Variety (March 1959)

74 LEGITIMATE Wednesday, March 25, 1959 P'fisaETY Shows Abroad Goodwill Ambassador Dublin, March 3, American Playwrights Guild & George Brandt, in association with Cyril Cusack Productions, presentation of three-act comedy by Harry F. Tarvin. Stars Dennis King, Martyn Green, Cyril Cusack. Direc¬ tion, Herald Bromley; settings and light¬ ing, Elwell; costumes, Clodagh; Produc¬ tion associate, Elaine Ullman. Opened March 2. ’59. at Olympia, Dublin. Sir Robert Balchion.Denis King Cedric Potter .Howard Morton Sir Nigel Ferrier.Ross Hutchinson Arthur Endicott.Martyn Green Seumas O'Beirne . Cyril Cusack Loretta O’Beirne .Maureen Cusack Ladv Irene Balchion. Rita \ale Trevor Balchion.Peter Donat Brudov Alexander Szabo Rutherford Lincoln .. McDonald Jorsling This piece, set in the improbable future, is work of the late Harry Farrar Tarvin, but credits give a line in which writer’s widow’ and producer acknowledge the con¬ tributions made by Hamilton W. Wright. It is fairly certain that the piece as seen, here is not the final version likely to., be seen in New York, as rewriting is still needed to sharpen up the impact of the story when it gets into the second act, and around the final curtain lines. For budget reasons this piece is being “tried out" in Dublin and it got a warm reception, partly be¬ cause it concerns an Irish theme with the Irish President of some future improbable time using a “big stick” to induce Britain. Amer¬ ica and Russia to finance Ireland with a loan. “Big Stick” is the threat implied in an explosion of H-bombs in uninhabited areas, and the comedy derives from the Irish approach to subject of loan and obtaining of the bombs. The piece is set entirely in the study of the British Prime Min¬ ister, with phone calls to the U.S. President punctuating piece, and visits by Russia’s Ambassador pro¬ viding substantial physical punc¬ tuations. Introduction of romance by way of sub-plot between the Irish President’s daughter and British Minister’s son-is modestly amusing, but the air of gentle re¬ moteness from politics given to Prime Minister’s wife is a delight. While an Irish audience may get the cracks about Anglo-Irish relations, it looks as if some need ironing out before the piece moves out of its two-week stint here, in¬ troduction of a second republic, apparently with a loan in mini, towards final curtain is clever, but didn’t quite come off the fir~t- night and needs pointing up tor full effect on curtain fall. Dennis King, playing the role of the Prime Minister, which he took over w’hen Herbert Marshall dropped out due to ill-health, gives an excellent characterization of a worried Prime Minister of the British Conservative type, without permitting lapsing into caricature. He plays the shrewd political fig¬ ure, trying hard not to be panicked into anything by either his confer¬ ence-calling American confrere or the blustering Russian. ~ Martyn Green, former D’Oyly Carte star, is less satisfying as the Foreign Secretary. He is amiable, but lacks character definition. Ro<=s Hutchinson’s high-ranking Air Force officer is amusing, and How t - ard Morton’s private secretary is amusing without being over-drawn. Cyril Cusack, credited with giv¬ ing George Brandt and Harald Bromley tne idea of a Dublin try¬ out. provides an entertaining study of the Irish President who might have been a cattle-buyer in his younger days, and can play poker in politics. Some of his pauses are a little long, and some of the “en¬ dearing Irish traits” seem a bit too puckish, but the overall role is a standout job of comedy work. His wife, Maureen Cusack, playing the role of his gabby and ingenuous daughter, adds an amusing char¬ acter. Alexander Szabo plays the So¬ viet ambassador as might be ex¬ pected for Hungarian with a sense of humor. He blusters, he wheedles, he stampedes, he even clowns a little, and it would have been a first-class job if his. speech had a greater clarity in projection. Rita Vale’s Prime Minister’s wife was a model of restrained “Britishness,” but Peter Dopat can do little with the underwritten part of her son. Bromley’s direction is sound, but needs more pace, which it will probably get partly through some tightening of dialog. The setting by Elwell has appropriate dignity without being overdone. Goodwill Ambassador is a good prospect for laughs when it has had some more working over. It may oe taken to London’s West¬ minster Theatre, next for addi¬ tional shakedown, delaying the Broadway opening until fall. Macs. Creditors and the Cheats of Scapin London, March 4. 59 Theatre Co. presentation of dual¬ bill: “Creditors." by August Strindberg, translater by Michael Meyer, and “The Cheats of Scapin,"' by Moliere. adapted by Thomas Otway. “Creditors” direction, Casper Wrede; “Cheats of Scapin” direc¬ tion. Peter Dews. Opened March 3, ’59. at the Lyric Opera House, Hammersmith; $1.75 top. CREDITORS Adolf . Lyndon Brook Gustav . Michael Gough Tekla . .Mai Zetterling Ladies.June Bailey, Helen Montague Porter . .Howard Baker THE CHEATS OF SCAPIN Octavian .. Brian Smith Shift ...Maxwell Shaw Scapin . Harold Lang Clara . Etain O’Dell Thrifty . Peter Sallis Gripe . Patrick Wymark Leander . Fulton Mackay Sly ... Helen Montague Lucia . June Bailey Servants William McLaughlin, Roy Spence The first half of this dual-bill returns Mai Zetterling to the Lon¬ don stage for the first time in two years. Strindberg’s powerful, sar¬ donic play of love, hate and re¬ venge, translated by Michael Meyer, is an excellent choice for ,her. The play involves the emo¬ tional clash between a woman, her new wreakling of a husband and her ex-husband, who returns de¬ termined to break up the marriage out of revenge. Miss Zetterling brings great force and sensitivity to the part of Tekla part wanton, parrt innocent and she is admirably supported by . Michael Gough and Lyndon Brook, I Gough plays the ex-husband, suave and obsessed with jealousy and insidiously playing on the feelings of his former wife and her present spouse. Brook also brings a vivid intensity to his role of the weak¬ ling husband driven to his death by his predecessor’s persecution. “Creditors” falls into the pattern of a series of engrossing duologs. Not auite so successful is Thomas Otway’s adaptation of .the Moliere farce. “The Cheats of ScaDin,” a frisky romp dealing with match-making, match-break- ing and the astute machinations of j a valet, Scapin. It’s a mannered work and though the cast works | hard and scored a lot of yocks the, action tends to pall after awhile, j Harold Lang as the valet, and; Peter Sallis and Patrick Wymark, give somewhat over-enthusiastic j performances. j Casner Wrede’s direction of: “Creditors” is faultless. Peter: Dews’ handling of “The Cheats of Scapin” is not so sure. It could do with more pace and on the first nieht there were signs of under- rehearsal. Malcolm Pride designed both sets and the gay one he has dreamed un for “Cheats” is splen- d'dlv in the atmosphere of the period. The double bill provides an in¬ teresting evening, but is doubtful fare for general audiences. Rich. son-in-law and Patrick Magee is a brooding stranger. Wendy Hutchin¬ son brings charm to a smallish, insignificant role and Gordon Gos- telow provides some needed comic relief as the leader of the players. Toby Richardson’s direction switches easily from mood to mood and Reginald Woolley’s setting is okay. Rich. Clown Jewels London, March 12. Jack Hylton presentation of two-act revue. Stars Bud Flanagan, Nervo & Knox. Naughton & Gold, Eddie Gray; features Anne Hart, Kabek &. Zari, lhe Ken-Tones, Rosita, Lynton Boys, the Croft Twins, Leslie Want, Celia Wright. Peter Glaze, John Tiller Girls (20). Music & Lyrics by Ross Parker. Staged by Aleo Stranks; choreography, Joan Davis; com¬ edy scenes by Bud Flanagan & Crazy Gang; and directed by Charles Henry. Opened March 4, '59, at Victoria Palace, London; $2.35 top. The Baskors London, March 20. Arts The-tre Club presentation (in asso¬ ciation with Players Ventures Ltd.) of a two-act (four scenes) drama by Kenneth Jupp. Direction, Toby Robertson; setting, Regin"ld Woolley. Opened March 12, 59, at the Arts Theatre, London; $1.75 top. Guido . Gordon Gostelow Julia .. Wendy Hutchinson Agata .Patricia Jesser Luke . James 3ree Beatrice _:.. June Brown Nicholas.. Neil McCallum Max . Patrick Magee Young Man._ John Gorrie Kenneth Jupp, a young salesman, was awarded a fund of $1,400 by the Arts Council , on the promise shown in this play and another yet unstaged. “The Buskers,” at least, scarcely justifies the outlay. It can Etand little chance of succeeding as a commercial proposition, though the author has ideas. Like so many of Britain’s new young playwrights Jupp is con¬ cerned with the dark side of life, the despair of human beings rather than their hopes. The playwright has not helped himself, either, by striving over self-consciously for a novelty setting which frequently trips him up. A troupe of seedy strolling players decide to pep up their tatty repertoire by improvis¬ ing a play based on events that caused tragedy in four of their lives 10 years earlier. This turns out to be a turgid meller of intrigue, lust and venom in an off-beat family, involving a prostitute who marries a preacher, their daughters and lecherous- son- in-law. The buskers’ rash experi¬ ment leads to tragedy. Played straight, this might have come off. But as a play within a play there is endless confusion. The play¬ wright, as yet, has neither suffi¬ cient grasp of words nor craftman- ship to cope with his theme and he leans heavily on his players. Patricia Jessel makes a big im¬ pact as the lascivious wife, Neil McCallum plays, powerfully as the It would need a critic from outer space to give a cool, objective «*e- view of this latest lusty Crazy Gang frolic. The inspired, vulgar, vital and immensely funny zanies have become a British institution. ■‘Clown Jewels” marks the Gang’s 12th anniversary at the Victoria Palace and their 27th year as a team. Unabashedly the Gang aims at yock-raising. Boisterously and brilliantly. they achieve that aim, and should be a boxoffice cleanup for as long as producer Jack Hylton and they want to. The Crazy Gang, despite the comedians’ hefty combined ages, remains ebuliently j’oung. With lusty good humor the buffoons turn up as beefeaters, disappointed deb¬ utantes! a rich, ripe piece of funny business) and as delinquent choir¬ boys. They also poke energetic fun at Robin Hood and his merrie men and at spiace travel. Teddie Knox is a superb wide boy, Charlie Naughton suffers hor¬ rible physical indignities, “Mon¬ sewer” Eddie Gray is a sublime juggler as well as stooge. Jimmy Gold and Jimmy Nervo are also in great form* Bud Flanagan guides the whole entertainment with an urbane sense of fun and also revels in his usual nostalgic spot, when he revives some of the song mem¬ ories of earlier Gang shows, as well as launching a new song, “Strol¬ lin’.” When the Gang has to draw breath there are some dazzling cos¬ tumes and decor and some very good supporting acts to fill in. Kaz¬ bek and Zari, for instance, do a slick if slightly sadistic whip dance. Anne Hart sings competentlj’ and Rosita, a young woman from Spain has a lively spot with some eye¬ flashing wiggles and sultry war¬ bling. Alec Stranks’ overall direc¬ tion is speedy and lush and Charles Henry keeps the Crazy Gang timed up to their own perfect pitch of slapstick. The Tiller Girls are in lithe, flashing form and Jack An- sell looks after the musical side of the affair excellently. “Clown Jewels” has come back to demonstrate anew’ that London life is never quite the same with¬ out the Crazy Gang on tap. Rich. Die Pariserin (The Parisienne) Berlin, Jan. 2. Theater am Kurfuerstendamm presenta¬ tion of three-act musical comedy by Henri Becque, adapted from his play of same name. Direction. Leonard Steckel: music, Paul Burkhard; lyrics, Fridolin Tschudi: settings and costumes, Fritz Butz; musical direction, Olaf Bienert. Opened Dec. 22, ’58, at Theater am Kurfuerstendamm, Berlin; S3 top. Claudine .Loni Heuser Amede l afont .Kurt Heintel •Tulien Du- Mesnil.,. Bruno Fritz Yves Simpson . Bov Gobert Suzette . Carla Hagen Euslache Monnier.Dietrich Auerbach Henri Becque’s “Parisienne” a sure click with local audience, with its emphasis on wit]} love (or more accurately, amour) 'lovers and the feminine power. an its original form, “Parisienne** may have con¬ tained some amount of social-criti¬ cism, but as a musical comedy, it’s merely a series? 1 of suggestive scenes and dialog 1 sequences, often rather provocative /.-but generally harmless. The show has an asset in. the direction by Leonard Steckel, one of the few local stage directors with a. deft touch. The cast is hardly French, but nevertheless enjoyable. Loni Heuser, as a se¬ ductive elegant, uses mature charm to outmanouver the grace of a young girl. Bruno Fritz enacts her hubby, a fine comedy performance, while Kurt Heintel as a jealous lover, Boy Gobert as another suitor and Carla Hagen as the comely house-maid, round out the ami¬ cable cast. The songs by Paul Burkhard have a catchy rhythm but tend to become, monotonous after a while, and the Fridolin Tschudi lyrics are. nothing special. Pianist Olaf Bienert, along with some chamber musicians, supply nice accompani¬ ment. The settings and costumes by Fritz Butz -are imaginative, colorful and tasteful. Hans. Inside Stuff-Legit Recent death of Lorraine Manville, onetime actress and sister of cafe society figure Tommy Manville, prompts some recollections of a yesteryear era by veteran publicist George H. Maines who’s now as¬ sociated with singer Gene Austin. In 1923 he helped publicize a mu¬ sical comedy, “Plain Jane,” which played a few weeks at the New Am¬ sterdam Theatre, N.Y., with the late Joe Laurie Jr. starred, and Miss Manville and Jay Gould in featured roles. “Lorraine financed the show for producer Walter Brooks,” Maines recalled. “She was courted there by Gould and later married him. When the show went on the road in late 1923, Maxine Brown (Maines* late wife) succeeded Lorraine as Brooks agreed to co-star her with Joe. The show thenjreally began to pay off, especially In Chicago, where w r e played the Woods Theatre for 12 weeks.” For the Chicago run, Maines notes, “I used radio to plug the show for the first time. It paid off well. Joe, Maxine and Jay. got a lot of national publicity through Charley Erbstein’s WTAS and WCEE, the Hearst station and the Chicago Tribune’s small outlet. The Trib later bought the Erbstein stations and they became WGN.” Legit Bits “My Star of Hope,” by Lily Poritz, will be tried out in a dra¬ matic reading next Monday (30) evening at the New School for Social Research, N.Y. Wallachs’ haberdashery stores took a display ad last Wednesday (18) in the N. Y, Times and Herald Tribune to congratulate Louis A. Lotito, president of the League of N. Y. Theatres, on arranging for the earlier (2 o’clock) starting time for midweek matinees of Broadway shows. Henry Margolis, co-producer of the Hariy Kurnitz comedy, “Once More, with Feeling,” planed Sun¬ day (22) to Paris to attend the premiere Monday (23) of the French language version of the author’s • previous play, “Recliping Figure,” which he also co-presented on Broadw’ay. He went to London yesterday (Tues.)- to complete ne- gotations with Robin Fox Asso¬ ciates for the West End production of “Once More,” to be staged by Robert Morley With John Neville starring as the maniacal symphony conductor. Brandt & Brandt is agenting the slock rights for “Auntie Marne.” Legit pressagent Samuel J. Friedman left New York for Russia last Sunday (22) to handle publicity for the Moscow’ presentation of Morris Chalfen’s “Holiday on Ice.” Friedman, also publicity director for the American National Theatre &. Academy, will also do advance work for the N.Y. Philharmonic Orchestra’s upcoming summer tour of Russia. Actor Rick O’Keefe is maitre d’ at Jack Delaney’s, the Greenwich Village eatery, which recently underwent a change of manage¬ ment and is now augmenting its cuisine with keyboard and vocal entertainment. Dore Schary will be principal guest speaker w’hen the American Academy of Dramatic Arts holds its 75th graduation exercises April 7 at the ANTA Theatre, N.Y. Other guests will include Lillian Gish, Philip Wittenberg, Worth¬ ington Miner and Ezra Stone. Dick Campbell, field consultant on African Cultural Affairs for the American National Theatre & Academy, will conduct a three-five w r eek African tour, beginning Sept. 17, 1960. He plans escorting a group of about 100, with the individual tab running around $2,000. The trip is designed to coincide with the w’eek-Iong cele¬ bration of Nigerian Independence. Tennessee Williams’ short play, “Portrait of a Madonna,” will re¬ place John Mortimer’s “I Spy” in the program of “Triple Play,” slated for an April 15 opening at the Playhouse Theatre, N.Y. The Williams play, currently in re¬ hearsal in New York, will be broken in during the production’s two-week tryout at the Colonial Theatre, Boston, beginning next Monday (30). Because of the switch, Geoffrey Lamb, Francis Compton and Helen Seamon, who appeared in “Spy,” during the presentation’s recent Florida try¬ out, are no longer with the com¬ pany. Marker Productions, Inc., headed by Liska March, Jane Schenker and Louis Singer, will present “An Evening With Ethel Waters” at the Renata Theatre, N.Y., for four weeks, beginning April 8 .?■ ■' Allan A. Buckhantz has 'optioned Selig Lester’s “The Negotiation” for Broadway production early next year. Bridget Boland’s “The Prisoner,” presented in London in 1954, is now planned for Broadway produc¬ tion next season by Marilyn Shapiro. Miss Shapiro will also co¬ produce with New Drama, Inc. (Saul Gottlieb and Robert Welber) a double-bill, Euripedes’ “Bacchae” and Marivaux’s “Harlequin Re-, fined in Love.” Viveca Lindfors and Alvin Epstein will appear in the double-bill, scheduled for a May 1 opening at the 43rd Street Theatre, Philadelphia. The en¬ gagement there is to be followed by a booking at the Little Opera House, Boston, and a subsequent New York stand in contemplated, o A musical \ersion of “Tovarich” is planned for Broadway produc¬ tion by Sylvia Harris. The planned Broadway produc¬ tion of Harry Tarvin’s “Good Will Ambassador,” which tried out re¬ cently in Dublin under the pro¬ duction auspieies of George Brandt and Harald Bromley, has been put back until next season. Hamilton Wright is working on script changes. Meanwhile, Brandt, in partnership with Richard Bacharach and Toby Rowland, is planning a London presentation early next June of the Lucia Victor-Guillame Hanotean play, “Detour,” formerly called “And No Birds Sing.” Albert Dekker will appear in the play, to be directed by David Alexander, with Ralph Atswang designing the sets. Sean O’Casey’s “The Drums of Father Ned.” formerly titled “The Night is- Whispering,” is scheduled to be given its American preem by the English Dept, of Purdue U., Lafayette, Ind., at the univer¬ sity’s Little Theatre, beginning April 25. Howard Barker, scene designer and television art director, will do the set, costumes and lighting for the April 16-18 production of “Mahoney” at the Lambs, N. Y. “Expense Account,” being adapted for musical production by Julie Mandel (music and lyrics) and David Dachs (book), will be published in a paperback edition in April by New American Library (Signet). Brazilian playwright Edgar Da Rocha Miranda has arrived in New York to attend rehearsals of his comedy-drama. “The Wind Is Still,” being produced by Joan norvath, George Charles and Luis Martinez, with Aaron Goldblatt production associate. Larry Buck general manager, Robin Wagner designing the sets and Harvey Sabinson pressagent. Actors agent Alan Brock is plan¬ ning a production of “When It Was Morning,” bv actress Zita Johann. Peter Glenville, director of ‘'Rashomon,” wall join the play’s Broadway producers. David Suss- kind and Hardy Smith, in sponsor¬ ing a London edition of the Fay and Michael Kanin drama next fall, also repeating as staler. The Living Theatre. off-Broad- way outfit, is opening a school for. performers next March 30. It’ll be called The Living Theatre Studio. “Joshua,” an oratorio wdth text by James Forsyth and music by Franz Waxman. will be narrated by Norman Corwin when given its world preem next April 4-5 in Temole Emanuel, Dallas. Tex. . The New York Theatre Society, headed, bv Robert O’Byrne and Richard Dunn, will present a bill of two plays bv William Butler Veats. “On Baile's Strand” and “The Death of Cuchulain.” for one evening performance April 12 at the Beekman Tow r er Hotel Theatre, N. Y. t with Gloria Monty staging, Anna Sokolow as choreographer and Paul Morrison designer. A spe¬ cial musical score »s being com¬ posed by Chari*»s p-m*. The cast will be headed bv John Collicos, Peggy McCay and Basil Langfon. Harvev Cort, formerly associated with CBS as a prodnrer-director of documentary, special and public affairs films, has subleased the Davenport Theatre, N. Y. His ini¬ tial production will be “The Inno¬ cents.” opening April 20. Cort also intends renaming the theatre. Richard Burton will direct “Mis¬ tress of the Hnnse,” William de Lys adaption of Strindberg’s “Miss Julie,” which de Lys plans present¬ ing on Broadway next fall after a lengthy out-of-town breakin. Mollv Picon and her husband. - Jamb Kalhdi, will head the cast of a Yiddish-Ameriean musical to he presented next f^ll at the Ander¬ son Theatre, N. Y.