‘city Called Heaven’ Presents a Strikingly Original Theme

“City Called Heaven,” a fabulous comedy in four scenes by Richard Rohman. At the Brooklyn Little Theatre. Earle McGill, producer.

CAST

Ironmonger William Bonelli

Hellsped Jay Adler

Sappho Hazel O’Connell

Willmer Robert Harrison

Iris Gloria Quayle

Fan Beth Cantreau

Doon Richard Bonneville

Roland George Calvert

Honey Adele Carples

Gentile Philip Minis

Edith Daniels Eda Reis

Worms Jack Goldman

Polly Modell Nanon Kiam

First Waiter Yhuda Cogut

Second Waiter Richard Keller

BY M. IUSHEWITZ

Last night at the Brooklyn Little Theatre, “City Called Heaven,” Richard Rohman’s “fabulous comedy,” which takes a group of cafe habitues to Heaven for eternal life and at the end makes them plead with God for the return of death, was presented before an audience composed in the main of people concerned with the stage.

Using the cafe, strikingly like the Cafe Royale, as a springboard, Mr. Rohman projects his characters, many of whom are quite recognizable and may be found any evening at their customary tables at the Royale, and others who are composites of Royale habitues, into Heaven where they have been granted the gift of life eternal. But to this Heaven they bring their lusts, their schemes, nefarious and otherwise, and their personalities.

Freed of the fear of death, they are at first exceedingly grateful and bask in the freedom. But the thrill wears off, and they still plot and scheme and carry on as before, only the fear of death is gone. Dullness descends on them and when they realize what they are in for, they organize a march to the throne of God, demanding the restoration of death. After all pleas fail, the pleading of the cafe prostitute, the only one to resent from the start the gift of immortal life, succeeds, and the Gates of Heaven open wide for the disillusioned throng. They are permitted to leave Heaven, and death once more reigns in the kingdom of the living.

This is the bald outline of the play. It must be seen, however, to realize the richness of dialogue, the complete realization of character, the lyric simplicity of mood, and the possibilities conjured up by the fantastic situations as envisaged by Mr. Rohman.

PORTRAYALS ARE EXCELLENT

Strikingly original in content and done with a boldness that must have left the commercial Broadway theatre agents gasping, Mr. Rohman takes his group of assorted characters from the cafe to heaven, to the throne of God, and then back, to the cafe, perhaps.

The characters of the prostitute, Sappho, played by Hazel O’Connell, Hellsped, the eternal schemer and low theatrical agent, portrayed by Jay Adler and the theatre owner Willmer, played by Robert Harrison, stand out as the most completely realized in the play. Seldom has there been such a sympathetic and honest portrayal of a prostitute. The plea voiced by Sappho and her explanation of her path in life are extremely moving, without evidence of stupid sentimentality. As for Hellsped, the “schemer,” he is probably a composite of treacherous theatrical agents who prey on actors. Mr. Rohman has succeeded in impaling him on the end of his pen and as one watches him wriggle and squirm, names come into one’s mind. There is sure to be gnashing of teeth at certain tables in Second avenue cafes when the character of Hellsped is discussed.

DUE FOR BROADWAY

For the rest of the cast there is little to say. The lines are spoken in a wooden fashion that deprives them of their worth. Cues were missed and if characters are projected, it is despite of the actors and not because of them. Miss O’Connell, Mr. Adler and Mr. Harrison carry the burden of the play on their capable shoulders. Earle McGill directed and staged the play. The settings were designed by Jack Hertz.

Mr. Rohman’s play is said to be destined for Broadway. What reception it can expect from the commercial theatre is questionable. If it does get there, that famous street will see a bold, fresh presentation of a fascinating theme, truthful and direct. Can Broadway stand it?