Variety (October 1960)

56 LEGITIMATE Pfi&iETY Wednesday, October 19,-1960 Shows on Broadway IVndorloiiii R;>hort E (Griffith & HarJld.'S. Prince will hot share? ' in any film sale revenue. The play .should be V natural: for foreign presentation, especially oh the Continent, but there’s little income to be had; from that-source. ., in adapting the long, inclusive Hersey :book to .the stage, screen and tv writer Lam pell faced a iri.aijpr task of condensation. He.has purportedly tried to capture the spirit and .essence of the original rather, than to retain the form and principal characters^ . an,d merely . „... , .... - - .. compress, the plot. Perhaps in- i -Some 1 Of the songs are lively,-' evitably. he^ seems to; have lost action and such brisk pacing, that the show seldom drags, even though the material itself seems stilted. But nothing spectacular happens, even in the numbers, and there's little for a playgoer to take istumes. Cecil away with him after the final cur- ’^vStui-is 1 Ron^Hut ■! tain* Thii.% there's only brief in- urd.ty ni«htsjj $8.60 week- j ■ 2,01 “ e "J - 11 * ! notably “Littl __.. -- Old New Yor.k,' r I some of the personal identification EUeen H Rods*Jrs i “Reform." “The Picture of - Ha.ppi- | and the [emotional impact of 111 nantat.D * j Ralph Dunn ' ness.” “Good Clean Fun” and “The. novel. ^STB^SSfi.Tenderloin Celebration " .byt the! . m t| le play, br-,at,ieast : in. this ......... Margery Gray : show, lacks a standout baLlad, witrij .pi-oductfon. several Of:, the key Patsv th Pet^rson ’’Tommy. Tommy’’ and the . ^' ( characters seem too complex, and Montgomery ; Miss Mary” waltz as approXima- ■ • ' - Irene .Kane tions. “My Gentle Johnny” ini- presentation ot two-act (iT numbers) musical with book by George Abbott and Jerome Weidman: music. Jerry Bock; lyrics. ' Shi-ldon Harnic : based on. the novel *».•• Siimifi Hopkins Adams. Staged Tr- Abbott; dance and musical J »e Layton: settings and Beaton: musical ma'in.Vym';- Miller?"Eileen‘'Rodgers, Rex j terCSt in several of the Sprightly fiVinh ar iiupn , ‘ ,, R =vS s 'BSierS : danccs staged by Joe Layton for Fan't. Dene Kane. Opened iOct. 17. ’60, . tile brothel SCCnCS. at the 4oih suvet ' T ' 1 .'* v * ««*»»•»«« * - - - - Fn.lav and nights. Tommy Nita It schnudt Rev Broi k Margie Dorothy Girl Viiunc Man Jessica I.aura F.lhngton Joe Purdv Martin Deacon Frye Rooney Kellie Becker Callahan . Prostitutes Drunk Maggie Liz .. .. Mrs. Barker Chairman Dancers: Jere Adntire. 3ob Fitch. Di j'ack l.elgh^Erin Martin?”*!arJorfe Pragon. I ROll Husmann, as the TOmaritiC Wakefield Poole. Ron Stratton. Jayne . j uve lead, is outstanding with Tu smgers^ at cartel’ Aschmann. Carvel j “Artificial. Flowers” and ‘’Picture; Carter. Nancy Ernes. John Ford. Stokeley J 0 f Happiness. ! Eileen Rodgers as fhe prostle Dargan Montgomery. Patsy Peterson. ’ who weds the yokel With a bank- Claire Richard. Michael Roberts. Elaine ; ro ji scores with “Gentle Johnny”, Musical Kumijers “Bless [ This j-and.” • and with comedienne-dancer Lee And Another •, Thing-- is excellent as the peasant youth London, Oct. 7. AVho becomes, a hero when the; vil- Anna. Deere Wiraari :■ic Charles Ross lage believes . he murdered his Productions Ltd. presentation of a revue fothpr Th»'r» Ic ;a1cn a in two acts, bv Ted Dicks and Myles iai .“ er -. 1 ?? re ■ « - 0 a^SianOOUC Rudge.With additional material by Alan ! performance by Eithne Dunne as Melville; Charles Zwar. Lionel Bait, Barry j Widow- Qiihlri Cryer. Robert Taniteh., and_ Christopher j ™ iao " wu * nn " Dandy: Staged by Charles, Ross; musical arrangements, Tod Dicks and Charles Mallett: deepr, Hutchinson Scotl; light¬ ing. John Wycfcham: .choreography, Lionel Blair, and Bob Stevenson. Features Anna Quayle. Bernard Cribbins. Anton Rodgers. Dennis Wood. Lionel Blair. Joyce Blair. Sandra Carori. Penny Newington,'Donald Ilewleit. Opened Oct. 6. ’60. at the For¬ tune Theatre, London;-. $2.50 top/. The treat!. show. isseur’ Myro. Ei in Mai Gordon-, - . . f Rex Everhart ; fited by a skillful arrangement. , 3 .vin,ond _ Kramiey «‘^v r tifieial Flowers” is already get-- i Roy Fant I ting a play. Jordon BSB5I Maurice Evans, in a notable de- Marguerite Shaw : parture from his familiar Shake- Mi Jack McCann • spearean and Shavian roles, is in. Margery Gray j starred as the rampagingly right- ■ Pat b Turner eous Poacher, and he makes ah ristine Norden admirable attempt to give the part laine iDe° Hm ■ credibility arid verve. He has one . David Evans. ' solo, a duet and four group songs, ’ ' .m pn ' ” the what is supposed to be/one Of the most exciting:: and moving se¬ quences, of the hook, the; escape of j the emphasis is; on' humor the little band of Jewish survivors , than wit. Huiiioo aait Juliet: London, Oct. 5.. Did -Vic piesentatipn' of a. .three-act' drama bv William Shakespease.. Staged and designed by' Franco Zeffirelli; cos-' Thnco u-hrt lik-A safirir* shamness Munies, Peter. Hall;, music, -Nino Rota. . -I nose w no llke saunc siLdipnvbi, Featutes Judv , Dench.: Alec McCovveh. in revues are likely to be. disap- John Stride, Peggy'Mount. Gerald James, pointed iii ‘‘And Another Thing •Jnn" si £ c - l {o 4 ’- ’ <J0, at; the ° ld v ^’ Lpai :• . ; As in a forerunner,.. '‘‘•Lopk * chonfs' ’ • . .•....,-Derek.- smitK Who's Here,” w;hlch ,dnn: SI.9 Chorus _ , , _ _ plaved the . Abraham Toni Courtenay V,..... Balthasar. . Laurence Asprey Fortune . Theatre early this year, s a mpson Michael. Graham Cox umdr rather «regorv, through the Warsaw sexyer-system, is merely indicated as . probably happening after, the curtain falls. It provides a . final .positive note of Benvolib Tybalt .. . Montague. . ■ The overall result is-; a^divertifig- V’-caSaf^ evening, but without stimulation.; Ladv.'.Mohtasu" '.'i Several, promising sketches - lack! Udy^cap.uiet , a punchy blackout point, while. Romeo ’ V.V.V.'. hope and inspiration, but it’s off-./others of the, payoffs are foresee-: Paris ............. stage. : j able. In this. ' small theatre,.- ! '..^u^e * 11 C »V.*/• ; The character of the..lone-wolf. : though, and with the less sophis-. Jjniet^ hero, said to be fully dimensioned, ; ticated as. customers, tlie show ; F r , ar Laurence. /; plausible and sympaithetic in the ought to click comfortably.. ip^r h Jbim' novel/ seems cryptic. arid ; stubborn- ( Of the 33 items, slickly produced , citizens. r.uar4s.-'-Kinsfolk: -- ly' unprepossessing in . the neces- - by Charles Ross, a couple involving |-{^ vSSom’DobtS pi a V; Rerriard Oribbins. (who blaved-the j kerrv- Gardiner.-John HarU-nod. Geoffrey. Paul Harris .. Peter Ellis Thomas Kempinski .. .. Brian HaWksley Charles. West Rosemarie • Dunham . Syhia Coleridge icholas-Meredith ....../'. John Stride . . . Brian Spink :ivid' Lloyd Meredith . : .. ...Peggy Mount ;Judi Dench, • :,.. /Alec McCowem . . - Gerald James'. . Vernon Dobtrheff Stephen Moore • Ann -Bell,. for the'-/first- time-to bring a whiff M j •. - . .. . . »• . c ... .. •• ■ • - ... • *■_ .. — . lu(ik, vermin uouicneii;. xvouin rfrraaay, sanly capsule forin, of the plsy^ Bernard Cribbms (who played the j Kerry Gardiner. John Harwood. Geoffrey Presumably his complicated per- ...first" .night from a 'wheelchair-. ’heVi^V u K b h oWsj'..E mpc Hooper* sorialit.v gave, added scope to the cause of an accident oh touri are [.Marti / Stephen Me - • - book; But on the stage it seems to i clicks, notably “Expenses,” \< hich pdward_ yauahan-sci confuse a situation that should be ' involves a victim’s Chat With the qn ’ • dP5 * n al Ker ‘. Clear and fast-paced. tax collector, and a ‘‘Folk Song.” j Franco' Zeffirelli, an , Italian 3iu5 i„ di -, ullIwria . .....__ _ _ ___ _ _ It’s as.though Lampelli,were trjv Anna Quayle r the truest revrie ■ opera producer w ; ho has zipped up ••Little' old New York.’’ “Dr Brock.”; B ec ker and others in “Little Old | In S .to present a character study ,. talent present, scores .w ; ith an off- a couple of Convent Garden pro- 4Snm*f Tomm?!” i New York.” Eddie Phillips has two j a-Propaganda pl^; of |b eat lyric -by herself, “Three, for j ductiohs. turns to straight drama "The Picture of Happiness.*’ (Dance, ! good dance numbers ahd is accept- i action. Not only is the hero, a tacti- ( the Road and One for My . Baby,” Friend,” “The Army of the/Just. _How ; » 1 _ l _ : _ _ the Monev Changes I Fun.” “My Miss Mary Johnny.” "The Trial, Celebration.” - i ; 'Tommy, Tommy well /enougn., ... „, v -. • .... In all but the essentials, “Tender-[ Ralph Dunn is properly blustering ...relationship 1 -.First-rate- dancing' ''talent 'i'sc to : . evening, loin” is a compai'iiorii piece to in the straight part of a-grafting 1 ''“2. hand in. Lionel Blair"' and; Joyce ; Zeffirelli’s decor is a delight to “Fiorello.” The newl musical, police lieutenant. , tne heroine taiso . an, lmpeiiecu, Bi a j r ; but has only a. couple of full j the eye and;the senses.arid.'.the Old which opened Monday inight f 17 * i Cecil Beaton’s settings and ex Pm m ea cnaracien. airings. Miss Blair being featured [ Vie stage tually does look like at the 46th Street Theatre, also has ; period costumes are. expertly .. But despite its real and serious more" substantially , and less hap-‘ a slice of Verona. The. stage seems a book by George Abbott and gaudy, and Hal Hastings , directs faults a rid . limitations as a play, pjjy as a y 0Ca R s ^ H er viijrouse . re/ brightly alive: and the handling Of Jerome Weidman. with tunes by the m ?c capably, Hobe . I “The'Vail” is, a valid, graphic por- Strauss,” with « Jerry Bock and lyrics by Sheldon ■ -^- * 1 ~ c Harnick. and is produced by Rob-.' ert E. Griffith and Harold S. Prince. J Tho 1* all Most important, it has the inimita- Ker it B-ioprogardeh & ftnbr. Rose - - „ -- ble Abbott direction, j; . r.ampeii. based on the novel by John £l^hV* x -.. Af the record, of an iii- item, by Myles Rudgg arid. Ronald; the fatal fight-, in which Mercutio But where -Fiorello- has • !O SSf&S!? «'oolfo on the four-minute rocket- ■ killed seems th sprina fiaturally ibetler-than- Noli tavilr. musicii suneVision. Robert P? ^0^..- immediate commeicial Avarning .system,, ending on-> the- of.a street'-brawl rather thari' ^eorge c. Schtt. ■ dimenbi. sound of. a lavatory flush and ;hav- as an act of premeditated evil, hell, Joseph BuloffDavid. Tn Hhivnrd - Rav.’s. - arfiftillv nm- mo enol, 15 •-Vr.iVA '-mA 'The ’ . - \ - - f > The main criticism of. this pro¬ duction is. that to sorn.. extent the serviceable book. . average score, with several stand- U1 , t . out songs, arid above all-f he charac-j or>”to«hu ’Si '' Robert Druva; . ... an inadequate . Alan [ crowd sceri.es offers the same, feel- trayal of the monstrous German i ^iel v ille lyric wherein .the .com- ing. of alert urgency that helps to savagery and despairirig Jewish "poser's wife having to live per-; give “West..Side Stofy” its vitality,^ courage in the AV-arsaw ghetto. It petually with .waltzes,} could ad- ; The. fight seqiiericcs ‘ little is gripping and .builds to a stirring yantageoUsly be^dropped. S<^cou|d ..masterpieces of adroit staging and ” ie fatal fight. in vvhic.h Mercutio killed seems to spring, riat it rally - ter of the late Mayor' LaGuardia as Its pi*opulsive r captivating hero, “Tenderloin” has a.prosaic libretto. undistinguished songs and a stuffy pos P 'TheanT. n.v': si'sa top”Friday arid' hero. Thus. Where- AbbOtt'S Vir- Saturdav n-zhts. S6.90 weeknlght*. tuoso staging turned j; “Fiorello” ; into a smash, it merely gives the ‘ Doiek Borsfii otherwise unexciting “I’enderloin” y P j” lan Plhd ' 1 cohesion and pace. | rieiiMaziir -.. In several aspects, there are un- oerii ka Apt - comfortable parallels between the Rachel Apt two shows, as if the ergative team j Mo^der:.; ;' had been, at lea>t subconsciously. Pan Apt trying to repeal a formula. ; - av - d A? 1 That’s hardly surprising, since both musicals deal with what now seem picturesque periods in New York history, with protagonists who are colorful public figures ... , Iri libward Bay’s-artfully qm- ..ing -such li irious and flexible setting of a War- Yale key” saw; street;' - with the forbidding yard, man “Give me the ; “I can’t, I’m a Har- Neat front-of-eur- effect of. Shakespeare’s, verse Spldes. Muni Seroff,; Leila Martin. Vincent , - _ Claudetle, Kevins. James Ray, j Michael Ebor‘., Leon Stevens/ Sol Frie- i d->r. Truman • Gaige, Marketa. Kim-1 _ __ . _ _ hreii.J)p t ;,ed oci, the miiy^g^sliding panel^^rievealing a.crowded . the longer stuff. 'several scoring , f nnera director The final living, room and later bunker bc^re smartly than the main sub^ final neath the piles of: rubble, the play ; s t an ee: opens ahriosf . casually. .Although W a couple ofi iiems. j hope, for the .best and meanwhile l .. ni .v,;i«‘rin;«*ii-A i;Vo«-ico hnc I go about, their regular lives. g h <;t:o well : in the beckground und ; , ai „ qulok i cs naturally iu.lersperse whji . h se( . n , s a c|1 .. jous , lapse for an opera; director. The .final sequences are played: too slowly! . . ; with- .unnecessarily dim lighting. Antori Rodgers makes an indi-jBut on. the w;hole. the show is re- Varding;. . Judi Dench and John- Stride, a* the . star-crossed lovers are per¬ haps the tw*b greatest, sinners w hen fighting civic corruption. Never¬ theless, such numbers ['as “What’s In It for You?” and’ “How The Money Changes Hands’* in the new show have a disconcertingly simi¬ lar tone to "Politics” land “Little Tin Box” in the previous one, and “My Miss Mary” is similarly sug¬ gestive of the lilting “Till Tomor¬ row” of “Fiorello.” StvfVh M37'T Rti.ka Mazur P.-*n Kogan. - Pani Ko^aii _ Regina-Kosan . German Se r '’eant Man and W fc Woman in Rappaport Beggar Man . Beggar Children German Off.for’ .___ Woman in Selection .. .Honey Mackenzie, Slonim .Sol Frieder Men and Women of the. Ghetto: Joe Alfas-». Alice Beardsley; Ai Verb, Ken? n^th Reid. Vincent, Gardenia Joseph BuJbff George C. Scott ... James Nielsen James Ray Muni Seroff Claudette Kevins .. Joseph Bernard Yvonne. Mitchell ... Marian Seldes .. Michael Ebert- David OpatoshU Raul. Mace. Robert Drivas .... Leila Martin Truman Gaige Marketa Kimbrell .. Lorraine Abate .. Robert Burr -James Stevenson, ^Rifa^KaHn [ ghetto, and soon afterward Leon-B. Stevens ' Germans begin to ship the old. the r o'cheHe”Horowitz ! sic k and ; -the jobless away to “work Richard Carafa Korbert Horowitz . Blit sinister- developments accu¬ mulate.; First, the Jews are forced to wear, ’identifying-., armbands/ They’re forbidden, to hold meet-, irigs, and . several Nazi soldiers break up a religious Service, mak¬ ing obscene fun of. one whom they lhe ” bb i:: JftUM -.Uo help, orders that no one may leave the; the while Donald Hewlett likewise has several solo moments that amuse. The others are competent. Hutch- German playgoers -who sat In , . . „ . j ... silent sharne at “The. Diary of Anne;: ‘Tenderloin, based on the Frank" may be. stunned and sick- Samuel Hopkins Adams novel, only ened bv * The Wali F or where occasionally captures the exuber- the Albert Hackett and. Frances antiy hind sinfulness of the gasht Goodrich dramatization of the Big Town. Moreover, it s inherent young Dutch girl's, journal was in the story that tne hero, rep- quiet, intimate and subtle, with the resenting crusading] morality, x az i barbarism offstage and im- tends to take the zip and life out pjieit. this Millard Lampell drama- of any scene m which,he appears tization of John Hersey’s best- And since lies a straightlaced se u e j* j s direct and violent, with linister, no major romantic angle t( ie crime of the Warsaw ghetto is Involved. The two Jove stones, shown oristage. in hideous brutality, both of trifling interest, involve an ’ The Kermit Bloomgardeii and opportunistic cub reporter and an gijiy Rose production, which ingenue heiress, and; a wealthy opene( j Qct. 11 at the Billy Rose bumpkin and a stereotype good- Theatre, is a sobering, occasionally hearted prostie. ; ! upsetting treatment of a revolting The hero, obviously based on subject, and anything but light en- the character of the celebrated ■ tertainment for a night! on the turn-of-the-century reformer, the i town, it’s unpleasant but purpose- Rev. Dr. Charles H.[ Parkhurst, ful, with an authenticity, qompul- kicks off the yarn with a sermon cion and Cumulative power that denouncing rampant vice, and the make it. a prospect for a moderate action then alternates [between the run. church buildings. where the On the other hand* the show- righteous congregate f to deplore opened to little advance sale, with sin, and a typical bordello, where few theatre parties, and has neg- the denizens gather tri enjoy, and ligible marquee -draw. . Moreover^ profit from it. In the hitter locale, it’s an expensive production, repre- the numbers are more sprightly, senting $150,000 investment, and hut even there the preacher’s re- obviously has a high operating nut, forming zeal casts a slight pall. An added hurdle is that; . al- Under Abbott’s brilliant direr- though the material seems e^ccel- tion, there is such [economy of lent for the screen, the production camps in the east:” With the. departing prisoner trains decimating the . .ghetto: the stirvivqrs finally, realize that the vanished victims.have beeri burned alive in the. furnaces of Oswiedn. The little jgroup, collaborating \vith others in the area, rises in niag- riificarit, suicidal Tesistance, deter¬ mined never to surrender, and in dying,, to kill as many of the eneiriy as possible. At the curtain, the 'lone-wolf- hero, having returned from, a mys¬ terious ; sortie beyond - the wall; spends the night with the hriroine in the bunker and. then, having coinmitted himself at last, dies to create a diversipri so the others can escape through the sewers to free¬ dom. ; The plot li as welL as certairi of the . key. characters, tends to be complex. Also, the excessive rium- ber; of principals diffuses and re¬ tards the action at times, so there are . soft spots in the. play,, w here the audience coughs.- But the ghetto seems slowly to- take oil a persoriality. of ! its own, and the lives of all . the. Jews. , not only the heroic ones , but: also, the shallow- arid even the cowardly and treach¬ erous. ones, become important. inson Scott’s designs are bright, it cofnes to an almost njattef-ofTfact. and resourceful and the chorebg- reading of the verse: However, raphv by- Lionel Blair rid Bob Stride is. a manly Romeo, Miss Stevenson Is firStrate. A mite njoie Dench a loveable., exciting young dancing wouldn’t come miss; Juliet and they give a strong im* while another romantic, number ; pression.of being in loWe, although .i„ Erni. . the balcony is: played a bit like the : bpy next door saying goodnight fp - ' his: .date. j - Peggy . Mount,, ip her Old Vi /debut; as' the N’iirse, is cast- away : a ; s<o- ; froiri' the sort of parts-she’s - hai. since winning critical atteritiori. as!. the booming; : ma-in-l3\v in “Sailor“ Beware,'- and as Ma .Larkins in. a tv : series. .Her Nurse .has. .rare good humor; and. fully justifies., her crossover tp the classics. Alee Mc- Tlio Playlioy of I lie* Woslern World Henry Sherek presentalinri- . .. _ ciatiori with Brendan. Smithi . of revival of three-act comedy by J. ,.M. Synge. Staced bv Shelah Richards:-.decor; Patrick. Scott. Stars' S.iobhah McKenna. Opeticd; Oc.t. 12. *60/ at the Piccadilly Theatre. I.ondon: $2.80 top. Pegeen Mike .. iobhan McKenna Shawn Keoeh .. . Ronald Walsh, 1 Michael' Janies'John Cowley'.'’ phiiiv cuiien ........ Desmond Perrv ] G'owen brings vigor arid cheek, to • • Bre fe < DS!S'5i!' MWcufio. and Gerald James offer* Widow Quinn Eithne .Dunne ’ - -.warm Friar Laurence. Susan Brady inola O'Shannon * ' Kelly . ............. .. AJine Mulvcy I Honor Blake .. /;;....... Kate _BinchV ] Rich,.. Sara Tansay. :Leila. Doornn Old Malion - . riah O’Higeins Crowd: 1 Ruth Baker. Peter- Cartwrieht. John.' Corvin, Frances Hooker. Stanley I.ebor/ John Malcol Susan'. Paice. Frederick Pinei. Rhea ichardson, Jill Smith;. Peter Williams- Acclaimed at its recent preserita- tion at- the Dublin Theatre Festival, this revival of “The Playboy- of the Western World.” has been, brought to London by Henry Sherek for a limited run. It.shapes as S.standout attraction, with Siohban McKenna providing potent fnarqiiee value; Immediately after the .opening prr- formance, plans,' were being d : s- eussed to extend the engagernent a week, to three-and-aThalf weeks. Miss McKenna is a. radiant per¬ former, a pleasure .to watch and a delight to listen to. (hough fre¬ quently her rich Irish brogue These are all people^ not just hnakes the dialog . difficult to fol- Jews, but human beings; and ;their story has application, beyond the original book or the play. So “The Wall” is only in an immediate low.. That, also’ applies to the [rest, of the cast,- The Dublin Theatre Festival, has given J. M, Synge’s play a lively sense..a play about ..the Warsaw.! and colorful production, arid She^ ghetto and the Jews. In a larger i lah Richards has directed [with (Continued on page 58) | obvious authority. Donal Donnelly LONDON SHOWS (Figures denote opening, dates j Amorous Prawn. Saville! (12-9-59).. And Another. • Thing, Fortune (10-6-60>. Art of Living/. Criterion 18-18-60). Billv Liar, Cambridge (9-JS-60). Brides of March, St. Martin's (7-13 60X .Candida, Wvridhim’s (6-13-60). ' Caretaker, Duchess (4-27-60). • Fings , Ain't, Garrick ' (2-11.-60). Flower Drum Song, Palace (3-24-60), Gazebo,. Savoy a3-29-60).- Irma La Douce,. Lyric (7-17:58).' Last Joke/ Phoenix (9-28-60). Man for All Seasons, Globe <7-1-60). Most. Happy- Fella, Coliseum (4-21-60). Mousetrap, Ambassadors <lH25-52>. Mr, Burke,- Mermaid. (10-6-60)/ . Mr, Johnson/ Lyric '.Opera (9-29-60). My Pair Lady, Drury Lane <4-30-58). Naked Island, Arts . (9:29-60>; Oliver, New (6-30-60). Once Upon Mattress, Adelphi (9 20-60). -Passage India. Comedy <4-20-60). ■'= Pieces of Eight, Apollo <9-23-59* , Playboy W. World, Piccadillv (10-12-60). Platonov, .Royal'. Court' (10-13-60). Repertory, Old Vic (9-3-59). Rose. .-Marie; Victoria Pai. (8-22-60)/ Ross, Hay market (5-12-60). Simple Spymen, Whitehall - (3-i9:58). . . Sparrers Sing, Tfa’tre Royal E. (8-24-60). Suzie Wong. Prince Wales (11-17-59). ' ; Stars .in Eyes, Palladium (6^3-60). Tiger & Horse, Oueeri’s (8-24-60). Visit, Royalty (6-23-60). Waiting in Wings, Duke York's (9-7-60). Watch It/ Sailor, Aldwych (2-24-60);. West Side Story, Majesty’s 12-12-58). : . : SCHEDULED OPENINGS Settled Out of Courf, Strand (lQ-19^60)/ This Year, Next Year, Vaude'UO 20«)).