Uta Hagen in the title role, Scourby was cast as Peter Cauchon, the Bishop of Beauvais. The play was presented at the Cort Theatre from October 4, 1951, to February 2, 1952. Scourby first appeared on screen opposite Glenn Ford in Affair in Trinidad (Columbia, 1952) and The Big Heat (Columbia, 1953). He appeared again with Glenn Ford in Ransom! (MGM, 1956), later to be remade with Mel Gibson and Gary Sinise. Scourby played Dr. Mikhail Andrassy in The Shaggy Dog (1959). "None of the pictures I've done have been really important or very good", Scourby later said, "with the exception—and it is debatable—of Giant (Warner Brothers, 1956)". In the film version of Edna Ferber's novel Scourby played Polo, the old Mexican ranch foreman. He later had roles in The Big Fisherman (Buena Vista, 1959), Seven Thieves (1960), Man on a String (1960), The Devil at 4 O'Clock (1961) and The Executioner (1970). During these extremely busy years, Scourby, who had been living with his wife and child in an apartment near Columbia University in New York City, bought a home in Beverly Hills, California. Calls for Scourby to work in New York, however, soon made the Beverly Hills residence as much a commutation point as a home. Back on the New York stage, Scourby played Rakitin in Emlyn Williams' adaptation of Turgenev's A Month in the Country and Peter Cauchon in Siobhán McKenna's interpretation of Saint Joan, both presented at the Off-Broadway Phoenix Theatre in 1956. Again at the Phoenix, he played King Claudius in Hamlet in the spring of 1961, bringing to the role, as Howard Taubman noted in The New York Times (March 17, 1961), the appropriate "fret of fear and decay." In 1963, Scourby was given the featured role of Gorotchenko, the Communist commissar who stalks a White Russian noble couple fleeing the Revolution, in Tovarich, a Broadway musical by Lee Pockriss and Anne Croswell, based on the comedy by Robert E. Sherwood and Jacques Deval. The musical opened at the Broadway Theatre on March 18, 1963, with Vivien Leigh and Jean-Pierre Aumont as Scourby's prey. "The signal tribute to Alexander Scourby...", critic Norman Nadel wrote in his review in the New York World-Telegram and Sun (April 2, 1963), "was the hearty hissing opening night as he strolled on stage. In polished villainy, he has no peer". Shortly after Tovarich closed, on November 9, 1963, after