Variety (July 1959)

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78 LEGITIMATE ©nee More. With Feeling ! London, July 10. ! Robin Fox Partnership Un association with. Henry Margolis and Martin Gabel) presentation of three-act tfive scene*) comedy by Harry Kurnnz. Stars John Neville. Dorothy Tutrn. .^artin Miller. Staging. Robert Morlej: decor,_ Roger Furse. Opened July 9. ’?9» at the New Theatre. London: $2 80 top. ; Chester Stamm .Jeremy Burnham Gendels .. E T r il s ^ Victor Fab:an .- ^^ri^wnpr Archer .. Martin Mil ler ?u«? Bardini ..., - Robert Ayres Mr. Wilbur.James Dyrenforth Doily .Dorothy Tutin Richard Hilliard ........ - Maurice Durant Harrv Kurnitz is an adroit writer who’s "free with wisecracks, but “Once More, with .Feeling” gives the impression that the gag came first and the play was built arourtd it. At intermittent intervals the show is hilariously funny, but the pace is uneven and; the construc¬ tion is shapeless. Its marquee strength may help it for a moder¬ ate run. I; Apart from the structural weak¬ nesses of the comedy, it suffers also from some miscasting. -John Neville, a, distinguished Shake¬ spearian actor, is hardly the best choice for the role of the tempes¬ tuous orchestra conductor. He makes a valiant effort and at times almost succeeds in suggesting the egomaniac that the author obvious¬ ly had in mind. i Dorothy Tutin also is a dubious selection for the only femme role, but she improves progressively! as the play develops and, by the time the third act comes around, has more or less happily settled in. ; The one piece of inspired cast¬ ing in the production is the choice of Martin Miller to play the im¬ presario. Admittedly, he has i all the best lines, but he never misses a trick and gives a thoroughly di¬ verting and amusing portrayal. He dominates the stage in every scene in which he appears and his performance is indicative of the potentialities of the subject as a film vehicle. The remainder of the cast is ade¬ quate, with James Dyrenforth neat¬ ly suggesting the chairman of jthe board of governors desperately trying to persuade th ’ conductor; to include “The Star-Spangled Ban¬ ner” in his opening program. Ernst Ulman happily interprets the role of the violinist who has bjeen assaulted by the conductor. ; Robert Morley has directed (the comedy with vigor and plays up the laugh lines. In one way, that contributes to the uneven tempo of the piece. The various sets [de-; tion signed by Roger Furse fit the [pill admirably. thought that is independent of them. ! Miss Plowright, one of Britain’s most .intelligent young actresses, finds it difficult to cope with some of the earlier scenes where she tries to “educate” her family hut rises magnificently to the occasion in the third act. Her final sequence when she suddenly finds that. sh* can talk and think without the guidance of the young man whom the audience never sees ft dramatic and moving theatre. Miss Plow- right’s vivid personality shines throughout in the drabness around her. There are. a number of other good performances, too. Gwen Nel¬ son is splendid as the mother, be¬ wildered at her daughter, but de¬ fiantly clinging to her own stand¬ ards, however, small arid dreary. Patsy Byrne, Jack Rodney and Alan Howard are others who impress as members of the family of banal small-talkers. John Dexter’s direction is well in the mood of the author , and ef¬ fectively sustains audience interest in a family so dull and out of touch with anything but the mun¬ dane that it is little wonder that a girl as lively as Miss Plowright’s Beatie Bryant sould seek escape. Jocelyn Herbert’s settings are also in key with the. general air of flat¬ ness that the author has contrived, often too successfully, to convey. Rich, Roots London, July i. The English Stage Company's presenta¬ tion of the Coventry Belgrade Theatre in. a play in three acts (four scenes! by Arnold Wesker. Stars Joan Plawright. Staged by John Dexter: decor, Jocelyn Herbert. At Royal Court Theatre. London, June 30. *59. $2.25 top. . . Jenny Beales ...Patsy I^rne Jimmy Beales .. ..CharlesrKay Beatie Bryant .....-- Joan Plowright Stan Mann .. - -Patrick O’ConneU Mrs. Bryant. .Gwen Nelson Mr. Bryant ...Jack Rodney Mr. Healey .Richard Martin Frankie Bryant . . ...- Alan Howard Pearl Bryant.....Brenda Peters Ages of Mon London, July 9, Tennent Productions .' presentation of solo Shakespearian recital, starring John Gielgud. Opened July 8. '59. at the Queen’s Theatre. London; $2.80 top. First staged at Coventry’s jBel- grade Theatre, “Roots” has very properly earned transfer to the Royal Court. But despite a wonder¬ fully vital performance by Joan PlowTight and confirmation of the skill and potential of author Arnold Wesker, its downbeat theme makes It a dubious prospect for a run in the West End despite the current vogue for down-to-earth realism vogue for down-to-earth realism, that In 27-year-old Wesker there is yet another name to add to the growing list of young playwrights with something to say and the know-how to say it. Wesker scored with his first play, “Chicken Soup With Barley,” and “Roots” proves again that he will be a force with which to reckon. However, he has elected to. write about a drab fam¬ ily deliberately saying dull things, and one. of the most difficult things to do in the theatre is to present bores without actually boring the audience. Wesker has not yet; suf- The Queen’s Theatre, bombed and gutted in 1940, has been re¬ built at an estimated cost of $700,- 000 and has reopened as the first new* West End theatre in 28 years. John Gielgud, pre-war actor-man¬ ager at the theatre, appropriately launches its new lease of-.liie with a three-week engagement in “Ages Of Man.” This is the. solo Shake¬ spearian recital with which he has been a b.o. : hit in both Edinburgh and the U.S. Gielgud’s performance is not only a standout feat of memory but an exciting, emotional experience. Sans costumes or props, he stands for nearly two hours oh. a stage bare except for red tabs and a reading table holding a script; to which he gives only token atten¬ tion. With dignity, fervor and 'a sly sense of humor he gives us soli¬ loquies, sonnets and. snippets re¬ presenting Shakespeare in every mood from the tragic to. the ro¬ guish. Gielgud’s noble instrument; of a voice gives musical lustre to Shake speare’s verse. He is probably Bri¬ tain’s most distinguished Shake¬ spearian actor and his .understandr ing and obvious love of the Bard's work comes over the footlights su¬ perbly. He wastes no word or nu¬ ance and so. even the more familiar speeches take on a fresh signifi¬ cance. . . : The evening is split into three phases, roughly embracing Youth, Manhood and Old Age. A whole gallery of Shakespeare’s characters are paraded majestically by the performer. Not only does he ex¬ tract every ounce of music from Shakespeare’s brave verse, but he also acts the roles. Hamlet’s soliloquies, the jealous speech of Leontes, the tragic crumbling of Lear, the lovesick romance of Romeo, Prospero, Richard II, Cas¬ sius, all come to life through the dedicated skill of the star. Not least satisfying are the brief, _ il¬ luminating links with Which Giel¬ gud blends the pattern of his smooth offering. This rewarding theatrical ex¬ perience will be a sellout during its brief stay at the Queen’s and could profitably run for much longer. Rich. Der Schnlfrennd (The School-Mate) . Berlin, May 13. - ScKosspark Theatre production of play ; r . ... . . . . ! j ; in 12 scenes, by Johannes Mario Simmel. ficient skill to achieve this and as : Staged by Albert Bessler. Settings by n rAMtlf fhnra ora monir flafi noc. : Wilholm Ralnkintf. Tprhnlcal’ SUDerVislOllV a result there are many flat; pas- i'w’ilhelm Reinking. Technical supervision, sages, particularly in the first two.j e S n . on^May i£.$i C tS ?P - - - - .Karl Hellmer . Ilse Page . .Konstantin -Paloff . ... Herbert Wilk SiegmaT Schneider • Walter Tarrach acts. i; i Ludwig " Fuchs i “Roots” concerns a family ofvgosi rural Norfolk cottagers visited by \ Ktupmiaim Sander/, their daughter who left home a i Hauptmann Kuehn.. couple of years earlier ft*! the \ . bright lights of London, where she ; Frau Wenzel....;,.....;..Else; Ehser has been having an affaire - With - a j .V.V.fr.C^'oS^'^SSS young intellectual. He has obyious- ' |> r aS Kuehn ..V; D ^..„ ly been trying to pump some' pseudo-philosophy into her brain, which has long been resistant ow¬ ing to her mundane upbringing. The family are waiting to meet their daughter’s young man, but In the end he jilts her. Nevertheless she discovers that though one can’t cast off one’s family roots It is, possible to develop a freedom of i Mate ” Johannes Mario Simmers . . Else Reus* The German stage nowadays suf¬ fers from a lack of new native plays. So if a new author comes along with a new play and latter emerges as a success in the big cities, it is likely tb be heartily accepted. Such is the case with “School- PfasiETT “London Morning,” a ballet with story and music, by Noel Upward, will be premiered tonight (Tues.) by the London Festival Ballet as its initial offering of the summer 1 season, at the Festival Hall here. . The ballet, choreographed by Jack Carter, will be presented at the Hall every night for the next four weeks. initial stagework. The 35-year old author (established as novelist rind screenwriter) may deserve, the com¬ pliment qf being “discovered” as ;a playwright, Play is both humanly and politic¬ ally interesting arid of wide appeal. Its plot (incidentally, a true story) centers, around; a common German mailman. He lives in Vienna under Nazis, is a member of the Hitler Party, but not a bad man. He hides a Jewish boy in jiis home and so saves him from being sent to a concentration, camp. During the war as circumstances worsen,, he suddenly remembers that Hermann Goering, head of Hitler’s Luftwaffe, was once his school-mate whom he occasionally helped on his school works! So the little man gets set and writes a letter to the powerful Nazi which reads about like this: Please let the Jews in peace and make an end to this senseless war. . Such a letter could easily have gotten its sender liquidated, but Goering learns of it and saves his former: pal by Haying him declared deranged. Thus the mailman as a “mentally sick man” may shout and. rail at Hitler as much as he pleases without trouble. . Work, gets a -good interpreta¬ tion at the Berlin Schlosspark Theatre under direction of Albert Bessler. Top honors go to Karl Hellmer whose lovable portrayal of the mailman is. memorable. Other outstanding performances: Herbert Wilk and Siegmar Schnei¬ der. as two Luftwriffen . officers, Walter Tarrach arid Kurt Bueche- ler as psychiatrists, and Werner Stock in a particularly. effective study of a Nazi follower who later becomes, the most “innocent” mail on earth. Wilhelm Reinldng created the settings with profess sional style. . Hans. \ This Island's Mine Hamilton, Bermuda, July 14. Festival Theatre presentation of drama hi two acta by Constance Bainbridge, based on William Shakespeare's "The Tempest.'.' Staged by .Basil Langton. Stars Langton; features Meredith Dallas. Donald Ewer, Fat Barnard. Raymond . Johnson, Brendan Dillon, Jerry Hardin, Guy Ridg- way,. John. Conrad. At Festival Theatre. Hamilton, Bermuda. June 29, '59;' $4J20 tbp. • ; . Shakespeare—Prosper® . .. .Basil Langton Martin ... - - Anthony Amos Boatswain ...............Ernest Robinson Sailor. ..... .Pat Punch- Sailor ..... John .Harding Sailor _James McCracken CottreU--Raymond. Johnson Balladman _. .Brendan Dillon Green Broom....... .'.Lynn Amos Girl in Window: ... ......"....... Mary Ede Beggar .... -: ... John Gowie Night Watchman : . .. l ...Michael Bickley Burbage—Caliban..Meredith Dallas Hammings—Gonzalo.. Guy Ridgway Earl of Pembroke:—Alonzo:. .John Conrad Condell—Sebastian ....... Joseph Wright. Arnim—Antonio .-!... ... Alfred- A. _Block Will Sly—Ferdinand Eooley—Ariel ....... Stlffner—Stephano Twinkle-^Trinculo;.. Judith—Miranda ^- Dark Lady .. . Ann /Hathaway •.. . . .Liam Clancy ..... Jerry Hardin ...Roger Sherman .Donald Ewer . Patricia Barnard ........ Wendy Blythe .. .Joyce Armstrong Shapes... .Joanne Birdsey, Patricia Bur¬ rows, Lynn Christiansen, Wendy . Con¬ yers, Marcia Dons; Sharon Lee Evans, • Mary Francis Grills, Susan Unes.. Jean Marshall, Sharon Randolph. ■' Dancers.... Ellen Bardgett. Ginny Breck, Laurie Gibson. Jessica Langton. - Imp*... .Donna Bardgett, Barbara Chris¬ tiansen, Janice Dons.. Mary Frances Kuglma, Sheila McCuUough; Maureen McCullough,. Joy Terceira, Becky Beh- rehdt, Susan. Dale,. Gretchen van Flois. Bricked by the Bermuda Govern.- ment as part of celebration of, the 350th anniversary of the: island's discovery, “‘This Island’s Mine,” a new play by U.S. aiithor Constance Bainbridge, has opened for nine- day run in new outdoor theatre built in semi-round Elizabethan causeriria trees and oleanders. Shakespeare’s “Te mp est” i[s framework Of play. It is thought Bard gained inspiration for “Tem¬ pest” from reports of . the ship¬ wreck of Admiral Sir •: GeOrge Somers who was washed ashore 350 years ago on Bermuda. AuthOr has developed semi-mystery story theme of Shakespeare’s learning of the wreck and dreaming about his last play before returning to Strat¬ ford-upon-Avon. . • Play opens with the Bard in London tavern, trying for. new in¬ spiration when he hears song by strolling balladman telling ’ about shipwreck rind meets two drunken sailors who survived the sinking on the Bermudas. Prodded by his two leading actors, Burbage, and Heni- iriings,; he resolves to write new piay ris his last effort. U Author has developed a lit¬ tle known facet of Shakespeare’s life with careful research and her use of the ancient idiom has: re- (Continued on page 84) Wednesday, July .15, 1959 Dig We Mast • • • East Hampton, N:Y., July 7. Guild. HaU presentation of Ronald Raw-. ; son production of two-act (10 numbers) revue; sketches and. lyrics, Ira WaU?,ch;. music, David Baker. General staging, Ruth Rawson; musical direction. John Morris; staging of musical numbers. Ed¬ mund Balin; settings. Bill Ritman;. cos¬ tumes, William HargatC; lighting. Dan Butt; piano accompaniment,'John Morris,: David Baker. Opened July 6, '59. at the John Drew Theatre, East Hampton, N.Y., Cast: Stars Alice Ghostley, Paul Lynde; features Gerald Hiken. Eileen Rodgers, John Bartis, Bob. Dishy, Evelyn RusseU. . . Ronald Rawson has opened his 1959 season at East Hampton’s Johri Drew Theatre with a revue that offers, a better than average sampling- of scripting, acting and composing tale nt. “Dig We Must—” takes its title from the sawhorse motto of the Con Edison crews ripping up the midtown side¬ walks “for a growing New York,” rind the revue presents its sketches as slices of 20th century Manhat¬ tan life as reconstructed by arch¬ aeologists of a future age. Most ambitious and most sue-, cessful offering is “The Head¬ strong Heart,” a. musical mixture . of Shakespeare and “Marjorie Morningstar,” in. which Ira Wal- lach’s clever pen, David Baker’s music and the talents of the cast are sho.yn to excellent advantage. Other potable bright spots are “Subliminality,” a novel applica¬ tion of subliminal advertising techniques to a domestic triangle; “Duet for Five People,” a tuneful, sophisticated dissertation on the blessings of familial togetherness; and “The Putnams of Westport,” a song-history whose tongue-trip¬ ping lyrics place it in the class of a vocal tour de force. Hi-fi addiction, parent-child re¬ lations, the credit card craze, the Democratic, party’s search for a leader. . modern office efficiency and off-Broadway theatre (in the form of an “off-Bellevue” opera¬ tion) are also lampooned with re¬ sults ranging from fair to good. Alice Ghostley and Paul Lynde, alumni of “New Faces of 1952,” are star-billed in the excellent seven-person cast. Miss Ghostley is a skilled comedienne whose, singing voice scores in straight bal¬ lads as well as comic ditties. Her admirable rendition of “The Put¬ nams” shows her at her talented best. Lynde, with face that seems on the point of exploding^ mugs his way in high style through a number of sketches, holds his own in the song stints and registers in a hilarious sales pitch for. the “People’s Digest.” Among the featured players, Eve¬ lyn Russell scores as the chief di¬ staff support in the sketches and as a comedienne in her own right; and Eileen Rodgers, a full-voiced, full-figured singer, impresses as a real comer. Gerald. Hiken, John Bartis, and Bob Dishy: fill the many featured male assignments expertly. Bartis also rates praise for a well-turned singing voice. Wallrich arid Baker’s sprightly, interesting score is—with the ex¬ ception of two numbers, “Just Us” and ‘^Silent Heart”—tailored speci¬ fically to the requirements of the revue and has little chance of be¬ ing heard outside of that format “Heart,”:a fine showcase for Miss Rodgers’ warm-throated warbling, may offer some promise as a re¬ cording. 1 v The production benefits from the savvy direction of Ruth Raw- son which maintains a brisk, but never frantic pace throughout. John Morris’ musical direction, Bill Ritman’s colorful, facile set- i tings, Dan Butt’s lighting, William ! Hargate’s costumes and Edmund Balin’s staging of the musical num¬ bers are also credit items. Though not sufficiently fleshed out at the moment, “Dig” offers considerably more than the bare bones of a successful Manhattan- style revue. Hank. Voice of the Whirlwind Abingdon, Va., June 30. Robert Porterfield presentation of a new three act ; (six scene) drama "by Pat Hale, starring. Steven Phillips and. Wil¬ liam Corrie, and featuring Delores Robin¬ son. Walta Chandler. James E. Brodhead and George Fontaine. Directed by Gra¬ ham Jarvis, settings by Lynii Pecktal, lighting by Albin Aukerlund; at the. Bar¬ ter Theatre June 29-July 2, 1959; $2:50 Joti Andrews.. - Steven. PhiUips Rhoda Andrews....... ..Delores Robinson Sam Andrews.. .,... .. . .....Elijah Clark Bessie Cox......Norma Jean Linkous Sunday Jackson _:. i .: William Corrie Shirley Mae Malone. ... ..Walta Chandler Vandy Fitzgerald..... .James E. Brodhead EUa Bradley....... .Phyllis Haddix R. C. Mathews.. . ..Richard Jones Craig McQuirter...George Fontaine Mrs. Bradley...................Anne Ives divinity-schooled, rit odds with a faith-healing revivalist. . . What gets through is the pas¬ tor’s realization that his competi¬ tion has the edmmon touch, rind is able to give momentary happiness to his followers. Moreover, the man who houses his religion in a tent is big enough to not ask God for the miracle, of life when he has been shot arid is dying. Opening night the actors didn’t help any of thi sby muffing lines. Steven : Phillips gives the outstririd^ ing performance well paced, digni¬ fied, mighty in his . anger, Trus* trafed in his envy. The part of the revivalist as writ-, ten is like no revivalist most peo¬ ple have seen. His lines lrick tha fervor arid hysteria so; typical. William Corrie plays. it this way. and his faith healings come off badly. . Delores . Robinson is a little wild-eyed as the . minister’s wife. Walta Chandler is pretty and shows signs of development as an actress. As the fickle girl whose soul is-. sought by both religious men, she gives an adequate performance. Both George Fontaine and Janies E. Brodhead give excellent charac¬ terizations in smaller roles as does Anne Ives, and Phyllis Haddix. The settings are simple, convey¬ ing the front porch of the min¬ ister’s home and the tent where the revival conducted. Color is used excellently for mood and story emphasis. And director Graham Jarvis has established pace. Margi Twelfth Night Boston. July 10; .. Cambridge Drama Festival, presentation of three-act comedy by William. Shake¬ speare,, with Incidental music by Andr* Singen Direction, Herbert Bergbiof; 'deebr, Lester Polakov; artistic supervision, Michael Wager. Stars .Siobhan McKenna, Zachary Scott;, features George Mathews, . Michael Wager, Geoffrey Holder. Tammy ' Grimes. PatricU Cutts. Fritz Weaver, Frederick O'Neal. Alvin Epstein. Russell Oberlln. Opened July 9, '59. at the Metro¬ politan Boston Arts Center Theatre, Bos¬ ton; $4.50 top. . Alvin Epstein ,. ;... . Russell Oberlin ...... Geoffrey Holder ... Zachary Scott ■ ..... Grant Reddick Robert Elston .. Robert Pabker . . Siobhan McKenna .. Michael Constantine ;. - Dan O'Shea- -Tammy Grimes George Mathews .; Michael Wager . - Patricia Cutts Frit* Weaver Feste .. Singing Zany .. . . Dancing Zany .... Orsino .......... Curio ......... ... Valentine ....; . Orslno’s Servant . Viola ... ........ Sea Captain .... Sailor :.. Maria ... .. Sir Toby Belch. Sir Andrew Augecheek . Olivia ... Malvolio . :__ . . Olivia's Attendants . Marjorie Butterworth, „ ■ . Fay Tracey, Mae: Marmy Fabian - ,.......... .. . John Karlen. Sebastian .. ... William Daniels . Antonio ..:. / .. . ..... Frederick O'Neal. Officers. .Lee Richardson, Jerry Silberman Priest. .......... Tony Kraber This Jazzed up version of “Twelfth Night” was the opener for the 1,800-seat Metropolitan Boston Arts Center Theatre on the Charles River. In the current vogue fbr having fun with Shakespeare,, di¬ rector Herbert Berghof has ; put together an imaginative, production with wit and vitality. Two characr ters, new to Shakespeare, a danc¬ ing zany arid a singing zany; en¬ hance the entertainment. With original music by Andrt Singer, this “Twelfth Night” has rollicking apprial. The acting is sound. Siobhan McKenna is a charming Viola and Zachary Scott a dignified Orsirio. Fritz Weaver is standout as. Malvolio, and George Mathews scores with ri low comedy portrayal of Sir Toby Belch. Tam¬ my Grimes bounds about amusing¬ ly as Maria. Blonde, looker Patricia Cutts iri soothingly sprightly as Olivia. Long and lean Geoffrey Holder as the dancing zany, and Russell Oberlin as the singing zriny add to the delights of an. interesting evening. Michael ’ Wager turns ini a slick : performance as the doltish Sir Andrew Augecheek. Alvin Epstein plays the clown to the hilt. Berghof has done a standout job in staging the play, although some of the poetry and profundity of Shakespeare is glossed over, if not lost. In this yetsion, among the highlights is a rowdy drunk scene in which the comics sing “Twelfth of December,” almost iri a rock ’n* roll vein. All in all, the show keeps the audience laughing. . Thie three quarters arena stage, with high spreading platforms and long stair cases arid telephone poles on. which the comics cham¬ ber, is an. ideal setting, and Lester Polakov’s decor has vivid color splashes rind glowing pastel tints.. As the. first , bf three Shakespeare productions, in a lQ-week festival, in a tent rushed to completion to make the opening, it augers well, Guy. The point of this play, which deals with the conflict of religious concepts and moral values in an isolrited Southern mountain com¬ munity, is obscure. ; The play¬ wright has presented a minister. Walter Matthau arid Kathleen Maguire will appear with Orson Bean in next week’s tryout of Robert J. Asherman’s “The Dragon Slayer” at the Jbhq Drew Theatre, East Hampton, L. I.