Another Booth in Another Play at the Tremont

When “The Bonnie Brier Bush” played in at the Tremont Theatre in Boston, “These familiar characters were greeted as old friends by the audience.”

This from the New York Times on the opening of J. H. Stoddard’s play based on the novel by Ian Maclaren. It was August 26, 1901, 109 years ago tomorrow.

I would say it seems like yesterday, but it doesn’t.

The play is described as being somewhat similar to J. M. Barrie’s “The Little Minister”, in that it takes place in the Scottish countryside, a love story between a young lord and a village girl, where scandal sends them away from the village (at least until Act IV), and a secondary romance between another lady and the minister.

Charles Hutchinson and Irma La Pierre played the leads, with the supporting cast including Sidney Booth, Gertrude Bennett, Stoddard in the role of the angry father who drives his daughter away from home, and Reuben Fax in the comic role of village tippler.

A quartet singing the old Scots song “Annie Laurie” brought what must have been folksy poignancy to what the New York Times reported called an “idyllic piece.” This was still an era of specialty acts punctuating the plots of plays. It was still the era of the four-act play.

This play went on to Broadway the next month, with a run of only a couple of months. Sidney Booth, incidentally, who played the minister, made a number of appearances on Broadway, and was a member of that famous acting family, the Booths. He was the son of actor Junius Brutus Booth, Jr., and the nephew of both actor Edwin Booth and actor and assassin John Wilkes Booth. (See this previous post for more on the Booth brothers’ personal and professional turmoil at the time John Wilkes Booth murdered President Abraham Lincoln.)

Have a look at this previous post for more on the Tremont Theatre.

Grace Kelly Tours in Boston

Grace Kelly appeared as an ingénue in the play “To Be Continued”, which opened in Boston April 8, 1952.

She began her auspicious acting career in summer stock and regional theatre, and eventually had a crack at the Great White Way. Her experience there was brief, and nothing compared to the meteoric rise in fame she would achieve in Hollywood.

Her first attempt at Broadway was in November of 1949, when she appeared at the Cort Theatre in a revival of “The Father”, which starred Raymond Massey. Her role was “The Captain’s Daughter”, but her nameless role earned her the praise of reviewer Brooks Atkinson, who noted,

“Grace Kelly gives a charming, pliable performance of the bewildered and broken-hearted daughter.”

The play did not run long, and her next big break at storming Broadway was “To Be Continued”, where she played the equally anonymous-sounding “A Young Woman”. After its tryout in Boston, the play moved a couple of weeks later to the Booth Theater in New York on April 23, 1952. (Have a look here for our recent post on Edwin Booth, for whom that theater was named.)

Here her performance again was noted as promising, but the play closed within weeks.

It was back to her hometown of Philadelphia that summer, where she played starring roles at the Playhouse in the Park. But, also that summer, "High Noon" was released, and in the autumn came her role in the film “Mogambo”, and the rest, as they say, is history. Her career as a stage actress never took off as she had hoped, but other achievements she could not have imagined were on the horizon.

Have a look here at Grace Kelly's performance in "The Country Girl" (1954) from Monday's post on my Another Old Movie Blog.

Out of Town Tryouts - "Last House on the Left" - 1945

“Last House on the Left” came to Hartford in it’s pre-Broadway tryout in November 1945 with what must have been typical high hopes, but no crystal ball regarding the ultimate success of the show.

This was a comedy-farce written by Jean Carmen and Irish Owen, and directed by Irish Owen, not to be confused with the cult horror movie of the early 1970s with a similar name. Definitely not to be confused with that.

Jean Carmen played vaudeville, radio, and did a lot of B-westerns in Hollywood by the time she trod the boards at the Bushnell for this play in which she also starred with Gene Barry “and a cast of 20.” Her only Broadway stint was as a replacement in “The Man Who Came to Dinner.”

Gene Barry had a lot of stage work under his belt, particularly on Broadway, mostly musicals, and would eventually make his fame on television, especially as TV’s “Bat Masterson.” Barry had just come off of “Catherine Was Great” on Broadway in January 1945 when “Last House on the Left” was in the works.

“Last House on the Left” never made it to Broadway. Barry’s career sailed on, however, and he went back to Broadway in a revival of “The Would-Be Gentleman” at the Booth Theater. It ran three months. Then presumably he joined Irish Owen and Jean Carmen in the eternal search for a new gig.

Out of Town Tryouts - "Sing Out, Sweet Land"

One aspect of New England’s rich tradition in theatre lies in its proximity to New York City. We are sometimes the land of the Out of Town Tryouts for new Broadway plays.

This could have been more than unusually daunting back in the day, since New Englanders had the reputation (much more then than now, I expect), of “sitting on their hands” or not being very generous with applause.

However one out of town tryout was well received on November 9, 1944. A brand new musical came to The Bushnell in Hartford called “Sing Out, Sweet Land.” Starring Alfred Drake, who had just enjoyed enormous success starring in “Oklahoma!” the previous year, this new musical was compared to “Oklahoma!” in its folksy examination of American history through popular music.

Among its featured performers was Burl Ives, who sang his trademark “Foggy, Foggy Dew,” “Blue Tail Fly”, and “Rock Candy Mountain.” Negro spirituals, folk music, Tin Pan Alley tunes all flowed through this musical which opened on Broadway the following month, and ran 102 performances, closing in March 1945.

Time Magazine, however, panned the show when it was on Broadway, writing in January 1945, “What should have been an exciting show remains, at best, a pleasant song recital.”

But Hartford loved it, according to the New York Times review of November 10, 1944, which compared the show favorably to “Oklahoma!”

“A delighted audience of more than 3,000” enjoyed the musical parade of history through “energetic singing and dancing.” The book was by Walter Kerr, the score by Ellie Siegmeister. Hartford did not sit on its hands this time, if Time Magazine did.