Evening star., 1953-09-02

OIle ulISIlG even SuIIIllSC lila
ton than either Wilder or Fry.
And, not to defraud Arenas man
was thinking of merely two good
snort plays that would come
together pleasantly within a rea-
sonable playing period.
The beautiful contrast of the
plays has to be seen to be real
lied: Wilder's way of saying the
most profound things with such
naked simplicity. Fry's of gar
landing the frequently trivial in
the most resplendent language.
AS marriages of eXpediency often
do not, this one should last for
ever; the two plays never to be
separated again.
The felicity of it all extends to
the direction and playing of the
pair which is as close to exultant
as even Arena ever comes.
= x 4 x
The Fry play is given top bill
ing IN Arenas production, but in
the opinion of one spectator this
is deferring to it's greater guam
tity and perhaps its spectacular
trappings. AS compared with
Wilder'S one-acter. tabloid Our
Town" the Fry play is some
thing of a lyrical shaggy dog
story. 1t abounds in cleverness
and is dazzling in its wit. Wild
er's THE Happy Journey" on
the other hand, is a small. pre-
cious gem of wisdom, warmth
and humor.
And it is as a gem of these
qualities that Alan Schneider
has directed it. This is a play
maker with a delighted rever-
ence, but not the least awe, for
his author. He catches every
shading of the artlessness that
is the essence of Wilder's art and
makes THE Happy Journey" a
sheer delight. No personally ex-
perienced motor tour has been
so much fun since both high
ways and automobiles became
super-and sinister.
AS usual when presented the
occasion of a classic piece of
Americana, Arena finds itself
blessed with precisely the right
players. In Frances Sternhagen,
only half middle-age in real life,
it finds the ideal Mrs. Kate
Kirby to lead her family from
Newark to Camden in primi-
tive Chevrolet. She is a woman
whose demands on life are mod
est but one who relishes every
thing it gives her. Her husband
and children recognize her as
a treasure, a woman whose
jokes are small but whose spirit
is vast.
With the help of George Griz-
zard. Dale Dewey. and Alma
Lorraine as the Kirby children,
and Allen Joseph as the match
ing father type. Miss Stern
hagen makes The Happy Jour-
ney" a funny, touching and low
ing fragment of a play.
4 x 4
The intellectually riotouS Fry
embarks upon one of his widest
adventures in "A Phoenix Too
Frequent" brief but vivid
sample of his contagious amuse-
ment at the ways of men. Or,
in this case, more especially
women.
The setting of "A Phoenix" is
the tomb of a freshly dead man,
beside which the lovely widow
and her loyal servant are du-
tifully wishing themselves dead.
Their obviously serious purpose,
to be much briefer than Fry, is
interrupted by the appearance
of a handsome soldier who sets
both to thinking that life still
has much to recommend it.
It is this sort of idea, of
course, on which Fry has a mo-
nopoly among playwrights. In
the fashion of monopoliSts, he
is not above using it to his own
delight instead of the common
good. Generally. however, he is
so extraordinarily amusing in
playing with his theme that
there is nothing to do but 60
along with him.
Certainly the three characters
of his cast are refreshing.
One of these again is Miss
Sternhagen, a rangy girl, who
plays the servant. This capri
cious handmaiden is willing to
die, prior to the soldiers appear
ance, more out of boredom than
any sense of duty. All men are
one to her. except two" and
Miss Sternhagen makes this a
plight that could be worse than
death.
Fry and his followers are more
fascinated however, with the
widow, played by Marian Rear
don with the elfin charm eX-
pected of a Fry heroine. Miss
Reardon has never looked. nor
sounded, lovelier than in her de-
cision not to die for a man who
could make a balance sheet
sound like Homer, and Homer
like a balance sheet"
Stanley Pitts as the romantic,
philosophical corporal rounds
out the deXtrous trio directed by
Zelda Fichandler on this happy
journey back from the tomb