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Fanny: Majestic Theatre,
November 4, 1954
New York Times, November 5, 1954
The Theatre: 'Fanny' Has Debut at
Majestic
Pagnol Trilogy Bows as Musical Play
By BROOKS ATKINSON
Everything has turned out fine in "Fanny," which
opened at the Majestic last evening. No believer in
false economy, Joshua Logan has heaped all the
splendors of a huge show on top of it.
But at the core remains a bitter-sweet story that
is human, comic and moving, and that accounts for
the grave pleasures of the evening. The story comes
originally from Marcel Pagnol, the humorous
tale-bearer of Marseilles, but S. N. Behrman and Mr.
Logan have worked it into the form of music drama.
It has to do with Marius, a wayward lad of the
waterfront, who goes to sea instead of marrying the
girl he loves. She marries a rich merchant who
becomes the recognized father of Marius' child.
* *
*
That's all that really matters in "Fanny." But
the story is so genuine and rueful, the writing is
so tender, the music is so melodic and the casting
is so engaging that it results in a thoroughly
absorbing theatre experience. As the temperamental
and braggart father of Marius: Ezio Pinza; as the
rich merchant; Walter Slezak; as the waterfront
vagabond: William Tabbert; as Fanny: Florence
Henderson. They are all wonderful. Apart from their
singing, they play with taste and sincerity. What
becomes of Marius' son is a matter of concern and
consequence.
* *
*
All the bounty of showmanship that Mr. Logan has
brought to it is of first rank, Jo Mielziner has
managed to cover the waterfront artistically,
tossing in a full-rigged ship as an extra dividend.
Alvin Colt's bizarre costumes are spectacular. Helen
Tamiris has invented a number of ballets—some
joyous, some symbolic and precocious. Nejla Ates
wriggles through the hottest belly-dance New York
has seen since the Little Flower blew a police
whistle on the burlesque theatres.
But for once this theatergoer finds himself
impatient with Mr, Logan's passion for the
supercolossal. For the dramatic content of "Fanny"
is fine enough to stand on its own feet. The story
is a simple one that involves appealing characters
and the style is sentimental with a tart, worldly
flavor. And Harold Rome has written an idiomatic
score that conveys the simple emotions of the story.
There is nothing in the showmanship half so
affecting as Mr. Pinza's artless singing of an idyll
called "Love Is a Very Light Thing," or his exultant
"Why Be Afraid to Dance?" or his domestic rhapsody
called "Welcome Home."
* *
*
Mr. Slezak's comic unction in the part of the
merchant has never been so charming. Nor has he ever
sung a love song more ingratiating than "To My
Wife." He is also excellent in a wistful number
entitled "Panisse and Son." Mr. Tabbert pours his
familiar vitality into a sort of sea spiritual
called "Restless Heart" and a song of despair
entitled "Fanny." Miss Henderson, an attractive
young lady with big eyes, sings "Have to Tell You"
with considerable rapture. In the last act she and
Mr. Tabbert make something dramatic out of "The
Thought of You."
Those are the things that are worthwhile in
"Fanny." Luxurious and, imposing as the salesmanship
may be, it cheapens the theme, as though Mr. Logan
had been frightened by "Kismet." As the writers of a
raffish and romantic story, Mr. Behrman and Mr.,
Logan need nothing but a composer and some actors.
The composer has caught the mood beautifully. The
actors have a bold style, a sense of humor and a lot
of color. "Fanny" is a fine folk tale because the
writers and actors are sound.
Fanny: Majestic Theatre,
November 4, 1954 |
