The Philadelphia Inquirer from Philadelphia, Pennsylvania • Page 113

-w vmsmi 0msmmmmm ml sf- A '-'Was I i CALL BOY'S CHAT Gay Gigi Is a Spicy New Farce Bright, Unusual Comedy Marks Imported Play By Linton Martin STAGI, SCREEN AND MUSIC SUNDAY, NOVEMBER 11,1951 a 33 ate v- 1 I W' 11 pis, rZ mmn li-iiFwn-i'iiiiimm mini 8fejj mm ri COY APPROACH FOR ATTENTION Stephen McNally enjoys being chased by Virginia Field in "The Lady Pays Midtown, Wednesday. CAMERA Two Filmusicals Charming In Bright Tunes and Tints By Mildred Martin ANXIOUS to get a few words in edgewise before the Best Ten lists are upon us (which they will be next Sunday), this corner happily hails "An American in Paris" and "Texas Carnival," a pair of engaging musicals all tied up in tints and tunes and delivered by Metro-Goldwyn-Mayer to the Randolph and Boyd, respectively. And iust in case any attention-calling should be necessary. HOSPITALITY William Prince and Julie Harris in Am A Camera," ar the' Forrest tomorrow. BACK STAGE BillPrince LeftCollege For Theater By Marion Kefley I WAS his seventeenth wedding anniversary the day we inter viewed William Prince in New York.

Over a cup of coffee at Rumpel-mayers looking out on Central Park, Bill recalled the date with a note of nostalgia. There was to be no celebration that day. Bill was in re hearsal for John van Druten's "I am a Camera," which opens here, tomorrow at the Forrest before bow-, ing to Rialto audiences. A seasoner actor, William Prince admitted he had-a rather difficult job on his hands to climb into the character of Christopher Isherwood whom he portrays in the play. Different Role "It is a little different playing the role of a fictional character an author creates in his mind," said Prince.

"This type may be a composite grouping of people he has known. You read the script and become what you feel that man is and how he would react to certain conditions. "But Isherwood is a real person, an author who writes of his experiences in Berlin back in 1930. 1 never met him until we went into re hearsal and Christopher Isherwood appeared at the theater. He was everything I had not pic tured," continued Prince.

"I couched him in a literary aura, not exactly Robert Sherwood, but tall, slender and perhaps a little stooped from long hours bent over a typewriter. Instead he comes out medium height and a bit on the rugged side. Habitually Neat "I discovered also that he was habitually neat. The script calls for a person who drops cigarette ashes around, scatters papers about his flat, and in general is disorderly when things momentous harass him. The real person looking on at rehearsal of a play based on his stories, was not in the mood of the man he was when he wrote his personal diary over 20 years ago.

I had a character to portray who has hit a snag in his creative output." William Prince went on to explain that he had to go back to that person the script indicated, take up the internal struggle that was going on within him at the time, and give it life and reality. That sort of character delineation requires not only expert craftsman ship, but knowledge of life acquired Continued on Page 36, Col. 1 TUST how French farce would i iare without the ancient in-' stitution of Sex as the main spring of its dramatic motivation, and to give it saucy Gallic gaiety, is one of the unthinkable things in the theater. As it happens, however, no such considerations need concern us in the current case of "Gigi," which came to town at the Walnut last week, for the world premiere of its adaptation in English, and fresh from the French original, tnougn that original isn't exactly fresh itself. As a matter of fiction, film and ootlight fact, the present play is the third version of this story which has become a classic of its kind.

For "Gigi" was written originally as novelette by the popular and pro' line Colette, whose full name is Si-donie Gabrielle Colette, though she does not use it that way for profes sional purposes. Then followed the French film version, and your Call Boy is reminded by the movie editor that the picture was presented here a year ago, with Denise Delorme in the title role. Now comes the trans lation by Anita Loos, so that "Gigi" comes to the stage in America be fore France. Fluent Adaptation Miss Loos brought to her task a double advantage which no other dramatic adapter could claim in quite the same combination. First of all, her fluent familiarity with French as it is written and spoken gave her an easy and sym pathetic slant on the subject.

Also, her own character creation of the gold-digging and craftily calculat ing Loreli Lee in "Gentlemen Prefer Blondes" was an enormous and obvious aid in understanding Gigi, for the two girls have several quail ties in common, especially the knowledge of the practical value of fine jewelry, and the instinct or talent for knowing how to handle male admirers with money. Not all of the assets in this production are limited to Miss Loos on the score of authorship, however. In performance, outstanding honors are garnered by the Belgian-born Audrey Hepburn, a piquant and appealing newcomer, as Gigi, and about whom more in a moment. Entertainment Only "Gigi" skates and skitters blithely over the thin ice of risque scenes and observations without quite crashing through. That is no minor footlight feat in this frankly, "spicy story about an amazingly in- i nocent young girl who is being coached for a remunerative career as a courtesan by her cynical grandmother and a great-aunt, when real love, the echte article, puts in an appearance, and upsets their crafty, canny calculations, keeping virtue inviolate, at least technically, and only in well known nick of time or so it would seem.

Gigi's grandmother and great-aunt evidently are not bothered a bit by the deplorable turpitude they undertake to inculcate in the girl's immature mind. Indeed, as old girls at the game themselves, they have a family tradition to maintain the tradition being that matrimony is simply not for them. When Gigi and the man intended as her plutocratic playboy friend fall sincerely and mutually in love, the prospect of respectable marriage tears that old family tradition to tatters, just in time for the final curtain. Footlight Effulgence Since Gilbert Miller is the producer of "Gigi," it is almost superfluous to say that it has been handsomely staged, and is presented by a more than competent cast. Also, all that commotion a few weeks ago, because the play was directed by a Frenchman, Raymond Rouleau, alleged to know little if any English, appears to have been pointless, on the evidence offered by the per formance itself.

A newcomer of piquant and per sonable appeal in the title role is Audrey Hepburn, born in Brussels, of Scotch and Dutch parentage. Unknown here hitherto on either stage or screen, she is a real "find" in the role of Gigi, and it would not be a bit surprising if Hollywood un dertakes to snatch her from the footlights for the films. Much or most of the footlight flavor of this very Gallic "Gigi" is imparted to the performance by Cathleen Nesbitt and Josephine Brown as the priceless pair of reprehensible but unrepentant old reprobates, Gigi's great aunt and grandmother. Miss Brown a tough task in taking over her role on less than- a fortnight's notice, after first Constance Collier and then Florence Reed successively flounced in and out of it. Other roles are ably acted by Mi chael Evans as the rake who reforms and Doris Patson as Gigi's mother, 25 Years Ago At the Theater ADELPHI "Abie's Irish Ann Nichols comedy, with Patricia O'Hearn, Dan Moyles, Ted W.

Gibson, Phil White. BROAD "Craig's Wife," by George Kelly, with Chrystal Heme, Charles Trowbridge. CHESTNUT "A Night in musical, with Jack Pearl, Norma Terris, Jack Osterman, Barnett Parker. GARRICK "The Last of Mrs. Cheyney," by Frederick Lonsdale, with Ina Claire, Roland Young.

James Dale. LYRIC "The Student Prince. with Isle Marvenga, DeWolfe Hopper, Halfred Young. -Return engagement. HUBERT "Song of the book and lyrics by Otto Harbach and Oscar Hammerstein, 2d, mu sic by Herbert Stothart and George Gershwin, with Tessa Kosta and Guy Robertson.

DANCES PORTRAYING THE CUSTOMS OF THE BASQUES A group of Euzlcadi in the novel costumes of their country which is part of the Philadelphia Forum program at the Academy of Music on Tuesday. Playbill: 2 Shows Open, 1 RIDING HIGH Red Skelton and Esther Williams in Texas Carnival," Boyd now. FILM TIMES TODAY What Picture Houses Offer; Coming Bills ALDINE "The River" (98 India-produced drama, with Nora Swinburne, Patricia waiters, Radha, Adrienne Corri, Thomas E. Breen. 2:30, 5:30.

8:30. ARCADIA First Legion" (86 religious drama, with Charles Boyer, Leo G. Carroll, William Demarest. 2:35, 4:30, 6:20, 8:10, 10. BOYD "Texas Carnival" (77 romantic musical, with Esther Williams, Howard Keel, Red Skel ton, Ann Miller, Keenan Wynn.

2, 4:15, 6, 7:45, 9:40, 1:15 A. M. EARLE Closed today. Resuming tomorow, "Disc Jockey," musical, with Ginny Simms, Tom Drake, Jane Nigh. On stage, Dinah Washington, Bill Bailey, others.

FOX "Anne of the Indies (81 sea adventure, with Jean Peters, Louis Jourdan, Debra Paget. 2:40, 4:35, 6:30, 8:30, 10:25. GOLDMAN "Across the Wide Mis souri" (78 Western, with Clark Gable, Ricardo Montalban, Maria Elena Marques. 2, 3:50, 5:40, 7:30, 9:20, 11:10, 1 A. MAST3ATJM "The Blue Veil" (114 drama, with Jane Wyman, Charles Laughton, Audrey Totter.

2.3:55,5:55, 7:55, "Bright Victory" (96 drama, with Arthur Ken nedy, Peggy Dow, James Edwards. 2:20, 4:20,:20. 8:20, 10:15. NEWS "Bad Men of Arizona" (60 Western, with Buster Crabbe. 2:20, 5:10, 8, all night.

"Criss Cross" (87 1949 re vival, with Burt Lancaster. 3:20, 6:10, 9, all night RANDOLPH "An American i Paris" (113 musical, with Gene Kelly, Leslie Caron, Oscar Levant, Nina Foch. 2:05, 4:05, 6:05, 8:05. 10:05, 12:05 A. M.

STANLEY "The Tanks Are Com ing" (90 war drama, with Steve Cochran, Philip Carey, Mari Aldon. 2:35, 4:35, 6:30. 8:25, 10:25. STANTON "The Magic Face" (89 melodrama, with Luther Adler and Patricia Knight. 2, 3:40, 5:25.

7:10. 8:55, 10:40, 12:20 A. M. STUDIO "Girls of the Big House" (68 min.0, drama, with Lynne Roberts. 2, 4:15, 6:35.

8:55, 11:15. "Traffic in Crime" (56 melodrama, with Kane Richmond 3:15, 5:35, 7:55, 10:15. TRANS-LUX- "0 LnnT ft thi Fair" (85 1950 revival, with Jean Simmon 2:40, 4:30, 6:20, 8:10, 10. WORLD "The U03 1943 revival, with Jack Buetel, Jane Russell, Thomas Mitchell. 2:30, 4:25, 6:25, 8:15, 10.

Continued on Page 34, Col. 2 UNPERTURBED Barbana Rush in "When Worlds Collide," scheduled for the Stanton on Saturday. Daisy Belmore, Rossano San Marco, Augusta Merighi, Dorrit Kelton and Martin Balsam. Continuing at the Walnut is "Gigi," the comedy that Anita Loos fashioned from Colette's novel of the same name. Featured are Aubrey Hepburn in the title role, Cathleen Nesbit, her great-aunt, Josephine Brown, her grandmother and Michael Evans.

Raymond Rouleau directs. Next week two shows are booked "Nina" written by Andre Roussin and adapted by Samuel Taylor which premieres at the Walnut Nov. 19, headlining Gloria Swanson, i 1 4 'if There will be three shows brightening the theaters this week, two on the comedy side and one a new drama. Two plays open tomorrow. At the Forrest, John van Druten's newest play "I am a Camera" featuring Julie Harris and William Prince, makes its bow for Philadelphia acclaim tomorrow night.

This drama is adapted from Christopher Isherwood's "The Berlin Stories," a collection which deals with the novelist's life in Berlin in 1930, and his friendship for young Sally Bowles. Others in -the cast of the seven-character play are Martin Brooks, Olga Fabian, Marian Winters, Ed Andrews and Cele McLaughlin. Boris Aronson designed the setting and Ellen Goldsborough Freeman the costumes. Mr. van Druten has staged his own work.

Tennessee Williams "The Rose Tattoo," with practically all of the Broadway cast, opens tomorrow at the Locust. Maureen Stapleton who created the lead role of the fiery mother will play the same part as will Eli Wallach portraying the truck driver who wins her heart. 'Sally Hester, the only major replacement, will take the part of the daughter, Rosa Delle Rose. Don Murray still plays the sailor in love with Rosa. Others in the cast include ANGLES If, as it does, the long ballet interlude gives "An American in Paris" its most striking asset, th picture has much else to offer, notably a champagne like sparkle which carries its cast lightly through the not too complicated meanderings of Alan Jay Lerner's script to the bubbling direction of Vincente Min-nelli.

Long a stickler for style, Minnelll has caught the flavor and feeling of an idealized Paris where art is long, love the chief commodity and where everybody is ready to dance or sing or take vicarious interest in youthful romance. Against the pretty-as-a-picture background of this fabulous dream city, then, the cast scampers through the motions of a plot that requires only slight concentration on acting, but plenty in the way of personal appeal. And on that score, there can be no complaint, with Kelly at his best- as a GI smitten with 1 'amour and the to paint, Leslie Caron and Nina Foch," the lasses in his life, and Oscar Levant going along as sharp-tongued ballast. Music Is Charming The score, put together from the inexhaustible library of Gershwin songs and more serious compositions, is fresh and delightful, even a large slice of the dubious Concerto in made palatable by means of the tricky, humorously imaginative fashion in which it is presented. Not nearly so elaborate as "An American in Paris," "Texas Carnival" holds its own, even in comparison.

Its story of a couple of carnival folk and the jams they get themselves into is genuinely funny, and as the luckless sideshow barker and his half -fish half-girl partner, Skelton and Esther Williams are delightfully teamed. The old mistaken identity idea on which the yarn is based is skilfully handled, decked out with novel twists and uproarious gags, and Charles Walters direction keeps plot and players constantly on the merry move. For good measure, there's some fast, furious, dexterous dancing by Ann Miller, an amusing inebriate devastatingly played by Keenan Wynn, some really good new -ongs by Harry Warren and Dorothy fields, the best of which are "Young 7olks Should Be Married." Emma" and "It's Dynamite," the arst two sung by Howard Keel, the last danced and sung by Miss Miller. Serious and Exciting In most Esther Williams' films, the big problem is how and when to get her into the water. Well, that is taken care of gorgeously on this occasion in a sequence which finds a wraith-like Esther apparently swimming through air, not water, while Keel dreams of her healthy, very apparent charms.

It isn't often the screen can beat the stage at its own game. But without going overboard or out on a limb, it's safe to say Producer-director William Wyler has turned "Detec-ive Story" into even a better film it was a play. A sort of "Grand lotel" of a busy New York police iation, the film underscores the of Kingsley's hosts of char acters, the violence and humor and tragedy of the melodrama. The cast is literally perfect, with Hollywood and Broadway players from the original company giving inspired performances that rivet attention from start to finish. we'd suggest you make a date without delay to see "Detective Story," Paramounfs superlative screen version of the Sidney Kingsley 1949 melodrama, scheduled to start an engagement at the Trans-Lux on Thursday.

Too wily to put all its eggs in one basket, and big enough not to need to, Metro has two likeable and lavish winners on its hands, contrasting in appeal, yet so far as skill and great good humor goes, pretty much the same in the satisfying effect achieved. Accent on Dancing While Hollywood musicals have never stinted on dancing, they have seldom gone all-out in the ballet department, usually limiting that highly specialized form of Terpsichore to relatively brief and isolated sequences. Then along from England came "The Red Shoes" and "Tales of Hoffmann" and. noting fans reaction to those ballet-musicals, domestic producers began to suspect they had been overlooking something. Taking the plunge and counting on a newly created audience of balletomanes to see them through, Metro has undertaken to incorporate 20 solid minutes of ballet in "An American in Paris." Set to George Gershwin's symphonic tone poem of the same name, staged in the style of half-a-dozen Paris devoted painters, superbly danced and choreographed by Gene Kelly, the resulting ballet is a kaleidoscopic mass of splashing color, hair-trigger timing, fascinating movement, mood and design.

geaufy 0f Ballets To Kelly go special honors, for as conceived by him. this is not stage ballet transferred to iilm, but truly cinematic ballet planned of a magic medium which need not be bound by footlight or even ordinary physical limitations. DETERMINED Kirk Douglas is adamant in "Detective Story," opening at Trans-Lux Thursday. Continues David Niven and Alan Webb; and a return of "Kiss Me, Kate," at the Shubert. "Point of No Return," starring Henry Fonda, is scheduled for the Forrest on Nov.

27. First on the list for December is Clare Booth Luce's "Child of the Morning," starring Margaret O'Brien, coming to the Locust, Dec. 3. William Kincaid Orchestra Soloist William M. Kincaid, first flutist of the Philadelphia Orchestra, will be soloist for the Orchestra's Friday afternoon, and Saturday even ing concerts, featured in classical works for flute and orchestra the Telemann "Suite in A Minor." He will play his celebrated platinum flute, a unique and extremely valuable instrument.

Mr. Ormandy's in the purely orchestral part of the program, offers the Fourth symphony of Brahms, through the vividly colorful and descriptive "Iberia" by Albeniz, to the sophisticated Ravel's "La PLEASED Clark Gable in "Across the Wide Missouri," now flaying at the Goldman. i A UtV; y-, Fbrurri Offers Folk Music And Fun "Folk Music and Fun," which The Philadelphia Forum will present at the Academy of Music on Tuesday evening, Nov. 13, promises to be the most novel and entertaining musical event of Philadelphia's current season. Highlighted on this program will be an exciting group new to America, Euzkadi, 15 singers, instrumentalists and dancers from the Basque Country of France and Spain, Philadelphia's own John Sebastian, America's leading harmonica virtuoso, and Susan Reed, enchanting ballad singer.

The 15 artists comprising Euzkadi (the word means Basque Country) have been the sensation of Europe. They appeased first in Biarritz, and their success there led to an invitation to appear in London, where the usually staid critics hailed them as "magnificent. Aid everywhere they went the recaption was the same. In the first half of the program John Sebastian, who has appeared as soloist with most of the country's leading symphony orchestras, including Philadelphia and the NBC Symphony, proves what a remarkable instrument the harmonica can become at the hands of a real master. His program runs the range from Bach, Debussy, de Falla, Villa-Lobos to George Gershwin and John Sebastian's own compositions.

Susan Reed, young ballad singer from South Carolina, accompanying herself on the Celtic harp and the Bavarian zither, has captivated audiences from coast-to-coast with her lovely voice, in folk songs from the Southern Mountains, Canada and the British Isles. Tickets are now on sale at the Academy box-offlc and 1413 Walnut st. If I fo Hi pf. -1 -rtt' 5 V' WuMwuir ii mi i in fnaf -awM mm STRANGE THINGS ARE HAPPENING Eli Wallach tries to calm Maureen Stapleton in "The Rose Tattoo," coming to Locust tomorrow..