The Brooklyn Daily Eagle from Brooklyn, New York • Page 27

OFF STAGE By George Currle BROOKLYN EAGLE, NOV. 20, 1949 27 On the Screen eyi 'i ii, i i I yr KATHARINE CORNELL and Henry Stephenson in 'That Lady," the Kate O'Brien play which opens at the Martin Beck Theater next Tuesday evening, staged by Guthrie McClintic in the time of Phillip II of Spain. Week's Plays TUESDAY N. Y. C.

Ballet Co. At City Center With New Dances Season Takes Dose From Strindberg; 'Ice Follies' Woo Away From Care Strindberg put a question mark on the budding theatrical season last week as one wondered. He came in with such accomplished actors as Raymond Massey and Mady Christians at the Cort Theater, under the title The Father." He had the benefit of an English translation by Robert Joseph and had Mayor ODwyer in the audience. Here, indeed, was a set-up for this man who hated women and involved himself in affairs of his own making which still cause the literati to marvel that he made a second marriage. Strindberg had a monomania on the subject of lovely woman.

In fact, in his play the other night, a wife and household as Woman was the villain. Now, we all know that he was a myscogynlst and that his slant on life warped his gloomily brilliant career. The curious thing in the researches of critics of dramaturgy and literature Is the fact that he wrote this in a frenzy of rage, got it produced in Paris under the title of "Le Pere," and waited six years to break off his marriage with Sirl Wrangel, whom, under assorted names, he feverishly damned in all his writings. Strong stuff it was, indeed, even for the women in the audience. There is no doubt that Woman was "evil." The Garden of Eden and the Snake established that in holy history.

However, Woman has persisted and there is nothing men can do about It It remains a pleasant fact of life. We have had "Angel Street," where a husband tried to drive his wife insane. Strindberg would, in his captain's straightjacket, beguiled by his old nurse, have had a stroke from the very idea. His petticoats drove his captain into dementia. The interest in this version of "The Father" is the unfolding without shame of the playwright's masculine egotism and his failure to impose it upon his women.

One should bear in mind that when he wrote the play, Strindberg intended to put a savage blight upon the female. His device of having the brilliant captain sublimate his egotism in science surely was but a feeding of his own pride. He would prove he was master. He would be a genius. Some would say he deserved to get it right on the chin when Laura hinted (an understatement) that only a mother knew who was the father of her own child.

The real impact of this play is the sickness of Strind-berg's obsession. This writer thought Mr. Massey made that quite plain. It is a play of jealousy even unto sickness; of an author's baring of his secret life of suspicion, hatred and, let it be said, boredom with his living. There is a serious amount of intellectual dishonesty in the making of Laura a conniving wench.

Mady Christians had to be a succubus in its ugliest sense, to prove that Woman was the consuming evil. She was graphically ugly, indeed. Power resided in this presentation. It was drama. But today women have the vote in many countries and contrive still to be women.

Their mastery, of which the sick Strindberg was so Jealous, remains debatable. The sad thing about "The Father" could be that its Victorian scandal no longer amazes the 20th century. And that men can be deceivers, too, as they have been since the day of Medea. The result is that "The Father" has become a play dependent upon its actors, all of whom were excellent. But it really was like looking through a stereoscope the other night at the Cort Even the male audience knew that Strindberg had rigged his propaganda on the port side, with no tacks to starboard.

Certainly the most pleasant production of the season so far is "Ice Follies of 1950" in Madison Square Garden, the Shipstads and Johnson skating performance. One assumes grace and pretty illusions on Ice. One also sees bright numbers skillfully devised; comic numbers risible beyond expectations and now and then, a feat of derring-do on blades. And surprises. This show has not been content to conform to the routine.

"Winter's Beauty," which opens the second act, is fun and a sight to see. It has been dressed around the dream of a little hibernating black bear. Skating icicles, all beauteous, circle about him and four polar bears with large antics Join in. Ole Ericson and John Mulvey, who skate as "Wistful Fritzie," the St. Bernard dog, have fashioned another act so that Fritzie is really wistful.

One learns they went to a St. Bernard kennel to study the actions of the dogs. Here is the best of all ice shows, so far. Imagination has been used and, naturally, lighting and skill on skates truly implement it Strindberg should have seen it THAT LADY, at the Martin 'Battleground' Makes Vivid Use of Gl Humor in Re-enacting Bastogne Within the past several years, since hostilities ended, there have been a few excellent war pictures, including "The Story of -G. I.

Joe," "A Walk In the Sun" and this year's "Command Decision." But none of these was hailed as THE war picture, the one to be talked about in the same breath with "The Big Parade" or, depending on your choice, with "All Quiet on the Western Front," the two screen classics which dealt with World War I. Now M-G-M's "Battleground-has come along, settling down at the Astor to an extended run, and has been acclaimed In some quarters as IT, the great war picture of World War II. Personally, I can't go along with that enthusiastic, unqualified Indorsement. A fine picture, yes, rating with the best we've had in recent years, but still not a great picture. It doesn't offer us any new insight or handle familiar story ingredients with startling mastery or heighten perceptibly any of the emotional experiences that we have known from its predecessors.

Where "Battleground" surpasses the others and this self-same fact militates against its claim to greatnesslies in its "entertainment value." There's little doubt but what it will be the most successful war picture to date of the postwar period. About that entertainment value, the Metro picture does it with humor, legitimate humor, it's true, constantly lightening its urgent story of Bastogne's heroic defense, during the Battle of the Bulge, with the grudging, hard-bitten humor that was the GIs'. The picture's special achievement lies In the way it is true to the record and yet reaches out to entertain those who wouldn't be too keen on an unrelieved GI story, however dramatic and inspiring. And so "Battleground" shows us a GI putting up a humorously stubborn effort to fry some eggs in his helmet or another GI annoying a German officer with smoke rings or still another one having difficulties with his choppers, his false teeth. They're all realistic pieces of humor and they're also, be-cause of the vivid or persistent manner In which they, were staged, the things that stick longest with you.

They're fresh pieces of "business" and so their memory gradually obliter-ates in your mind those of the more familiar scenes in which a GI goes back under fire for his wounded buddy or a young soldier dies while calling for his mother. A determined, painstaking, rather than inspired, attempt at being an epic, "Battleground" has everything that meticulous attention to production detail could give it. Under Dore Schary's supervision and the vigorous direction of William A. Wellman, the picture is overwhelmingly real-looking. Nor can anyone, except a Bastogne veteran, challenge any of the story details, for scriptwriter and co-producer Robert Pirosh was there, in that climactic phase of the Battle of the Bulge.

But even if you didn't know about Pirosh's war record, you would know that combat veterans had an important hand in turning out the Metro work. You can see It In the psychological make-up of a new-born hero, amazed at his own courage, true, or In the eloquently simple episode In which a soldier looks up from his newspaper and ask3. "What's the Bulge?" At that moment, he was on the crucial perimeter of the Bulge. Along with its wonderfully true Irony, the little episode brilliantly summarizes the typical fragmentary knowledge the average GI had of his situation. It was a big war, the biggest, but only the generals and other top brass had to worry about that.

The GI's concern was in pushing ahead a few feet at a time. It's this careful eye for authentic detail, as well as the vitality with which Wellman has staged the combat and soldiering episodes, that gives "Battleground" its distinction, rather than the personal vignettes of Its chief characters. Carefully Individualized that word "careful" constantly recurs In appraising the picture the principals represent the personality boy, the green kid who'd never been away from home before, the intellectual who looks down on the others, the grumbler, the aging soldier who has a hard time keeping up, etc. Under Wellman's guidance, however, practically all the players- turn in solidly convincing performances. Starting with Van Johnson, who's effective once he tones down his personal mannerisms, the rollcall of speaking parts Includes John Hodlak, George Murphy, Rlcardo Mon-talban, Marshall Thompson, James Whitmore, Don Taylor and many others, who contribute realistic portraits.

"Battleground," without being "the picture" thus far of the recent war, Is still one of the finest and, as a graphic record of one of the war's most inspiring chapters, it richly deserves to be cherished. From the looks of the crowds pouring into the Astor, it's going to be. Beck Theater. Katharine Cornell stars and presents Kate The N. Y.

C. Ballet Co. will O'Brien's play, with Henry give its first performance of the Daniell, Torin Thatcher, Henry Stephenson and Joseph Wise Fall season next Wednesday evening at City Center where man. Guthrie McClintic did the staging. Rolf Gerard did sets It begins a three-week engage and costumes.

Also In the cast ment that will continue through are Douglass Watson, Esther Minciotti, Marian Seldes, Peter Barnes, Will Kuluva, Wallace Chadwell, Oliver Cliff, David J. Dec. 11. George Balanchlne is artistic director, Jerome "Rob-bins associate artistic director, Leon Barzin musical director Stewart, Richard Sterling, Jada and Lincoln Kirstein general Rowland, etc. Costume piece, director of the company now in the time of Philip II in starting Its third season as a Spain.

FRIDAY part of the City Center's own cultural activities. TEXAS, LI'L DARLIN', at the Four new soloists have been added to the roster since the Mark Hellinger Theater. An- thony Farrell presents this company was last seen here -fr rnri U) Hour it.) i A ill 1 -1 i' j. Jft- 4' satire on a Southern politician with a cast featuring Kenny Janet Reed, Melissa Hayden, Lois Ellyn and Frank Hobl. Miss Reed is well-remembered here for her appearances with Delmar, Danny Scholl, Mary Hatcher, Fredd Wayne and Loring Smith.

Directed by Ballet Theater and Eugene Lor Paul Crabtree. Book by John Whedon and Sam Moore. Lyrics by Johnnie Mercer. Ing's Dance Players. She was also seen two seasons ago in a speaking and dancing lead in the musical comedy, "Look, Ma, I'm Dannin'." Miss Hayden is Music by Robert Emmett Dolan.

Choreography by Al White Jr. Orchestrations by another Ballet Theater alumna Robert Russell Bennett. Cos and she has appeared with Bal tumes by Eleanor Goldsmith. lets Alicia Alonso. Miss Ellyn was seen by.

Mr. Balanchlne in Theodore Cooper did the scenery and lighting. a dance performance last Sum mer In California and invited Truesdale to Appear by him to come east to join the N. Y. C.

Ballet. Mr. Hobl has most recently been soloist with the Ballet Russe de Monte Carlo and has appeared with Ballet Ernest Truesdale has been signed for a role In "How Long Till Summer," the Herbert and Sarett Rudley drama, which Theater. In addition to the above, Jer Leon Bronesky and Edward Gil bert will place in rehearsal next week. The play is scheduled ome Kobnlns, the company new associate director, will also to open in New York Dec.

28 at a theater yet to be selected, appear as soloist in his own ballet, "The Guests." This will mark Mr. Robblns' first appear- ance as a dancer with the Li'l Darlin'" Kenny Delmar is right in his element In this N. Y. C. Ballet with whih his previous association has been frolicsome and friendly lam Senator Claghorn Hits B'way In Musical From Texas Way DANNY SCHOLL and Mary Hatcher' in 'Texas, Li'l Darlin'," opening at the Mark Hellinger Theater next Friday night.

only as choreographer. Wiseman Repays Stage Debt; Four works new to the reper poon on love and politics In the land of oil wells, Luxury hotels and prime sirloin on the hoof tory will be shown during the the sonorous Senator of the Contributors to 'Dance Me a Song' previous night. To his vast season: Lew Christensen "Jinx," with music by Benja Mrs. Minciotti Reaps Reward astonishment the sponsor llkedfLone Star State conducts a As Southern as beaten biscuits and hominy grits, Kenny Delmar's voice has been wel Dwight Deere WIman and as sociate producer Robert Ross been written mostly by James Shelton but there also will be some additional numbers by min Britten; Stravinsky's famous "Firebird," with complete hilarious campaign. Aided by his daughters, Dallas and Dogie, his audition and he got the Job.

Since then his career in that One good turn deserved an announce that their forthcom he stages barbecues and song- otherand has had one In the comed Into millions of American homes via the air waves, Herman Huofeld, Leonard Bern ly new choreography by Mr. Balanchlne, a new orchestra ing revue, "Dance Me a Song," will have sketches by Samuel fests to rally public support case of two members of the stein, Albert Hague and Kay Swift, who wrote the memorable "Can't We Be Friends" from Taylor, Russell Beggs, Nancy cast of Katharine Cornell's new tion by the composer, and the beautiful Marc Chagall sets and costumes; "Bouree Fantasque," also choreographed by Mr. Bal Carnival Queen Hamilton, George Oppenheimer, Vincent Minnelli. Marva Man- play, "That Lady," which It may come as a surprise, therefore, to learn that Mr. Del-mar, the erstwhile Senator Claghorn of Fred Allen's Alley, the "First Little Show." Sandra Deel, currently ap Zacharv Solov.

who will be opens on Tuesday evening at the Martin Beck Theater. field has been on the fabulous side. He has made Claghorn, who is so Southern he will "drink only out of Dixie Cups," a character of national fame and the Senator's phrase, "It's a Joke, son," became so popular that it was used as the title of a motion picture in which Delmar was starred. As Hominy Smith in "Texas, a denunciation in this play that is sharper than anything of the sort since Hamlet told off his mother, was beginning his acting career he had hard sledding getting that elusive first part Though he could not speak Italian a friend in an Italian company of players got him some small parts which Wiseman acted by memorizing the words phonetically while having only a general Idea of their meaning. This friend was a veteran Italian actress In New anchlne and with music by pearing in the musical "South making his debut as a Broad was born In Boston and "it It seems that when Joseph Emanuel Chabrier, and Wil Pacific, has been chosen Queen way choreographer, will devise nes and Nedda Harrigan who, in private life, is Mrs.

Joshua Logan. The music and lyrics have will be the musical director. lio Joke, son." of the forthcoming C. C. N.

Y. the dance numbers, while An Now he has moved to the liam Dollar's "Ondine" to music by Vivaldi, with sets by Horace Armistead. 1 Wiseman, who is playing a self-righteously angry statesman who reproves Miss Cornell with Carnival, which takes place Dec, thony Cabot, another newcomer. 10 at the City College Audi great State of Texas to impersonate another Senator Homi torium. Smith by name in the rollicking new musical comedy, Texas', Ll'l Dafllng'," which Studio Productions, and -i Anthony Brady Farrell bring to the Mark Hellinger Theater next rnaay evening.

As a matter of record Delmar A York named Esther Minciotti. Now Wiseman has become a prominent actor on the English-speaking stage, having appeared with such stars as Raymond Massey, Ingrid Bergman, Helen Haye and in two previous Katharine Cornell plays, "Antony and Cleopatra" and "The Three Sisters." When he was engaged for his present part, he saw that one of the roles in the play was that of a "duenna" to the one-eyed Span picked up his Southern-style delivery from a Texas farmer who gave him a lift when ha, 4 as yet unknown, was hitch hiking to California. Fascinated by the unfamiliar drawl, the New Englander promptly made ret' -Ijftiii it his own, not dreaming how ish princess who is played by Important a part it would play In his career. His father was a member of an old Boston Katharine Cornell. "Who was Li'BW Tit.

to play it?" he asked. The part was still open, he was told. family, but young Kenny inher ited his interest in performing and he immediately proposed from his mother, Evelyn Del Mrs. Minciotti. And thus, after 50 years of mar, who was one of vaudeville's famed Delmar sisters.

As a boy, he, too, had a fling at trouping all over the United States in Italian language plays, -1 4.y- vaudeville, acting as a master of ceremonies and also during Mrs. Minciotti is now making her debut on the English-speaking stage. with Katharine his early years he appeared in v. w. unmura film, "Orphans Cornell, no less.

Mrs. Minciotti Is really a oi tne storm," starring Lillian and Dorothy Gish. 'f Kenny Delmar's keen ear and kind of nc-longer-young Cinderella. After her long years In comparative obscurity In the Italian theater in America, she has also become a highly-prized Hollywood personality this gift of Impersonation came to his rescue when he had his first radio audition in 1936. The young man was so nervous when he faced the microphone to try out as a commercial announcer that he was unable to read the prepared script so he toBsed it aside and did an imitation of W.

Fields, whom bt had teen in a picture the year. She has only recently completed playing three Important film roles In the FBI documentary "Undercover in Cornel Wilde's movie "Shockproof," and in "House of Strangers." NICHOLAS AG ALLAN ES and Tanaquil LeClercq, leading dances, as they appear in "Orpheus," the ballet which will be seen during the Fall season of the N. Y. C. Ballet opening next Wednesday evening at City Center for a three week engagement MARTIN KOSLECK, the surprising deaf mute in "The Madwoman of Chaillot" at the Royale Theater.

This Valency adaptation of the Girandoux play won Drama Critics' Circle award last Spring. LARRY OLIVER, Leonard Lord and Joan Morgan in "Born Yesterday," which reaches its performance ot the Henry Miller's Theater next Friday evening..