Curtain Up (1952)

Curtain Up

One should never do a play written by a woman, they always hold you up. In an English provincial town a second-rate repertory company assembles at the Theatre Royal  to rehearse the following week’s play, a melodrama titled Tarnished Gold. Harry (Robert Morley) the hot-tempered Producer, is highly critical of the play, which has been foisted on him and is unenthusiastic about its prospects. The cast includes Jerry (Michael Medwin) a young and sometimes keen actor, Maud (Olive Sloan) a widowed actress who was once famous on the West End stage, Sandra (Kay Kendall) who is waiting for (and receives) a call from a London producer who calls her instead of her philandering and semi-alcoholic husband (Liam Gaffney), and Avis (Joan Rice) a timid young girl who is quickly realising that acting is not for her. The cast is equally unenthusiastic about the play. Little progress is made. ‘Jacko’ (Lloyd Lamble) the director, is at his wits end and threatens to resign, his regular habit when things go wrong. Things can’t get any worse but then the author of the play, Jeremy St Claire turns up and she turns out to be  a woman – Catherine Beckwith (Margaret Rutherford).  She insists on ‘sitting at the feet’ of the Director. She and Harry are quickly at each other’s throats. Harry tears up most of Act 1 and tells her to do what Edgar Wallace did – disappear into a phone kiosk for a couple of hours and come back with forty new pages. He storms angrily off stage, falling into the pit and injuring himself, literally losing the run of things as his fantastical ramblings take hold. Despite the forebodings of the cast, Miss Beckwith insists on taking over the rehearsal according to her own ideas. She recasts the play as a period piece and introduces new stage techniques. How will it work out? … I think I see the beginning of a plot on page twenty-seven. And we are on page one. Oh joy! Three of my favourite British actors in one film! Morley, Rutherford and Kendall, who don’t have a huge amount to work with in this adaptation of Philip King’s play On Monday Next by Jack Davies and Michael Pertwee (brother of the greatest Doctor Who!) but who do have some sly repartee and physical comedy to play.  Morley/Harry refers to a production of Rebecca – in reality he and Rutherford were in the original London stage production, with Rutherford playing Mrs Danvers. Imagine that! Their clash here is very amusing. Stringer Davis, Rutherford’s offscreen husband, turns up as Avis’ dad just in time to see Jerry kiss his daughter. Kendall has some mini-drama over her husband’s infidelity but it’s her career that’s in the ascendant while he thinks real acting is for cinema – which makes this even more of a mockery of popular theatre. It’s pretty thin stuff, only of interest for the sparky players. The impact is elevated with a Malcolm Arnold score and it’s directed by Ralph Smart.

Genevieve (1953)

Genevieve poster.jpg

When that car gets stuck you will be rejoicing in the exuberance of your velocity! chortles Kenneth More to girlfriend Kay Kendall as they laugh about their race from London to Brighton (and back) and the bet against his chum John Gregson and Dinah Sheridan about who’ll win. How do you quantify charm? This oozes with it whilst simultaneously sweetly mocking Englishness and the world of B-roads and the obsessions of vintage car owners. Distinguished by Larry Adler’s score, this also boasts the delightful Kendall taking drunkenly to the stage to play the trumpet. Henry Cornelius turned William Rose’s screenplay into a smash hit. Lovely.