text: % Wk , - i J■r/ r”^ ts£' 1 % * 9 11 * ■ ,^rs I *% rfjij ' '"- :i: ,v -'':' ! '':;./v:-' ; .'':.:;:- l^;'; 'i r : ;X i -. v -' ; -v i V;-:'':-':’r-; :;i^& ; yP ' ■ '--^ <? stu» t \ Vfl ■ . • ¥’'- vt ‘^^jrft^T •*! % » v ''*»K.*'*l£J-*~*'- •*♦*♦»••♦» *<> ♦>•»*.* -’•*•*-• ' • Tn* *• A riiVi in it iy 't «fc 1 ,;..;?:v >, (. M'/jjgmgm \ I - , «kfl '*’^Strarl• ££:: :i* :•'■»• •»»'. JW jß«tigßm}imijayft«.sy.-vv>. <v S ; f ggßjggj§|||j: ■■■•- Where Judy Garland goes, her children go. They are Liza Minelli, 16, daughter by a previous marriage, and (in front) Joey, 7, and Lorna, 9, whose father is Sid Lust. —AP Newsfeatures Photo. LOVE THAT CAREER Judy Garland Gets Bored With That Tragic' Image By JI'DY GARLAND Written for the Associated Press I love my career, I want to say this because I’m al ways being painted a more tragic figure than I am, and I get awfully bored with my self as a tragic figure. I wouldn’t have been any thing but an entertainer. With all the troubles, with the stumbling and falling on the way, the rewards are still so great. If you happen to be a suc cess, you meet writers, poli ticians, people in the arts, people with stimulating ideas in many places It’s a mar velous opportunity to lead a broad existence. Applause Not Enough As a performer, I love the enthusiasm audiences have shown me. You can't blame me we all want to prove ourselves, and I’ve had ap preciation shown to me in the most inspiring, spontane ous ways. Now I look at my three fine children and I wonder whether I would want them to be entertainers, too. Applause alone doesn't sustain you at 3 am., when you can’t sleep. But even if my children understood this, could I stop them in their choice of career? I don't think there’s much I could do—or would do. I’d be a damned fool to discourage them if they wanted badly to be actors. They've been around theater people all their lives. It's inevitable that they’d think of the stage and screen for themselves. If they're born talented, if they have the devil. TODAY'S SCHEDULES STAGE NATIONAL—Dark. "Carnival" resumes tomorrow. CARTER BARRON AMPHITHEATER—Dan Dailey, Stubby Kaye, in "Guys and Dolls"; 8:30 p.m. OLNEY THEATER—Thornton Wilder's "The Matchmaker"; 2:30 and 8:30 p.m. SHADY GROVE MUSIC FALLS—Dark. Howard Keel in "Kismet"; starts tomorrow. SCREEN AMBASSADOR —"Music Man"; happy home town musical; 1:15, 3:55, 6:30 and 9:10 p.m. APEX—“I Like Money”; Peter Sellers, also directing, stars in the third film version of Pagnol's stage classic, "Topaze"; 1, 2:45, 4:30, 6:15, 8 and 9:50 p.m. CAPITOL—“Notorious Landlady”; Kim Novak, Fred Astaire and Jack Lemmon spoof the suspense thrillers; 1:15, 3:20, 5:30, 7:35 and 9:45 p.m. DUPONT—“Viridiana”; a savage x-ray of the soul of Spain; 1, 2:40, 4:25, 6:10, 8 and 9:50 p.m. KEITH’S—“Kid Galahad”; Elvis Presley swings, this time as a boxer; 1:20, 3:30, 5:35, 7:45 and 9:55 p.m. MacARTHUR—“Only Two Can Play”; Peter Sellers at the top of his comedy form; 2, 3:55, 6, 7:55 and 9:55 p.m. METROPOLITAN—“Music Man”; happy home town musical; 10:45, 1:20, 4, 6:30 and 9:15 p.m. ONTARIO—“A Taste of Honey”; excellent film version of Shelagh Delaney’s play (she wrote the script); 1:10, 5:25, 7:40 and 9:55 p.m. PALACE—“Five Weeks in a Balloon”; comedy-adventure based on the Jules Verne novel; 1:45, 3:45, 5:40, 7:40 and 9:35 p.m. PLAYHOUSE—“The Best of Enemies”: David Niven and Alberto Sordi in an imaginative, absorbing war drama; 1:15, 3:15, 5:15, 7:15 and 9:10 p.m. PLAZA—“I Spit on Your Grave”; its title measures its taste; 1:20, 3:25, 5:35, 7:40 and 9:40 p.m. TOWN—"That Touch of Mink”; another comedy-romance romance; Cary Grant, Gig Young, Doris Day; 1:05, 3:05, 5:05, 7:05 and 9:05 p.m. TRANS-LUX—“The Interns”: the height of medi-carelessness; 1, 3:05, 5:15, 7:25 and 9:30 p.m. UPTOWN—“West Side Story”; Hollywood’s camera adds an even more delightful luster to America's most beguiling stage musical; 2 and 8:30 p.m. WARNER—“El Cid”: Charlton Heston as the Spanish hero in a mammoth movie spectacle; 2, 5:15 and 8:20 p.m. Judy Gordon is one of the most frequently written-about stories in show business. What the herself feels about life in the spotlight it told in the following first-person story, written eagerly for Associated Press. I would sing and dance and entertain, it would be most terrible to have that smothered by a parent. I would never be a mother who wants to be the star of the family with no competition from her children. How then could I help them prepare for show business, if they chose to enter it?—As Liza, the eldest, has already. I used to think the best thing is to try to keep their lives up to a certain age, as normal as possible. But how the heck can it be completely normal when they travel all over with me? Yet I believe they have been helped by the security of being with their mother. That is better than the best boarding school or a home full of servants—and no mother. Lorna and Joey, my younger children, will go to school in New York, but Liza, who’s 16 now, will go to study at the Sorbonne. She will take history, languages and even study sewing and cooking—things that I think are necessary to a young girl who wants to grow into an attractive woman. As long as she’s going into theatrical work, her education should first embody all that, before everything narrows down to the theater. Finally, it comes down to a matter of talent. Liza has been studying ballet since she was a child and loves it. Last year she spent the summer season at Hyannis, Mass., as an apprentice in summer stock painting scenery, moving props, sweeping the stage, working hard. She seems to like the theater more than movies. Lorna, who’s 9, is the singer of the family, she has a terrific voice. Joey—he’s only 7 and you can’t tell with boys. He might turn out to be an engineer. Right now he’s only just finished the first grade of school and he’s just a nice fellow. Always Be Professional But if they approach acting, I would want them to be aware of the responsibilities of a career and the little hurtful things that can happen. They have to be taught what true professionalism is—good manners at work, thinking of other people, your co-workers in a production. There are people who have been acting for years and have never achieved this. I may Be many things people disapprove of, but I have always tried to be a true professional. So if they are talented, you teach them and encourage them and give them confidence. If they are not talented, get them into another line quick. It’s difficult enough when one has talent. When one hasn't, it's too heartbreaking. STAGE: LAVISH MUSICAL WITH AN ORIENTAL FLAVOR Howard Keel, the large one in the middle, who obviously has been using that stuff that gets girls in the palm of your hand, picks up Beverly Allyson with ease in “Kismet,” opening to the press. THE PASSING SHOW Olney at Peak Of Best Season By JAY CARMODY Drama Critic of The Star Thornton Wilder has done too much for the American drama to merit reproof for not having done more. Nevertheless, the effect of seeing a Wilder play, for the other time, is to regret that he has not been a more prolific dramatist; say, half as productive as Tennessee Williams. It is an effect to be experienced again by as many Washington area theatergoers as will crowd into Olney Theater during the next fortnight to see Wilder’s “The Matchmaker.” This one is less likely to become an American drama classic than either his “Our Town,” or “The Skin of Our Teeth.” It remains, however, a work of the same exuberant spirit. That it should rate as more minor Wilder has less to do with a difference in zest and originality of treatment than the fact that it is derivative. The Fresh Touch The idea, indeed, has been used so often before that it might well have been dismissed as used up had not Wilder decided to have a go at it. With his “touch” in “The Matchmaker,” it ranks with the most hilarious accounts of the war between the sexes, a battle report that blends entertainment and enlightenment in precisely the right proportions. “The Matchmaker” represents an especially felicitous choice as the closing play of Olney’s summer series— save for a two weeks’ surprise of "Little Mary Sunshine” which will follow, starting September 11. There are a number of justifications for this judgment. One is that it is a superb achievement in calculated nonsense in a summer disconcertingly filled with the other kind. In other words, it is intentionally funny; something made to be laughed about. It is farce worthy to be called art instead of that which must dismayingly be called life. As such, it fits into the Olney formula which has been proving for nine seasons now that quality drama can produce quantity audiences. On this theory, built around such other playwrights as Shaw, Fry, Giraudoux, Greene, and Jonesco, it has become not merely one of the finest but one of the most popular and profitable summer dramas centers in America. Unestimatingly, with this season, Olney extended the runs of each of its five productions from two to three weeks. Four of the five could have played even longer. Another beguilement of “The Matchmaker” among Olney plays is the further proof it offers that university drama training is a matchless asset in play interpretation. From top to bottom, COMING ATTRACTIONS STAGE NATIONAL—"Beyond the Fringe”; starts September 6. OLNEY—"Little Mary Sunshine”; starts September 11. SHADY GROVE MUSIC FALLS—Peggy Cass in "Do Re Mi”; starts September 3. SCREEN AMBASSADOR—"Guns of Darkness”; starts September 5. APEX—"Stowaway in the Sky”; starts Thursday. CAPITOL—“Two Weeks in Another Town.” KEITH’S—"The Scarfaced Mob”; starts Wednesday. MacARTHUR—“A Coming Out Party.” METROPOLITAN—"Guns of Darkness”; starts September 5. ONTARIO—“The Longest Day”; starts October 11. I WARNER—“Spiral Road”; starts August 29. bottom of the company directed in this production by Leo Brady, there is a clear and easy affinity between performer and playwright. Everybody knows exactly what Mr. Wilder is driving at. Most of all, and least surprisingly in view of a great natural talent for cerebral farce, is this true of Frances Sternhagen. Miss Sternhagen, very busy the last few years on and off Broadway, returns a polished farceuse in “The Matchmaker” to the scene of her promising apprenticeship, first at Catholic University, subsequently at Arena Stage and Olney. Her role is that of Mrs. Dolly Gallagher Levi. This was created originally by Ruth Gordon under the direction of Dr. Tyrone Guthrie, an awesome combination. Yet, with all the charm and wit anyone could ask, Miss Sternhagen The contestants that the original star and director established nothing resembling exclusiveness to Wilder’s zany matchmaker, Mrs. Levi. Miss Sternhagen simply has become what everyone here expected of her years ago and which New York’s critics predicted for her at first sight. Walker is excellent. The solid veteran in the Olney company is Sydney Walker. He is the play's Horace Vandergelder, the Yonkers merchant for whom Mrs. Levi makes the match of her choice, not his, in the Wilder play. No actor could be more assured than Mr. Walker that Wilder wrote a deliciously playable comic character in Vandergelder as Mrs. Levi's pigeon. The company abounds in others of the same conviction. Among these is Juliet Randall, an extraordinarily pretty Milliner Irene Molley, who is second only to Mrs. Levi as an instrument of destruction of male egos in the Wilder farce. Another is Robert Milli as the dilapidated rogue, Stack, whose "aria," or lecture, on vice and virtue delivered directly to the audience catches the real dazzle of Wilder’s wit. A talent for vice, Milli makes clear, is a gift to be cherished and used with discretion if its possessor is to be worthy. Too many others for mention here contribute to "The Matchmaker" as the climax of Olney’s richest summer which began with "Little Mary Sunshine," and included "Arms and the Man," "The Rhinoceros," and "Write Me A Murder," the latter by Frederick Knott. Such a summer has it been, truly, that it is unjust it should leave a question. Nevertheless, it does, namely, where will Olney again find an equivalently attractive set of plays? It does always seem to find them, however. Tomorrow night at Shady Grove Music Fair. Surrounding them are (on the left) Marilyn Child and Robert Gregori and (on the right) Ronald Dawson, Michael Evans and Boris Alfoon. THE SUNDAY STAR Washington, D. C., August 26, 1962 MI.. Rjlk I / f t •>, I | /17 l : |h. SCREEN: DRAMA IN THE JUNGLE Burl Ives and Rock Hudson seek a moment of relaxation amid the rigors of bringing medical care to the jungle dwellers of the Dutch East Indies in “The Spiral Road.” The adventure drama will open on Wednesday at the Warner Theater. Below are three others importantly involved. EDGAR STEHLI Wily Javanese Sultan BROADWAY Season Coming Up Will Have More Dreams and Fewer Musicals By WILLIAM GLOVER Associated Press Writer NEW YORK.—Drama is up and music is down on Broadway's production agenda for the new season. Of 25 shows definitely dated to debut between now and the midway mark at New Year, only six are song and dance spectacles four less than bowed in the comparable 1961-2 period. Although a lot of box office emphasis will be—as usual— on star performers and renowned writers, there's some evidence of more opportunity for fresh creative talents and untrite themes. Among great ladies pledged to the movies are Margaret Leigh, Ruth Gordon, Ann Harding, Uta Hagen, Nancy Kelly, Agnes Moorehead, Jan Sterling, Betty Field, and Ann Sothern. The actor array includes Anthony Quinn, Joseph Cotton, Sid. Cesar. Charles Boyer, Van Johnson, Gary Merrill, Tony Perkins, Mac-Donald Carey, Bert Lahr and Sidney Chaplin. Berlin Big News The big news in the authorship ranks is the return of the tuneful Irving Berlin, after 11 years of Broadway silence, as composer of "Mr. President." The production looms as one of the season’s standout events. Playwright Sidney Kingsley is back after extended absence with “Night Voices,” which he will also produce and direct. Dore Schary, S. N. Behrman, S. L. Perelman, the Howard Lindsay-Russell Crouse team are other favorites on hand. Garson Kanin has written a play which he will direct, and his wife, Ruth Gordon, has written another in which she will act. Byway of novelty, Elaine May has penned “A Matter of Position” to star her partner in comedy performance, Mike Nichols. Miss May, however, won't be in the cast of her first Broadway play. Four of off-Broadway's most-lauded young writers are to have initial main stem exposure. They are Edward Albee, Jack Richardson, Frank D. Gilroy, and Rick Besoyan. Rumor Parried In addition to the 25 projects that have announced exact opening dates and theaters, another 5 are aiming at premieres by December. There were 27 debuts last season through Yuletide. Such productive activity parries frequent rumor that the decline of Wall Street stocks has sent Broadway's angels scampering to cover and made financing difficult. The most popular topic of the season is family life, with 10 productions centering on lighthearted or sedate domestic issues. Seven concern careers success, and another quartet aim satiric shafts at everything from politics to the P. T. A. London supplies four exhibits, and two others are new adaptations of plays previously seen there and In Paris, nine offerings were made. Amusements were given by the GEOFFREY KEEN, dedicated to the Leprosy Foe, derived from novels, memoirs, and literate lampoon. The parade begins September 20 at the Henry Miller Theater with "The Affair." The drama of English university life. The October calendar is crowded with 14 openings, as follows: 3. “Stop the World— I Want to Get Off," at the Broadhurst, London musical; 9. "Banderol,” at the Music Box, about a Hollywood film magnate, written by Schary, who used to head a movie studio. Also October 11, “Come On Strong,” at the Morosco, comedy about a struggling young career man, with Van Johnson and Carroll Baker; 13, “Who's Afraid of Virginia Wolfe?" Also, "Albce’s Examination of Truth and Illusion in Marriage; 15, "Seidman and Son." Belasco, Sam Levene in a comedy about the dress trade. And Still More On October 17. "Tchin-Tchin" bows in the theater not set yet with Miss Leighton and Anthony Quinn. Bitter sweet romance is its topic, and marriage is again up for more appraisal in “Step on a Crack.” also set down for the 17th at the Barrymore, with Miss Kelly and Merrill as the principals. Berlin's “Mr. President” premieres October 20 at the St. James, starring Robert Ryan and Nanette Fabray. On the 22d, "The Fun Couple” reaches the Lyceum, with Jane Fonda and Bradford Dillman as a twosome fleeing from reality into a make-believe world; the next night, "Night Life." Kingsley's play “set in an after-hours” drinking club, opens at the Atkinson: 24th, “The Perfect Set up," comedy at the Cort about a man who has two homes, with Gene (Bat Masterson) Barry. The October list is completed with Elaine May's comedy, "A Matter of Position” at the Booth on the 25th; "Beyond the Fringe." at the Golden on the 27th, and “A Calculated Risk.” drama about a mysterious financier, at the Ambassador on the 31st with Joseph Cotton and Patricia Medina. Action in November includes: "Nowhere to Go But Up." musical about the prohibition era, at the Winter Garden, with Tom Bosley; 17. "Little Me." musical about a fictitious film star, at the Lunt-Fontanne, starring Sid Caesar; 19. "Lord Pengo," with Charles Boyer as a See BROADWAY. Tage E-P E-7. 