Variety (February 1961)

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T4 ucimun PfistlEfr Vedncfld«yy February I, 1961 Off-Broadway Reviews Bullet Ballads Ethel Watt presentation of three ballet dramas by John Latouche. with music by Jerome Moross. Choreographed by John Butler, Glen Tetley and Mavis Ray; musical and choral direction. Don Smith; assistant conductor, Joseph Gurt; settings. Gary Smith: costumes, Hal George; light* ing, Jules Fisher. Opened Jan. 3, '61. at the Fast 74th Street Theatre, N.Y.; *4.50 top. RIDING HOOD REVISITED Krs. Nature ...Lisa Brummett Three Clouds . Alice Scott, Lorraine Roberts. Sallie Bramlette Dragon Fly .. Dounia Rathbone • Riding Hood.Veronika Mlakar Good Humor Man . Gregg Nickerson Viennese Wolf.,.. Buck Heller Granny. . Dianne Nicholson WILLIE THE WEEPER Dancing Willie. Glen Tetley Cocaine Lil . Carmen de Lavallade Singing Willie Arne Markussen ECCENTRICITIES OF DAVY CROCKETT Davy Crockett . Jack Mette 1st Girl . Betty de Jong 2d Girl ... Pauline de Groot 3d Girl . Ellen Graff Sally Ann . Sallie Bramlette Indian Chief. Ed Zimmerman Indians ■ ■ Fred Herko. Steve Paxton, Bob Powell, Jon Rager Soldiers Ted Bloecher. Derek de Cambra, Ted Lambrinos. Gregg Nickerson Mermaid . . Alice Scott Comet . Carmen de Lavallade Hunters .Fred Herko, Bob Powell, Jon Rager Brown Bear. Steve Paxton Ghost Bear.Ted Lambrinos John. Oldham (singing)... Ed Zimmerman John Oldham (dancing) .. Steve Paxton Ann Hutchinson (singing) Dianne Nichols Ann Hutchinson (dancing) Ellen Graff Nathaniel Bacon (singing) Ted Bloecher Nathaniel Bacon (dancing)-Fred Herko Grace Sherwood (singing) Lorraine Roberts Grace Sherwood (dancing) Betty de Long Congressmen Fred Herko, Steve Paxton, Bob Powell, Jon Rager Pres. Andrew Jackson . Ed Zimmerman Dancers: Pauline de Groot, Betty de Jong, Ellen Graff. Phylis Lamhut, Fred Herko. Steve Paxton. Bob Powell. Jon Rager, Dounia Rathbone, Robert Helloway, Singers: Sallie Bramlette, Dianne Nichols, Lorraine Roberts, Alice Scott, Ted Bloecher, Derek de Cambra. Ted Lambrinos. Gregg Nickerson. Ed Zim¬ merman, Abbe Todd. ible and spacious and Jules Fisher’s lighting Is dramatically conceived, Hal George’s costumes are lavish and colorful and Don Smith has handled the musical add choral di¬ rection with generally fine control, The rhythmic Moross music, though rendered with clarity on twin pianos, seems well-suited for the addition *of brass and percussion, and Latouche's lyrics seem occa¬ sionally stiled but are generally ef¬ fective. . Kali. Montserrat Repertory Co. of the Gate Theatre (Rhett Cone executive producer) presenta¬ tion of two act drama by Lillian Heilman, based cte- the French play by Emmanuel Robles. Staged by Boris Tumarin; set¬ ting. Herbert Senn and Helen Pond; cos¬ tumes, Sonia Lowenstein; lighting, Rich¬ ard Nelson. Opened Jan. 8. '61. at the Gate Theatre. N.Y.; *3.90 top. Zavala . Jay Lanin Antonanzas . Frank Echols Soldier . Robert Vandergriff Montserrat . John Heldabrand Morales . Rick Colitti Izquierdo . . Leonardo Cimino Father Coronil . John Leighton Salas Ina.. John Armstrong Luhan . Maurice Shrog Matilde . Dina Palsner Juan Salcedo Alvarez.Albert Ackel Felisa . Anne Fielding Ricardo . Roy Scott Monk . John Miranda Guard . Michael Fischetti Revamped with new choreog¬ raphy and a new first act presenta¬ tion, John Latouche and Jerome Moross’ “Ballet Ballads” has been revived at the East 74th Street Theatre, N.Y., by Ethel (Mrs. Doug¬ las) Watt. Although not as avant garde in its approach today as in 1948, when it first appeared under the auspices of the ANTA Experi¬ mental Theatre, the musical still shows flash and imagination that make it distinctive. Mary Hunter originally directed. New to the presentation is “Rid¬ ing Hood Revisited,” a bright, colorful selection with occasionally clever choreography by Marvis Ray. But, whereas the “Willie the Weeper" and “Eccentricities of Davy Crockett” segments have character and vitality of their own. “Riding Hood” rarely achieves the proportion is seems headed for. Although Veronika Mlakar and Buck Heller dance effectively as Riding Hood and the wolf^jespec- tively, and Gregg Nickerson and Lisa Brummett add pleasant vocal narration, the piece as a whole seems underplayed and loose. The unifying spark that propells Davy and Willie through their respective situations appears missing for Rid¬ ing Hood. “Willie the Weeper” provides a close example of the Latouche-Mo- ross concept of combining move¬ ment and lyric. In this segment, there is both a singing and dancing Willie, portrayed by two look-alike performers who change costume and mood simultaneously, one nar¬ rating and the other moving. In the “Riding Hood” and “Davy Crockett” portions there are sing¬ ers costumed on stage narrating the action, while dancers do most of the physical enactment. In all situation, however, the singers perform integrated movement as well. John Butler has choreographed Willie’s narcotic dream with imag¬ ination and flexibility and Glen •Tetley dances the role with limber poise and sentiment. Carmen de Lavallade displays sultry effective¬ ness as the seductress and Arne Markussen is vocally sound as singing Willie. \ Liveliest and most eye-catching of the “Ballads” is “Eccentricities ! of Davy Crockett.” As choreo¬ graphed by Tetley, it is a vibrant combination of song and dance covering Davy’s exploits from youth to death. As Crockett, Jack Mette releates his accomplishments with vocal competence and Sallie Bramlette sings and dances well as his bride. Miss de Lavallade dazzels as a swirling comet and Alice Scott is comic as a mermaid, while Betty de Jong, Pauline de Groot, Ellen A two-time loser on Broadway, Graff, Ted Lambrinos. Steve Pax- ! John Osborne and Anthony Creigh¬ ton, Bob Powell, Jon Rager and ; ton’s “Epitaph for George Dillon r Lillian Heilman’s “Montserrat," although never a commercial suc¬ cess, has provocative intellectual content. Presented in 1949 by Her¬ mit Bloomgarden and Gilbert Mil¬ ler and in 1954 by Equity Library Theatre and later by Maurice Gla- zer off-Broadway, the adaptation of Emmanuel Robles’ French play has been stirringly revived by the Rep¬ ertory Co. of the Gate Theatre, N. Y. As its focal point, the drama examines the torment of an ideal¬ istic Spanish officer who’s sympa¬ thies lie with Simon Bolivarifc movement for Venezuelan inde¬ pendence circa 1812, and who must decide the fate of six hostages by choosing whether or not to reveal the leader’s whereabouts. As with most plays of this type, the situa¬ tion acts as a sounding board for discussion of broader themes. In “Montserrat,” the discussion is presented on two plains, the per¬ sonal and the intellectual, and the conflict between the two, particu¬ larly within the officer, creates mo¬ ments of passionate drama. •There is little more vivid. and compelling than a life - or - death struggle and Miss Heilman has put this situation to particular ad¬ vantage by creating several well- defined characters, each exemplary of a different segment of society, and having them fight for then- lives against a ratural enemy torn between his Christian principles and his devotion to an ideal. Pri¬ marily due to Heilman’s meticulous development of the action, “Mont¬ serrat” is slow getting going, but once underway, it’s often powerful. Under Boris Tumarin’s astute and well-paced direction, a fine cast gives moving expression to the action. As the tormented Span¬ iard, John Heldabrand displays un¬ derstanding and sensitivity, and Leonardo Cimino is superbly sin¬ ister as the commanding officer who attempts to break him down. John Armstrong as a local mer¬ chant and phoney, Roy Scott as a native boy, Albert Ackel as an affected actor, and Dina Palsner as ,a mother afraid for the lives of her children are good hostages, and Maurice Shrog and Anne Fielding give fine performances as a car¬ penter and a peasant girl, who un¬ derstands the officer, respectively. John Leighton is a good padre. Displaying their usual compet¬ ence, Herbert Senn and Helen Pond have designed a simple and effective setting and Sonia Lowen¬ stein has produced authentic ard attractive costumes. Richard Nel¬ son’s lighting is appropriate. Kali. expensive and Osborne’* following is larger, than it did under the strain of uptown competition. Originating at the Royal Court Theatre, London, and subsequently presented In New York.by David Merrick and Joshua Logan in 1958, and by Norman Twain and Bernard Miller in 1959, the drama tends to ramble over considerable dialogue with a minimum of concrete action to substantiate it. Although it gath¬ ers momentum, “Epitaph” always seems to promise more than it de¬ livers and appears propelled by bursts rather than by a steady cur¬ rent of energy. Nonetheless there are provoca¬ tive points of interest in the drama of the dismal lives of an "angry 1 ' young playwright-actor and a hum¬ drum suburban London family that takes him in. Laureate of Eng¬ land's “angry young men,” Osborne and his countryman - collaborator Creighton have created a vivid cen¬ tral character in George Dillon and through him, they pour Osborne’s characteristic attitude of the de¬ cadence and defeat in British so¬ ciety. The language is often strong and potent, but the lulls between the Storms and the fact that, in the course of the last few years, much of Osborne’s wrath has been adopt¬ ed and exploited by the equivalent U. S. “beat” poets', tend to weaken the impact. “Epitaph” is like a good book revisited, still interest¬ ing and provocative but no longer vital and electric. In the title role, James Patterson creates an impressive portrait of the self-indulgant artist and Julie Follansbee, as an unhappy woman who falls in love with him but leaves before the affair can get going, rarely achieves the scope of the role. Betty Oakes is acceptable as a girl who Dillon seduces and Jane Henderson is credible as her spinster-like sister. Thomas Bar¬ bour and Christine Thomas are ef¬ fective as the girl’s parents. Co-producer -George Morrison has staged the play with authority and skill, and Warwick Brown’s setting ^of the dreary suburban dwelling creates appropriate at¬ mosphere. Kali. Shows on Broadway ; Continued from page 7f ; Epitaph for Grorgc Dillon . George Morrison. Edward Hastings & Richard Lipsett revival of three-act drama by John Osborne and Anthony Creighton. Staged by Mornson. designed bv Warwick Brown. Opened Dec. 28. ’60, at the Actors' Playhouse, N.Y.; S4.50 too. Josie Elliot . Betty Oakes Ruth Gray .. Julie F-ollnnsbee Mrs. Elliot . Christine Thom-.s Norah- Elliot . Jane Henderson Percy Elliot .Thomas Barbour George D : llon.Jame.4 Peterson Geoffrey Colwyn-Stuart. Keith Herrington Mr. Webb . Daniel Keyes Barney Evans . Richard Dysart Fred Herko lend able dancing sup¬ port and Ed Zimmerman, Dianne Nichols, Ted Bloecher and Lor¬ raine Roberts vocalize. . . G&ix -Smith's settings are flex- is still looking for an audience, this time off-Broadway at the Actors’ Playhouse, N. Y. Chances are that it will do better in. its new sur¬ roundings, where tickets „ ar.e. Jess Tho Gondoliers the switched-babies bit, so dear to Gilbert & Sullivan plotting, is at¬ tractively carried by Barbara Meistqr and William Diard. It is, among other items of com¬ ment, remarkable how the comment of. Gilbert on social pretension survives time. Meanwhile, here is ‘.‘The Gondoliers” in considerable grandeur, Norman Kelley pro- sents -the .most inspired and re¬ strained bit of farcical “camping” seen in a long time. Land. Julia, Jake and Unde ■'* Joe Roger L. Stevens & John Shubert, iu association with Sherman S. KreUberg, presentation of comedy in two acts (seven scenes) by Howard M. Teichmann, based on the book, "Over at Uncle Joe's," by Oriana Atkinson. Staged by Richard Whorf; settings, costumes and lighting, Frederick Fox. Stars Claudette Colbert; features Don Briggs, Lynne Charaey, Joseph Leon, Alexander Clark, Michael Sivy, Eigil Silju, Frances Chaney, F. S. Fisher, Grant Gordon, Laryssa Lauret,. Boris Marshalov, Ludmilla Tchor, Myles Eason. Opened Jan. 28, '61, at the Booth Theatre, N.Y.; $7.50 top Friday-Saturday nights, $6.90 wee knights. Julia Ryan . Claudette Col_ Jake Ryan . Myles Eason Anya Petrovna . Lynne Charnay Elena.'.Ludmilla Tchor Oliver Pendergast . Grant Gordon Gregor . F. S. Fisher Boris . Joseph Leon Constantin . Miles Baker A. J. Webh . Don Briggs Sergei Prosorov . Eigil Silju Natalya Stepanovna..... Laryssa Lauret Dickinson Wadsworth_Alexander Clark Marine Sergeant...Kelly McCormick Knox . John Garner Russian Soldiers. .R. K. Lowry. Jim Holder Gen. Lopakhim .-. Tony Cichoke Prof. Rasenik . Maurice Brenner Dr. von Meinholz.Herbert Jones Maj. Kolnikov .. Michael Sivy Uncle Joe . Boris Marshalov Except briefly in the second act, 'Julia, Jake and Uncle Joe’" Is at best a ‘private joke for acquaint¬ ances of Brooks and Oriana Atkin¬ son. The Howard M. Teichmann comedy, which opened last Satur¬ day night (28) at the Booth The¬ atre, offers little for general audi¬ ences and is a remote prospect as film material. “Julia, Jake and Uncle Joe” is based on Mrs. Atkinson’s book, “Over at Uncle Joe’s,” about the funny adjustments to life in Mos¬ cow in 1945. Athough the char¬ acters of the N.Y. Times corres¬ pondent and his wife are named Julia and Jake Ryan there’s no at¬ tempt to hide that they’re really supposed to represent the Atkin- sons. Somehow, though the drama- critic-on-leave and his authoress- wite are taken from life and cer¬ tain of the minor incidents may have actually occurred during the Atkinsons’ stay in Moscow, the characters don’t ring true on the stage. Moreover, they aren’t dra¬ matic or even very interesting. While Teichmann freely adapted the original book, he has provided only a single incident to serve as a plot. Except for the numerous comic details of the by-now. overly familar picture of the primitive living conditions in Moscow during World War II and the nightmare quality of working under the So¬ viet dictatorship, . nothing much happens. The two principal characters are not involved in anything vital. They have no special objective in terms of stage plotting, and there’s no conflict, no suspense and, except for Atkinson acquaintances w r Ho may be amused at occasionally re¬ cognizable touches of characteriza¬ tion, little interest or concern, ' There are a few mildly diverting bits in the first act, all inside jokes like the newspaper man’s mention of “Turner” (meaning Times man¬ aging editor Turner Catledge), the reference to his having had a ham sandwich and bottle of beer for lunch (purportedly Atkinson’s standard order on such occasions) and several allusions to his omni- verous reading and his preoccupa¬ tion with ornithology. The latter is inflated to provide the play’s sole major incident and whatever substance there is to the second act. This is a highly fiction¬ alized and unbelievable bit about the correspondent being arrested as a spy while bird-watching in a Moscow park, held incommunicado for a week in Lubyanka Prison and released only after his wife, pre¬ tending to be ready to reveal the secret of the atom bomb, wangles an interview with Stalin. Claudette Colbert, starring as the journalist’s spirited, outspoken, impulsively generous wife, gives an engaging and deftly comic per¬ formance in a part that has ample lines but insufficient resolution. As The Sodden End of Anne Cinquefoil Theatre 1961, Richard Barr producer, presentation. of eight-scene comedy by Dick Hepburn. Staged by Jack Sydow; settings and lighting. William Ritman; costumes, Fred Voepel; incidental music, Bernard Westman; associate producer, Judith Peabody. Features Priscilla Mor¬ rill, Alan Ansara, Frank Daly, Peggy Pope, Fay Sappington, Anne Shropshire, Ger¬ trude Kinnell, Alice Drummond, Herman Schwenk, Francis Dux. Opened Jan. 10, '61, at the East End Theatre, N.Y.; $3.90 top. Father de Bienvien.Alan Ansara Eva Gertrude Kinnell Arne Cinquefoil ....... PrisciUa MorriU Mrs.. Trott.Anne Shropshire Her Friends . Joan Porter, Sue Lawless Judge Trott . Frank Daly Sheriff McGee . Francis Dux Deputy Vincent Romeo Addie Goldspot_....Helen Page Camp Valeria . Alice Drummond Emily . Peggy Pope Luetia Cinquefoil. Fay Sappington O.-.pt. Fitz-Tammany-Herman Schwenk Happy Jack . Vincent Romeo There are diverting moments in Dick Hepburn’s “Sudden End of Anne Cinquefoil” at the East End Theatre, N- Y., but they are too few and far between to hold the tissue-thin comedy together. Des¬ pite the earnest efforts of a mugg- happy cast, the restoration-style farce about the activities of an 18th century feminist is generally dull. Hepburn’s plot concerns the at¬ tempts of a disarming woman’s rights advocate, with several illegit¬ imate children, to corral a Charles¬ ton, S.C., priest who inadvertently adds to the brood. La femme al¬ ways wears pants, having been a pirate between pregnancies, while the padre, who turns out to be a rogue in disguise, is constantly in skirts. There are also sequences involving groups of feminists, a senile judge, local gossips and as¬ sorted others. In the title role, Priscilla Mor¬ rill cavorts about the stage like an over-grown pixie, winking here, gaping there and being devilish all the while. Alan Ansara gives a spotty performance as her lover, sometimes displaying a light comic touch and other times a poor mem¬ ory for lines, and Frank Daly i$ an often-amusing old judge. Alice Drummond and Peggy Pope offer diverting moments as local strivers for ieminire equality, Francis Dux overdoes at times but produces sema amusing scowls as a local sheriff and Anne Shropshire pro¬ vides an occasional laugh. Liliiam Ritman’s ingenious set- tir a d simple lighting and Fred Vc.'ioers attractive costume lend a clever touch to the proceedings. r.a'i. (Closed Jan. 11 after two per- fgrmancesL. ... __ J ih.e. newspaper man who has gone j half-way around the globe to‘ get away from drama-reviewing, Myle* Eason has been made -up to dook surprisingly like Atkinson, and he manages to suggest something of his dryly humorous, deceptively straight-laced manner. But he’* offstage much of the first act and nearly all of the second. ’ Under Richard Whorf*s energetic direction the other performances are generally persuasive. Don Briggs knows how to bellow in¬ dignation as a N.Y. Herald Tribune correspondent thwarted by diplo¬ matic doubletalk. Alexander Clark is effectively sanctimonious as a U.S. embassy official, Lynne Char- nay, Ludmilla Tchor, F. S. Fisher, Joseph Leon, Miles . Baker, Eigil Siju, Laryssa Lauret and Michael Sivy are acceptable as assorted Muscovites, and Boris Marshalov is visually credible as a taciturn Uncle Joe Stalin. Frederick Fox has designed plau¬ sible-looking settings of a New York apartment, a Moscow hotel room and a red and gold reception room in the Kremlin, and has also supplied a collection of Slavic cos¬ tumes. As a novel touch, the pro¬ gram production and cast credits are printed in Russian (using the Russian alphabet), with the Eng¬ lish equivalents in small type im¬ mediately underneath. But that doesn’t help, either. “Julia, Jake and Uncle Joe” just doesn’t add up to much. Hobe. (Closed last Saturday night (28) after one performance.) Touring Shows Jan. 29 -Feb. 12) Andersonvllle Trial—Palace, Youngs¬ town (30-31); Sexton High School, Lansing (1); Regent, Grand Rapids (2);.Memorial Hall, Dayton (3-4); O'Keefe. Toronto ( 6 - 11 ). . At the Drop of a Hat—Blackstone, Cht (30-11). Come ^ Blow Your Horn (tryout)—Wal¬ nut, Phllly (2-11). Devil's Advocate (tryout) — Colonial, Boston (6-11). Florello (2d Co.)—Hanna, Cleve. (30-llX Five Finger Exercise—-Shubert. Cincy (30-4); American. St, L. (6-11). Flower Drum Song—Shubert, Chi (30-11). Hostage—O’Keefe, Toronto (30-4); Her Majesty's. Montreal (6-11). J.B.—BUtmore. L.A. (304); Fox. Fresno (6) ; California Theatre. San Bernardino (7) : Temple. Tucson (9); West High School, Phoenix (10-11). La Plume de Me Tent4—Riviera. Lae Vegas (29-12). Majority of One-j-Aud-, St Paul (304); Rivoli. Toledo (6-7); Hartman. Col. (8-11). Mark .Twain Tonight—Oak Park-R4ver Forest High School. - Oak Park. IU. (30); John CarroU IT., Cleve. (1); Palace, Youngstown (3); CabeU HaU Aud., Char¬ lottesville, Va. (6); Grey Chapel. Dela¬ ware (8>; Shrine Mosque, Peoria (11). Mary, Mary (tryout)—Shubert, New Haven (8-11). Midsummer Night's Dream—Forrest, PhUly (304); Playhouse, Wilmington (6-11). Music Man (2d Co.)—Aud., Memphle (304); Aud., Atlanta (6-11). •» My Fair Lady (2d Co.)—Shubert, Bos¬ ton (30-11). Once There Was a Russian (tryouts— National. Wash. (30-11). Once Upon a Mattress (Hurok)—Memo¬ rial Aud,, Louisville (31-1); U. of Indiana, Bloomington (2); Purdue U„ Lafayette, Ind. (3-4). Once Upon a Mattress (bus-and-truck)— Sr. High School, Appleton. Wis. (29); Municipal, Sioux City. la. (31); Music HaU. K.C. (1-2); Central Sr. High School, Springfield. Mo. (3-4); Memorial HalL Independence, Kan. (6); High School, Topeka (7J; Municipal, Tulsa (8-9); Robin¬ son Memorial. Little Rock (10-11). Pleasure of His Company—Municipal, Austin (30): Memorial. Wichita FaUs (31); Civic, Harlingen (2); Del Mar, Corpus Christie (34); McAllister. San Antonio (6-8); Texas Christian CoUege, Ft. Worth (9>; North Western Classic High School, Oklahoma City (10-11). Raisin in the Sun—Geary, S.F. (304); Music HaU, Omaha. (7-8): Music HaU, K.C. (9-11). 13 Daughters (tryout)—Shubert, Phllly (30-11). Off-Broadway Show* (Figures denote opening dates) Balcony, Circle In Square <3-3-60). Ballet Ballads, E. 74th St (L3-61). Banquet for Moon, Marquee (1-19-6D, Call Me, 1 Sheridan Sq. (1-31-61). ConnecTiori, Living Th’ire (Rep) (7-15-59). Donogoo-Tonka, Mews (1-18-61). Dream, Bartleby, York (1-24-61). Epitaph for Dillon, Actors (12-28-60). Every Other Evil, Key (1-22-61). Fantastlcks, Sullivan St. (5-3-60). Hedda Gabter, 4th St. (11-9-60). Jungle Cities, Living (Rep) (12-20-60). Krapp's & Zoo, Cricket (1-14-60). Leave It to Jane, Sheridan Sq. (5-25-59X Mary Sunshine. Orpheum (11-18-59) Montserrat, Gate (1-861); closes Feb. 19. Mousetrap, Maidman (11-56Q). O, Oysters, ViUage Gate (1-3061). Stewed Prunes, Showplace° (12-1460). Theatre Chance, LlvlDg (Rep) (6-2260). Threepenny Opera, de Lys (9-20-55). SCHEDULED OPENINGS 3 Japanese Plays, Players (2-361). Elsa Lanchesfer, 41st St. (2-461). Play Tonight, Jewel Box (2-661). Moon and River, East End (2661). Cicero, St. Marks (2661). King Dark Chamber, Jan Hus (2-961). Two for Fun, Madison Ave. (2-1361). To Damascus, Theatre East (2-1461). Tiger Rag, Cherry Lane (2-1661). Double Entry, Martinique (2-2061). Rendezvous, Gramercy Arts (2-2761). Night at Gulgnol, Gu<gnol (3-161). Five Posts, Gate (3661). Merchant of Venice, Gate (3-1961). She Stoops to Conquer, Gate (4-236D. CLOSED Beautiful Dreamer, Mad. Ave. (12-2760); closed .Tan. 18 after 24 performances. Rules cf Game, Gramercy Arts (12-1960); oin^pd Sunday (29) after 46 perform- ...