut she at -least seems to have a touch greater style and authority. She hasn't much of a voice, but her singing has a distinctive quality, and she can make a song come alive for an audience. As she demonstrated in “New Girl,” she’s a convincing ac¬ tress, and as a comedienne she has an uncanny blend of humor and poignance. Add to all these gifts an aura of simplicity and modesty, plus an infectious personality and the sum is a star of top rank. But even the greatest star doesn’t ad-lib a characteriation, or think up the lines and the songs and dances on the spur’ of the moment. As the romance-avid spin¬ ster in a London wax museum about the turn of the century. Miss Verdon has a part that offers her talents extensive scope. Credit that to librettists Herbert and Dorothy Fields, Sidney Sheldon and David Shaw. In the spectacularly entertaining music hall - style song, ‘TSrbie Fitch’s Twitch.” composer Albert Hague and lyricist Dorothy Fields have ’ created a number that’s a cinch for th* mental memory books of musical fcomsdv buffs, even. Jhough Fosse has--for oncej fumbled the staging by Having the supporting cast turn away uncon¬ cernedly at the finish and thereby put a damper of the reaction of the audience out front. . Other click songs, several of which seem likely standard pop items, are Miss Verdon’s “The Right Finger of My Left Hand,” “She’s. Not Enough Woman for Me” by leading man Richard Kiley and character - comic Leonard Stone, “Look Who’s in Love,” by Miss Verdon and Kiley, and the latter’s solo, “I’m Back in Circula¬ tion.” Among the better dance num¬ bers, all staged with a canny sense of buildup, are “The Uncle Sam Rag.” “We Loves Ya, Jimey” and “Pick-Pocket Tango.” As is fre¬ quently the case with song-and- dance chorus numbers, the vOcal arrangements of several of these tend to be almost raucous and cer¬ tainly too loud. Although the supporting com¬ pany is largely obscured by the triumphant star, Kiley is admir¬ ably relaxed and attractive in the top-featured role of the visiting American strongman, and be sings with agreeable ease and power. Stone is plausible as a British music hall comic with a sinister knowledge of makeup, while Doris Rich and Cynthia Latham are amusing as the heroine’s maidenly aunts who run the wax works where a grisly murder occurs, and William Le Massena is a diverting- ly distraught British producer. Rouben Ter-Arutunian has de¬ signed handsome old world scenery and lavish costumes and Jay Black- ton conducts the show with infec¬ tious animation. As a film prospect, the musical needs major bolstering in the second half—and of course it requires Gwen Verdon. With those provisos, “Redhead” might be an inviting picture. Hobe. The Rivalry Cheryl Crawfortt & Joel Schenker presentation of two-act (plus epilog) drama by Norpian Corwin. Direction by the author; settings. David Hays; cos¬ tumes. Motley; lighting, Tharon Musser; incidental music. David Am ram. Stars Richard. Boone. .Nancy Kelly. Martin Gabel. Opened Feb. 7, ’59. at the Bijou Theatre. N.Y.; $6.90 top ($8.05 opening). Adele Douglas . Nancy Kelly Stephen A. Douglas.Martin Gabel Abraham Lincoln ..Richard Boone Townspeople: Woodrow Parfrey, Ailsa Dawson, Jim Campbell. Musicians: Maurice Peress, Frank Vae- caro, Jerry Silverman, Spencer- Sinatra, Jules Greenberg. Writing a play about Abraham Lincoln is like writing one about boyhood recollections—it gives the author a running start. Practically everyone falls in love sooner or later with' the character of Abe, and few ever recover from the spell of his immortal words and ideas. “The Rivalry,” which opened last weekend as the second in a series of presentations by Cheryl Craw¬ ford and Joel Schenker, is not only about Lincoln at an intensely dramatic period of his career, but consists in large part of his own actual, eloquent, unforgettable words. Moreover, by no coinci¬ dence, the Ideas and words have heightened application and force today. —The Norman Corwin drama, pro¬ duced on the Coast last season and then sent on a tour of split-weeks and one-niters, is in semi-concert form, and its boxoffice draw may be somewhat limited on that ac¬ count. Also, because its content is largely historical and may there¬ fore give the impression of being scholarly and impersonal, “The Rivalry” won’t appeal to the ex¬ pense account trade that makes Broadway hits. On the other hapd it deals with matters of combus¬ tible topicality and it has the very essence of conflict, triumph 'and tragedy—in short, gripping theatre. Corwin has built the play around the celebrated debates of 1858 be¬ tween Lincoln, a Candidate for the U.ST. Senate from Illinois, and his incumbent opponent, the shrewd political campaigner, Stephen A. Douglas, then riding the crest of a successful career and regarded as likely future Presidential mate¬ rial. Besides the debate scenes, there are several informal and re¬ vealing meetings between the rival candidates and Senator Douglas* wife,-as well as various passages in which local townspeople provide atmosphere. Some of these latter bits, involv¬ ing the kind of techniques Corwin used so skillfully in the heyday of network radio, add valuable refer¬ ence background, although they tend to become intrusive after a while, especially since they are incidental and therefore lessen the cumulative propulsion of the cen¬ tral drama—the debates. Also, and surprisingly, considering the au¬ thor’s radio background, he has (Continued on page 76)