Back in the mid-‘40s, some reader at the American Negro Theatre likely had the clever idea of turning a mediocre play by Philip Yordan (future top Hollywood scripter) from an All-White to an All-Black affair. A sort of What-If take on Eugene O’Neill’s ANNA CHRISTIE, here the tart doesn’t return home to Waterfront Dad, but to a big noisy, mettlesome family setting her up to marry a Butter-and-Egg man. Erotic meets exotic circa 1946; the play an outstanding two-year run success. Snapped up by Hollywood for a 1949 film, the film went back to Yordan’s original All-White dramatic persona (Paulette Goddard, John Ireland - not seen here). Nine years later, along with some loosening in the old Hollywood Production Code, it returns to the Big Screen with a starry All-Black cast (Eartha Kitt, Rex Ingram, Sammy Davis Jr.). And while it couldn’t recreate that 1946 B’way buzz, it’s quite an entertaining show, now with added echoes of Tennessee Williams & Lillian Hellman in the bustling family mix. The houseful of supporting actors so much silly fun, they quite overshadow the romance, marriage, redemption, renunciation angle that sees Kitt deciding whether she can be a quiet little wren to spouse-worthy Henry Scott or take that redeemable round-the-world coupon on offer from heavily pomaded Sailor-Man Davis. (Davis knows he’s overdoing the Brylcreme, watch him wipe his hands off on a tablecloth after combing that mop.) Fun!
DOUBLE-BILL/SCREWY THOUGHT OF THE DAY: Hard to imagine this with the earlier All-White cast in ‘49, but have a go. Other than its famous title, the play now seems completely forgotten. You’ll see why, but still a shame.
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