Variety (March 1959)

75 Wednesday March 25, 1959 Pfiki&fr LMTPfATfi So They Say “The most horrible thing of all is the humiliation of waiting. Not be-' cause the critics are passing judgment, but because you’re in the posi¬ tion of having to wait.”—Legit and film director Elia Kazan, referring to the opening-night practice of waiting up for the reviews, as quoted by an anonymous friend via Gilbert Millstein in the N.Y. Times Sunday Magazine. “We’ve always felt that the most artistic things made the most money.”—Ernest H. Martin, explaining bis and partner Cy Feuer’s aim as Broadway producers, as quoted by Michael Edwards, in the N. Y. Herald Tribune. “Eugene O’Neill was a very, very great man and a great dramatist And I don’t think you can say anything more than that. He ranks with the great dramatists of the world. He belongs to what we call—what Bernard Shaw called—‘the apostolic succession of literature’ that goes back many, many years longer than any church.”—Sean O’Casey, as quoted by Don Ross in a trans-ocean telephone interview, printed in the N.Y. Herald Tribune. ' “He writes mostly in the evening — that’s a habit, I expect, from when he \#js a working man. He sort of loiters through the day in the most araafeing way and about half past five begins pecking away at a typewriter.”—Mrs. Eileen O’Casey, referring to her playwright-hus¬ band Sean O’Casey, as quoted by Helen Dudar in the N.Y. Post. “I never got a free newspaper in my life. Why do the critics get free tickets?”—Actor-director-producer Jose Ferrer, appearing on the Dave Garroway tv program. “The so-called ‘Angry Young Men’ in England, I think, are. basi¬ cally extremely jealous of American vitality and of American freedom of thought, which perhaps is not possible in a country which has made a god of stability.”—Peter Ustinov, author-stager-star of “Romanoff and Juliet,” as quoted by Henry Brandon in the London Sunday Times. “I want no part of the stage. In the first place I hate to work in the evening when everyone else is having a good time. And I can’t stand to do the same part night after night. One week is enough. I have ter¬ rible arguments about this with people like Laurence Olivier, but I can’t help it.”—Film star David Niven, as quoted by William Peper in the N.Y. World-Telegram. “In general I am a firm believer in the theatrical market place— holding stubbornly to the view that anything from a casual entertain¬ ment to a genuine work of art must make its own way in the competi¬ tive battle for public support”—Walter Kerr, drama critic of the N.Y. Herald Tribune. Im not a Method actor, so I try to divorce myself from any part ;I play. You have to do that. Otherwise, you’d be in a terrible state— unless you were playing Elwood P. Dowd and his- rabbit.”—Broadway actor George Scott, as quoted by Joseph Wershba in the N.Y. Post. ‘Poet’ An Unpleasant Overture Continued from page 1 Hayes and Miss Stanley, adopted the policy of refusing, all com¬ ment. Earlier efforts to dig the story were successfully defeated by the-show-must-go-on silence. Meantime, Portman was repeat¬ edly chided by his colleagues and intermittently was contrite and conciliatory. In the earlier period of the run there were, however, more than a few whispers that he played the role in a mumble some evenings. Recently, the British star’s behavior has reportedly been exemplary. Helen Hayes’, Peace-Maker Miss Hayes seems to have tried to play peace-maker. That *Miss Stanley is a volatile personality in her own terms, and that she lapsed repeatedly into “escape by virus” kept the pot boiling. Oldtimers around Times Square were recall¬ ing other backstage feuds of yes¬ teryear, but apparently this one was a lulu first and last, and the s e a s o n’s greatest semi-sedated headache. With Miss Stanley finally ‘‘breaking loose” with pQblic ac¬ cusations and Portman issuing courtly-gesture statements, the confusion in the who-did-what-to- whom became intense. Miss Hayes was propelled into what she, felt was a self-protection necessity and offered her first public announce¬ ment on the matter. That, in turn, turned the spotlight on the Stan- ley-Portman side of the battle royal. Despite the hush-hush policy of most of those involved, various related facts have emerged or been recalled. For example, de¬ spite her statement to the contra¬ ry, Miss Hayes previously confided to friends that she was having' great difficulties with Miss* Stan¬ ley. At one point, she revealed. Miss Stanley refused to make any response in their scenes together, finally going io the length of keep¬ ing her eyes closed during Miss’ Hayes’ speeches. ! When Miss’ Hayes remonstrated,! it is reported from backstage grapevine, Miss Stanley replied something to the effect that she couldn’t stand opening her eyes, as she couldn’t endure seeing Miss Hayes’ performance. Later, when producer Whitehead attempted to iron put the difficulty. Miss Stan¬ ley became “ill” again, and missed several more performances. According to the management. Miss Stanley was out of the show 31 times, invariably because of “Olness.” When she finally re¬ signed, she first made it known in a remark to Miss Hayes, who thereupon notified Whitehead. The latter then released Miss Stanley from her contract, and issued a reticent announcement of her withdrawal and replacement by her understudy, Nancy Malone. Missed The *Bus’ Also Miss . Stanley’s frequent ab¬ sences from “Poet” have followed what has become something of a pattern for her. It is recalled that she missed a number of perform¬ ances of “Bus Stop” during her starring assignment in the William Inge play, and that she finally ob¬ tained a release from her contract on a plea of illness. She appeared a few days later on a television show. In another of her Broadway starring vehicles, ’Clearing in the Woods," she reportedly missed performances, hut was not sup¬ posed to have been responsible for other backstage incidents during the—brief run of the Arthur Lau¬ rents drama. However, she was re¬ peatedly in and out of the cast of the London production of “Cat on a Hot Tin Roof” last season. With “Poet” currently taking a one-week layoff, several of those closely involved with the present uproar are out-of-town or have made themselves unavailable for elucidation or comment. Miss Stan¬ ley herself sounded off against Portman, who issued a profession¬ ally gallant reply. Miss Hayes, im¬ mediately after issuing her. state¬ ment that as an “innocent by¬ stander” she was “distressed,” planed to Mexico for a holiday. Producer Whitehead and his gen¬ eral manager, Oscar Olesen, were reported out of town. Betty Field,, the fourth star in the Eugene O’Neill drama, was not involved in the situation and remained dis¬ creetly silent Although the whole incident has obviously upset everyone associat¬ ed with the production, it’s fig¬ ured unlikely to hurt business. In fact* in the opinion of some of Broadway’s grizzled managerial veterans, the furore may stimulate public interest in the show and provide * welcome hoxoffice boost Present plans are to continue the run through June 27, when Miss Hayes’ contract is due to expire. Ohio's Outdoor Theatre ! Chardon, O., March 24. An outdoor theatre for the pre¬ sentation of historical dramas based on Ohio history is to be con- 1 structed near Burton, in Ceauga County. The project is being spon¬ sored by the newly-formed Amer¬ ican Heritage Theatre Assn. An expenditure of $250,000 is contemplated for the theatre, with a seating capacity of 2,000-3,000. The opening is scheduled for the summer of 1960. Four-Premiere Decision Mars Met Ballet’s Gala; Wobbly in Showmanship By ROBERT J. LANDRY High-style dancing, mostly by guests, not members, and ho-hum choreography marked the at-long- last Sunday evening (22) gala of the Metropolitan Opera Ballet. Having had its moments over the seasons, the ballet has now had its own first evening. There may be more, but if so, they must be far different from the inaugural. There was a certain amount to admire along the way, though more to regret, especially the chancy de¬ cision of director Anthony Tudor to present nothing but four pre¬ mieres. The occasion cried for one, tested, glamorous interlude of guaranteed tumult. “In the Beginning” began it. John Butler used Samuel Barber’s First Symphony to present Eve (Bambi Linn) and Adam (Bruce Marks) in the big Garden of Eden eye-opener bit after the apple bite. The two tempter serpents, and sinuous they are, Sondra Lee and Thomas Andrews, along with Mom, and Dad in the cornerstone of the race ceremonies, were remarkable for physical discipline, and much arduous rehearsing was evident. With scissor-holds, half-Nelsons and close-order risley this opener suggests how sex was, if not first invented, first worked out. The commercial ballet of Paris does it better. Then came the highly puzzling exercise of Herbert- Ross, called “The Exchange.” Since it is con¬ trary to Met program policy to hint at the plot of anything presented (they sell it, natch) honor compels the admission that many seeing this work for the first time thought it was about a cheating wife who tires of her lord and master (on a ladder and balding), and cavorts [tentatively with a curly-haired [youth, a sort of dance version of : “Mad About the Boy.” But no, the balding guy in red tights is Jesus Christ, excuse the expletive. Nora Kaye, Scott Douglas and. Jose Gu¬ tierrez were the trio. It was finely executed perplexity. On paper different, there was nonetheless a sameness between these two first dance works. Hence [the capacity audience ($4.50 fop) was clearly relieved when the cur- [tain rose for “Les Diaments,” the [first ballet ever choreographed by the ballerina Alexandra Danilova. Prettily costumed and strikingly presented against a blue backdrop [and under a single symbolic chan- i delier, this had Lupe Serrano, J stunningly effective, and Bruce Marks, unevenly so, as a couple of diamonds surrounded by Nancy Benson, Edith Jerrell, Nancy King and Catherine Born. Structurally this short interlude needed more work. It cut short some of its own’ potential effects at points. -Still, it had a certain tradition and dash, and sheer de¬ light and the “amens” around the opera house were, well-nigh audi¬ ble. Always a favorite with Man¬ hattan ballet huffs Miss Danilova,: very Harper’s Bazaar in a new frock, was affectionately greeted at the bows. [ Final of the four premieres was by Massa Tudor himself. Set to Richard Strauss music, "Hail and Farewell” was hardly dance at all, i since the star was the soprano, Eleanor Steber, who is becoming a one-woman entertainment industry at the Met. While Miss Steber in flowing robes sang in her usual agreeable voice four women — [Misses Serrano, Jerrell, Audrey Keane and Kaye—indulged in dreary slow-motion introspection, one after the other. As a climax to an experimental evening it was & misfortune. As divertissement it was hybrid cantata and just plain dull. Not better hick next time. Better thinking. Hit Uninformed Amateur Interference Milwaukee Still Sputters on Society’ Dictation of Theatre Issue—Employees 9 Open Letter •-:---f Bucks Playhouse Anni; Set ‘Intermission’ Test The Bucks County Playhouse, New Hope, Pa., celebrates its 20th anniversary this year. The occa¬ sion will be marked by a return appearance of Edward Everett Horton and Haila Stoddard in “Springtime for Henry.” the barn’s opening hill of July, 1939. Horton, incidentally, has made something of a career playing the Benn W. Levy comedy in stock. Also skedded for the upcoming season at the Playhouse is a try¬ out of “Intermission,” by legit publicist-playwright Ned Arm¬ strong, currently the advance man for the touring “Garden Dis¬ trict.” Armstrong is also press- agent for the Playhouse, operated by Michael Ellis. Gibson Tells Of Author Agony In ‘Log of Seesaw’ By HOBE MORRISON Newcomers to the theatre, par¬ ticularly novelists making their start as playwrights, are apt to be staggered by the collaborative na¬ ture of the creation of a show. Having worked alone for solitary Teadership, they may find the end- [ less “compromises” agonizing, j That such “compromises” may [ make possible the biggest hits (and in some cases perhaps dire flops) doesn’t compensate for the torture involved. An unusually explicit account of such an ordeal is offered in “The Seesaw Log,” (Knopf; $3.95), Wil¬ liam Gibson’s behind-the-scenes story of the production of his still current Broadway hit, “Two for the Seesaw,” with-the text of the play itself. There’s unlikely to be a very large sale for the book, for the “Log” tends to be insidey, and with some notable exceptions pub¬ lished plays aren’t normally best¬ sellers. The “Log” covers a period of four-and-a-half years, from the spring of 1953, when Gibson began writing the script, until the fall of 1957, when “Seesaw” opened on Broadway. As the author explains, the play was his sixth (he had also written novels, poetry and a tele¬ vision script) and although others had been optioned, it was the first to attain actual production. Gibson began the “Log” after the “Seesaw” script was optioned by producer Fred Coe, figuring that it might provide the basis for a book if the play were finally pro¬ duced. The script was sent to the various principals for corrections and deletions, prior to publication. ! ' No Sensationalism Sensation - hungry readers will find the “Log” arid pickings, for although Gibson’s account is pal¬ pably honest, at times painfully so, it obviously is only part of the story, and isn’t even remotely a tell-all book about personalities and personal relationships. It’s pri¬ marily a chart of the author’s own emotional travail in a continuing situation that he found almost un¬ bearable. Gibson has no delusion that his case was unique or even unusual. On the contrary, the fact that at r least to a degree it must be stand¬ ard for playwrights in the throes of production is one of the reasons he gives for writing the book. He . is undoubtedly right in that re- I gard, and the “Log” is likely to be read with particularly' attention and identification by other authors who have similarly suffered. The principal characters in the book are the “Two for the Seesaw” author himself, producer Fred Coe, , director Arthur Penn, star Henry [Fonda, featured (since starred) actress Anne Bancroft, and fre¬ quently but less vitally general manager Joey Harris* .stage mana¬ ger Pete Van Zandt* and produc¬ tion secretary Jessica Levy. In the center of the progressively in¬ tense vortex of rehearsals and try- - (Continued on page 76) Milwaukee, Marc’. 24. A second flareup in as many sea¬ sons, with a resultant departure from the Fred Miller theatre here of its managing director, has created aftermaths. One took the form of a letter to the editor of the Milwaukee Journal, signed by stage manager Dorothy Fowler, scenic designer Warren Crane and props supervisor Catherine U. Field. The open letter was remarkable in that the three who signed it are still employed at the house and the letter directly attacked the “chi-chi” society amateurs on the executive committee of seven who run the affairs of Drama Inc. for a board of 28. Referring with regret at the exit of Edward Mag¬ num as managing director, the letter also expressed hope that Magnum’s successor, Roy Boyle, will be allowed to function. Letter reads, in part: “It is rather appalling to think that various members of the exec¬ utive board and the community (many of whom have little or no knowledge of the exacting art of theatre) would presume to with¬ draw the confidence they had placed in a skilled professional, with the highest artistic integrity, and a man who has engendered a great amount of personal loyalty among his colleagues. “The reason for this withdrawal are not clear . They appear to be based on personal dislike and mis¬ trust in his abilities from the be¬ ginning. * “ Milwaukee’s theatre is unique and wonderful. But the commu¬ nity leaders who made it possible must also realize that they are not necessarily equipped to run it on a professional level, any more than an average housewife is equipped to direct, policy in an insurance company. “Professional theatre demands a leader who is trained, skilled and educated in theatre. We are de¬ lighted that Ray Boyle, the new managing director, is such a per¬ son. We only hope that he is per¬ mitted to exercise his talents. We look forward to working with him, for the good of the theatre, with a minimum of uninformed inter¬ ference.” Two members of the board of 28 have resigned, Harold W. Story and James P. Conway. Although any disagreement with the actual operations of Drama, Inc., has been disclaimed, there has been a public disclosure that board never knew about the Magnum resignation. It turns out that the executive commi'tee of seven does not often consult the board. Son of Met’s Herb Graf Standout at Indiana But Already Semi-Pro By TRUDY GOTH Bloomin'lo:\ Ma eh 24. Werner Graf proved a boffo-bass- buffo in “Don Giovanni” at his own university, Indiana, here. Of considerable interest in this June graduate is the fact that he’s al¬ ready up in 29 opera roles, has sung extensively in the smaller European opera houses. Graf is the son of Herbert Graf, one of the Met Opera’s stage directors, and grandson of a former Vien¬ nese opera critic. Indiana spends money by Cam¬ pus criteria, in mounting its stu¬ dent operas. “Giovanni” was given four performances, each with a completely different cast. Profes¬ sionals were brought £n to conduct (Tibor Kozma of the Met) and to design and stage (Andreas Nomi- kes of the Athens and N. Y. City Center ooeras). In addition to Graf, the Donna Elvira and Donna Anna, respect¬ ively, of Evelyn Kaufman and Leonore Witte were tagged by music scouts as fresh and big voices. Bloomington operas have lately attracted more than a few outsiders from the concert profes¬ sions. : Sheldon Harniek has been signed by Robert E. Griffith and fianid S. Prince as ljrldst for “FioreHd,” which they plan presenting on .Broadway next season* possibly with Mickey Rc cne y ms star.