Word: franchot
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...some raffish first-act comedy, and very fitfully thereafter, when Wendy Hiller and Franchot Tone give urgency to O'Neill's clouded scenes, or give a face to his sense of lostness, A Moon stirs to life. But mostly it lies dead; and something a little too decent in everyone's basic motives makes A Moon soft as well as enfeebled. There is no tumble and toss of sick, bitter, angry, thwarted, even petrified emotions. Everywhere there is a sense of O'Neill's honest compassion, but nowhere is there anything incandescently imagined or inextinguishably...
Carmen Capalbo's staging, like the acting, is wholly in the service of the play. Irish Actor Cyril Cusack is richly humorous and yet realistic as Josie's sly, disreputable father. At his best, Franchot Tone is a memorably quiet Jim. Wendy Hiller, not seen on Broadway since The Heiress, again gives a beautiful performance, again raises, through no fault of her own, a small demur. Glowingly vital and magnetic, Actress Hiller could never really quite seem a colorless, mousy heiress, nor seems now an oversized half-freak. Her acting brings some of its most resonant moments...
...Alcoa Hour made history by discovering a new way of treating the classic TV western story-Writer Alvin Sapinsley put it in blank verse. Even more surprising: it worked. Franchot Tone, Lee Grant and Christopher Plummer played the three tragic figures who end as corpses on a dusty street, while Boris Karloff leaned confidentially into the camera as a one-man Greek chorus to give poetic expression to the eternal verities of life, death, and man's irreparable foolishness...
Guided by Producers T. Edward Hambleton and Norris (Billy Budd) Houghton, the Phoenix has helped create a renaissance of the off-Broadway theater. One measure of its impact: a star of the magnitude of Franchot Tone has agreed to play an off-Broadway role most of this season in Chekhov's Uncle Vanya...
Uncle Vanya (by Anton Chekhov) is off-Broadway's latest good deed. This time though the playhouse is a tiny one on the lower East Side, the players include Cinemactor Franchot Tone and other Broadway names. Directing Vanya, as he earlier did The Three Sisters and The Cherry Orchard, David Ross has scrupulously put Chekhov's intentions first: if he sometimes falters with so trickily delicate a play, he oftener succeeds. Chekhov's provincial tale of pathetically muffed chances and comically muddled lives, of a pompous fool for whom better people have toiled and a shallow woman...