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Thursday, October 7, 1965 Th_'_urs__ M~y~,_O_cto __b~ __ 7~,_I965~, ______~ ______T~H~E~J~E~W~IS~H~~P~O~S~T~ ______~ ______P~Nkre~ Page Eighteen THE· JEWISH POST David Merrick presents Carol Chan- in Yon!-;ers will ,be without her... , that the result-as the reader knows I Traditionally, the composer gets melodies, its sardonic humor and its Ding in Hello, Dolly! with the ori- While the book may sound some- by now-turned out· to be one of' the credit. The apocryphal story perceptively political commentary ginal Broadway C;ast. RCA Victor what banal, the handsome tum-of- the most thorough-going musicals. gges that when someone remarked made The Three Penny the LSOD _ 1087. the-century musical rejuvenates old The story is a pleasant paraphrase that Jerome Kern had written "01' rage of Europe. Its most popular As Lorelei in "Gentlemen Prefer New York with gusto and freshness. of a little German classic, Germel- Man River," Mrs. Oscar Hammer- theme, Moritat, known in the ver- " Blondes," Carol Channing won a If Miss Channing i's not quite the shausen, where a village, removed stein, ever the lyricist's wife, ob- nacular as , was . fronf cover story in TIME and most fabulous, comic creation of this by spell from the realistic concerns served tartly, "Indeed not. Jerome whistled by people in the street as • stepped into the Broadway hall of generation, she might well ,be the of the world, comes to contented Kern wrote 'dum, dum, ~um-dum.' a private protest to the Nazi regime. fame to the tune of "Diamonds Are most outgoing _ big and warm, in life but once in 100 years. The My husband wrote 01' Mlin River." (And who said the German people A Girl's Best Friend." In "the best love with everybody in the theatre lyrics are agreeably simple. and the With Rodgers and Hammerstein did not protest!) an IS musical of the season," Carol be- and possessing a unique voice rang- dances, which won Agnes de Mille the creation seemed simultaneous, In 1954, the late Marc Blitztein comes the shining life in a musical ing somewhat upward from a basso- honor listing as the best choreogra- and with such components as make adopted the work for the American shot through with enchantment. profundo. pher of 1947, are deftly integrated of up The Sound of Music, with and stage and 10 years later for a techni- Wal\f!r Kerr, the New York Her- Lerner & Loewe: Brigadoon, with the "very nearly perfeCt' " artistic expressio1j.;)ave "~placed color film production. The fihn re­ aId Triburie critic, refers to Dolly as David Brooks and the Original label endorsed by Nathan, the blue plot ,mechanics, ~ness, and the cording continues to be effective , a musical comedy dream, a wayWard Cast. RCA Victor LOC-I001. ribbon goes to , then a vaudeville 'turn. This fihn recording but ·there is a certain completeness circus in which the mistress of cere- The prospect of sitting through a newcomer who was termed the most was their last collaboration _ Oscar of integrity and documentary fasci­ monies opens wide her big-as-mill- show reported to be full of Scottish satisfactory addition to the musical Hammerstein died' months after nation about the old original stage stones eyes, spread her white-gloved dialect, bagpipes, a highland fling stage since Jan Clayton. RCA Vic- opening night _ and it proved to recording on various labels in the arms in ecstatic abondon, trots out and 40 or 50 pairs of kilt-bared tor's re-release of Brigadoon makes be their most popular one. days of 78's. into a circular runway and proceeds knees, did not exactly engulf the a particularly fitting companion to T~e great gem is always Lotta \ Here is what . to rings around the conductor. caustic George Nathan, the late Agnes de Mille's Bitter Weird, Bertold Brecht-Kurt Weill: Three Lenya, widow of Kurt Weill, singing the Canada Pension Plan Composer has· torn authority on American 'fueatre, in especially choreographed for and Penny Opera, an original Sound- Jenny's bloody dream song, and will do for people up a ·hurdy-gurdy and scattered its anticipating rapture back in 1947. premiered by the Royal Winnipeg track recording with Sammy Davis not Martha Schlamme who dubbed like Thor Andersen, tinkling waltzes, and mellow quar- "I can ordinarily stand Scotch die.- Ballet. and Curt Jurgens. RCA Victor in the film score. Miss Lenya is so tets and tipsy polkas from the right lect for just about five minutes flat LSO-I086. closely identified with the music a farmer who works fot! himselt speaker to the left and back again. and then not without firmly grasp- Rodgers and Hammerstein's The More

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