Courtesy Pinterest.
Okay, let's see how many capsule histories I can write in 60 minutes ...
Destry Rides Again, which opened at the Imperial in 1959. Harold Rome wrote the score for this David Merrick-produced musicalization of the 1939 Marlene Dietrich-Jimmy Stewart film. On stage, the leads were Dolores Gray and Andy Griffith. It was Andy's second and last Broadway production, and as usual with a Merrick show, there was some level of drama. Destry was nominated for four Tonys, losing three, for Dolores (to Mary Martin in The Sound of Music), Andy (to Jackie Gleason in Take Me Along), and Michael Kidd's work as a director (to George Abbott for Fiorello!). On a happier note, Michael won for his choreography.
Courtesy YouTube.
She Loves Me, which opened at the Eugene O'Neill (may it eventually reopen) in 1963. Jerry Bock & Sheldon Harnick wrote the score for this Harold Prince-produced and directed musicalization of The Shop Around the Corner, a.k.a. Parfumerie, In the Good Old Summertime, You've Got Mail, and inevitable adaptations to come. It's just that good of a story. Georg (Daniel Massey) and Amalia (Barbara Cook) don't get along as coworkers, but adore one another as anonymous pen pals. The parfumerie's staff also includes a player, Kodaly (Jack Cassidy), and Ilona (Barbara Baxley), who finds true love of her own. I saw She Loves Me in 2016, when it was revived at Studio 54 with a cast including Laura Benati (alas, she was out when I went), Jane Krakowski, Gavin Creel (who sported a mustache and looked just like James Franco), and Nicholas Barasch. To borrow a joke from Daniel Massey's godfather, Noël Coward, rather than write "and," I'll say "but" before mentioning Laura, et al.'s costar, Zachary Levi. The 1963 production won one Tony, for Jack Cassidy's performance. She Loves Me itself and Prince's dual roles lost to Hello, Dolly!
Has Martin ever sung a full version of this? I'd be curious to hear him do so.
Courtesy YouTube.
Blues for Mister Charlie, which opened at what is now the August Wilson in 1964. James Baldwin wrote The Amen Corner first, but made his Broadway debut with Mister Charlie. Directed by Burgess Meredith and produced by The Actors Studio, Mister Charlie took some inspiration from Emmett Till's murder. On stage, the deceased was an adult, played by Al Freeman, Jr. Others in the cast included Rosetta LeNoire as Al's grandmother, Diana Sands (who scored the play's lone Tony nod, as a featured actress) as Al's would-be wife, Pat Hingle as the town newsman, Ralph Waite as the judge, Ann Wedgeworth as the woman who cried rape to save her husband, and Rip Torn as the murderer. I remember reading the play about 20 or so years ago, and should revisit it. Naturally, I'm also curious how a revival would play in this day and age.
The Gingham Dog, which opened at the John Golden in 1969. Diana Sands' last appearance on Broadway -- she did eight shows in just over a decade, starting with A Raisin in the Sun -- was in this quickly-closed play that was Lanford Wilson's debut on the Main Stem. It dramatizes the absolute end of a marriage. Diana starred opposite George Grizzard. A portion of The Gingham Dog has become infamous.
Courtesy YouTube. This longer clip gives Precious Taft more dignity, but it's still tacky to have her monologue underscored with what sounds like "Endless Love."
Titanic, which opened at the Lunt-Fontanne in 1997. Five Tony nominations and five wins went to this musical with a score by Maury Yeston and a book by Peter Stone. The production, book, and score won, along with Jonathan Tunick's orchestrations (inaugurating that particular award) and Stewart Laing's scenic design (well, duh). The two-part Act One finale is especially haunting. I remember driving down I-29 on my way back to Wahpeton during a dusk where it felt like I was the only one on the road.
Courtesy YouTube.
I'll continue the recap as soon as I can. Thank you for your patience.
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