Evening star., 1947-02-17
Closeup of a Play Premiere
Ca1mer From Critics Seat
By Jay Cormody

|
This is where plays open on F
before they come to Washington, OF
or swing around to Boston. It is q
other cities are more like oDstetrical
of which later audiences look at ne,
The latest theatrical infant born
here is William McCleery's "Parlor
| Story"
Playwright McCleery, who was a
brilliant feature editor for the Asso-.
ciated Press and the like before he
took to the drama, had an idea in
connection with the birth of his play.
Might it not be interesting to a
critic, he wanted to know, to see a
new play from the other side, the
side of those engaged in its produc-
ton and presentation? Not, for
once, to review the play but just
sit around with the other team and
keep an eye and ear on its motions?
Mr.. McCleery had something there,
fine siren idea at whose beck the
most dignfed critic would scramble.
Tt is monotonous going to the thea
ter always just to work. And a
reviewer is never so aloof on those
premiere nights that he fails to
observe the terrible tension of pro-
ducers, playwrights and directors.
He wonders about such things, how
these people really feel, and how
guilty he is in making them feel
thus.
So, when he is invited to sit for
once on the other bench, there is
nothing to do but leap for it.
In addition to the author, the
major occupants of that bench in
the case of "Parlor Story" are
Producer Paul Streger and Director
Bretaigne Windust. There are the
actors also, to be sure, but they are
in their rooms trying to rest and
dealing with their private jitters
with whatever private remedies
they have found will work. Some
of the latter are pretty old hands
at this sort of thing, players like
Walter Abel, Edith Atwater, Royal
Beal, etc, At any rate, the actors
work is still to come and the author,
producer and director have finished
theirs and are supposed to keep
away.
McCleery, Streger and Windust
do this. And until 6 o'clock, they
even keep away from each other.
There is nothing for them to do but
wait and each is privileged to try
his own tricks on his own nerves.
The idea is not to think of the play,
but it is an impossible idea because
even if one takes a walk, or tries
to catch a nap, he still can think
of nothing but "Parlor Story"
At 6 everybody gathers in the
producers suite, which is 1156, and
everyone knows the rule that he
may talk about anything but the
subject on everybody's mind. This
is the equivalent of "cozy time" in.
Victorian childhood and is de-
signed to relax muscles and nerves
so digestive apparatus will be ready
to start purring at $50.
Author Carl GARNER and his wife,
and Charles Norman who has just
finished gigantic sort of book on
Shakespeare are there. They are
all people with anecdotes and story
telling skill. They do their best and
so does Author McCleery who will
never forget what happiness it was
to be newspaperman and the men
he worked with. a'a2 F'"s .5o'h7Ht'
Every one talks, however, like
some one who is pinned down by a
boulder and is feeling strained and
uncomfortable. -" - ''''',' ,
There is a most fancy antique
chair in Mr.. Streger's suite, thing
that would look well under a
queens lady-in-waiting. Every one
suddenly wonders whether it is
comfortable. They take turns trying
it and deciding 1947 chairs are bet
ter.
Director Windust, who knows
about furniture and people who sit
on it, demonstrates how to sit COM
fortably in the chair by Topping his
legs over the arm of it-a most I'M
lady-in- -waiting-like posture.
Dinner and $50 finally come, how
ever. There is great business of
talking about food and studying the
menu, after which everybody orders
tomato juice and a lamb chop and
nervously leaves it to the waitress
to order the vegetables.
So many people so earnestly dis
interested in food seldom meet any
where, but the "Parlor Story" set
makes out to be brave about it.
They try to talk about other things,
Norman's book on Shakespeare,
what a canny, amusing fellow Isl
Willard Keefe, who is press agent
of the show, and life in Greenwich
Village where most of those present
live. But, in one way or another,
the conversation always seeps back
to such things as the gamble of pro-
ducing and writing plays, or invest
ing in them because of friendship
and admiration for the author.
"Parlor Story" is never mentioned
as such. But only as such, for out
side of the title, it is always hover
ing there.
Because it is, Mr.. Streger has to
leave early. Mr.. Windust already
has left and, quite out of a surpris-
ing instant, McCleery isn't there,
either.
X X X X
The guests see them again during
intermission, but not to talk to. They
are in little huddle, the three most
excited humans in Wilmington's
playhouse.
They are just as excited when the
curtain falls. The presumably pla-
cid guests, who have not a respon-
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