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|| Ji '• K ■' * ' 'tSB HKIrB Jpji ! 9 42 * I I ! " j| 8 II m * * Jp;-jS • aBW ''* t «, * »*• sii ■&']& jj MLiB II PP 1 sKSraT' 1 * ** u *■■ l T" '•••-• ■grp^| !■ M PASTOR MEETS HIS FLOCK—In this scene from “A Man Called Peter,” Richard Todd in the title role meets his more fashionable parishioners of the New York Avenue Presby terian Church. It is a dramatic take-off on Peter Marshall's The Passing Show Peter Marshall on Screen Wife, Author of 'A Man Called Peter/ Finds Hollywood Varied Experience BY JAY CARMODY Mrs. Catherine Marshall whose biography of her late husband, “A Man Called Peter,” has just been produced as a motion picture may have picked up the material for an other book out of her Holly wood experience. Not a dour and disillusioned book but, like herself, lively, observant, candid and under standing. Mrs. Marshall, whose husband was pastor of the New York Avenue Presbyterian church and chaplain of the the United States Senate at the time of his sudden death, found much that was cheerful in her Hollywood adventure. She reviewed it all with the local drama press at luncheon the other day—the delightful and the disconcerting with equal frankness—and the press never had a nicer luncheon to remember. She Likes the Film Mrs. Marshall likes the film, regards neither it nor her book as perfect, has great admira tion for Richard Todd’s por trait of her husband on the screen, and is pleased with Jean Peters’ impersonation of Catherine Wood Marshall. She had misgivings that Peter Marshall’s film story, and her own, might be overstressed in terms of their romance; every one knows how Hollywood loves lovers. She thinks an occasion al setting in “A Man Called Peter” might be overelabor ate and she will never cease to be amazed at how little of a book can be used in a film script. This latter, of course, may be because a writer is slow to realize how many words may be covered by a single picture. Mrs. Marshall, whom Jean Peters may well wish she will resemble a few years hence, has one deep satisfaction with the film that rises above all other considerations. Purpose Simple “I wrote the book,” she says, with the hope of extending the effect of Peter’s life and work. It proved popular beyond my expectations. Now, how many more people will become ac W ML jp •':;W.- ill IBb Ab jHpV , ~s<■'• MERRY MURDER—Aa Roald Dahl views It, homicide lo a hilarious theme In “The Honeys" which will brine an all-starrish east to the Shubert for two weeks beginning April 11. The throe principals In the earned? are played by Dorothy Stiekney, Home Cronyn and Jessica Tandy. Mr. Cronyn also directs. Stage—Screen—Books TV—Rad io—Music quainted with both through the picture!” Even her joy in this, how ever, is not without its small shadows. “I never cease to be sur prised,” she says, “that there are some people who regard all such undertakings as a com mercialization of religion. On my way out of New York, for instance, I was accompanied to the airport by two reporters from a national news magazine who frankly told me their in structions were to explore this fully. It gave me some dubi ous satisfaction to tell them, with equal frankness, the de tails—that the film rights brought less than one-tenth the average of best-sellers, and that after agent and lawyers’ fees. I have relatively next to nothing.” It is not merely the press that is interested in this aspect of the book and subsequent film, Mrs. Marshall says. “A school friend of Agnes Scott in Atlanta, whom I had invited to see a preview, was quick to observe, among less surprising things, that I must now be well fixed.” Tokes It Cheerfully She is not sure, she can say cheerfully, that this sort of thing together with Holly wood’s concept of her hus band’s salary as paltry, will not make her more money conscious than she has been up to now. However, if this correspond ent seems to be dwelling on the fiscal aspects of Mrs. Mar shall’s experience, she herself does not. “Hollywood,” it was sug gested to her, “must have come as quite a shock to you.” Mrs. Marshall laughed. “I think I came as more of a shock to it,” she says. “My ar rival was something like the opening scene in a movie, you know the train pulling into the pretty, palm bordered station at Pasadena. I confess I had the jitters, but I think at that that I had a better idea of Hollywood than it had of me.” Everyone she met, at 20th Century-Fox studios, she says. See CARMODY, Page E-3 new pastorate in which his will and that of a haughty parishioner, played by Marjorie Rambeau, on divan, have their first clash. Pastor Marshall, a firm Scot, emerges the winner eventually. v ''%' : ' a- * . * . - '* v/ "/* ' jgfiig ‘ < . m - J rrZf. ■'** - *L CAIN AND ABEL STORY—Is told in modern paraphrase by John Steinbeck in “East of Eden,” which will be the Easter attraction at the Metropolitan and Ambassador Theaters. Williams Play Stirs Up His Customary Storm BY WILLIAM GLOVER Associated Press Staff Writer NEW YORK. Whether it wins any prizes or not, the newest play on Broadway has already fanned more talk and sharply divided opinion than any dozen other shows. ‘‘Cat on a Hot Tin Roof,” by Tennessee Williams, dis cusses cancer, homosexuality and ethical depravity of man kind. Three-quarters of the news paper critics found it power ful, high theater. Others as sailed it for lacking stature or meaning, and .being simply an example of excelling stage talents gone wrong. What the ticket-buying pub lic finally decides is a matter puitdaij ffetf WASHINGTON, D. C., APRIL 3, 1955 Public and Critics Both Excited and Sale Os Seats Already Reaches Into December of high speculation, shared by the author himself. The astute and confident producing firm, the Playwright Company, with quotes from favorable reviews, is taking mail orders at the Morosco Theater into December. Aside from the deservedly high reputations of Williams and Director Elia Kazan, a lot of excitement has been whipped by reports that ‘‘Cat” is a racy compound of rabel aisian dialogue and touchy theme. Not a Tingle But the vicarious thrill seeker will find no salacious tingle here, despite the great bed which symbolically centers proceedings. And chance post mortem talks with a dozen widely different types of the ater fans found each com menting: “I didn’t like it. I thought maybe It was just me.” Today's Schedules Stage ARENA—"The World of Sholom Aleichem”; 8:30 p.m. NATIONAL—‘‘The Seven Year Itch,” dark tonight, resumes tomorrow. Screen AMBASSADOR—“Unchained”: 3, 6:25 and 9:55 pjn. CAPITOL—“Hit the Deck”; 1:05, 3:15, 5:25, 7:35 and 9:45 p.m COLONY—"The Little Kidnapers"; 2:30, 4:20, 6:10, 8 and 9:50 p.m. COLUMBIA—“Chief Crazy Horse”; 1:10, 3:45, *5:45, 7:40 and 9:40 p.m. DUPONT—“Gate of Hell”: 1:35, 3:35, 5:40, 7:45 and 9:50 p.m. KEITH’S—“The Long Gray Line"; 1:40, 4:25, 7:15 and 9:45 p.m. i LITTLE—“The Vanishing Prairie”; 1:30, 3:10, 4:50, 6:30, 8:10 and 9:50 p.m. MacARTHUR—“An Inspector Calls”; 2, 3:80, 5. 6:35, 8:15 and 9:55 p.m. METROPOLITAN—"Unchained”: 3:20, 6:40 and 9:55 p.m. ONTARIO—“She Couldn’t Say No”; 1:45, 3:40, 5:40, 7:40 and 9:45 p.m. PALACE—"Captain Lightfoot”; 1:30, 3:35, 5:40, 7:45 and 9:50 p.m. PLAYHOUSE—"The Glass Slipper”; 1. 2:45, 4:35, 8:30, 8:30 and 10:10 p.m. PLAZA—"Tonight’s the Night"; 1:25, 4:15, 8:10, 8:05 and 10 p.m. TRANB-LUX—"The Country Girl”; 13:40, 2:36, 4:30, 8:25, 8:25 and 10:25 pm. WARNER—“This Is Cinerama"; 2. 5 and 8:30 pm. “'"'fjCt • lit | I Wmf^ - llii • - - s- '• Mi f ' , -■ si A WIFE CALLED CATHERINE—PIayed by Jean Peters, lays down the law to Richard Todd In the title role of “A Man Called Peter,” which opens at the Palace on Thursday. At this point in the story, adapted from Mrs. Marshall's biogra- The leads in the film, directed by Elia Kazan, are played by Julie Harris and James Dean, pictured here in the California setting of Steinbeck's fable. Williams has heretofore provided at least one char acter on whom the audience could attach sympathy or understanding. Not this time, however, nor is there message, except by innuendo. Says Williams: “Plays should always have an element of the unresolved, with the audi ence going out of the theater the way people go out of life, still wondering. I don’t want the public to be stuffed with a pat conclusion.” Taking notice of even some friendly critics’ comment that some of the vulgarity seems like a gratuitous, little-boy splashing of filth rather than a dramatic ingredient, Wil liams asserts: “I have never used anything for the sole purpose of shocking." Part of. the time Williams appears to be preaching against the evils of lying. But he snatches that positive factor Bridge—Stamps—Camera—Art Resorts—T ravel—Records by a violently ironic big lie to resolve his final curtain. Williams is also concerned, though more subtly, with so ciety’s attitude toward homo sexuality. The victimized young husband of the drama, he explained to the press, has been driven to spineless fail ure “by the society he lives in.” The production is a master ful and strong essay from Elia Kazan, who stands as the directing whiz of this era. There are also exceptional performances by Mildred Dun nock, Burl Ives making his drama debut and Barbara Bel Geddes. Youth in Saddle Youth takes charge: Three enthusiastic and very youthful groups have set the off-Broad way theater scene ablaze this year with talent and success. One of the groups, Proscen nium Productions, this week won the first “Tony” medal lion ever awarded by the American Theater Wing for off-Broadway enterprise. Warren Enters, a 30-year old Milwaukee native, is the leader of the Proscenium part nership that includes Sybil Trubin of Rye, N. Y., and Rob ert Merriman of Willamette, HI., the latter pair are in their 20s. The trio met while studying at the University of Wisconsin School of Drama and playing summer stock around Mil waukee. Oddly, all of them were more interested in the backstage part of .the theater than in acting. They went their separate ways aftyr school, but got to gether again here last sum mer and decided to do some thing about their urge to do experimental theater. “We feel there are many plays of value that don’t have mass appeal, and that the economics of Broadway pre vent being shown,” says En ters. They Found a Hit They leased the 189-seat Cherry Lane Theater in Greenwich Village. Their first show was Garrick’s “The Way of the World.” It was a box office sensation. When the run ended they staged “Thieves' See GLOVER, -S phy of her husband, Dr. Marshall is recovering from the first of the heart attacks which eventually cut short his career as one of Washington’s youngest and most vigorous clergymen. Little Old New York His Manners Are Regal Duke of Windsor Most Gracious Guest On Palm Beach's Social Circuit BY ED SULLIVAN NEW YORK. The Duke of Windsor, one of the most discussed figures in the world because of his renunciation of the English throne for “the woman I love.” easily qualifies as one of the great gentlemen of the modem scene. Florida hostesses at the close of the winter season, say that of all the guests they’ve entertained, -he easily is the most gracious, most consider ate, least demanding. The morning following each party that he and his Duchess have decorated, the hostess of the previous evening receives flowers and a charmingly word ed note of appreciation for her hospitality to them. His warm appreciation does not end there. On the next night, if his hostess attends some other party at which he is a guest, the Duke makes it a point to dance with her. And so it has gone, week after week. Palm Beach women wish that all men matched him in courtesy. Golf continues to be his fa vorite sport. Not very long off the tee, his short game is deadly. Henry Ford II learned this to his sorrow, when they hooked up over the Everglades course. The Duke beat him for sls. A Friend of Garbo's Mrs. Laddie Sanford doubts that Greta Garbo, despite the success of the revival of “Ca mille,” ever will make another picture. Mrs. Sanford, the for more Mary Duncan, of the Broadway stage and Holly «■ -/j I IKF Hpßf AMUSING GIRL—Kay Kendall, mistress of elegant dead-pan comedy as she proved in “Genevieve” is back again, though more briefly, in "Doctor in the House” at the MacArthur starting next Friday. She is abetted by another of theee E wood, should know whereof she speaks because, in Garbo’a early days at MGM, she and Greta were the closest of friends and the friendship still endures. The friendship, although Mrs. Sanford refuses to com ment on it, dates back to the one great tragedy in Garbo’* life. Greta had been discovered in Sweden by Maurice Stiller. He brought her to this country and the measure of his great ness as a director was spelled out in the $5.000-a-week con tract which Metro gave him. In those days, that was an un heard-of sum of money. In her first picture, Garbo appeared with Norma Shearer and Garbo’s radiance stole the flicker. It was the start of the Swedish girl’s phenomenal ca reer. Complete Shock For reasons best known to himself (romantic or other wise), Stiller shortly afterward ripped up his MGM contract and went back to Europe. When he died, years later, the cabled news so prostrated Greta Garbo that nobody at the studio could get in to see her. The studio chiefs asked Mary Duncan if she would talk to her. The Hollywood story always has been that when Miss Duncan arrived, Garbo was in a complete state of shock and remained in it for days. Mary refused to com ment on that, either. But from then on, she was Greta’s clos est friend, a friendship that grew in the fertile soil of dpep tragedy.