Variety (March 1959)

58 LEGITIMATE Wednesday, March 4, 1959 P^nmfr ORSON BEAN as Jack Jordan in "SAY DARLING" (at City Canter through Sunday, March 8) "BEAN PLAYED THE INNOCENT NOVELIST AS THOUGH THE ROLE HAD BEEN WRITTEN FOR HIM.' 1 —JOHN CHAPMAN, News. "Bean is "Bean is excellent." superlative." —RICHARD WATTS, JR., —JOHN McCLAIN, Post Journal-Amer. "MR. BEAN IS OUTRAGEOUSLY FUNNY IN THIS. HE IS WONDROUS TO BEHOLD." —FRANK ASTON, World-Telegram & Sun Next: The Psychiatrist in "Anatomy of a Murder" —for Otto Preminger (Shooting in April) Press: Management ROBERT GANSHAW BAUM-NEWBORN ASSOC. Coast: GOLDSTONE-TOBIAS Show Ont of Town Lovely Star, Good Night New Haven, Feb. 26. Richard W. Krafceur (in. association with Louis d* Almeida) production of three-act comedy-drama by Sigmund Miller. Stars Donald Cook, Glenda Farrell; features Cloris Leachman. Mark Rlchman, Gene Lyons, Jack Cannon. Anne Ives. Direc¬ tion. Warren Enters; setting, Paul Morri¬ son; costumes, Robert Mackintosh. Opened Feb. 5. ‘59. at Bhubert Theatre, New Haven; $4,80 top. _ „ Isabel Chamberlin.Glenda Farrell Ralph Grenville wvl. Mark Richman Amy Grenville ...».Cloris Leachman Mrs. Emily Hilburf .. Anne Ives Jess GrenvilleI .Gene Lyons Oliver Casey - Donald Cook This comedy-drama, with psychi¬ atric leanings, demonstrates that Cloris Leachman can turn in a fine job of acting, Sigmund Miller can write excellent dialog, Paul Morri¬ son can design an outstanding set, and Warren Enters can stage a play in an adept manner. It also con¬ firms that individual talents by themselves are futile without a proper foundation. Relying heavily on its frank ex¬ position of the case of an attractive wife who loves without passion, the author finds his central theme developed in one-act rather than full-length play proportions. Con¬ sequently, the fresh aspect of the script seems only moderately probed, and standardized elements, such as the • possessive mother’s wrong influence, and the wife’s ex¬ periments with infidelity, give the impression of padding. Coming into the cast at short notice (as replacement forMarjorie Steele v, Miss Leachman does ex¬ ceptionally well with a lengthy role. Her change of pace from early simulated nonchalance to subsequent nerve-wracking is deft¬ ly handled. Donald Cook as her sympathetic stepfather, and Glenda Farrell as her possessive mother, are a good duo, although- neither is taxed greatly. Mark Richman as the unsuspect¬ ing young husband and Gene Lyons as his adventurous brother give commendable performances. Bits by Jack Cannon as one of the wife’s "experiments” and Anne Ives as a family servant complete the overall good cast. Miller’s dialog is polished, but his foundational theme requires re¬ working. The staging by Enters emphasizes nicely the changeover from early scene innocuousness to later dramatic highlights. Paul Morrison’s setting, involving an ex¬ pansive winding staircase, provides a striking background. The film rights to ‘‘Lovely Star, Good Night” have already been sold in a pre-production deal. Bone. ‘House Seat’ Anpish Philadelphia. Editor, Variety: I only put in a dozen years of covering the theatre for various Philadelphia and Baltimore news¬ papers. so I’m sure I don’t under¬ stand the problems of theatrical pressagents. Being, as I said, ig¬ norant, I’ve . always thought that pressagentry was a service job. Recently, I wrote a feature piece on a revue I’d seen in Paris and sent it to the p.a. for the American version, hoping it would be of help before the show opened here. After my mail order for tickets for this revue bounced back a cou¬ ple of times, I didn’t think it too unreasonable to ask the press- agent’s help in buying house seats for any date convenient to them. Well, the first date was in mid- November, only it turned out that my house seat order was no good, because the boxoffice reported the house sold out for a theatre party. The pressagents were very apolo¬ getic. They gave me another piece of. paper, calling for house seats on Feb. 7. I beg to report that again the theatre was sold out to a theatre party, according to the boxoffice. Bad luck and human error? I don’t know. I do know that both times I only had to go a half- block to buy. seats for the same performances and at the legitimate broker’s marklip. I wouldn’t trouble anyone with this story if I didn’t have a hunch that my experience is far from unique. Could it be that, for some theatrical pressagents or their pro¬ ducers, the word, service, has re¬ verted to its farm dairy meaning .only? Sadly, Allen Will Harris. Shows on Broadway God and Kate Murphy Carroll and Harris Masterson & Charles R. Wood presentation of two-act (five scenes) drama by Kieran Tunney and John Synge. Direction, Burgess Meredith; setting and lighting, Ben Edwards; cos¬ tumes, Betty Coe Armstrong; associate producer, Irl Mowery. Stars Fay Comp¬ ton; features Mike Kellin, John McGiver, Larry Hagman, Maureen Delany, Lois Nettleton. Opened Feb. 26, *59, at 54th Street (Adelplii) Theatre, N.Y.; at $5.75 top ($6.90 opening). Shelagh O’Connor . Lois Nettleton Carrie Donovan.Maureen Delany Sean Murphy . Mike Kellin Patrick Molloy . John McGiver Kate Murphy . Fay Compton Rory Murphy . Larry Hagman Mrs. Cronin . Nancv Lester Mrs. Donehue . Nancy Fields Offstage Singer . Pauline Flanagan Under the title, “A Priest in the Family,” this Kieran Tunney arid John Singe drama had a mod¬ est reception (11 weeks) in Lon¬ don during the 1951-52 season. Under the smash-or-flop conditions of Broadway, however, it’s a re¬ mote prospect for-a run, even if it didn’t have to vacate the 54th Street Theatre next Saturday (7> for the previously scheduled move- over of “Look Homeward, Angel” from the Ethel Barrymore. Even under better circumstances, “God and Kate Murphy” woul<l be tough to put across to the general public. Its conveniently-moraled story about an end-justifies-the- means mother who sacrifices her older son’s wishesrin order to make a priest of the younger one is al¬ most a prototype of a certain cate¬ gory of Irish plays, but lacks either the plausibility or general appeal for secular Broadway acceptance. The British star. Fay Compton, has been lured out of retirement and imported for the key role of the unscrupulously possessive mo¬ ther who resorts to trickery, lying and slander to carry out her plans, and thereby wrecks the lives of both her sons and the girl the younger one loves, finally driving them away and bringing unhappi¬ ness to herself. It’s a thankless role and the^actress isn’t able to do much with it. Mike Kellin is acceptable in the ill-defined part of the jealous older son who takes to booze when his yearning for the priesthood is thwarted by his mother, and Larry Hagman manages to achieve a de¬ gree of life'as the adored younger son who prefers love but is tricked into wearing the cloth. Maureen Delany, who played the Kate Murphy role in London, is excellent as a thirsty old biddy, Lois Nettleton is believable and responsive as the girl, and John McGiver is amusing but not too understandable as a caustic tavern patron. Burgess Meredith’s direc¬ tion seems enthusiastic and lively, but Ben Edwards has designed a needlessly complicated single set¬ ting, Hobe. Say, Darling N. Y. City Center Light Opera Co. (Jean Dalrymple, cuector) revival of three-act (10 'scenes) musical comedy by Richard BLssell, Abe Burrows and Marian Bissell, based on the Richard Blssell novel of the same title, with songs by Betty Comden. Adolph Green and Jule Slyne. Restaged by David Clive; scenery, Oliver Smith; costumes, Alvin Colt; lighting, Peggy Clark; dqnce staging. Matt Mattox; musi¬ cal director, Colin Romoff. Stars Orson Bean. Mindy Carson, David Atkinson. Robert Morse, Betsy von Furstenberg; features Alexander Clark. Matt Mattox, Jack Waldron, Edward Hunt. Opened Feb. 5, *59, at the N. Y. City Center; $3.80 top. Mr. Schneider.Gordon B. Clarke Frankie Jordan... .Betsy von Furstenberg Jack Jordan ... Orson Bean Photographer . Stephen Franken Roy Peters.Robert Rerrman Ted Snow . Robert Morse June . Kelly Leigh Scbatzie Harris.Jack Waldron Richard Haekett . Alexander Clark Irene Lovelle . Mindy Carson Rudy Lorraine .David Atkinson Charlie Williams . James Karr Pianist . Brooks Morton Arlene McKee.Janyce Wagner Jennifer Stevenson.Jean Mattox Earl Jorgeson ..Elliott Gould Cheryl Merrill . Paula Wayne Piano Accompanist .. Joe Richter Sammy Miles.Buddy Ferrard Rex Dexter . Michell Gregg Boris Reshevsky . Matt Mattox Waiter . Stephen Franken Mcrty Krebs .. Edward Hunt Others: Marcella Dodge, Paula LTbyd, George Martin, Calvin von Reinhold, Eddie Weston. Andrew Bagnl, Joseph Castka, Tommy Lucas, Ted Flowerman. “Say, Darling” is a fun show. But, its revival at the City Center is premature, considering the musi¬ cal is off the Broadway grid¬ dle. The original Main Stem ptb- duction ended a financially disap¬ pointing 42-week run only five weeks before the present edition was launched at the municipal showcase. Nevertheless, the Center presen¬ tation of this inside look at a musi¬ cal in the making is enjoyable. Maybe it’s that “inside” aspect that backfires, limiting the appeal more to the Sardi’s set than the visiting firemen. In any case, the Richard Bissell, Abe Burrows and Marian Bissell adaptation of Bissell’s novel is lively, and the Betty Comden- Adolph Green-Jule Styne songs are pleasant when so intended and convincingly bad when they’re sup¬ posed to be. Although “Darling” Is fresh from I Broadway, the cast is almost en¬ tirely new. Notable among the few exceptions is Robert Morse, whose mannered antics as the yoting pro¬ ducer remain a comic highlight. Hi& performance may be a little too broad at times, but still has riotous impact. Joining Morse in starring assignments are Orson Bean, Mindy Carson, David Atkin¬ son and Betsy von Furstenberg. Bean is likeable as the cornfed author caught up in the whirl of rewriting his novel into a Broadway musical. Most of the singing is sat¬ isfactorily handled by Miss Carson and Atkinson, in the re¬ spective roles of star and egotisti¬ cal songwriter. Miss von Fursten¬ berg appears as Bean’s wife and her use of a southern accent seems unnecessary. Jack Waldron as the uninhibited pressagent, Alexander Clark as the senior producer and-the other cast members are okay. Matt Mattox, who was associated with the Broad¬ way production, has repeated as dance stager, besides dittoing winningly as the lead terper. The musical, directed on Broad¬ way by Burrows, was restaged by David Clive. The. third act, which originally included four scenes, has been reduced to one scene, ending with the ensemble singing of ‘‘Something’s Always Happening on the River.” Jess. London Shows (Figures denote opening dates ) LONDON At. Drop of Hat, Fortune fl-24-57). Auntie Mamo, Adelphi (9-10-58). Blue Magic Revua, Wales (2-19-59). Breath of Spring, Duke York’s (3-26-58) •Chrysanthemum, Apollo (11-13-58*. Cinderella, Coliseum (12-18-58). Day in Lif# Of, Savoy (10-1-58). D'Oyiy Carte, Prince’s (12-15-58). Five Finger Exercise, Comedy (7-16-58). iFor Adults Only, Strand (6-25-58). Crass Is Greener, St. Mart. (12-2-58). Hook, Line, Staker, Piccadilly-(11-19-58). Irma La Douce, Lyric (7-17-58). Living for Pleasure, Garrick (7-10-58). Long, Short, Tall, Royal Ct. (1-7-59). Rtporfory, Old Vic (9-17-58). Mousetrap, Ambassadors (11-23-52). My Fair Lady, Drury Lane (4-30-58). Not In the Book, Criterion (4-2-58). Roar Like a Dovt, Phoenix (9-25-57). Rose Tattoo, New (1-15-59). Salad Days, VaudevUle (8-5-54). Simple Spyman, Wnitehall (3-19-58). Taste of Honey, Wyndham’s (2-10-59), Traveller Luggagg, Arts <1-29-59). Two for Seesaw, Haymarket (12-17-58). Unexpected Guest, Duchess (8-12-58). Vatmouth, Saville (1-27-59). West Side Story, Majesty’s (12-12 58). * Transfer SCHEDULED OPENINGS Clown Jewels, Vic. Palace (3-5-59). Comedie Francalse, Princes (3-16-59). CLOSED Brouhaha, Aldwych (8-27-58). Friands A Neighbors, Vic. Pal. (11-11-58). Woman On Stair, Westminster (1-22-59). THEATRE BY THE SEA Matunuck, Rhode Island FOR SALE To the Right Party Including Inn, Restaurant, Scene Shop, Bar, etc. Price subject to negotiation. Write: MATILDA TYLER and MORRIS TYLER 4t LIvingitoR St., New Haven, Conn. Telephone: SPrece 4-4434 or SPreee 7-4231 GAYLORD PRODUCTIONS AND MUSIC STUDIOS . Rantad by hour, day or week. Lec¬ tures - rehearsals - practice auditions. STEINWAY PIANOS, HAMMOND ORGAN, HARP, STUDIO SET. CARNEGIE HALL 7th Ave., 54th St„ New York Phono: Circle 5-5095