Word: bernstein
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Dates: during 1960-1969
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...Town, written in 1944 by Betty Comden; Adolph Green, and Leonard Bernstein as a fancy-free and slightly before-its-time first-effort, has settled down into comfortable period-piecedom. Quincy House has revived this product from the age of Chiquita Banana and has missed little of the charm of a show about three rube sailors who fall in love with three city girls while on 24-hour leave in New York...
Another difficulty is the treacherous syncopation of Bernstein's score, which sometimes leaves stragglers among the singers. The six-piece orchestra under John Forster keeps up with the score amazingly well, although it cries for a little fleshing out. Predictably the most effective numbers are the slowest and the smallest--a duet in a taxi cab and an enchanting quartet in a subway car. The most ragged number is the heavily-syncopated "New York, New York," which could stand some rehearsing to metronomes...
...Bernstein's score includes some lovely tunes, the book successfully trades on skimpy plot and cabdriver jokes, and this winning production provides as good an incentive as Quincy's private kitchen for a trip to the Quincy dining hall...
...Workshop's greatest strength are its mood pieces. In "Moonring" Ellen Miller has given us a weird and lovely moon-misted night to Leornard Bernstein's music. But she fails to do justice to Bernstein's lyrical passages. The music is brightest in the last half of the piece, but the ballet is almost painful, with too many dancers jumping up and down on too small a stage...
...next like Ophelia going mad. The music was Schumann's cello concerto, a rapturous, heart-on-the-sleeve piece that was clearly intended to sear, not soothe, the savage breast. The cellist was Britain's Jacqueline Du Pré, who performed last week in Manhattan with Leonard Bernstein's New York Philharmonic. It was a performance to be seen as much as heard, for Du Pré couldn't sit still a minute...