Speaking Of Shows That Need A Revival............!!!!!!!!!!!!!!!!!!!!!

                                 With all the talk of "Carousel" on here, darlings, my thoughts have turned more to theater, and other shows that merit a revival, even if only at ENCORES.  My first choice would, of course, be "RAGS," but, on a lesser tier, I think "Ballroom" merits a revival, because then it might stand a chance of being the magical experience it ought to have been.

                                   On Feburary13, 1973, CBS broadcast a classic made-for-TV film, entitled "Queen Of The Stardust Ballroom."  It starred Maureen Stapleton and Charles Durning, in some of their best work, and dealt with widowhood and loneliness.  Jerome Kass, on whose mother the character of Bea Asher was based, wrote a very moving story, but I did not like the ending.  Maybe Kass was being truthful here, maybe he was caving in to network demands.

                                     The ending is a real downer.  Bea achieves the designated title of the movie,  and is on a big, romantic high.  She knows that Al Green, Charles Durning's character is married, and won't leave his wife, so they decide to be content with what they have, within the confines of the Stardust Ballroom.  One morning, Al goes to visit Bea at her house, and finds her in bed, dead.  If memory serves me right, the movie ends with Durning weeping over her body.

                                        What a downer!  Or is this morality thing against what is technically an adulterous relationship--even if no sex was involved????????????

                                          Several years later, Michael Bennett, riding high on the initial success of what became his signature work, "A Chorus Line," looked around for another project, and decide to musicalize this story as "Ballroom."  Jerome Kass wrote the book, while the music was by Billy Goldenberg, and lyrics by Alan and Marilyn Bergman.  The song "Fifty Percent," sung movingly, by the lead, Dorothy Loudon, as Bea, became the show's best known song, often covered by other female singers.

                                            "Fifty Percent" is the "Rose's Turn" of the piece.  In it, instead of dying, Bea resolves to continue with things as they are, at the Ballroom, where she is happiest.  It is ironic that Bennett was involved in two shows where a character's death was considered.  First, there was Bea, in "Ballroom," and, several years later, Effie in "Dreamgirls."  In the original draft of the latter, Effie  died, which not only sent audiences out wanting to slash their wrists, but would so mirror Florence Ballard's tragedy, even Miss Diana "Bitch" Ross could not look the other way.  Effie's song, "I Am Changing" I always felt was the better song that THAT OTHER ONE, effective as it is.  Effie is finally shown her own merit, and given some hope.

                                              Likewise, with "Fifty Per Cent."  It sure as hell is better than Bea dying, as if being punished for something.  But, hey, Al is the one who is married, not Bea; she is widowed. So, why make Bea the guilty party?  Unless, this is how Kass' mother died.

                                               "Ballroom" was the most anticipated show of the season, as it was Bennett's first effort, after "A Chorus Line."  At the time I wondered why some of that cast--Donna, Kelly, Priscilla, Sammy--were not in this; now it makes sense--they would have been too young for it, then.  But, now?  I would love to see Donna McKechnie do Bea!  Or how about Victoria Clark????????  Lenora Nemetz would be great in the Marilyn Cooper role of Natalie.

                                                  As for Al, he has always been portrayed by heavyweights, and maybe it is time to get away from that.  So, who is out there?  How about Len Cariou?  Or Morgan Freeman--hey, the time is right!!!!!!!!  Or how about William H. Macy?  And there are others I am sure I am overlooking.

                                                   Now, when I saw "Ballroom," it was late in previews.  With Bennett's name attached to it, I knew, no matter what reviews it got, it would be the hottest ticket on Broadway.  When I saw it, the show was pretty much, probably all, of what was on the cast album.

                                                     It only had a brief run.  Meaning it was hot for awhile, then petered out.  It ran from December 14, 1978, to March 24, 1979--just four months, and ten days.

                                                      What went wrong?  I can tell you, and as I exited the theater after the performance I saw, I noticed Michael Bennett standing in the back of the house.  I so wanted to go up to him, and help him with the show.  But he would never have listened to me, and I did not have the nerve, then.  Now, I would tell him how to stage it.

                                                       Bennett's choreography here, though, won the TONY Award.  That is because all the best moments, and scenes, took place inside the Stardust Ballroom.  If only some way had been found to conceptualize everything so that the entire story takes place within it, the show would have a much better chance.  You may have to get rid of some characters, or have some plot elements done as asides by the actors, but it would work better than going from the magic of the Stardust Ballroom, switch to kitchen sink 50's drama, and then back to the Stardust.  When the show ventured out of the ballroom, audiences wanted back in!!!!!!!!!!!!!!!!!!!

                                                         Fix the show up that way, and there might be a hell of a show there!!!!!!!!!!!!  I always thought there was!

                                                            Now, let us see some creators work on this--and the results!!!!!!!!!

When the dancers swirled almost in time to the lights, with that globe overhead, it was MAGIC!!!!!!!!

And it can be--again!!!!!!!!!!!!!!!!!