536. TO LIVE ANOTHER SUMMER, TO PASS ANOTHER WINTER. From my (unpublished) ENCYCLOPEDIA OF THE NEW YORK STAGE, 1970-1975

Hanan Goldblatt, Yona Atari, Aric Lavie, Rivka Raz, Ili Gorlizki.(Photos: Martha Swope.)

TO LIVE ANOTHER SUMMER, TO PASS ANOTHER WINTER [Musical Revue/Israeli] B: Hayim Hefer; M; Dov Seltzer; ADD. M: David Krvoshei, Alexander Argov, Naomi Shemer; D/CH: Jonaton Karmon; DS: Neil Peter Jampolis; C: Lydia Pincus Gany; P: Leonard Soloway; T: Helen Hayes Theatre; 10/21/71-3/19/73 (173)

Hana Goldblatt, Yona Atari, Aric Lavie, Rivka Raz, Ili Gorlizki.

One of a surprising number of Israel-themed shows—mainly revues—of the period, this one was called “drivel” by John Simon, who tongue in cheek, accused it of being a clever Arab plot to concoct a “pseudo-Israeli” show so poor that the USA would have no recourse but to stop sending arms and money to the beleaguered nation. The Arabs fouled up, he pointed out, because Broadway’s critics and audiences, with their “taste and gutlessness” actually seemed to like it.

Hanan Goldblatt Yona Atari Aric Lavie, Rivka Raz, Ili Gorlizki.

To Live Another Summer, To Pass Another Winter was a bookless revue with five principals and a large number of chorus singers and dancers who presented an assortment of numbers dealing with the trials, tribulations, and joys of being a Jew and an Israeli. There were several beautiful women in the show, even Simon commenting on a “blonde premiere danseuse” who stood out from the others. All were costumed in the blue jeans and tie-dyed clothes one might ostensibly have seen on a kibbutz.

Hillik Zadok, David Glazer, Judith Rosenberg.

A capsulized history of the then less-than-a-quarter-century old country provided the basic framework. It had been written in Hebrew and translated into English but was never intended for home consumption, Broadway being its target from conception.

Simon’s protests were repeated by a small minority. Martin Gottfried, comparing it with previous efforts by director Jonaton Karmon, said it was “still less than professional and still a hustle,” with its “corny” jokes and “excuses for songs.” But a warm welcome was accorded by Douglas Watt, who was charmed by the “combination of high spirits, [and] a genuine air of friendliness and confidence.” Richard Watts found it “nothing short of inspiring in its warm humanity.” And Clive Barnes thought it had “an endearing vitality and an enduring spirit.”

Next up: Total Eclipse.