Word: ritzes
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...Smiling, made its point a little too muscularly. But this made no difference. By the first, trumpet-clear, high hard note in the first verse, the woozy feeling had disappeared. Judy swung into a bouncy Almost Like Being in Love, blared with humor in Puttin' On the Ritz, wept her words in The Man That Got Away, and brought down the first-act curtain with a ringing, roistering San Francisco. Long before this, the neutral auditor had realized again (one goes through this every time Judy Garland comes to town) that untidy life, maudlin fans and cornball repertoire...
...sprawling garden suite at Boston's Ritz-Carlton Hotel one evening last week, Composer Fritz Loewe rippled at the piano while a companion paced and hummed. This was not Lerner and Loewe at work, but Loewe enjoying himself and TIME Senior Editor Henry Grunwald mixing work with some nostalgia. The Loewe-Grunwald repertoire: songs from Countess-Maritza and The Smiling Husband by the late Austrian Librettist, Alfred Grunwald, whom Composer Loewe knew back in Vienna more than 30 years ago, and who was Editor Grunwald's father. To his astonishment, Grunwald found that Loewe remembered more...
...impromptu performance at the Ritz-Carlton was part of five week's preparation for this week's cover story on Loewe and his lyricist partner, Alan Jay Lerner. The process began when Grunwald and Show Business Writer John McPhee watched the new Lerner-Loewe show, Camelot, on its second night-in Toronto. Soon afterward, Researcher Joyce Haber was assigned to the story, spent 14 days in Toronto and Boston interviewing the mercurial Loewe and getting back-ground information from others in the cast (plus a miserable cold, perhaps inherited from Star Richard Burton). Once, while Researcher Haber...
Unreal City. Boston, in the view of its Broadway visitors, is a city as unreal as Morgan le Fay's forest, consisting of just a few buildings and a couple of dozen cabs. As Camelot principals were shuttling back and forth between the gilt Shubert Theater and the plush Ritz-Carlton Hotel, everyone was rewriting Camelot. Bit players were suggesting changes to chorus girls. Even floor waiters appeared to have a new second act under their silver dish covers recalling Moss Hart's adage that when a show is in trouble, room service invariably seems awful...
Shut away in the Ritz-Carlton, Lerner fills Apartment 1004 with cigarette smoke and new lines for Camelot. Across the hall in another suite, his two-year-old son Michael listens to a phonograph not Lerner and Loewe, but Au Clair de la Lune. Up in 1204, Loewe ("Sir Aggravate," as Lerner nicknames him) broods under the fond eye of his current, 24-year-old girl friend; he calls her "baby boy," she calls him "baby bear." For hours each day, Lerner joins Loewe at the piano as they work together on four new songs, including one called The Seven...