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Agency ad libs continued
is so easy
when you ride
B I m
JOHN BLAIR AND CO,
second nature. But — I don't mean to malign m\ confreres. Merely to point out why it is so difficult for them to enjoy a simple. Cornwall, fable tliat essentially is as old as rock painting and as trite as a politician's opening remarks and as lacking in suspense as a disk jockey's script. Yet a fable that can be engrossing and rewarding to its audience.
Here's why: it's too difficult for our tradespeople to get ordinary. to forget the plot structures and dissemblances of the theater and to sit back and enjoy themselves. We can't blame them for that — nor can we, though, take much credence in their critical judgment of a vehicle which was calculated to reach grownups and adults viewing in their homes on a Sunday night in 200 different U. S. cities simultaneously. They aren't quite capable of this!
To me it was amazing that Rodgers and Hammerstein were able to translate their talents normally confined to the Broadway theater to satisfy an all-familv audience about 20 times greater than the one which saw Oklahoma on the New York stage. They achieved this without banality, saccharinity or condescension.
Several of the tunes were lovely. Some of the lyrics were sparkling. As I mentioned before, the twist put on the sisters, the Fair) Godmother and the King and Queen were gratifying, a tribute to all who played a part in the show — especially the casting director, director and performers.
To me the biggest achievement in Cinderella was that it played to the biggest mob in history and yet it brought to this audience so orth. Such is not easv ! f^
much of real w
Cinderella was a simple, cornball fable, but with incredible charm and naivete
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