Wednesday, May 27, 2020

123. DIFFERENT TIMES. From my (unpublished) ENCYCLOPEDIA OF THE NEW YORK STAGE, 1970-1975

Ronald Young, Sam Stoneburner, Patti Karr, Mary Bracken Phillips.
  "In Lieu of Reviews"

Reviews of live theatre being impossible during these days of the pandemic, THEATRE'S LEITER SIDE is pleased to provide instead accounts of previous theatre seasons--encompassing the years 1970-1975-for theatre-hungry readers. If you'd like to know the background on how this previously unpublished series came to be and what its relationship is to my three The Encyclopedia of the New York Stage volumes (covering every New York play, musical, revue, and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 entries beginning with the letter “A.” See the list at the end of the current entry.

Joe Masiell, Dorothy Frank, and company.
DIFFERENT TIMES [Musical/Family] B/M/LY/D: Michael Brown; CH: Tod Jackson; S/C: David Guthrie; L: Martin Aronstein; P: Bowman Productions, Inc. i/a/w William L. Witt and William J. Gumperz; T: ANTA Theatre; 5/1/72-5/20/72 (24)

A modest attempt at picturing American musical styles and social interests during the first two thirds of the 20th century (1905-1970) by chronicling several generations of the Adams family of New England, and, especially, the life of the son (Joe Masiell) born of an illicit affair between an Adams girl and a Jewish boy at the time of World War I. Composed of very little book (a “terrible” one at that, according to Clive Barnes), the show’s musical pastiches by author, composer, lyricist, and director Michael Brown made up the evening’s bulk.

Mary Jo Catlett.
Forgettable music and lyrics could do little to salvage the show, wrote Barnes. John Simon spat bullets at this “wretched vanity showcase for Brown’s “submicroscopic talents.” Despite the various flaws harped on by critics such as Brendan Gill and Richard Watts, Edwin Wilson found “many bright spots and much going on for” the show, while Martin Gottfried, regardless of how “derivative” it was, praised its “polish.”

Previous Entries:

Abelard and Heloise
Absurd Person Singular
“Acrobats” and “Line”
The Advertisement/
All My Sons
All Over
All Over Town
All the Girls Came Out to Play
Alpha Beta
L’Amante Anglais         
American Gothics
And Miss Reardon Drinks a Little       
And They Put Handcuffs on the Flowers
And Whose Little Boy Are You?
Anna K.
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
Barbary Shore
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 Girl
Black Light Theatre of Prague
Black Picture Show
Black Sunlight
The Black Terror
Black Visions
Les Blancs
Blasts and Bravos: An Evening with H,L. Mencken
Blue Boys
Bob and Ray—The Two and Only
Boesman and Lena
The Boy Who Came to Leave
A Breeze from the Gulf
Brief Lives
Brother Gorski
Bullshot Crummond
The Burnt Flower Bed
Button, Button
Buy Bonds, Buster

The Cage
Candide (1)
Candide (2)
The Candyapple
Captain Brassbound’s Conversion
The Caretaker
La Carpa de los Raquichis
The Carpenters
The Castro Complex
Cat on a Hot Tin Roof
The Changing Room
Charles Abbott and Son
Charley’s Aunt
Charlie Was Here and Now He’s Gone
Chemin de Fer
The Cherry Orchard
The Chickencoop Chinaman
The Children
Children! Children!
Children in the Rain
Children of the Wind
The Children’s Mass
A Chorus Line
The Chronicle of Henry VI: Part 1, Part II,
The Circle
Clarence Darrow
Cold Feet
Conditions of Agreement
Coney Island Cycle
The Constant Wife
The Contractor
The Contrast
The Constant Wife
The Country Girl
Crazy Now
The Creation of the World and Other Business
The Crucible
Crystal and Fox

Dames at Sea
The Dance of Death
Dance wi’Me/Dance with Me
A Day in the Life of Just about Everyone
Dear Nobody
Dear Oscar
The Desert Song
Diamond Studs