Word: lerner
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After tossing down a Hazen's breakfast, rough, tough, but sensitive young here Kyle Arnon, (STEPHEN D. LERNER '68) enters Phillips Book Store. Little does he know that his life will be unalterably changed this day. The "Sinister Madonna" will pass his way and he will be inextricably caught in her web of evil...
...Fred Eberstadt in her Yves St. Laurent black mink-and-vinyl coat. And loving it. "Beautiful," exclaimed Saks Fifth Avenue President Adam Gimbel. "Glorious," said onetime White House Arts Adviser August Heckscher. "The most beautiful theater," exclaimed Hollywood Producer Otto Preminger. "Marvelous and effective," said Playwright Alan Jay Lerner. So, last week, with a popping of flashbulbs and champagne corks, the Vivian Beaumont Theater, latest unit to join Manhattan's Lincoln Center, swung into orbit with its opening production, Georg Buechner's 130-year-old Danton's Death...
...Clear Day You Can See Forever. For 3½ years Alan Jay Lerner worked and reworked this show, and finally his drafting board has been set to music. What he has proved is that he is the sort of writer who needs a writer. When he leaned on Bernard Shaw, he produced the book for the musical masterpiece My Fair Lady With the late T. H. White to guide his pen, he wrote the passable Camelot. His unseen ally this time is John L. Balderston, who wrote Berkeley Square in 1929, and Balderston was apparently not meant for the ages...
...nobility. Clear Day puts a kooky American girl named Daisy Gamble (Barbara Harris) into a hypnotic trance and transports her back to 1794, when she was the bride of the rakish Edward Moncrief, and was destined to drown in the shipwreck of the Trelawny. With this paleo-romantic glue, Lerner tries to stick together a libretto incongruously torn between the pseudo science of extrasensory perception and the pseudo metaphysics of reincarnation...
...nicely to the audience, too, especially in Burton Lane's best song, What Did I Have That I Don't Have?, a wistful identity query in which Daisy wonders why the good doctor dotes on her 18th century self. In other numbers, Lane's score improves Lerner's book by ignoring it. A totally extraneous injection of vitality is supplied by Greek actor Titos Vandis who comes on in Act II as an Onassis-like character and changes with delightful inconsistency into Zorba the Greek. The lust for lust is a trifle self-conscious...