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coming the audience with a multi-lingual, multi-media sequence. . .and the show's recently altered ending. Now, in the final number, when the actors sum up how they think the audience like the show, each actor does it in a different language.

Actors are a group particularly affected by the foreign audience factor. Being an American actor in a show like Oh! Calcutta! – where sometimes as much as ninety percent of the audience may not understand what you're saying – is a unique theatrical and professional situation. Norman Weiler – who's appeared in Oh! Calcutta! for the last four months – has learned "not to take it personally" if the audience doesn't laugh in the right places. "At first, I did get upset," he admits. "But then you come to realize that it's more than a question of language. It's also that their whole makeup and personality may be different from ours. A Japanese person doesn't necessarily react in the same way that an American does. And even if they don't get it all, they still enjoy the show. They still applaud. That's the important thing."


According to Lennie Cobb over at Dancin', they not only applaud . . . they often report back to him on the show. "You see them come out at intermission and after the show," he observes. "They're very excited. A lot of them come to the window and say 'very nice'. . .'never saw anything like that before.' I think they get a tremendous experience from the whole thing."

Nancy Shapiro, who sometimes escorts are American Express overseas groups to the theatre, agrees: "I can tell they're excited just with the idea of going to a Broadway show. I think a lot of it has to do with the fact that Broadway is so much more than just the show. It's the whole experience. Even coming out of the theatre is exciting. On Forty-fourth Street,there are five theatres on one block – and they're all lit up and there are thousands of people milling about. Even for a New Yorker, it's a thrill – let alone a foreigner who doesn't have this on a regular basis. No wonder they love it – it's magic!"

Magic. For Americans – and now the world – that's what Broadway's all about.

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"Nobody ever returned a diamond for being a size too large." Lauren Bacall

As you might suspect, Lauren Bacall's gift list is a bit larger than most. Which is one reason she can't be bothered remembering things like sizes. The solution, of course is a set of monogrammed gold cufflinks instead of a monogrammed shirt. A quartz watch instead of silk pajamas. And, maybe an opal and gold ring instead of gloves.

And since you can select all your gifts from row upon row of diamonds and precious gems, aisles of gold jewelry, tiers of watches, walls of silverware and pewter and centuries of antiques, you might even find a little something for yourself.
A. 14 karat gold bracelet with a buckle of 85 fiery diamonds totaling over 4.5 carats. $6000.
B. A heart of 20 marquise-shaped diamonds, totaling over 2 carats, set in a 14 karat gold pendant/pin. $2900.
C. Emeralds and diamonds set in an 18 karat gold ring. $2500.

[[image: photo of Lauren Bacall, seated in the back seat of a cab, surrounded by shopping bags labeled "fortunoff on fifth". Small inset photos of the three jewelry items described above.]]

681 FIFTH AVENUE at 54th STREET: Monday-Saturday 10AM to 6:30PM. THURSDAY to 8:30PM, Sunday from Noon to 5PM. Call (212)758-6660. Out of New York State call toll-free (800)223-2326. Also in WESTBURY, L.I. on Old Country Road and PARAMUS, N.J. at Paramus Park Mall. We honor the American Express Card.
Fortunoff, the source, on fifth.
NEW YORK  WESTBURY, L.I.  PARAMUS, N.J.

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Please note that the language and terminology used in this collection reflects the context and culture of the time of its creation, and may include culturally sensitive information. As an historical document, its contents may be at odds with contemporary views and terminology. The information within this collection does not reflect the views of the Smithsonian Institution, but is available in its original form to facilitate research. For questions or comments regarding sensitive content, access, and use related to this collection, please contact transcribe@si.edu.