Word: drum
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Dates: during 1950-1959
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...picture bride," has traveled far to greet her future father-in-law in the stubbornly Oriental parlor of his San Francisco home. And she has arrived on time. Until now, Flower Drum Song has been nothing but the newest Rodgers and Hammerstein hit musical-brisk, bright, opulently staged, professional. When Miyoshi Umeki glides onstage to star in her first Broadway show, her first four words capture the house. The warmth of her art works a kind of tranquil magic, and the whole theater relaxes...
...swivel hips belong to Singer Pat Suzuki, and, like Miyoshi, the chubby Nisei is bouncing through her first Broadway part. Whatever else may be said for or against Flower Drum Song, it brings to Broadway two of the most endearing stars in many a season-surrounded by a fascinating Oriental chorus line that will give the most jaded Stage-Door Johnnies a new incentive...
...Hammerstein operatives went to work in Hong Kong, Paris, London, San Francisco, Chicago and New York. Director Gene Kelly and Choreographer Carol Haney scoured theaters, nightclubs and Y.W.C.A.s. Co-Author Joseph Fields judged a San Francisco Chinatown beauty contest and watched for talent that would look right on Flower Drum's riotous Grant Avenue...
...thing Pat and Miyoshi seem to have in common: for as long as either of them can remember, each of them seems to have been rehearsing her part in Flower Drum Song...
...assists from the lyrics, and the libretto gains nothing from its Joseph Fields brand of gag. Perhaps the right comparison for the show is not with first-flight Rodgers and Hammerstein but with second-best Rodgers and Hart. Such work might well be less smoothly professional than Flower Drum Song, but it was more individualized. If it sagged, it would suddenly soar; if there was nothing notable for the nightingale, there was something delightful for the mockingbird. The Hart wit waltzed to a Rodgers tune; the Hart irreverence punctured what, on more than one occasion, Flower Drum Song seems...