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Boston Symphony Orchestra Concert Programs, Season 93, 1973-1974, Trip

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Boston Symphony Orchestra Concert Programs, Season 93, 1973-1974, Trip The- Johp E .Kejih^dy ,6e}^e;: Pprf9rrqiA§ Arjds--^^-—^- MARCH 1974 FOXHALL [ THE WASHINGTON CONDOMINIUMS IS NOW OPEN FOR INSPECTION pool, Our two-story furnished model is open to the public. Interior appointments such as the lobby, corridors, indoor swimming and a selection of model apartments may also be viewed between the hours of 10:00 and 6:00, seven days a week. Apartments available from $61,000 to $230,000. 4200 Massachusetts Avenue N.W., Washington, D.C. 20016 Sales Office: (202) 686-1900 Sales by: Magazine Realty Co., Inc. V0LII,N0.7 MARCH 1974 CONTENTS THEHAROLDPRINCEMUSICAL by Marilyn Stasia THE SECRET OF ALVIN AILEY by Greer Johnson THE PROGRAM JUMPERS: AN AMERICAN PREMIERE by Martin Gottfried FOREIGN GIFTS PERFORMANCE SCHEDULE CENTER SERVICES Cover photograph, Yoichi R. Okamoto; page 8, Friedman-Abies; page 8, bottom, Martha Swope; page 23, Kenn Duncan; pages 24 & 25, Richard Braaten. David E. Bradshaw, president Joseph P. Barbieri, publisher erry Silverman's William J. Kofi, Jr., general manager sweatered classic Karl B. Leabo, editor & art director is meant for Judith Ravel Leabo, associate director southern climes. Rima Calderon, program editor Cables white cardigan Jamie McGlone, editorial assistant shelters a Judith M. Fletcher, advertising manager gem of a dress John R. Goodwin, regional representative . white V'ed with navy and collared STAGEBILL is published monthly in Washington and with yellow. Chicago. The Kennedy dntei Stagebill is published in Washington by B&B Enterprises, Inc., Program Office, $170 1 Kennedy Center, Washington, D.C. 20566. Copyright © B&B Enterprises, Incorporated 1974, All rights re- served. Printed in U.S.A. Advertising Offices- Washington: Program Office, the Kennedy Center for the Performing Arts, Washington D.C. 20566, (202) 833-2897. A'ew York: 275 Madison Avenue, New York. N.Y. 10016, (212) 686-7740. Chi- cago: 200 E. Randolph Drive, Suite 5123, Chicago, Il- linois 60601, (312) 565-0890. ^~W£i£ik what has blue eyes, a million stitches and Sunday les champs! THIRTY BOUTIQUES AT WATERGATE 600 NEW HAMPSHIRE AVENUE NW WEEKDAYS 11-7 SUNDAYS 12-6 RESTAURANT UNTIL 11:30 PM LOUNGE UNTIL 2:30 AM GARAGE 24 HRS TheHaroldPrinceMusical Jean Simmons stars in the latest example of TheHaroldPrinceMusical at the Opera House beginning March 19th Asa generic term,TheHaroldPrince- pany and Follies. Forgetting awards and f^L Musical has entered the lexicon citations for a moment, to measure suc- / —^ of the American musical thea- cess in terms of popular appeal, the gauge .M. -Jkh. tre. It will never be fully de- of Prince's professional acumen is better fined because it is not a static entity with evaluated by the phenomenal history of fixed constituent parts. As a continuous- Fiddler on the Roof, the longest-running ly evolving phenomenon, the thing has and best-beloved show in the history of more damned moving, changing, disap- the American musical theatre. pearing, materializing, and sometimes al- Using another, and far more important together mystifying parts than a magici- yardstick. Prince productions are also suc- an's trunk. Prince himself would not shrug cesses as theatre art. Not always, and nev- off the magician's cloak as metaphorical er totally. But significantly. And some- description of his styUstic stamp. In dis- times, even when a show makes the most cussing his own shows he often refers to daring assaults on musical-theatre conven- that staple commodity of the prestidigi- tions, it can still fail to win a large audi- tator's art—surprise. "The whole thing is, ence or to achieve the status of a com- I want to break what is expected," he has mercial hit. The brilliant but acerbic Ca- said. "It becomes that simple— trying to baret offended many people with its un- excite on stage by using different devices, compromising portrait of pre-War BerUn, by taking people by surprise." and its sharp insinuation of a connection Among other surprises is the scope of between that society and ours. The wry- the producer's financial and artistic suc- ly ironic Company alienated audiences cess. Given the nature of the Broadway who were bred on the traditional musical. beast, even the most seasoned producers Advances made by composer/lyricist Ste- in the business cannot count on success phen Sondheim in Follies and A Little these days. With Harold Prince, success Night Music simply confounded some hasbecomeahabit. Starting with the 1954 theatregoers who weren't wiUing to ex- Pajama Game, his first produced show, pand their definition of what a musical the 46-year-old Prince has won eight An- "should" be. toinette Perry ("Tony") Awards for "Best For all the wild disparity of the shows Musical." Six of his shows won the New he has produced and directed, they are York Drama Critics Award for "Best Mu- united in subject in one significant way: sical," and one, Fiorello!, copped the whatever the theme, it is unconventional; 1960 Pulitzer Prize. In addition. Prince and if at all traditional, it has never been wasawardedthreeTony citations for "Best treated quite this way before. His first Director" for his work on Cabaret, Com- show, Pajama Game, made laughter and by Marilyn Stasio light of the unHkely situation of a labor strike in a factory. Fiorello! was concoct- ed of the reality of ward-heel politics; Damn Yankees, of the turn-off jock ma- terial of baseball; in West Side Story, teen- age gangs rumbled on rough Manhattan 'IibH streets; in Forum, Roman slaves duped their masters; Tenderloin was set in an 1880's hell-hole of vice and corruption; the focal figure in New Girl in Town was a tubercular prostitute; in Fiddler, it was a Russian Jew living an oppressed ghetto life. Even the unremarkable Superman! mocked a beloved American hero and hooted at us for putting our childish faith in all such cardboard heroes. -y V. _.. ^f i ^^^9^^K;^H ^^ xA Wm^''^^-' ^ei^SnSi»'^-J ^-/M In Prince's most recent shows, the harsh may be, one goes on living, gratefully realism of both themes and characters is snatching at such fragments of happiness more boldly stated, and with progressive- as life will allow, on the way to the grave. ly fewer concessions to the sugar-coated In addition to expanding the theatre's romantic formulas of the conventional concepts of "proper" subjects and their musical-comedy genre. treatment for the musical, director Prince If more realistic subject matter is one has introduced a number of expansive characteristic of Prince's style, a more technical innovations. Visually, he has realistic treatment of it is another. One freed the musical from the pigeon-hole dominantcharacter appears cverand again conventions of its past by bringing to the in a number of guises in Prince-directed stage a stylistic fluidity usually associated shows— the unsentimental, worldly-wise, with film and dance. Beginning with Zor- philosophically cynical Survivor of Life. ba, he opened up his playing area, des- In Cabaret, it is the Brechtian landlady troying its traditional time-and-space con- Fraulein Schneider, who hangs on by ac- finements and making it an open space cepting hfe's blows and capitulating to where all elements can co-exist. In subse- its indignities. She surveys her world and quent shows he has developed and honed says: "You learn how to settle for what this technique: in Company, the charac- you get. So who cares? So what?" In ters refuse to be restrained, but intrude Follies, the hang-in-there-baby expert is on each other's playing areas as they in- Carlotta, the faded movie queen, who trude on each other's lives, a device fur- says it all in the survivor's manifesto, "I'm ther refined in Night Music. In Follies, Still Here." The character reappears as time and space disintegrate altogether, as Zorba, who declares: "I live as if I will characters from past and present move die the next minute," as the immortal freely in and out of all dimensions, collid- Tevye in Fiddler; as the pragmatic Joanne ing on the way. In Candide, all boundaries in Company; as the unsentimental Petra disappear and stage characters not only jn Night Music; and as the indomitable leap across countries and generations but Old Lady in Candide. The survivor is, in even cavort among the audience's own fact, a regular and dependent fixture in once-sacrosanct precinct. These are tech- all of Prince's latest work. It is tempting niques pioneered not by Prince but in film to see in him the spokesman for a philo- and dance, and by the experimental thea- sophical attitude that penetrates all these tre. The marvel of the director's achieve- later works: Regardless of how corrupt ments is that he has translated these in- (Cabaret), painful (Zorba), empty (Com- ventions within the traditional framework pany), cruel (Fiddler), unsatisfying (Fol- of the musical theatre genre, and that he lies), silly (Night Music), or thoroughly has made them work. depraved (Candide) this world of ours An incalculable slice of Prince's success Far left: poster art for A Little Night Music at the Opera House, March 19th. TheHaroldPrinceMusical, top-to-bottom: Zero Mostel in Fiddler on the Roof; //// Haworth leads the KitKatKlub Girls in Cabaret; Larry Kert and the cast of Company; the gorgeous chorus of Follies. The 1974 gold Continental Mark lY A new standard. For 1974, at slightly higher cost, the gold Continental Mark IV will be a new standard by which all American personal luxury cars will be judged. Rush for it. CONTINENTAL MARK IV LINCOLN-MERCURY DIVISION I is shared by such men as Stephen Sond- heim, Bock and Harnick, Kan der and Ebb, the musicmen whose vital talents are so crucial to his shows.
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