Variety (March 1959)

80 LEGITIMATE J^Rsikrf Wednesday, March 11, 1959 Shows on Broadway Juno I Playwrights Co., Oliver Smith & Oliver j Rea presentation of two-act (16 I musical I'rair.a. based on the Scan O’*’as.". - pi V. “Juno and the Pa>co^N. • v i h h bv Joseph Stein, music rnd i j.. r »;y MaVc Blitzstein. Overall direc- , f • o Ferrer: choreography and musi* . I s*ag : n". Agnes de Milte: scener;;. o ver Smiih: costumes, Irene Sharaft, ; r ;*e»gv Clark; musicrl conanc-oi. --’vert’ Emmet Dolan: .orchestrations, ; P-v-rt Russell Bennett, Marc Blitzs.ein. , i’.Thv Kay: a'oeiate nroducer. Lyn Stars Shirley Booth. Melv.yi D >;*=*las; features Jack MacGowran. Mon e •; N-va-d-en. Je n Stapleton. Tommy Rail,, \»n* v Andrews, T.orcn Driscoll. Gem?e de , Beulah Garrick. Earl Hammond, (’’•*»-:ce Blackburn. S”da Thompson, lom , •CVincv. 1 * m Lemh.m. Opened Mar-J 9. at W ; nier Garden Theatre. M., S5.05 top <$9.fc0 opening). ■ . ; Miw Bo vie .Mont- Amundsen Johnnv Bovlo. Juno Boyle .Shirlev Boo.n' T„rrv Devin- .Loren Driscoll Mrs Me-4'n'. . - Jean S’apleton : Mrs* Bra -Tv .Nancy Andrews Mrs Covne .Sada Thnmny>) : Miss Qumn . Beulah I Chari : e Bentham . E r l Hammoni ; ■p n i;, v . Arthur Rubin t Sull’van .Rico Froehlich ; Michael 3r-dy ., Paiidv .. Julian Pstr'C.^ -Cap’." Jack Boyle-Melvyn Douglas; “.Toxer” Daly.Jack MarG-v.vnm Molly .Gemze de JL~oi>e Nugent Liam Lenihan IRA Men ' Tom Clan-v. .Tack Murray Mrs. Tancred.Clarice BV>ckh*in Mrs. Dwver . IR\ Singer . Robert Hovem Furniture Men.Choree Ri-ner. Pol.r-nv-n Fieldin'*, nee Vrv. h P-? r Huddt-’ston. O’* 11 Johnston, Barbara Loc<- : ard. P?* R”hl. Drina S-n—tt. ■ T o“mw j Soil!-*-. Vrcnk C-rr-h. Ted ^orio'v. R:co , Fr'-h’i-h. Fob-rt Ho*"*-n. J ”’' Mm-t-.v. ; juit-n P-tri-k. George.Ritner. Robert Rue. j Dancers; S’*"*ro^i E n och. Mick?v Cun- I n-vson. P’t Ilcy-s. R-sero^rv Journal)-; Ann belle Lvon. M-rjori- Wi f trr>-r- J-nn*‘ j TVor-m'n, rhn-k B-nnett. T-d Fort-w. j Curtis Hood, «?cntt Hi’ntor. Eu-'-r.e Kel- > ton. James MaW. Pnri.qi-* H-v.ard -ark-r. Jim Rv-.n, Gl-n Te*le'’. I Musical nn-ibers: “M'e'r- A'’*”*. 1 j •WisS It So.” “'■on- of the ?*a ” We Cat* f Tt- Proud.” “D*-*rHn "Ian” “On- K-n' 1 Word.” ”DM S’Yin's,” “What *s 'K' S •ts’" “'-ru D oo- Thing. “Dublin Ni-h ” BaF-t. *‘.Vv Tru- Hear f .” *Dn a T)*v *.ik- T>* ; s.” -Bird T’n«n tu*. “Musi- Fn th- Hoi se.” “It’s Not Jrish. •’The L ; ff-»- W-itr *• “Hymn. “Johnny. “For Love.” “Where?” the final scenes, reflecting O’Casey’s familiar belief in femi¬ nine dignity and courage, have her customary impact. Melvyn Douglas, making his musical debut as costar in the role of the strutting peacock of a hus¬ band. projects the proper blend of blather and cowardice and. when events take a bad turn, downrignt meanness. He and Miss Booth ef¬ fectively fake a couple of simple dance numbers, but their singing is barely acceptable. Monte Amundsen is pretty and appealing as the betrayed daughter, her voice being particularly rich and warm in the upper register, but her enunciation of lyrics being faulty in the lower scale. Jack MacGowran is suitably lithe and elusive as the’ ubiquitous “Joxer,” while Jean Stapleton. Nancy An- drems, Sada Thompson and Beulah Garrick are amusing as a sort Greek chorus of clucking biddies. The dancing, wdth Tommy Rail and Gemze de Lappe as notable ’eads, is outstanding, and there are helpful supporting bits by Loren Driscoll as a thwarted suitor who fails in a pinch, Earl Hammond as faithless city slicker, Arthur Rubin and Rico Fhoehlich in singing rol ?s and several not-too-prominent others. Contrary to the dire preliminary t‘ps. “Juno” is a reasonably dis¬ tinctive musical with the merit of improving as the evening pro¬ gresses. It’s dubious as boxoffice, however, and offers little for films or even stock. Hobe. From the unlikely material o “Juno and the Pavcoc 1 :” a faiflv: Impressive musical 1ms been mad-*. [ “Juno.” as it’s called, is not onh' uneven in quality, but has the same i contrastin'* elements of romedv and tragedy as the original Scan O’Casey drama. The show improves as it prcce-ds. bemg better in the second half than the first and achieving a moderately moving cl’max. Whether the entertainment- minded oublic will buy such a sombre show enough to make it a hit sernns questionable—after aH. the O’Casey plays themselves have never been commercial. But al¬ though it’s cons'derably short of a triumnh, “Juno” is much better j than had been indicated bv the: advance renorts from out-cf-town.; and cred ; t is presumably d)’e Jose j Ferrer, who assumed overall dree-; tion isucceeding Vincent J. Done- hue' during the final tuneup en¬ gagements in Boston. From ac¬ counts. he made major revisions in the show. “Juno” adheres with surprising fidelity to the O’Casey original. It has the Dublin locale during the .“trouble” in 1921, pretty much the same principal characters and. I after the typical O’Casey opening ’ on a note of broad Irish v .: -dv,! there’s the sudden burst of ■ ;o- j lence, the combination of ine u- ing ominousness and Ga* 1 1,1?^ r and boozing, and then ii t.ie; shattering tragic ending. j Joseph Stein’s book retains not; only the main characters and the ‘ broad outline and even most of the plot incidents of the original. The Irish flavor is still present, al¬ though the yarn occasionally is ill- suited to musical treatment. Marc Blitzstein, generally known as a composer of unmelodic scores, has written tunes which, if not exactly jukebox naturals, at least tend to be popular in general style. On the questionable basis of one hearing, however, there are ap¬ parently no standards, nor even any memorable numbers in terms of stage effectiveness, and the lyrics are good enough without being standout. Ferrer, besides supplying the purported neu f approach and revi¬ sions to the show, has directed with generally admirable balance and pace. Agnes de Mille has provided brilliant choreography. It usually adds character definition or plot movement, and is frequently in¬ teresting visually. Oliver Smith’s scenery suggests w'hat appears to be typical Dublin atmosphere, and is properly flexible. Irene Sharaff has supplied effective costumes. Shirley Booth, in the title role, wisely takes it easy in the earJy scenes, scoring bullseyes with the O’Casev lines of wifely sarcasm and getting through her numbers passably. As the story becomes more serious her playing acqu’res greater stature and emphasis and. Look Alter Lulu, Pl?vwri?hts Co. & Gilbert Miller. Lance H-unilton & Charles Russell presentation -F three-? c-t (four scenes) farce by Noel reward* based on Georges Feydeau’s Ofcuue-toi d'Amelie.” Direction. Cyril Mtehard: scenery and lighting. Cecil ,I '*itine. Raymond Sovey. Stars *vj*-v M-Downll. Tammy Grimes. George _3ke;-: features Kurt Kasraar. Polly :y,1c*s. Jack Gilford. Opened March 3, •>-a: Ilenrv Miller’s Theatre, N. Y.; S >.90 t-*> (S7.5D opening). i>i!-ii-‘v r V l, . e . Tammy Grimes Philhpc s Friends . R or r Harrity. r , . _ . Craig Huehing, Bin Berger Lum s _r.ends Barbara Loden. s '*^a von Scherler. Grace Gaynor ™MIJ a? de Croze ........ George Baker i ,2 .. ’ .. Pawl Smith rwso Fat r*?Ti... Erlc Christmas Duche ' -f Clausonnes .. PoUy Howies '-reel Sl-nchard .Roddy McDmwH ^-n. ..... Ellis R , bb •n*- , ’s Godfather Florist Messengers ^rin-e of Srlestria Marcel’s Maid ... T own Clerk . An-th-r Clerk ... D*strict Mayor .. ^hoto-raoher - Jack Gilford .. David Faulkn-r . David Thurman ..... Kurt Kasmar Reva Rose . Earl Montgomery ... John Alderman .... Arthur Malet . William Griffis l'm,l^, nellt .. Philippa Bevans ki. 1 - S rl . .- Ina Cummins Poi«ce Inspector . David Hurst Noel Coward, whose expertly k-piimental comedies were a slit-' terjn" marifestation of the 1920’s and ’30’s, has had leaner pickings as an author in recent years For the moment, at least, he has aban¬ doned original writing and turned h?s craftsmanship to adaptation apparently with not much better prospects. The present effort is “Look Afler Lulu,” a revision of an old Georgs Feydeau farce. “Occupe- toi d’Amelie.” Although the fact hasn’t been generally noted, a pre- voim version nf the same romn. planted by Willard Mack and Howard Booth, was presented on Broadway bv A. H. Woods, under the tin®. “Breakfast in Bed.” It onen-d Feb. 3. 1920, at the Eltinge Theatre. _with the late Florence Mnm* e as femme lead, and had a brif'f run, A fiim version of the same yarn wps r^ipased in 1951 under the Tirlp, “Oh. Amelia,” and the orig¬ inal Feydeau comedy was pre- sonfed on Broadway in French 1952 bv the Madeleine Renaud and Je-«-Louis Barrault company. ThP present extravagant produc¬ tion bv the Playwriehts Co., Gil¬ bert Miller, Lance Hamilton ard Charles Russell, has been lavishly desmnrd bv Cecil Beaton. Under Cvril Ritchard's antic direction, the piece includes just about all the standard wheezes of French sex farce. Including .hiding under and hopping in and out of beds, lurking in closets, removing pants, appearing in scanties and at least two cases of sporting fluffilv gar¬ gantuan hats. The trouble is, it’s too labored and not very funny. Tammv Grimes, as the vacuum¬ headed Parisian eocotte who ob¬ viously never think of saying “no” to anyone tor. for that matter, any¬ thin'*—including her own unpre¬ dictable inspirations), gives an amusingly dry performance within f be limits of the unbelievable jape. •There’s a harely-perceptible sug¬ gestion of director Ritchard’s Inim¬ itable stvle in her comedy read¬ ings. but the performance, her first lead role on Broadway, offers nromlse for Miss Grimes, not n«lv oc “n aotr/'ss but as “a uerso r *aii + " t^- n rnalo costers. Bod' 1 ''’ ' VT ' TA ->«»’-*ii pnri rjf»orvp Baker, ar” primarily straights for the comme- dienne-lead; but McDowall (with brightly blonded hair for the occa¬ sion) succeeds in being appropri¬ ately cavalier in the opening scene in which his titled mistress be¬ comes jealously possessive* philo¬ sophical when he discovers that it’s his friend’s fiancee rather than his faithful pooch under the covers when he wakens after a festive night oil the town, and plausibly harried when he realizes that his mock-weddipg was for genuine. Baker, wdth little to do but be attractive and handle feed lines, does both creditably. Among the featured players, Kurt Kasznar is properly imperious as a Czarist Rii?s»an prince on the make (offi¬ cially incognito) in Paris, while Polly Rowles does her throaty (and uncanmly timed) best to make something more than isolated lines of the amorous duchess, and Jack Gilford is artfully paternal as a German-accent geezer doing his utmost to adjust ta the rumpus. Notable bit performances are given bv Paul Smith as a footman who hods that lofty station by family influence rather than merit. Eric Christmas as the heroine’s realistic father, Ellis Rabb as a comically kow-towing pre-Revolu- t’onarv Russian fixer-for-royalty. and Dav ; d Hurst as a ceremonial police official. An unusually large Actons Enuitv contingent is also on band to supply background hubbub fo” b^ct’c scenes, reaction to com v atmosphere. There’s reportedly a large ad¬ vance sale for “Lulu.” including nun) n ro’ ; <: theatre party bookings, hot it still doesn’t add up to prom¬ ising boxoffice. Hobe. Inside Stuff-Legit “Stage Scenery^ and Lighting” by Samuel Selden and Hunton D. Sell- man (Appleton-Century-Crofts; $7.50) is third edition of this standard book of stagecraft which has attracted students and many pro tech¬ nicians since first publication in 1930. Thirty pages of text have been added; 18 new line drawings; and a revamp of photographic material complements this issue. Topics covered include designing, planning, constructing and painting scenery; lighting, lighting instruments and terminology; a discussion of experimental staging; a directory of man¬ ufacturers of stage equipment. Selden continues as head of Drama Dept, at U. of N. Carolina; Sellman is/in charge of Speech Dept, at San Diego College. Tome remains virtually indispensable to stagers, new or experienced. “The Contemporary French Theatre” by Joseph Chiari (Macmillan; $6.50) is a study on the “flight from naturalism” of France’s drama¬ tists, beginning during the last century with Rostand and Claudel. Book analyzes the work of Copeau, Cocteau, Giraudoux, Sartre and Anouilh, among other playwrights; and also contains a list of the works of the dramatists discussed. Author is a critic, who penned the play, “Mary Stuart,” which was acted at the Edinburgh Festival, 1954. Work is scholarly; more for the library than the shelf of popular stage works. Shows Out of Town Deslry Rides Again Philadelphia, March 9. David Merrick, in association with Max Brown, presentation of two-act (14 scenes) musical comedy, based on the Max Brand novel; music and lyrics, Harold Rome; book. Leonard Gershe. Overall direction and choreography, Michael Kidd; scenery, Oliver Smith; lighting. Jean Rosenthal; Triple Play Palm Beach, March 3. Frank J. Hale & Paul Crabtree present the Theatre Guild & Dore Schary produc¬ tion of three one-act plays: John Morti¬ mer’s “I -Soy” and Sean O’Casey’s “Bed¬ time Story” and “A Pound on Demand,'* plus Anton Chekov monolog, “The Harm¬ ful Effects of Tobacco.*’ Direction. Hume Cronyn: settings and lighting, David Hays: costumes, Anna Hill Johnstone: associate producer. Henry T. Weinstein. Stars Jes- -ica T-ndy. Hume Cronyn; features Gcof- frev Li»mb. Francis Compton. Biff Mc¬ Guire. Opened March 2.' *59. at Royal Poin**ima Playhouse. Palm - Beach; $5.30 top (SS.50 opening). I SPY Mrs. Morgan ... Jessica Tandy Frute .. Hume Cronyn Gladys .*_ Helen Seamon Lawyer .. Francis Compton Capt. Morgan. Geoffrey Lumb BEDTIME STORY John Jo Mulligan . Hume Cronvn Angela Nightingale...Jessica Tandy Daniel Halibut .. .... Biff McGuire THE HARMFUL EFFECTS OF TOBACCO Prof Nyi'khin Hume Cdonyn A POUND ON DEMAND Girl in Charge Jerry . Sammv . T nnocent Bystander Policeman. . Helen Seamon .. Hume Cronvn _Biff McGuire .. Jessica Tandv Geoffrey Lumb This Jessica Tandy and Hume Cronyn vehicle, while admirably suited to their versatile talents, seems of questionable general ap¬ peal. The playlets are, in effect, folk tales, with types unfamiliar to average theatergoers. They are dangerously near being “quaint,” a fatal w T ord in contemporary show- business. The acting and staging are excel¬ lent. Miss Tandy plays three di¬ versified women. Xii John Morti¬ mer’s “I Spy” she is an attractive lower middle-class Englishwoman, orchestrations. Philip J. Lang; dance music arrangements. Stars Andy Griffith, Dolores Gray: features Scott Brady, Jack Prince, Libi Staiger. Opened March 9, *59, at the Sam S. Shubert Theatre, Philadel¬ phia. Prologue Quartet .Don Crabtree, David London. Lanier Davis, Nolan Van Way Bartender . Ray Mason Frenchy . Dolores Gray Wash . . Jack Prince Sheriff Keogh .. Oran Osbum Gyp Watson . Marc Breaux Mayor Slade .Don McHenry Claggett .... Don Crabtree Kent . Scott Brady Rockwell . George Reeder Bugs ... Swenn Swenson Chloe ... Libi Staiger Rose Lovejoy . Elizabeth Watts Tom Destry . Andy Griffith Jack Tyndall.Nolan Van Way Stage Driver.Chad Block Ming Li . Reiko Sato Robertson . Lanier Davis Mrs. Claggett. . .. May Muth Bailey . Ralph Farnworth Clara ..... Rosetta Lenoire Dimples . Sharon Shore Bart . Chad Block Singers, dancers,, others: Lynne Broad- bent. Joan Broderick, Shelah Hackett, Reiko Sato. Sharon Shore, Carol Stevens. Shelly Chaplan, Lillian D’Honau. Maureen Hopkins. Jillana, Andrina Miller, Shirley Nelson. Adriane Rogers. Carol Warner, Betty Jenkins, Jack Beaber, Chad Block, Mel Davidson, A1 Lanti. Ken Malone, Frrnk Pietri. John Ray. Larry Roquemore. Merritt Thompson. Maria Graziano. Betty Kent. Sheila Mathews, May Muth, Don Crabtree. Lanier Davis, Ralph ^arnworth. David London, Ray Mason, Oran Osbum, Nolan Van Way. Musical numbers: “Bottleneck.” “La¬ dies,” “Hoop - De - Dingle,” “Tomorrow Morning,” “BaUad of the Gun.” “A Handy Thing,” “The Social.” “I Know Your Kind.” “I Hate Him,” "Paradise Alley,” “Anyone Would Love You.” “Once Knew a Fella.” “Every Once in a While,” “Fair Warning,” “Are You Ready. Gyn Wat¬ son?" “Only Time Will TeU," “Respect¬ ability.” “Ring on Her Finger,” “I Say Hello.” overbearing husband and taken employment in a seaside inn. In Sean O’Casey’s “Bedtime Story” she is a black-haired wanton who skillfully fleeces an oafish wolf in sheep’s clothing. As the dauntless lady customer in the other O'Casey vignette, she is an elderly termigant who deals firmly with two troublesome drunks. She has drawn all three portraits sharply and, with the aid of her flexible and untheatri¬ cal voice, ihey come vividly to life. Cronyn is also adept as a humble detective masquerading' as a waiter; a would-be seducer him¬ self seduced and terrified of be¬ ing found out; the soberer of two drunks. His comedy is at once broad and subtle. He is possibly at his best, however, in the Chekov monologue as a frustrated profes¬ sor, although the first-night audi¬ ence became restive because of its repetitiousness and length. Cronyn’s direction and the David Hays scenery is excellent, the “I Spy” setting being particularly ef¬ fective with its three spots, a law¬ yer’s office, the terrace of the inn, and the seaside. The competent. supporting cast includes Helen Seamon a cook and a postoffice : clerk, Francis Compton as the lawyer, Geoffrey Lumb prop¬ erly stuffy as the discarded hus¬ band and as a policeman, and Biff McGuire as two types of playful trunks. Culm. Clay Ynrden has been signed to stage “Flight to Matia.” In appraising a new show, espe¬ cially a musical, it's standard pro¬ cedure to remark' that cutting is in order, or in the traditional phrase, the show “needs work.” In the case of “Destry Rides Again,” time is likely to be a vital factor. As of the opening, the show ran a bit over three hours, indicating that from 30 to 40 minutes must be chopped. That will be no child’s play and yet it’s all-important. _ __„_ Judging by audience reaction, who has walked out on a snobbish, rwhich is mostly favorable, much of the cutting should be in the lengthy first act. The second half has three or four show-stopping numbers, despite the overall length of the show. The main assets of the new “Destry” are Andy Griffith in the title role of a deputy sheriff who doesn’t like to tote a gun, and Dolores Gray as Frenchy the dancehall gal from New Orleans who has the proverbial heart of gold under all the makeup, brittle¬ ness and tinsel. Both stars are socko, Griffith from his first en¬ trance and. Miss Gray after her first coude of numbers. Griffith’s easy, persuasive man¬ ner of speech, with its southern accent, Is aided by his ability to put over his several song numbers and his dramatic ability. Miss Gray also creates a believable character and not only belts out several num¬ bers of tier tempestuous type, but also scores in a number of quieter pieces. That calls for mention of Harold Rome’s score, which is varied, fre¬ quently off-beat and filled with surprises as well -as some sure-fire poo candidates, stirring choruses and a number of novelties. How¬ ever. some of these may have to be cut in the trimming process. "Michael Kidd has done a master¬ ful job. as director and choreog¬ rapher. The former assignment has tempo- and. vigor and excitement, and the dance routines include a number of delightfully unconven- ti(■*** •»l touches. is aided in his staging of the flnnces bv having one of the finest male dancing choruses seen here in years. There is even one group of the men that does fine harmonizing as well as lusty hoof¬ ing. The femme chorus is also mettlesome. Outstanding supporting per¬ formances are given by Jack Prince, who brings the hero to Bottleneck and is then shocked at his seemingly timidity; Scott Brady as the heavy s i Libi Staiger is excellent featured soubrette. In most respects the plot follows that of the three film versions, and the fast action takes place before stunning Oliver Smith settings. It’s going to take more than routine attention to cut “Destry” down to size, but the show is eminently worth it. With two outstanding leads and a lively book the show is clearly too good to let slip. Waters. A Dejsert Incident New Haven, March 5. Tad Daniefewski, In association with Morris . Feld.j presentation of three-act (five scenes),j drama by Pearl S. Buck. Direction, TmI Danielewski; scenery and lighting. Howard Bay; costumes, Ann Roth; incidental music, Peter Howard; musical arrangements, Mickey Leonard. Features Shepperd Strudwick, Sylvia Daneel, Paul Roebling, Cameron Prud’homme. Opened March 4. *59. at the Shubert Theatre. New Haven: *4.80 top. Prof. Ashley . . Cameron Prud’homme Pokey --...... Chailendra Jones Angela Ashley.Mary Susan Locke Robbie Horton .Ronnie Tourso Mrs. Elinor Ashley . Sylvia Daneel Rose Endicott ..Lynne Forrester Lewis Endicott .John Heldabrand Gen. Horton . . Walter Klavun Dr. Basil Ashley .Shepperd Strudwick Sir Mark Grahame -- Paul Roebling ... Charles Gerald. Philip Kenneally Dorothy Blackburn Edwin Barkley Tom Trunder . Mrs. Horton .. Everybody is entitled to make a mistake once in a while, and it looks as if “A Desert Incident” will have to be charged up as one for Pearl S. Buck. Reportedly handling the casting and selection of direc¬ tor, as well as the scripting, the novelist has come up wuth a pro¬ duction which, although well com¬ posed in segments, seems at cross¬ purposes. The play is grossly over¬ written, rambling in construction, and ineptly staged. The perform¬ ances tend to be wooden, through no fault of the plavers. To inter this one on its pre-Broadway tour would be to perform something in the nature of a mercy killing. The author has updated the familiar theme of the too-busy-for- sex husband by setting the play at a scientific test station in the desert. There is the usual conflict between the wife and her hus¬ band’s work, and in this case an oddly - conceived Britisher who mixes the atom research with a love of jazz is the third side of the triangle. It is never quite clear what the script is trying to unravel. There is considerable technical dialog which may be okay in book form, where there is ample time to mull it over, but is too specialized to assimilate on the fly, as* pre¬ sented on the stage. Adequate is the word for the troupe, featuring Shepperd Strud¬ wick as the scientist, Svlvia Daneel as his w'ife, Paul Roebling as the Britisher and Cameron Prud’¬ homme as a philosophizing old- timer. Howard Bay’s handsomely de¬ signed and lighted desert living room setting is one of the produc¬ tion’s best assets. Ann Roth’s cos¬ tumes, too, are attractive. Bone. SCHEDULED N.Y. OPENINGS (Theatres Set ) BROADWAY Masquerade, Golden (3-16-59). First Impressions, Alvin (3-19-59). Desert Incident, Golden (3-24-59). Triple Play, Playhouse (4-15-59). Destry Rides Again, Imoerial (4-23-59). Gypsy, Broadway (5-14-59), OFF-BROADWAY Ping-Pong, 7 Arts (wk. 3-15-59). Geranium Hat, Orpheum (3-17-59). Ole, Greenwich Mews, (3-18-59). Our Town, Circle in Square (3-23-59). Waltz of Toreadors, Jan Hus (4-6-59). Come Play With Me, York (4-7-59). Season of Choice, Barbizon (4-8-59). Smokeweaver's, 4th St. (4-14-59). Once Upon ■ Mattress, Phoenix (5-12-59).