Variety (May 1959)

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56 LEGITIMATE 1/&riEty Wednesday, May 6, 1959 Shows Abroad Candide London, May 1. Linnit Sc Dunfee presentation of two- act musical comedy, based on Voltaire s satire, with Laurence Naismith, Denis Quilley, Mary Costa, Edith Coates, Ron Moody. Book. Lillian Heilman (assisted by Michael Stewart); music, Leonard Bern¬ stein; lyrics. Richard Wilbur; additional lyrics. Dorothy Parker and John Latouche; staged by Robert Lewis: decor, Osbert Lancaster: choreography. Jack Cole. Opened April 30. '59, at Saville Theatre, London. $3.50 top. , . Dr. Pangloss.Laurence Naismith Candide .. - Denis Quilley Cunegonde .. Mary Costa MaximUlian .Dennis Stephenson Baron Tronch . Vernon Rees Pastrv Cook.Alan Thomas His Wife . Lorna Lee Cunegonde’s Maid.Patricia Moore Guests Margot Barry, Patricia, Kilgarriff King of Hesse . Vincent Charles Flower Girl . Lauverne Gray Policeman . Bryon O’Leary Dutch Man . Vernon Rees Swiss Woman .Silvia Beamish Spanish Gentleman. Roy Pattison Atheist.Vincent Charles Guard . Roy Pattison Inquisitors Victor Splnetti. Dennis Stephenson, James Calrncross Woman Prisoner . . Shirley Lee Executioner .Rudy Szfgetl Old Lady . Edith Coates Sultan MiUon .James Caimcross Marquis Milton . Victor Spinetti Martin .... Laurence Naismith Gov. of Buenos Aires . Ron Moody Senors ... Alan Thomas. Bryon O’Leary Croupier . Lawrence Richardson Desnerate Gentleman Leighton Camden •Duchers .... . Lorna. Lee Lady Marys Tom Fletcher, Bryon O’Leary, Bernard Jamieson. Brian Scott Chief of Police.Roy Pattison Extortionist . Vernon Rees Dancer®: Dorothv Buttery. Helen Fox, Maretta Grace, °ntrieia Hawkes, Vivienne Hetzel. Derlna House. Ross Howard, Ber¬ nard Jamieson. Br>an Scott. Tommy Shaw, Rudi Szigetl, Gordon Wales. The Cend London, April 30. Old Vic revival of two-act (10 scenes) drama by Percy Bysshe Shelley. Staging, Michael BenthaU; decor and costumes, Leslie Hurry. Opened April 29, '59, at Old Vic, London; $2.13 top. , Cardinal Camillo . Charles West. Count Francesco Cenci... .Hugh Griffith Andrea ...... Gerald James Beatrice . Barbara Jefford Orsino . John Phillips Guests.. .Peter Van Greenaway, Michael Danvers-Walker. Peter Moynham Lucretia ...Veronica Turleigh Cardinal.. Christopher Owen Prince •Colonna . Ronald Falk Bernardo . Gordon Gardner Orslno’s Servant....... John Scarborough Giacomo . John Barcroft Marzio . Dennis Chinnery Olimpio . Jeremy Kemp Savella . Norman Scace Officer . John Church A team of toDnotch talent, bris¬ tling with enthusiastic ideas, could hardly fail to make “Candide’' an interesting theatrical experience. Based on Voltaire’s famous satire, this unlikely “musical” material which had a' very modest Broad¬ way run, has been re-shaped for British consumption and is likely to fare better in-the West End. It has too many conflicting styles and shapes to he tho-oughlv satis¬ factory. however. The satire has been blunted in Lilian Heilman’s I book, yet enough of Voltaire’s! witty, wise cynicism remains to j make “Candide” a welcome, credit¬ able stab at an adult music*'!. Briefly re-caoping, “Candide” is the story of a young man whirled around the world and finding des¬ perate evidence that his optimistic professor’s ph 5 lr~ephy that “all’s well in the best of all possible worlds” is horribl”. Ird^ously un¬ true. Bricklv end skilfully di¬ rected by Robert Lewis, this for¬ mat offers nlenty of opportunity for the stylish sets and costumes designed by Osbert Lancaster. The show moves at an agreeable pace. What lets it down is Miss Heilman’s over-sentimental book, which occasionally lapses into con¬ ventional musicomedy mush. Vol¬ taire’s shrewd shafts are brought in with the glib slickness of a well- paid tv gag-writer’s gift to a wise¬ cracking comedian. Leonard Bernstein’s music is sly¬ ly witty and tuneful, but the songs, with lyrics by Richard Wilbur, abetted by John Latouche and Dor¬ othy Parker, are not specially memorable excent fer the opening ditty. “The Beri Of All Possible Worlds,” and “Glitter and Be Gay,” a wicked little gold-digging number put over by Mary Costa with bril¬ liantly sly innuendo. The audience’s enjoyment of “Candide” smings considerably from the spirited enthusiasm with which a polisheo cast aoproaches its chore. Miss Costa, blonde and bubbly, makes a splendid heroine. She trails Cunegonde’s shop- soiled virtue through the action with humor and an occasional touch of pathor, and sings delight¬ fully. Dennis Quilley is stalwart and handsome in the rather less meaty title- role, and Lnurence Naismith doubles excellently as the bene¬ volent, rubicund ODtimistic Dr. Pangloss and as Martin, the surly pessimist. Edith Coates, a fugitive to a pop musical from Convent Garden Opera Hoyse. not only sings ad¬ mirably but shows an unexpected sense of comedy as Miss Costa’s dubious companion. Among the many other roles neatlv portrayed Is that of' Ron Moody’s amorous Governor of Buenos Aires. Jack Cole’s choreography is in¬ terpreted in lively fashion by the chorus and, in fact, the main regret about this show is that it moves into pantomime, comic opera, farce and musicomedy too hewilderingly. As a musical show it has an off¬ beat fascination; as an interpreta¬ tion of Voltaire it falls consider¬ ably short of what might have been anticipated. Rich. Abel Enklewitz and Vincent Cerow, operators of the Playhouse Theatre, N.Y., are planning a Broadway production next season of Borneo Mulled “Like . Won¬ derful.” Shelley’s 16th century drama is a Roman shocker in which evil is piled on so devastatingly as to lose much of its effect. The audience is not much chilled as stunned into acceptance of one of the most malignant stories of all time. It is based on real life and concerns, in some detail, the events leading up to the execution in 1599 of the Cenci family in Rome. Last seen in London in 1926, this chronicle of lust, evil and Sadism marks the Old Vic debut of Hugh Griffith as Count Cenci. Cenci, a depraved, aging noble¬ man, has for years subjected his family to the most horrible in¬ dignities. His incestuous desire for his beautiful daughter leads to his downfall. After she has been raped, she conspires with her brother and stepmother in hiring two assassins to murder the Count. One of them is caught and put on the rack until he admits who em¬ ployed him. Then the Papal prose¬ cuting counsel has the plotters tortured until they confess. The corrupt Pope turns down their plea for mercy and, following a lingering and harrowing prison scene, the three go to their death. Even the rack scene is shown on¬ stage, hardly providing cheerful entertainment, and only occasion¬ ally does Shelley’s poetry provide some compensation. Nevertheless, this gruesome piece offers op¬ portunities for several flamboyant performances. Griffith’s melodious Welsh voice makes full use of Shelley’s verse but the actor fails to show the core of evil that made the crazy Count one of the most decadent men of his age. * | Barbara Jefford, an actress with a rare, cool beauty, gives an out¬ standing performance as the persecuted Beatrice. There is spirit as she revolts against her father’s excesses, cunning as she plans the murder and moving pathos in the death scenes at the end. Veronica Turleigh is adequate in the colour¬ less role of the stepmother and Norman Scace as a vindictive prosecutor, and John Phillips as the conspiring priest are splendidly cast. “The Cenci” has been hailed as a masterpiece. Veering as it does between near-tragedy. Grand Guig- nol, and melodrama and with verse that sometimes is beautiful to- the ear and at others is almost mundane it is scarcely great drama. Nevertheless, it is worth seeing as a museum piece. Michael Benthall’s direction is a no-holds- barred piece of work and the cos¬ tumes and decor of" Leslie Hurry are rich, vivid and imaginative, and skillfully lit. Rich . a good cast there is also Jeremy Brett as his secretary who has to pose as a doctor and Marian Spen¬ cer as his common-law-wife, while Newton Blick, Carl Bernhard and Julian Somers are among those who get involved in the rather silly proceedings. Denis Carey’s staging is sprightly and energetic, but the walk-away honors go to Hutchinson Scott for his outstanding decor. Myro. (Closed last Saturday (2) after 21 performances.) Die Villa der Madame Yidac (Mme. Vidac’s House) Vienna, March 29. Theatre on Parkring production six- scene drama l>y Franz Spencer. Staging, Kurt Julius Schwarz^ settings, Rudolf Schneider. Stars Herbert Kersten; fea¬ tures Hans Christian, Henriette Alsen, Gerti Rathner. Opened March 28, ’59, at the Parkring Theatre, Vienna. Justin . Herbert Kersten M. de Castel ..Hans Christian Terese ..'. Henriette Alsen Nadine .. Gerti Rathner Mons. Chalmy.Erich Schwanda George .....Dieter Bauer Manon Zuefflikon.Suzanne Polster£r Leda . Gerti Schmiedl Egon. Jeo Trimmer . American author Franz Spencer has written a cleverly construct »i, unusual and "impertinent” play in “Villa of Madame Vidac.” Ap¬ parently because of its unorthodox quality, it was turned down by the leading Vienna theatres, but has become a success and the talk of the legit public as presented in Parkring, a cellar house. The drama involves an escaped insame asylum patient who opens a villa where he changes wives after every business deal, the ex- spouse^ becoming a maid who serves "a suicide drink to anyone who wants it. It’s a curiously effec- | tive blend of tragedy and comedy. Herbert Kersten is excellent as | the fugitive patient and Henriette i Alsen, Gerti Rathner and Susanne Polsterer are talented as succes- • sive wives. Hans Christian im-: presses as a guest who wants to ; end his life, but changes his mind, j Maas. Off-Broadway Reviews And the Wind Blows George Charles, Joan Horvath & Luis Martinez presentation of two-act drama by Edgard da Rocha Miranda. Staging, Luis Martinez; production design, Robin Wagner. Opened April 27, *59, at the St. Mark’s Theatre. N.Y.; $4.20 top. Cast: Stars Tonio Selwart; also includes Paul La Brossiere, Santiago Burgos. Joe Alfasa, Paul Zayas, Stanley Greene, Alfred de la Fuente. Robert Fields, Miriam Cruz, Joseph Boley, Cynthia BeJ- grave. Louis Guss, Raf Michaels, Sheila Fielder, Nivia Rodriguez, Jaime Olivencia. Margo Jones and Maple Theatres Merge, Dallas; Will Use Latter House: Mr. Fox of Venice London, April 1®. Linnit Sc Dunfee presentation of three- act (six scenes) comedy by Frederick Knott, based .on the novel, “The Evil of the Day,” by Thomas Sterling. Staged by Denis Carey; decor, Hutchinson Scott. Stars Paul Rogers, Marian Spencer, Jeremy Brett. Opened April 15, *59, at the Piccadilly Theatre, London; $2.80 top. Cecil Fox .Paul Rogers William MacFly - ... Jeremy Brett Massimo.. Andreas Malandrinos Maid . Phyllis Partridge Footmen Kenneth McClellan. Alan Penn Sir Henry .....'. Newton BUck Anson Sims . Carl Bernard Theodora Sheridan.Marian Spencer Nurse Johns Julie Somers Medical Orderlies ... ... Alan Pann, Kenneth McCIcUan MaresciaUo . Harold Kasket A sumptuous set, a notable cast and a highly involved contrived play just about sums up “Mr. Fox of Venice,” which Frederick Knott has adapted from a novel inspired by “Volpone.” The show has little prospect of survival. Peter Rogers, who has become one of the leading Shakespearian actors and has played several sea¬ sons at the Old Vic, is surprisingly cast as the eccentric millionaire who feigns a critical illness and surrounds himself with his friends. The story is an involved romp which makes little sense dramati¬ cally, has occasional laughs, and presently becomes tedious. First-class talent is frittered away on this lame effort. Rogers works hard, but the subject is too slim to give him a real chance. In Dallas. May 5. The Margo Jones Theatre, which has been operating since 1947 in the old Gulf Cil Building in State Fair Park here, will merge with new Maple Theatre and occupy the latter’s quarters next season. The Maple was converted this spring from a film house to a legiter by Edmund'G. Peterson, a local build¬ ing contractor and theatre execu¬ tive. In making the move, the stock venture will switch from arena to proscenium staging. The change will also involve an increase in seating capacity from 198 to 414. Under an agreement worked out by trustees of the Margo Jones theatre and Peterson, the assets of the two operations will be united and the name and policies of the Margo Jones Theatre will be re¬ tained. Peterson has been elected to the Margo Jones board as executive administrator, a newly - created post. DeWitt Ray, a banker, is president of the stock venture’s board of trustees. Both the Margo Jones and Maple theatres end their current seasons in May. The open¬ ing bill of the fall season will be the Ford Foundation grant play, “The Physician for Fools,” by Ken¬ neth Cameron. Guest directors will be engaged for next season, each to stage three productions. As previously re¬ ported, Aaron Frankel, managing director of the Margo Jones spot, resigned effective last Sunday (3) after an initial 26-week season. The season at the theatre-in-the- round also ended then with the current show. “Triangle,” a triple- hill comprising “The Browning Version,” “Overruled” and “The Tridget of Greva.” The Maple Theatre Is scheduled to wind up in mid-May with its current entry, an original revue, “Take Me To Your Leader.” It opened in February with “-The Boy Friend.” The house, located on residential Maple Avenue, is situated on four acres, valued at over $380,000. Peterson acquired the suburban property last winter for erection of Fleetwood Square, a new building products trade mart, and retained the theatre building as an avocational interest. A park¬ ing ARCA for playgoers adjoins the house, which also has extensive backstage facilities. Miss Jones, who died in 1955, had originally planned a prosce¬ nium operation. Despite an imaginative produc¬ tion design which sends a breeze swirling, over the rooftops of a hot Brazilian village, “And the Wind Blows,” is becalmed through most of its two acts at the St. Mark’s Theatre. The play, written in English by Brazilian-born Edgard da Rocha Miranda, is about peasants groping for faith in a drought-stricken in¬ land village. Their hopes are re¬ kindled when a monsignor, plunged into their midst accident¬ ally, is credited with bringing them a miracle by restoring his ailing host to health. In the mon- signor’s rediscovery of the simple elements of faith, and in his ulti¬ mate conflict with higher church authority which demands that fact be set ahead of miracle, the play casts the seeds of its drama. The peasants who see their hopes for rain-seeking religious procession raised and then dashed, spell out the arguments for faith or non-belief. Some of the author’s philosophy may be gleaned from lines such as these spoken by peas¬ ants and priests: “There are two paths of life. The one we call reality w*e choose because it is easier.” And: “The world doesn’t want truth, it wants blood.” This is Miranda’s first effort to be shown in New York, and it leads to comparisons with Graham Greene’s “Power and the Glory” shown a few blocks away at the Phoenix earlier this season. In both, priests are cast in the cen¬ tral roles, and in the end, the peasants rely on them for salva¬ tion. But where “Glory” provided a fussilade of activity, the present play stirs to dramatic heights only occasionally. In between there is too much desultory* conversation, too much homey philosophy, and unfortunately a conventional por¬ trait of the cynic, an alcoholic ex¬ doctor who has slumped into life’s backwater but is still articulate over a glass of whiskey. Tonio Selwart plays the mon- signor in a forceful if somewhat continental fashion, but succeeds in making him a sympathetic char¬ acter before he meets his demise. His murderer, a burly Negro laborer named Bene, is an impos¬ ing figure as played by Stanley Greene. The remainder of the cast, many of Spanish origins, lend an authentic air to the action. The design is ingenious through¬ out in this semi-arena setting. A screen masking an interior house set slides easily aside when the action moves from the hot village street, and the wind, as noted, moves perceptibly through the trees and a clothesline to the rear of stage center. But the people never seem to notice it, and the playwright rarely puts words into their mouths to stir the audience similarly. Nedi. family was wiped out in a Boston night club fire, that she is lately emerged from a mental hospital, that she has been married to a male nurse who didn’t bring her love, and that her open-door policy in her youth has left her reputa¬ tion vulnerable to attack. The hero, it transpires, is really a timid little boy from Brooklyn whose shyness blossomed into bisexuality in Manhattan. Then in quick succession, there appear a columnist who runs a filthy expose magazine and is in love with the heroine, the hero’s dim witted sweetheart, and his mama, a simple woman who can’t understand w*hy her boy had to leave Brooklyn to be an actor. She is quickly disposed of by being run over by a truck, however. Ruth Warrick makes a noble ef¬ fort to bring credibility to the part of the actress, but the script un¬ fortunately overwhelms her. She is stunning in a succession of cos¬ tumes by Nilo, and with Jo Hurt, who plays a friend, gives the play its only professional appearance. When the third act curtain falls Miss Warrick is alone on the stage, troubled but radiant and beautiful in a silk hostess gown. For that moment, at least, the playw’right has something. Otherwise, “Single Man” rings as untrue as the chimes in its Village apartment. Nedi. Come Play With Me Michael Davis, Helen Bonfils & Haila Stoddard presentation of two-act musical comedy, based on "Voulez Vous Jouez Avec Moi?” by Marcel Achard; adapted by Miss Stoddard and Tamara Geva; music and lyrics by Dana "Suesse. Staging, George L. Sherman; choreography, Ray Harrison; sets and lighting. Feder; musi¬ cal direction and orchestrations. John Lesko; men’s costumes, Ramse Stevens. Opened April 30, '59, at the York Thea¬ tre. N.Y.; $4.60 top. Cast: Stars Tom Poston, Philip Burns. Donald Moffat, Liliane Montevecchi; in¬ cludes Tony Ballen. Oldyna Dynowska, Mary Ellen Jackson, Gracia Littauer, Two circus clowns appear on- I stage at the outset of “Come Play ! With Me.” and one, suffering from j unrequited love, sings “My Heart Is Like a Mournful Note." He thereby strikes the theme for the evening, for though the locale is a circus, the, p ! ay tends to be a Single Man at a Party Frank B. Haderer presentation (in asso¬ ciation with Scotti d'Arcy) of three-act (five scenes) drama by Richard Kayne. Staging, Peter Flournoy; settings. John Braden; costumes. Nilo. Opened April 21, '59, at the Theatre Marquee, N.Y.; $4.60 top. Cast:.Stars Ruth Warrick. Ron McNeil; features Jo Hurt, Don de Leo, Charles Campbell. Blanche Collins, Atwood Leven- salcr, Jane Chambers. When a young actor wearing tuxedo and cowboy boots, reels drunkenly into , an actress’ Green¬ wich Village apartment, .flops into a chaise lounge and asks “Do you mind if I move into your life?” it’s even money there's trouble ahead for the audience at “Single Man at a Party.” It doesn’t take long to collect on that bet. Before the end of the first act there appear some of the rarest misfits since man first tried putting square pegs into round holes. The clothes are dazzling, the dialog is dull, and the prob¬ lems would keep a potful of psychiatrists busy into eternity. Playwright Richard Kayne started with an idea that might have grown into a play if it hadn’t been drowned in its diffuseness. He has his heroine, an aging but still beautiful actress essaying a comeback in the fast company of New York. And the hero, for all his surliness, might have been a fair picture of a young screen figure, on the edge of stardom. In the way these people ,use each other to attain their ends there is the possibility of a play. But it develops that the actress’ three-ring bore. A long list of talented names had a hand in the preparation of this dreary two-acter, including Tamara Geva and Haila Stoddard, who adapted the French play by Marcel Achard. iAs “Voulez-Vous Jouez Avec Moi?” it is reputed to have been a hit in France.) Dana Suesse is responsible for the music and lyrics, but some of her tunes stir strange reminiscences, one having eight bars that sound as if they should lead to “Tender Trap” and another being not quite “Mamzelle.” The assets include elaborate circus costuming and a handsome chorus. Donaild Moffat and Philip 1 Burns, as the clowns, provide ! diverting moments, too, but the adapters’ idea of a really good gag is to have Tom Poston, as a fledgling clown, kicked in the pants every time he comes onstage. Except for that. Poston is wasted, spending most of his time moon¬ ing over Liliane Montevecchi, the circus ballerina, and singing 7ome sticky lyrics about her. Moffat has some fun a couple of times improvising, with chalk and blackboard, pictures of cats and people while giving a mathe¬ matics lecture. His duet with Montevecchi, despite its “Tender Trap” beginnings, is a highspot of the show. Miss Montevecchi, a delicious Parisienne brunette, is the best scenery the Dlay has to offer. She glides swanlike across stage for even the simplest of entrances. Without her there would have been virtual T y no reason to look at or listen to what goes on. Nedi. (Closed last Saturday (2) after four performances.) Season of Choice Charles Bowden, Richard Barr Sc H. Ridgley Bullock Jr. presentation of three- act (six scenes) drama, by Nathaniel Banks. Staging, Charles Bowden; setting and lighting. Will Steven Armstrong. Opened April 13. '59, at the Barbizon- Pf?za Theatre, N.Y. Cast: Stars Betsy von Furstenberg. Douglas Watson: fsatures John Marriott, Ethel Smith; also includes Dornt KePnn, Leo Lucker. Mary Alice Bayh, Collin Wilcox. Keir Dullea. John Karlen. The folly of marrying beneath (or above, for that matter) one’s station i§ apparently the theme of this handsomely produced but trite and hollow drama about a southern town. The inevitable comparison with Tennessee Williams is a pretty shattering test for “Season of Choice” and its author, Nathaniel Banks. The play involves an overly gen- (Continued on page 61)