APPLAUSE at Her Majesty’s Theatre, Haymarket.
The London critics to a man have sung the praises of Lauren Bacall for her appearance in the musical APPLAUSE, and I can but echo their comments. It is difficult to find any new adjectives not already showered on her, and I am grateful that for once the original star of a Broadway show has graced our shores. We’ve missed out in the past on seeing the original ‘Dolly’, and of course Merman in ‘Gypsy’, but here after a two year wait is the Margo Channing we’ve heard so much about.
Bacall first burst upon the screen in a Hemingway story titled TO HAVE AND HAVE NOT and was instantly hailed as a promising new star. In those days everybody quite rightly ‘The Look’. With her provocative eyes and smouldering sexuality she delivered lines such as ‘If you want anything, just whistle’ to perfection.
In her earlier films she didn’t always get the chance to prove her worth as an actress, appearing more as a ‘personality’, but when Fox gave her the role of a cynical gold was tagged with a ‘nickname’ and hers was digger in HOW TO MARRY A MILLIONAIRE she came into her own, making a perfect contrast to those two dumb blondes Monroe and Grable. Later in Metro’s DESIGNING WOMAN she again had a role worthy of her talents, and I was hopeful that she might appear more often in this type of sophisticated comedy.
However, her appearances became less frequent, though her last one in THE MOVING TARGET (alias HARPER) proved that she had lost none of her talent for delivering witty dialogue. I bless whoever had the idea of bringing her to the stage to portray Margo Channing, as I truly can’t imagine anyone else doing the role as well as her.
The Mary Orr story THE WISDOM OF EVE is supposedly based on an incident in the life of Elizabeth Bergner, famous European star of the 30’s. When Fox purchased the story, Joseph L Manckiewicz re-worked the script, basing it on Tallulah Bankhead and incidents that occurred when she starred in a Broadway play.
Claudette Colbert was the original actress chosen to play Margo, but when she fell ill, Bette Davis replaced her and went on to score one of her greatest triumphs. ALL ABOUT EVE received a total of 14 Academy Award nominations and won seven Oscars. The film has become a favourite with movie buffs everywhere and is up there with the big money makers of all time.
I am surprised that it took so long for its conversion into a musical as the plot lends itself so well to musical numbers. Comden and Green are responsible for the book, and these clever writers have already given joy to theatre and cinemagoers with their writing. Their book incorporates a lot of the original film script plus many funny new lines. There is a noticeable effort to remind the audience that this is a NOW show. For example at one point we are treated to the sight of the derrieres of 3 of the chorus boys, and there’s even a mention of Screw magazine thrown in for good measure.
The character of Eve is a complex one, part Cinderella and part Wicked Witch. The one flaw I found with both film and show is that I felt these show business people would never be taken in by her for one moment. Ann Baxter’s subtle performance managed to overcome this fault admirably. I’ve met a few Eve Harringtons in my life (believe me you don’t have to be a Broadway star to come across them) and one can’t always spot them in the beginning. In this show Angela Richards is most believable in the role of Eve – she is all sweetness and light for just the right amount of time (perhaps a longer period than in the film) before she shows her true colours. In her last big scene near the end where she sings ‘One Halloween’ she really lets loose, and we see the tigress hidden just below the surface.
Ken Walsh as the hairdresser is the only one who is on to Eve’s tricks from the beginning, and he is a valuable asset to the show. Sheila O’Neill scores well, as she does in every show, with her vivacious singing and dancing of the title song, and later in ‘She’s No Longer A Gypsy’. I wasn’t too struck by the choreography, having to agree with a friend who remarked that each routine ended with ‘Good Friday arms’.
The music by Charles Strouse is unmemorable, but in several instances I was noticeably pleased with Lee Adam’s lyrics, especially in Bacall’s cynical first act closer, ‘Welcome To the Theatre’.
As for Lauren Bacall herself, I can only reiterate and borrow from Miss Stein – “A star is a star is a star” … Her curtain call at the finale was ‘something else’ – standing triumphantly on an empty stage in a shimmering black dress she looked like a million dollars — and rightly deserved the bravos from her audience.