Some Hollywood Stars in New England Summer Theatre

In the summer of 1952 Victor Jory departed Hollywood for one of his habitual stage runs and toured the summer theatre circuit, with Alexis Smith in Noel Coward’s “Private Lives”. The sophisticate role was a natural for Miss Smith, who was typecast as such by Hollywood since her film career began some 12 years previously. But unknown to many moviegoers, it was an even more natural fit for Victor Jory, who had a much longer film career, and a much, much longer stage career. Hollywood had already typecast Jory as a scruffy villain. On stage, he was urbane, witty, and devilishly charming.

From the Boston Daily Globe August 12, 1952:

“The Boston Summer Theatre may be air-cooled but it sizzled last night with the heat engendered by Victor Jory kissing decorative Alexis Smith in that famous second act of “Private Lives”…I never saw…quite as much vigor and passion as Miss Smith and Mr. Jory, who seemed to enjoy every second of the sophisticated romp…The dialogue is light, witty and thoroughly naughty; the acting should be on the same order. And Miss Smith and Mr. Jory live up to audience expectations. It was a wonderful evening and the audience was capacity.”

Alexis Smith had minimal stage experience when she was in college, but Victor Jory had played stock theatre everywhere from his early apprenticeship at the Pasadena Playhouse to stages across the continent and as far as Australia. He played Shakespeare, Ibsen, Moliere, and Shaw. He wrote plays, and directed them.

A year later, Miss Smith and Mr. Jory took another summer tour, this time with “Bell, Book and Candle.” From the Boston Daily Globe, June 28, 1953, Alexis credits Victor Jory for teaching her stagecraft:

“I can’t believe that anyone in the whole world could have taught me as much as Victor has about my job. Working with him is better than any training school of the theatre you ever heard of. Mr. Jory has a vast amount of experience and he is willing to share it. Some actors are reticent when it comes to giving newcomers tricks of the trade. Victor is generous and kind. He has taught me all I know about legitimate theatre.”

When she first met Jory, she had a different impression. This was on the set of her film “South of St. Louis” (1949), which we discussed here. Jory played a nasty villain. She thought him a “rather horrible person” who was, “dirty, bewhiskered and wearing baggy pants.”

This had become Jory’s fate by the 1940s. Syndicated Hollywood columnist Bob Thomas visited the set of “South of St. Louis”, as picked up by the St. Petersburg, Florida Evening Independent June 14, 1948:

“Victor Jory, the mug they love to slug, was being pummeled by Joel McCrea when I visited the “South of St. Louis” set. The poor guy was being bounced all over the barroom…”

After “South of St. Louis”, Alexis and Victor Jory worked on one more film together, “Cave of Outlaws” (1951). He’s still a villain here, but considerably cleaned up. He vies with Macdonald Carey for the love of the typically cool and aloof Alexis, and gets beaten up again. It was on the set of “Cave of Outlaws” where she and Victor got to know each other better. They talked of theatre, of his experience in it, and her desire to pursue it. They formed the plan of working together. In the following year, they found themselves in an unexpected hit in “Private Lives”.

The next year, they met with further success in “Bell, Book and Candle”. Their performances were sold out, largely on the strength of their previous hit. From the Lewiston (Maine) Evening Journal, July 3, 1953. Smith and Jory “broke all attendance records at the same theater last year with their presentation of ‘Private Lives’.” (At Lakewood.) They had opened their tour of “Bell, Book and Candle” in Ogunquit, Maine at the famed Ogunquit Playhouse “to the pleasure of all that saw them there.”

“Bell, Book and Candle” opened the Framingham, Massachusetts season that June 1953. James Lee, author of the “Backstage” column for the Worcester Evening Gazette, June 11, 1953, met Alexis Smith and Victor Jory at a party in Boston the week before.

“They were supposed to leave at 7:30 for another rehearsal of “Bell, Book and Candle”…Victor decided they had been rehearsing so arduously for a week they could skip that night’s practice, and prolong the party instead.

“But not Miss Smith. She liked the party, but she liked the rehearsal idea better. So they left and rehearsed.

“‘Never saw anybody so anxious for perfection,’ he whispered to me.”

In the above-referenced Boston Daily Globe article of June 28, 1953, the article by Marjory Adams, Jory further commented on his co-star:

“Alexis is one of the hardest workers in the theatre I have ever met…She has intelligence and imagination. She is able to concentrate. And it has been a hell of a lot of fun to work with her in both ‘Private Lives’ and ‘Bell, Book and Candle.’”

Jory was pronounced “superb” by the New London Day when they brought “Bell, Book and Candle” to the Norwich (Connecticut) Summer Theatre.

From Skowhegan to Schenectady, they covered New England and the northeast with both plays. Hollywood was entering an interesting period in the early 1950s. Between the studios cutting back on productions, the court-mandated breaking up of movie theater properties, the competition from television, and the Communist witch hunts going on in the industry, actors were being booted out from the system or else voluntarily fleeing for work on the stage or television. It was, not so coincidentally, one of the most celebrated periods of summer theatre.

The same year Smith and Jory brought “Bell, Book and Candle” to Ogunquit, Zachary Scott appeared there in “The Moon is Blue”, Richard Arlen brought “Mister Roberts”, and Cedric Hardwicke appeared in “Island Visit”. The latter two stars brought those plays that same summer to the Cape Playhouse in Dennis, Massachusetts. Macdonald Carey was at the Westport (Connecticut) Country Playhouse in “Day of Grace.”

In future seasons, Alexis Smith returned to New England summer theatre with a different partner, her husband Craig Stevens, who made fame as TV’s Peter Gunn, in the comedy “Critic’s Choice”, which played, among other stops, the Ivoryton (Connecticut) Playhouse in August 1961, and closed the season that year at Oguquit. They also appeared together in the comedy “Mary, Mary” which made a stop at the old Mt. Tom Playhouse (see this previous post on the Casino at Mt. Tom) in August 1965; and at the Westport Country Playhouse, and Ogunquit, in 1968 with the comedy “Cactus Flower”.  She returned to the Country Playhouse, and Ogunquit, in 1968 without Victor or Craig to appear in "The Coffee Lover."  Gabriel Dell was her lead.

Victor Jory's many other appearances included "The Happiest Millionaire" in 1958 at Ogunquit, and with Don Porter in "The Best Man" at the Cape Playhouse in 1976.  Mr. Jory was in his 70s at the time, and looking well and fit.

The 2012 season of summer theatre is ending hereabouts, and joins the memories of seasons past.

For more on Victor Jory - On Stage and Screen, have a look at yesterday’s post on my Another Old Movie Blog.

Hurricane of 1938 Marker - Wickford, Rhode Island

This Friday, September 21st marks another anniversary of the Hurricane of 1938, which we covered here in this three-part post. We don't hear too much about that monster storm anymore as the generation that experienced it firsthand is diminishing among our ranks.  But here and there the great storm left calling cards that remain.  The generation that experienced it wanted it remembered, too.

Here on the brick facade of a charming bookstore on the corner of Main and Brown streets in Wickford, Rhode Island is a plaque.

To measure by, lest we forget.

Blog Goes Dark

This blog goes dark today in remembrance of the murdered victims of 9/11.

5th Year Anniversary

Post Office, Litchfield, Connecticut

This week marks the 5th anniversary of New England Travels.  I've enjoyed our journeys around New England, and back in time.  I hope you have, too.

As part of this anniversary, later on this year I'll be publishing a book that is a collection of some of the essays and photos from this blog.  The book will be available as an ebook through Barnes & Noble, Amazon, other online retailers, and also in paperback.  I'll be posting more about that in weeks to come.

Thank you so much for the pleasure of your company these last five years.

Jacqueline T. Lynch

You Are Here - Chester, Vermont

Even though the signal lights aren't flashing, always be careful crossing railroad tracks like these here in Chester, Vermont.  In the cartoons, somebody's always getting flattened by a train that zooms right in front of them the minute they put a toe on the track.  Wile E. Coyote, mostly.

Phyllis Thaxter - Court Square Theatre, Springfield, Mass.

Phyllis Thaxter died a week ago on August 14th. Though many will remember her film and TV roles beginning in the 1940s and ‘50s, through to her stint as Superman’s mother in the 1978 film, perhaps a few will recall the young actress who toured New England in the stage production “Claudia.”


Above we have the program cover advertising the national touring company of “Claudia” when it hit the boards at the Court Square Theatre in Springfield, Massachusetts. It ran for three days, March 29, 30, and 31, 1943. Miss Thaxter played opposite Donald Cook and Frances Starr. She understudied Dorothy McGuire as Claudia on Broadway, and when Miss McGuire won the film role of the popular play, Thaxter took over in the leading role on stage. Phyllis would have her own Hollywood career soon.

She was a New England girl, born and raised in Portland, Maine, her mother a former actress and her father, Sidney, a Maine Supreme Court judge. On a visit to her family in 1952, while swimming in the ocean, she developed the first frightening symptoms of polio. She was pregnant at the time, and required treatment in an iron lung for a brief period. Fortunately, the illness abated, she recovered her ability to walk, and had no difficulties delivering a healthy son some months later.

Phyllis Thaxter and her husband, Gilbert Lea, spent their retirement years between Maine and Florida. She was 92 years old. Her obituary in the New York Times is here.

These program pages from the Court Square Theatre display advertising from Springfield businesses of the day. Perhaps you remember True Brothers, Inc., Jewelers, or Converse Carlisle Coal Company, or J.E. Cheney and Staff opticians. Perhaps you went to the Hotel Bridgeway to dance in the Mayfair Room to Vin Breglio’s Society Orchestra.

Or bought your shoes at Stetson’s Shoe Shop on Bridge Street.

Or maybe you’ve never heard of them. Until now.

Tremont Theater - Boston

A reader, John Y., recently contacted me with these two great scans of postcards of the Tremont Theater.

I put them up on my Tragedy and Comedy in New England blog, but wanted to include them here as well, as this blog is where my theatre posts are now going.

His contribution is in response to this past post on Boston's Tremont Theater.

From John Y.: "Here you'll see an early, say, 1905 view of Tremont Street looking north towards Park Street. Just a hair to the right of center, if you look carefully, you'll be able to make out the "Tremont Theater" sign on the front of the marquis, the same as is on the first post card. On the right side of the marquis is "C. S. either Millard or Willard". The dance studio is upstairs and just to the right of that sign is a two-story tall Quaker Oats mural. Other businesses readable are Estley Organs and Weber Pianos. I'm confident that the white stone building at the right edge is the Masonic Temple.

Printed in Belgium for Kosmos Art Co., Boston, this view is dateable mostly because of the lack of electric and/or gas engine vehicles and the existence of the subway.

One of your bloggers, Herb, I think it was, correctly determined that the Astor Theater did occupy the building after our Tremont Theater.

If you or any of your friends would like, and you wouldn't mind being the connection, I'll be glad to share whatever views I have of the City. Just let me know what and whaere and I'll check my stuff."

Here is another from John's collection, dated a year later in 1906:

These are wonderful glimpses in Boston's magnificent theatre history, and I'd like to thank John very much for sharing them with us.