|Ron House, Diz White, John Neville-Andrews, Alan Shearman, Louisa Hart.|
"In Lieu of Reviews"
For background on how this previously unpublished series—introducing all mainstream New York shows between 1970 and 1975—came to be and its relationship to my three The Encyclopedia of the New York Stage volumes (covering every New York play, musical, revue, and revival between 1920 and 1950), please check the prefaces to any of the earlier entries beginning with the letter “A.” See the list at the end of the current entry.
BULLSHOT CRUMMOND [Comedy/British/Crime] A: Ron House, John Neville-Andrews, Alan Shearman, Diz White, and Derek Cunningham; SC: an idea by Ron House and Diz White; S/C: Mary Moore; P: Gil Adler and Jack Temchin in the Low Moan Spectacular Production; T: Theatre Four (OB); 10/29/74-11/3/74 (8)
This is a work concocted by five persons, four of them actors in it, and several of them responsible for the long-running Off-Broadway hit El Grande de Coca Cola. Their effort lasted only a week, however. It was a sappy, sophomoric takeoff on the old 1930s Bulldog Drummond English detective films in which Ronald Colman had often starred. There was little of substance and, despite occasional funny lines or business, its essential triviality defeated it.
The plot concerned the efforts of a monocle, Erich von Stroheim-like German officer, Otto von Bruno (Ron House), to snatch a secret formula from an unassuming English professor, Algy Longwort (John Neville-Andrews, who also played six other roles), only to be pulled up short by Bullshot Crummond (Alan Shearman).
Clive Barnes said it showed “a weary contempt towards its subject material,” and urged his readers to save their money by avoiding this “drab and strangled gurgle” of a farce. Douglas Watt called it “unadulterated junk,” but Dick Brukenfeld thought that it “accomplished precisely what they set out to do,” and he found himself laughing constantly. Martin Gottfried felt similarly, calling it “awfully delicious,” with wonderful” performances and hilarious comedy routines.
Abelard and Heloise
Absurd Person Singular
“Acrobats” and “Line”
All My Sons
All Over Town
All the Girls Came Out to Play
And Miss Reardon Drinks a Little
And They Put Handcuffs on the Flowers
And Whose Little Boy Are You?
Anne of Green Gables
Any Resemblance to Persons Living or Dead
As You Like It
The Au Pair Man
Baba Goya [Nourish the Beast]
The Ballad of Johnny Pot
The Bar that Never Closes
The Basic Training of Pavlo Hummel
The Beauty Part
The Beggar’s Opera
Behold! Cometh the Vanderkellens
Be Kind to People Week
Berlin to Broadway with Kurt Weill
Bette Midler’s Clams on a Half-Shell Revue
Black Light Theatre of Prague
Black Picture Show
The Black Terror
Blasts and Bravos: An Evening with H,L. Mencken
Bob and Ray—The Two and Only
Boesman and Lena
The Boy Who Came to Leave
A Breeze from the Gulf