Shubert Theatre Bells Are Ringing Program
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INTO THE ROCKET AGE ^ PLAYBILL FASHIONS FAMOUS LAST WORDS From the New York Openings omen who worry about the last Wword in fashion may now relax, for it has been spoken— in all the lan- guages that count. Paris, London, Rome and Florence have been heard from; final stages of the New York couture openings are in progress. By the end of the month the fashion will have settled comfortably into its new groove; the look of dernier cri ward- robes at that time will be the look they’ll wear, except for a gradual con- version to lighter fabrics, until at least the middle of summer. (For p.m. aspects of that look, see accompanying notes from our fashion artist’s sketch- book.) To fashion reporters at this stage of the game comes a heavenly release from the need to spell out, even one more time, the word “chemise,” which has become practically synonymous with the word “dress” (so, for Pete’s sake, let’s put it out to pasture) . This is not by any means to say that the other kind of dress, i.e., the pinch- waisted, full-skirted kind so recently the standard, is in eclipse. That dauntless silhouette is, after all, the darling of a doggedly devoted follow- ing which is still too large — and too insistent— to be ignored. Therefore it will continue in peaceful coexistence Last Word from Pauline Trigere on black-tie theatre dressing: Cowled, with the new favorite, and vox pop sleeveless, front -buttoning jacket may chalk up another victory, a less ends at waist; skirt's a slender notable one, to be sure, than others of shaft; patent leather belt closes gap. In black twill silk. $150. De our time (as when, not so long ago, Pinna, N.Y.; Frost Bros., San women resolutely refused the flat bust Antonio. and ankle-length street skirts) , but proof that even in fashion the tail may once in a while wag the dog. —BARBARA BLAKE 4 From Rembrandt, the two- piece idea for theatre, done in black tissue crepe. Over- blouse top wears elaborate back drapery in cowl ef- fect. $40. Henry Bendel, N.Y. Minority-leader Oleg Cassini cham- pions the silhouette that wonH say uncle : One-piece dress in navy peau de soie and white reembroidered Alengon, finished with a crisp white organza bow. About $160. Saks Fifth Avenue, N.Y.; Neiman-Mar- cus, Dallas. ^ f 5 Last Word in raincoats: All-occasion conception in Reeves jet black cotton cord (also putty , parch- ment) is lined in French imported plaid; goes to theatre with complete aplomb. Schiaparelli’ s de- sign for March & Mendl. About $25. Lord & Taylor N.Y.; Jordan Marsh, Bos- ton. to T wenties influence : Her column of black lace in Ametex’ lovely rose pat- tern is draped over shorter crepe slip. $145. Bergdorf Goodman, N.Y.; Jenny Co., Cincinnati. S 6 HAT BY JOHN FREDERICS FLEXEES 41T Fifth Avenue, New Yo r k 1 our most elegant Pale glen plaid silk-and-wool dress, about $55. at better stores At leading stores throughout the country COBLENTZ BAG CO., INC. NEW YORK 7 "And that, dear, is how I met your grandmother ..." Betty Comden and Adolph Green The history of Bells Are Ringing is Jerome Robbins, a choreographer of a curious one. No- producer called us some note, had just cut his directorial teeth Avhile we were furiously engaged in five (approximately down to the gums) on other projects to tell us of his “hot idea.” Peter Pan. He, along with the aforemen- We did not turn him down impatiently tioned Jule Styne, had sealed a pact in and then later, as the idea swept over us some blood with us to put on some show in spite of ourselves, call him back sheep- at some time in some theatre in front of ishly to say, “We have been thinking it some people. over and we’ve got to drop everything for When one is (or two are) contemplating this one.” Avriting a book musical show, roughly two Actually, in the fall of 1955 we were just roads of action stretch ahead—each equally sitting around with nothing to do except fraught with peril. These roads are: (1), think of an idea for a new musical show. adapt an existent work of some kind for We had just finished two projects almost the musical stage, or (2), attempt to create simultaneously, the movie It’s Always Fair an original story. Weather, and the writing with Jule Styne Let us examine the first — the musical of additional songs and material for Mary adaptation. Well, why not a musical com- Martin’s Peter Pan Continued on page 10 ( 8 SJLM: S. SHUBEFIT TBE^TFIE AFFILIATED THEATRE BUILDING CO., INC. THE THEATRE GUILD presents JUDY HOLLIDAY IN BELLS ARE RINGING A NEW MUSICAL Book and Lyrics by BETTY COMDEN and ADOLPH GREEN Music by JULE STYNE Entire Production Directed by JEROME ROBBINS with SYDNEY CHAPLIN JEAN STAPLETON EDDIE LAWRENCE DORT CLARK FRANK ALETTER PAUL LIPSON BUZZ MILLER BERNIE WEST PAT WILKES BERYL TOWBIN HEYWOOD HALE BROUN FRANK MILTON NORMA DOGGETT Sets and Costumes Designed by RAOUL PENE du BOIS Orchestrations by Musical Director ROBERT RUSSELL BENNETT MILTON ROSENSTOCK Vocal Arrangements and Direction by HERBERT GREENE and BUSTER DAVIS Lighting by PEGGY CLARK Dance Arrangements and Incidental Scoring by JOHN MORRIS Dances and Musical Numbers Staged by JEROME ROBBINS and BOB FOSSE flu gwA dafUied, II c»unlhie4- <hul /ioweiL i/uo'M} GIN . GILBEY’S DISTILLED LDNDDN DRY GIN. 90 PROOF. 100% GRAIN NEUTRAL SPIRITS. W. & A. 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Boys Richard Hermany, Marc Leon, David McDaniel, Paul Michael, Julian Patrick, Benjamin Raisen, Steven Roland. Synopsis of Scenes and Musical Numbers ACT I. Opening “BELLS ARE RINGING” Susanswerphone Advertisement DEWAR’S "White Label” ANCESTOR Both 86.8 Proof Blended Scotch Whisky © Schenley Import Co., M.