Variety (October 1960)

70 LEGfirafATB PftRIEff Wednesday, October 5, I960 Shows on Broadway i is in the properly lively key and the Rolf Gerard scenery aiid cos¬ tumes are original and striking. All this doesn’t mean that “Irma-’ is faultless. Perhaps, as some peo¬ ple who saw the show in London insist, it lacks the charm of the French original. Some may re- Irma la David Merrick (in association with Don¬ ald Aiberr, ll. M. Tennent. Ltd., by ar¬ rangement with Henry Hall) presentation of musical comedy in tw!b ads. (20 num¬ bers). with music by Marguerite Monnoti original book and lyrics by Alexandre Bieefort. English book and; lyrics by Julian Afore. David Ileneker and. Monty Norman. Staged bv Peter Brook: choreography, Oiiim White: settings and! costumes. Rolf j .■* , Deiard: lighting. Joe Davis: orchestra- gard its locale and characters. as. tmns. Andre Popp; ad f ' unpalatable and its story as down¬ turns. Robert C.m/.Ici; dance music. John . iv K . Knnder; \hcal arr;:ng**mehts. Bert. Waller , right incredible. and Stanie\ Lebowsky: musical director. , Perfectionists mav quibble at Struilcv l.ebov/sk>. Mars 1 ' EUiubeln Seal, , . . ■* ; •• . Keith ’ Mitchell; features Cine Revill, ! the Slow Spots, notably lp the George S. Irving. Stuari Damon. Zac* t somewhat padded Second half.. It. bc^nie^siniUt'^oiVcmed" 29. W 'uo. n a't the | may be fairly claimed that there’s "■- mouth liieaue. n.y.;; sktiff top ($10 ( undue similarity in some of the songs, and that the. liappy ending opening’ Pi oprietor Clive Revill lima La Douce Elizabeth Seal Client Eddie Gasper Joj-Les-Ycux-Sales -. Zack Matalon It'iberto-les-Dianis Eric Lavie Persoil-le-Noir Osborne Saiith Frxngipane .j. Stuart Damon Polvtele-Mou .;! Fred Gw.vnne Polit e In,peel or Ceorge S. Irving BaBroom ('»wner ‘ c^e de^SS j tion CHI all * those. COiintS, but it (like that in the woebegone “Fare- well, Farewell Eugene,” Which preemed two nights previously;, it occurs at. Christmas) is a - charine letdown. There may be basis for objec- ruton counsel. \i iiico FroVhiich j doesn’t really matter.. For “Irma 1 I- her se O,unso1 . L ' E!iiJtt T GoSid ! is a novel. stimulating, enjoyable Honest Man Joe Rocco | French creation for Broadway, .. ” an ^ Another, hit for David Hbrrick. Court Gendarme -j. Byron Mitchell I ■Warders Elliott C.ould, George del Monte. Rico Frpehhch Priest Elliott Gould Tax Inspector Rudy Tronto Musical iium'ifi s "Valse Milieu." '‘Sons of France." "Th? Biidge of Caulaincourt.’ '•()ur Language of Love.'" "She's Got the .I.e Grisbi is le Root ot :e Evil in Man.” "Wreck of a Mec," “That’s a Crime.” “From a Prison Cell.'* “h ma la Douce.” "There Is Only One Pan-, f-»r Tint.” "The Freedom of the Seas.” S’orm allot. (.luld. ' Ho be. Farewell, Farewell Eugene Ronald Rawson presentation of comedy in three acts (four scenes', by John Vari , with Rodney Acklarid. Staged by. Ronald-' Oiristmas ’ Winston; setting and costumes. Robert iFletcher. Stars Margaret Rutherfords _ | Mildred Dunnock; features Leixeen Me- „ i j tGrath, Herbert Voland. John Call. Louise Maybe what Broadway needs IS . Larabee, Stringer Davis. Nina Clair, more French musicals. David Mer-{■ Martha orrick. opened sept, 27, * 60 . at « "I T Plumo YTa Tante” I the Helen Hayes Theatre,. N\ Y,;:.S7.50 nek with La Plume de Aid lanie , Friday „ nd S:lturdnv $6.90 nearing the two-year mark at the ; weeknights (S8.05 opening). Rovale Theatre just next door, Gertrude Pons..., -Mildred Dunnock brought “Irma La lW to tte Plymouth last Thursday night (29) • Flossie Reardon ........ ... Nina Clair. as another rousing Parisian tuner. Peonie Povis Leiieen Ma^Grath It should be around for a long run. . then be good for a, tour. Its al-i viss Harmon.. Martha Orfiok ready been acquired by Billy j Mr. Davies..:. stringer : Davis "Wilder and Mirisch l'6r the .screen. I '—;—— “Irma La Douce” is the spec-! If there’s" any market for plays, tacular Paris hit that! was adapted like “Farewell, Farewell Eugene.” for London, where it’s been run- , it must be the amateur field-^club ning • more than two years. Al- groups and the like—but hot though shows localed in brothels 1 regional or college theatres, stock, lia\ e long been a cliche, this is • and certainly not Broadway, Even an infectiously distinctive musical, ■ before television brought modern quite unlike anything Broadw’ay drama into the living robin, senti- lia-. seen in memory j The story is ' mental little comedies like this fantastic, the characters are color- j were passe, ful and bizarre, the tunes are lilt-! “Farewell. Farewell Eugene” ing and haunting, and the three ’ tried out by. Ronald Rawson a leading players are talented, per-*couple of seasons ago at the straw- sonable additions to iBroadway. | hat he operated at the time, the Elizabeth Seal, a plxyish hoyden ! John Drew Theatre at East Hamp- who sprang to attention as the ( ton, L.I. It was done in London last goofy Gladys in the London pro- j year, getting generally disparaging duction of "Pajama Game” and ‘ reviews but surviving for an eight- then went on to stardom, .is an en- month run. Now Rawson has chanting sprite in tfie title part, • brought it to Broadway with- the only feminine character in the j Margaret Rutherford, who co- show. As the profitably busy Paris- ■ starred in . the West End edition, ian streetwalker who falls in love 'repeating her comedy-lead role, with an impoverished young law Presumably because of her student and thereby, becomes the numerous film appearances, the focus of a freakish romantic tri-j veteran British comedienne re¬ angle, she dances, sings, cavorts j ceived an. unusually cordial open- about the stage, playing raucous: ing-curtain hand from the. first- comedy and tender emotional nightets. And until the tepid play scenes. Having, played the part in .finally wore out the enthusiasm of London, she avoids an impression • the : audience, she drew* hilarious of staleness. but makes it seem laughter and applause oh practic- designed solely for. her. ally every line or bit of c.ldwning, Keith Mitchell, lialso drafted Miss Rutherford mtigs for alt from the West End edition as co- • she’s worth, grinning, grimacing,- plications being miraculously re¬ solved on'Christmas. Eve, as a pass¬ ing group Sirijgs carols and the snow begins to fail outside. the window; Except for workmanlike construction, there’s little in the script to commend. Ronald Winston has staged the play to keep the periormahee ad¬ mirably audible,, and; there’s an suitably* rococo combination liv¬ ing room-bedroom and kitchen corner setting by Robert Fletcher. Blit it’s a futile evening. Ho be. ...... (Closed last .Saturday night (1) after seven perform, hces.) HY PAINE REBUTS BALLET RUSSE HEAD Hy Faine, exec, sec of the Amerir can. Guild of Musical Artists, in a letter to; the editor of Variety takes exception to the recent story : quoting. Sergei Denham on the.rea- sons for. cancelling, the forepart of this season’s tour by the Ballet Russe de Monte Carlo. Faine charges the story is “replete w: error.” To quote F^ine: ; “VVhat has been an issue all along has been, Denham’s demand for conditions and concessions front the artists which AGMA be¬ lieves are unfair and; which would give Ballet Russe an unfair noniic advantage as against com¬ parable touring, professional dance companies- This has continued tci be the fact to tliis very day and, although negotiations are still' in progress, Denham continues to in¬ sist upon terms .which are unfair to the performers and to .competing companies. “ AGMA doubts very much whether the concellation in fact took place at. the time it was. an-, nounced and rather believes that it w^as already decided to cancel the tour prior! to the public an¬ nouncement. “It is not true that AGMA’s main demand was for a 24-hour complete rest, This demand was dropped be¬ fore peiiham announced his ; can¬ cellation and what.'was an issue at that time- was a $5.00 difference, in performance weeks salaries, be¬ tween what Denham had offered and what AGMA was willing to Ac¬ cept; “AGMA will, continue .to nego¬ tiate: in its effort to achieve for its members a reasonable and living standard of compensation conipar-. able to what it has' already -ob¬ tained With many other dance com¬ panies and hot to favor Denham over such, other comparable pro¬ fessional ballet .companies. The! continued; refusal of Dehhhrh to agree to these reasonable proposals places the responsibility* for keep¬ ing dancers unemployed bn Den¬ ham and not upon. AGMA.” \ Camdot .Toronto, Oct.. 2, Lerner-Loewe-Hari preaehtation of mu-' sical comedy In .two acts (24 scenes), with book and lyrics by Alah Jay .Lerheiv music by Frederick. Loewe,. based , oii the T, H. W'hile hovel. "The Once-end Fu¬ ture King/’ Staged by Moss Hart:, dances and musical, numbers staged by Hanya. Holm: scenery, Oliver Sihith: costumes,: Adrian and Tony.i Duquettjo; lighting, Fed- er;.. orchestrations. R obert Russell Ben- - , neti: dance . music anaugenients. Trude Rittmari:. musical director. Franz Alleis. Stars ; Richard Burton, JujUe ‘ Andrews; feait.ures Roddy McDowalt; Robert .C’odl.e; Robert Goulet, M’El Dowd. Opened Oct. 1,- ">Q; at f he. O’Keefe Cent ie. for. (he-Per¬ forming^. Arts,,-Toronto; 36.50 '■ topi'. . ■ Sir Dinadati John Ctillum Lady Anne . ........ .Christ ina Gillespie Pages Peter de Vise, "Lclahti Mayforth Sir Lionel Briice . yarhe.il. Merlyn David Hurst Arthur __________... tit-hard Burton Guenever ,..... ........ . .. Julie.- Andrews' Lancelot - Robert . Goulet Dap.. .Michael Clarke-Laurence Pelii '..:___... .Robert Coote Clari lit-Haid Gain Lady: ., i _;.. . i.eesa Tfoy Sir Sagramore ........ James Gannon Herald ' .;. ..........John Starkweather Court- Phy^ici Sir Roderick-..: Sir Meliagrante Phoebe; Maidens Larr.v Mitchell .... .. Donald! Maloof .. . Michael Kermbyan ttdnSln lavnoe ir 6zanna : . . ir Ironside Sir Brandilcs Wife - -• Sir Gareth Sir Agravai Sir Pawaine Sir Gaheris ... Lady Agatha ... Lady Mary. Lady Gather* Chamberlain . -. Sir Constantine Mordred .Benita James Mai ncll. Briice. r. Sue Bern', Leesa Troy' ....... . John Starkweather .'•...-,.’.Warren Hays Paul Richards' ........-..: . Joan. August .... - Paul Huddleston. ..; ..... ... .Jack Dabdoub ... 1..... Frank Boitley. ... Larry : Mitchell ...... Adriana Keathley .. . . . Katia GeleZnoai-a . . . .. .-. .. . . Beti Seay Michael Clarke-Laurence ..., Peter- Deign. Roddy McDowall Morgan LeFev .....M'El : Dowd French Messenger , ..... W’arren Hays Tom - . .. Frederick Eldon-Clafk Singers: Joan August, Mary Sue BeiT.v, Marpell. -Bruce. Judy . Hastings. . Bemta. Janies. Marjorie Smith, Shelia Swenson. Leesa Troy. Dorothy White.. Frank .Bbuleyi John. Cullum. Jack Dabdoub. James Gan-, non.. Murrav Goldkind.- r Warren ITavs, Paul uddleston. Michael Kermavan, Don¬ ald Maloof. Larry Mitchell. Paiil Richards, John Taliaferro. .Bruce Yarneir., . . Dancers: Virginia Allen. Judi Allinson.- Laurie Archer. Carlene Carroll. Joan Cod- dirigton. Katia Geleznova. Adriana Keath-: ley-. Dawn. Mitchell; ClaudiaScliroeder, Beti Seay, Jerry Bowers... Peter , I»eign. Randy - Doney,. Richard Englund, Richard. Cain, Gene GeBauer, James Kirby. .Rich¬ ard Huch. Joe Nelson, John Starkweather, Jimrivy Tarbutton. Musical numbers: *T Wonder. What Ihe King is Doing. Tonight ?” ‘The Simole Joys of Maidenhood." "Camelot,”"Fol-. low Me." .‘T’est Moi."-'"The I.usty Month of May;" "Then You May Take Me t6 .the FairJ.’ "How. to Handle a Woman/*, ’.'flie Jousts/' "The Guests." "Face to Face." "If- Ever. I W’ould l.eave You." “Fie-on .Goodness." '’What Do. Simple Folk Do ?." "The Persuasion/* 'VI. .Loved You Once in Silence.” “Guepeverc.” star, repeats his luridly fanciful role Of the law student who be¬ comes the cute Parisian prostie’s gaw’king, sprawling, hopping on one foot or the other and running-about the stage in a succession of pre- lover. presently masquerades as posterous costumes. like a.squatty, her rich, aging client), but then be- ; exhuberant Great . Dane imperson- cornes jealous of his alter-ego, pre- i ating Marie Dressier.! As an irre- tpnds to have killed him and is i pressibly cheerful widow* and for- sentenced to Devil’s Islahd for ■ mer small-time opera trouper*, she murder. It’s also a juicy part and ; provides the only lively element of. he’s outstanding in it. ; the evening. Clive Revill. a third importee ; Costar Mildred Dunnock, stuck; from the London production* is a j with the inflexible role of her genuine find as a sort of combina- ! d|omineering, w prudish spinster plder tion master of ceremonies, com- j sister, handles the straight assigri- mentator. brothel keeper, general | ment with the expert severity .of a fixer ahd actor of assorted comedy j Bud Abbott. Top-featured Leueeri hits. He’s a deliciously sardonic j MacGrath is skillfully, anxious as a droll, with a gnom;elike appear-1 no-longer—young cousin sniitten ance suggesting something of. a' with an ineligible man: blend of Danny Kaye and John j ’ As the good-hearted, roiigh-dia- Puleo (the obsteperous runt of the ; miond sw’ain, Herbert Voland gives Harmonica Rascals), plus an adroit, ! what looks and sounds disconcert- versatile talent. The other per-I ingly like a Sam Levene character- formers are not veadilv ideii- , ization, and the others present' give tifiabTe. but are generally effec-: competent performances in stereo- tive wilhin the limits; of the minor 'type parts. If all this sounds as of pari<. | J “Farewell, Farewell Eugetie” were The song-; are refreshingly un-;.a collection of cliches, let: it go at orthodox and pleasantly memora- i that: hie. Marguerite Monnot supplied j This is one of those plays in ttie tunes, with book; and lyrics by; which the title character never ap- Alexandre BrefTort, |;adapted into i pears. .He’s the sponging, ungrate- English bv Julian More. David ; ful younger brother of the two old Heneker ar:ct Monty Norman. Vir- j ladies and: at the final curtain they tually sure lo be ipop hits are (sensibly give up their lorig- “Valse Milieu.” “The Bridge of! cherished plan, to go to South Caulaincourt,” “Our I, Language of j Africa to live with him. Love” (a smash if there ever was! The play includes such incidents onei and “There Is Only One Paris j as a foundling on the doorstep, for That.” j j subsequently taken from the sad-' British director Peter Brook has j dened sisters, the cousin being st.iged the show with a masterful! humiliated by mistaking a proposi- touch, Onna White’s;, choreography i tion for * proposal, and all coin-: Touring Shows Wet. 2-161 Advlso and Consent (tryout)—Shubert. New, Haven (10-15).. American Shakespeare . Festival Co.- Colonial, Boston (3-8);.'Ford's, Balto (10-15)* Andersonvilte Trial— American, Roa¬ noke,' Va. X3-4); MemoVia;i Aud,. Spartan¬ burg, S.C. (5); City,. Aud., Asheville. N.C.. (6); . Oven* Aud., Charlotte, N.C. (7-8); Municipal. Savannah .110); Royal. Colum¬ bus, Ga. (11); City Aud.i Pensacola, Fla* (12>; City Aud., Jackson, Miss. (J); Ellis Aud.. Memphis (14-15). Best Man (2d Co.)-—Alcazar, S-F. (3-15). Camelot (tryout)—O’Keefe. Toronto ( 3 -is);.: ■ Destry ides Again — Philharmonic Aud.* L.A. (3-15). , Duel of Angels—Natonal, Wash.: (3-15). Face of e-Hero (tryout)—Wilbur, Philly (4-15). Fiorelto (2d Co.)—^Shubert. Chi (3-15). Five. Finger Exercise—Walnut, Philly (3-15). - Flower rum Song —Aud., Denver. (3-4);: State Fair Music Hall, DaUas (7-16). 49th Cousin (tryout)—PJayhbu.se. Wil¬ mington (5-6); Locust, Philly (10-15). .' Invitatibn . to . a Dance (tryout^Cass, Det. (3-8); Colonial, Boston (10-15). Laughs and Other Events (tryout)—Mc- cartfer, Prinbeton (3); ,Jr, High School, Mamaroneck • <4, moves to ;N.Y.), Laurette (tryout)—Forrest. Philly. (3-15). Marcel Marceau Compagnie de Mime— Biackstone. Chi (3-15). . Maiority of One— Erlahger, Chi : (3-15). . Music Man (2d Co.)—ICR NT,; Des Moines. (3-8); American* St.. L. (10-15). . My Fair‘Lady (2d Co,)—Her Majesty’s Montreal (3-15). On.ce Uppn a Mattress ( )— Geary, S:F. (3-15): Period; of Adiusfmenf . (tryout)—Play-: house, IVilmington (12-15). Pleasure of His . Company-^Orpheum, Springfield, Ill. (3); Loews, Evansville. Ind. (4);. Tennessee* Nashville (5); Coffee Aud., Florence, Ala. (6); High School. Huntsville. Ala, (7):- Lanier . High School, Montgomery (8); . Municipal Aud.,' .Lafa¬ yette, La. (10); Mu icipal Aud., N.O. (11- 14); City- Aud., Beaninont (15). ’ Raisin in the Suin—Ford’s. )i Nixon, Pitt. (10t15). \ Show Boat —Curran,' S.F. (3-15). . Tenderloin C.iyout)—Shubert. Boston (3-8. moves to ,'N.Y.). . Unsinkable- Molly Brown (tryout)—Shu¬ bert, Philly (3-13>. . World of Suzie. V/dno-T-Harlrnan, Col- (3-8); Shubert. Cincy (1015). Obviously the present stage- vefr sion of “Camelot” is not the one. that Broadway, is going to see in fi ished form. Any musicaT that runs to. nearly four hours—as “Camelot” did on opening night— wdien the curtain came down at 12:2p a.m., is in for sharp editing. This latest Lcrner-Loew*e opus, staged !by Moss Hart, is still in its thiee-week Toronto tryout and is manifestly hot ready for New York until the story of kingly! vindication can be told in some two-and-a-haif hours. Tightening . will 1 improve itlie piot motivation also. -‘Camelot” is in two acts and; 2p scenes and the entire epneeptiori is so colorful in production values and .costuming that heart-breaks are inevitable in the necessary ciit- tirig: When Alan Jay Lerner. w’ho did the book and lyrics, and Fred¬ erick Loewe who wrote the music, put their discarded material—as adjudged by Moss Hart—i the. fu¬ ture" file, it Should . be marked “don’t forgetl” The librettist has some memorable dialog, although betimes some of it sounds a pit too topical, and cphteinpbraneous. Lerner & Loewe have caught, the Middle Ages touch In “Cameiot.” Backgrounded by the birth -of chL^ vairy in ancient Britain, this mythi-. cal musical tale carries the; nies-: sage of the beginning of law* and order in British history, . While Richard. Burton and Julie Andrews are starred as king: Arthur and Queen Guenevere, it is Robert Goulet—as I>a.ncelot— who stands out as the masculine al¬ beit priggish stalwart, of the.knights of the round,table,. Nothing much happens in the lengthy expositipn of the setting, of the story-theme (based on “The Once and Future King” by T. H. Whitel till Goulet makes his appearance from France* Lured by King Arthur’s :plea for “civilization,” he is dubbed an En¬ glish knight, and bursts forth..with a bouncy , baritone in his singing of. “C’est Moi.” "In its healthy brag-; gadocip, this song will be one of the score’s several hit potential-, ities* Resented by the other knights because His modest Claims are jus¬ tified—via the .offstage jousts, where. he ; defeats all contestants— Goulet has the made-to-order role, of the underdog to whom go . the sympathies of the audience/ He i lias the looks and the speaking nd singing voice of the ideal Lancelot* (For Canadians he has Special signU ficance. for, although:. U'S.-born, he ; has. long been a. local and national .; disk jockey: favorite who seemingly is now destined to. scale th® heights). As a: boyish King Arthur, Welsh- born. Richard Burton is essaying, his fitst musical-romance role. Miss Andrews as Queen .Guenevere ^fondly-..called “Jennie” by an af¬ fectionate King Arthurr—is sweet and regal, as ideal for the role as she. was the Eliza Dbolittle of “My Fair Lady” wliich she created,. In comedy style, Burton registers . With “I Wonder What the Kirig is Doing Tonight;”’ and “How* to Han¬ dle a Woman”; Miss Andrews is outstanding in /“The Simple Joys of Maidenhood,” “Lusty Month of Alay” and “I Loved You Once in Silence”; , arid, the pair are bouncily exhuberant in their duet of “What. Do Simple Folk Do:?.;’ Goulet is excellent, as vis-a-vis With the reluctant queen in his. “If Ever. I -Would Leave. You”/befpr taking his court leave ori a “quest” that removes liim on the big reriun- ciation. scene. The lusty "Came¬ lot’' is reprised. Breathtaking in color, arid , cos- tiunirig .are ..the tenting fields, out-. sj de t he j ousting arena, the thrpne room in the Great Hall, the En¬ glish .countryside fair,/ arid the scenes in the forest which hav ail the'comedie glitter of .a. “Mid¬ summer Night’s , Dream.” Oliver Smith’s: production is. eyefilling arid Tony Duquette’s costumes jifom the late Adrian’s designs) Will have the femriies gaga/ Equally. colorful is the'choreog¬ raphy by Hanva Holiri and the dance aprairigemerits by Trude Ritt- man. IVIoss Hai’t has directed it all with tech ique : and assurarice. Only comedy notes are struck, by. Roddy McDowall . as Mordi ed. An intrusive role; perhaps not needed; M’el Dowd as the lusty Morgan Le* |..F.ey; and Robert Coote as a brave but monocoled. “sillyrass” ty of Englishman of fainiliar ! concept. David Hurst is an effective Meri.Vri, . Unsightly are the 10 ri>ikes front- .ing the stage, with the O’Keefe ■Ceptreis .acoustics favoring, the ■ principles, or the choral groups in kneeling .jjpsitibns;; The new thea¬ tre seats 3,200 which does present j ari ; acoustic, and . projection prob¬ lem. , Burton sings arid speaks suavely and is-effective iri his masculine foie;! as does also Goulet* whose voice and demeanor make for a too sympathetic lover of, the queen. Their robustness, ail but over¬ whelm Miss Andrews’ soft melodi¬ ous.Voice. Which probably will hav no trouble, to project when th show,hits the: Majestic, New* York. With . magnificent ; settings and | costumes, plus breezy dancing,/ /"Camelot”—w’ i th cutting.' but | plenty’^rshbuld pi:ove. successful Broadw l fodder. . ph .cast; vgaiety; inusic and color alone: it will have a lengthy New York run. McStay. A Raisin In Ihp Sun . Bostori, Sept; 27;. ‘..Philip Rose & David J. Cogan presenta¬ tion of : three act (fiVe scenes) drama by Lorraine Hansberry* Staged . by. Llo.vd Richards;- setting and lighting. Ralph Al- swang; costumes* Virginia Volland: Start Claudia McNeil; features, Diana Sands* Frances Foster. Bobby. D. Hobks. Lonne Elder 3d, Howland Chamberlain. Edward Hal),. Tyrone Cooper. Robert Jackson.' El- wood Smith. Opened Sept, 12.. *60, at the Wilbur Theatre. Boston;.$5.50 top. Ruth Younger Frances Foster Travis Younger , .:.-. .Tyrone Cooper Walter Lee Younger..'^,.,. El wood Smith Beneatha Younger :*.... .Diana Sands : Lena Younger ... IClaudia McNeU Joseph .Asagai. , ... . . - *..Ed .HaU Geo,- Murchison .Bobby Dean Hooks ~ Lonne Elder III ..Howland Chamberlain ...: .Douglas Turner, Robert Jackson Bobo . Karl Linder Moving Men | This touring version, of “A Raisin j in the Bun” has tire Tire , and vigor- I of. the New York production. Three .! members of the original Broadway^ i cast. Claudia McNeil, Diana Sands i and Loririe Elder 3d, are on hand, 1 arid Lloyd Richards repeated his initial staging* Ehyood Smith operied arid played nine perform¬ ances, but has -since been replaced by Douglas Turrier, who under- studied Sidney Poitiep. ; Producers Philip Rose and David J. Cogan are giving road audiences, a New York-quaiity show/, arid the presentatiori/ ‘ ;... h'erfe : on. Theatre Guild-AmeTican Theatre Society subscription; Miss McNeil fills the stage with authority in; the rolri of the matriarchiai mother, and the excellent cast makes the most of the drairiatic story’ of American Negro family in search of a new hotne. Miss Sands is outstanding is a (Continued on page 73).