Gentlemen Prefer Blondes

Carol Channing holds down a position in Gentlemen Prefer Blondes similar to the one occupied by Ted Williams on the Red Sox, only more so. The big blonde, like the big hitter, is a tremendous individual performer. Just as there are those who cry that Williams subordinates the greater good of Boston for the name and fame of Ted, one may also argue that Miss Channing shoves her cast off stride by dominating the Shubert stage every time she steps on it. As for me, I'd place the Bosox in the second division without Williams and Gentlemen Prefer Blondes even lower without Miss Channing.

True, the musical boasts five gorgeous show girls dressed as martinis and a graceful dance ensemble well-trained by Agnes deMille. But the songs, with the exception of those saturated with Miss Channing's personality and 'Bye, 'Bye Baby, are the kind whistled during intermission, then forgotten. Furthermore, Oliver Smith's set designs add no bounce whatsoever to the lavish production numbers. Some are flat and sloppy, while others present the eye with blotches of unrelated color. I won't argue that 1924 buildings didn't look like the ones in Mr. Smith's sets, but I doubt whether trees have changed that much.

Whatever her effect on the cast, Miss Channing does nothing to either the songs or scenery except improve them. With wiggling hips and dumb blonde's dialect, she creates a captivating Lorelei Lee in A Little Girl From Arkansas and Diamonds Are a Girl's Best Friend. But only the expectation that Miss Channing will return supports the two-thirds of the show which grinds on without her.

The dominance of Miss Channing may explain the inadequacies of the supporting players. It is conceivable that she scares the voice out of Shirl Conway or that her presence sets Eric Brotherson's hoarse voice off tune; but I doubt it. Rather, is seems that Miss Channing makes the part of the Arkansas gold-digged excellent entertainment, and there is no one good enough to do the same with the rest of Gentlemen Prefer Blondes.