Pal Joey

Critics seem to agree that Pal Joey represents one of the high points of the American musical theatre. The production which opened at the Carousel Theatre in Framingham on Monday evening calls to mind some of the reasons for the belated but immense success of this last of the Richard Rodgers-Lorenz Hart joint efforts.

The importance of Pal Joey in the history of the American musical theatre derives from its being probably the most significant work to be produced in the tradition of realistic musical comedy. It was in this tradition that Rodgers and Hart did their best work, seldom diverging into the separate operetta tradition into which Rodgers moved after Hart's death led him into partnership with the operetta lyricist Oscar Hammerstein. Characteristics of the realistic musical comedy tradition, stemming from John Gay's Beggar's Opera and similar' works, include a selection of bouncy tunes that require no great vocal prowess to sing, a comic plot that may be either broadly farcical or almost tragic (as in Pal Joey), and a somewhat bawdy story line.

Just as the musical comedies of Rodgers and Hart are at the apex of the realistic tradition in American musical comedy, Pal Joey stands as their fullest realization of their art. Besides the usual virtues of closely integrated book lyrics, and score, Pal Joey offers a singularly compelling study of an individual situation, the depths of which was not approached until Leonard Bernstein's West Side Story. Although the title of John O'Hara's book leads us to focus our attention on Joey, the significance of the work lies in the eventual illumination that the captivating but amoral and egocentric hero brings to those around him. Joey never seems subject to the ideal of constancy which the romantic mind pursues all the more diligently as the improbability of attaining it increases, In renouncing Joey at the end of the musical, Vera Simpson gains immensely in moral stature as Joey diminishes. Linda, or Mousey, who has not learned the lesson of coping with irresponsible charm, remains alone and monetarily bereft of any spiritual sustenance.

Steve Lawrence makes his stage debut in the title role of the Framingham production, and his stage presence and delivery of the songs are able and sometimes compelling. He does, however, fail to capture the essential coarseness of the hero. Irene Manning very effectively portrays the aging Vera Simpson, in her progress into and out of a hopeless love affair. Karen Thorsell as Linda makes the most of the least individual character in the play, and Mara Lynn brings a wonderful, brassy professionalism to the role of Fladys Bumps. Minor parts, especially Renee Taylor's Melba, are well done. Both the music and the choreography seem just right, although at times the orchestra overpowers the singers.

Two minor complaints should be made. For some reason, "The Lady is a Tramp" is interpolated into the score. It is a fine song, but it has nothing to do with Pal Joey. Second, on opening night, two entire scenes and part of another were omitted in order for the production to finish early. Such significant moments as the morning--after scene in Joey's apartment, with its song, "In Our Little Den of Iniquity," were left entirely out. This offense was compounded by having Mr. Lawrence entertain the patrons afterwards with songs. If the patrons were willing to stay, they should have been given the entire show rather than an unnecessary appendage at the end.

One high spot of the production must be singled out, The performance of "The Flower Garden of My Heart" by Miss Lynn and the chorus and dancers offers one of the most hilarious and telling parodies of the conventions of romantic operetta that one is ever likely to see. It also serves to illustrate the sometimes very great distance between the romantic and the realistic forms in musical comedy. Pal Joey treats important problems with taste and even wisdom that one rarely finds in musical comedy. For this reason, the certainly very acceptable production at Framingham offers viewers a chance to investigate again the richness of this finest of the Rodgers and Hart scores.