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Stage Coach
By VLorrie Ryskmd
"MERRY-GO-ROUND"
hether "Merry-Go-Round" will still be among those present when you read this review is in the laps of the gods. But, inasmuch as it is the only show we have been able to see this past six weeks or so, it is
the only show we can review. If it's still here when you read this, you may know it has been well received by the public. If it is not playing, you will know that your correspondent is sitting up with the corpse.
"MerryGo 'Round", according to the announcements, is a review in two parts with book and lyrics by Morrie Ryskind and Howard Diets; music by Henry Souvaine and Jay Gorney; ballets and pantomimes by Walt Kuhn; dances arranged by Raymond Midgley; entire production staged by Allan Dinehart; presented by Richard Herndon at the Klaw Theatre beginning Tuesday evening, May 3 1 .
(Photograph by
Fairchild)
(f Ethel Barrymore in "The Constant Wife".
(Photograph by Hal Phyfe)
(^Dorothy Wegman, one of the high lights in Ziegfeld's "Rio Rita".
C[ Betty Healey is one of the reasons for "A Night in Spain".
Photograhy by James Hargis Connelly)
The whole thing started this way: it seems Mr. Herndon reads Screenland from cover to cover, and therefore The Stage Coach. "What ho!" quoth he one morning to us, "You sound as though you knew something about shows." Our modest reply was that we knew all about them and that we had one written. Well, one word led to another, and before he knew it Herndon had signed contracts with us.
Let us say right now that it is a lot easier to criticize shows than -to write them. True, writing a show isn't so frightful; but re-writing it to suit the people who are engaged for it — that, brethren, is something else again, During rehearsals, tempers snap. Actors walk out and walk right in again. Authors and producers learn not to speak to each other unless it's absolutely necessary. Mild-mannered directors arise and utter language not originally intended for mixed company. Chorus girls weep and storm. It is, if you care for that sort of thing, a fairly hectic existence.
Incidentally, and if this be treason, I don't know what you can do about it, the greatest ego in the world is the actor's. Give another actor a laugh in a scene, and your ordinary actor dies. It must be his scene, and his alone, And when I say his, don't think I don't mean hers, too. Oh, yes — especially hers.
Well, rehearsals are stormy, and then comes the try-out week in Atlantic City, and with it a lull before the new storm. Monday (Com. on page 95)
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