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[[advertsiement]]
FREE KAMI TANKARD
SUN. THRU FRI. • ONE TO A CUSTOMER

[[image: drawing of a tankard showing 'tiki' face, linear 'rays' radiating from around tankard]]

FABULOUS FOOD, EXOTIC DRINKS, LUAU DINNER,
AFTER THEATRE SUPPER
WORLD'S GREATEST POLYNESIAN RESTAURANT

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BROADWAY AT 50th STREET

NATIVE ENTERTAINMENT IN THE
LOUNGE OF THE SEVEN PLEASURES

OPEN DAILY FROM 5. SUN. 1 P.M. RES. PL 7-0900
NO COVER. NO MINIMUM. MAJOR CREDIT CARDS [[/advertisement]]

[[advertisement]]
Fight
Mental Illness

[[image: Drawing of ringing bell engraved MH]]

National Association
for Mental Health
[[/advertisement]]

STAFF FOR DAVID MERRICK
General Manager ..... JACK SCHLISSEL
General Press Reprsentatives ...... LEE SOLTERS, HARVEY B. SABINSON

[[line]]

STAFF FOR "HELLO, DOLLY!"
General Stage Manager ..... Frank Dudley
Press Representative ..... Leo Stern
Stage Manager ..... Jack Craig
Assistant Stage Manager ..... Walter P. Brown
Production Carpenter .... Theodore Van Bemmel
Production Propertyman .... Leo Herbert
Production Electrician ... Mitchell Miller
Sound ....... Thomas R. Hardcastle
Assistant to Mr. Merrick ..... Helen Nickerson
Casting Director ..... Mitchel Erickson
Staff Associates ..... Sylvia Schwartz Lynn Middleton, Juliet Taylor
Press Secretary ..... Edith Kean
Carpenter ..... Michael Marmo
Ass't. Carpenters ..... Tom McKenna, Rudy Pfeiffer, William Kiernan, Sr.
Master Electrician ..... Joe Spezio
Ass't Electricians ..... George Dahlstrom, Tom Hardcastle, Joe Stern, Bernard Gross
Master of Properties ..... Lou Gallo
Ass't. Propertyman ..... Guy Cross
Production Wardrobe Master ... Gene Wilson
Wardrobe Mistress ..... Kathleen Foster
Musical Contractor ..... Morris Stonzek
Advertising Representative ... Fred Golden
Music Copyist ..... Tom Brown
Assistants to Mr. Smith .... Robin Wagner, David Guthrie
Assistants to Mr. Wittop ... Mary McKinley
Dance Captain ..... Julius Fields
Production Assistant to Miss Rosenthal
Michael Kinsella
Music Publishers .... Edwin H. Morris & Co., Inc.
Merchandising .... On the Spot Productions
[[line]]
Coiffures by Robert Lattin
[[line]]
CREDITS
Electrical equipment by Century Lighting, Inc. Scenery built and painted by Nolan Scenic Studios. Costumes executed by Brooks-Van Horne. Sound equipment by Sound Associates. Tights by Jessie Zimmer. Sunday clothes wigs by Catherine Fleischmann. Purses by J.R. Handbags of Florida. Jewels by Trifari. Fabrics by Gladstone Fabrics. Vacuum cleaner courtesy The Hoover Co. Silver courtesy Reed & Barton. Pepsi-Cola Products used. Shoes by LaRay. Herculon Fibre Carpet by Gulistan Carpet Co.
[[line]]
STAFF FOR ST. JAMES THEATRE

Manager .... George McLain
Treasurer ..... Leo Caspare
Assistant Treasurers .... Edward Cadunz, Rocco LoFaro
Carpenter .... George McCormack
Propertyman .... William Mensching
Electrician .... Lenny Weber
[[line]]
House Physician .... Dr. Benjamin A. Gilbert
[[line]]
Theatre Maintenance .... Mohawk Maintenance Co., Inc., and Remco Maintenance Corporation.
[[line]]
All products used in this theatre for the promotion of sanitation are manufactured by the Creco Co., Inc.
[[line]]
The taking of pictures or the operating of any recording device in this theatre is strictly forbidden.

28
[[end page]]
[[start page]]

Continued from page 7

Actors can't appear simultaneously in commercials for directly competitive products - a restriction which covers 18 months. (One of the more intriguing and delicate questions often arising during negotiations is what constitutes a competing product. Does a razor blade, for example, compete with shaving lotion?) And some actors are turned down because they are too good. (Companies, after all, are interested in selling products, not in enhancing an actor's career.)

And, just as it on Broadway, an audition can be a disorienting experience.

Not long ago, Kay Medford, who's made a Broadway career out of playing Jewish mamas (Bye, Bye, Birdie and Funny Girl) was asked to pretend she was Mother Nature talking to her children, who, for purposes of the commercial, happened to be several pieces of fruit. "What are you supposed to say to your son, the apple," she mused afterward. "If you don't behave, I'll make cider out of you?"

And the problem of auditioning, say, for a five-day deodorant pad can be particularly imposing to the actor who's spent most of his career playing Shakespeare and Chekhov. "It's a difficult transition for some actors," says agent Fifi Oscard, whose clients include perhaps the dean of all voice-over actors, Alexander Scourby ("We want everyone to fly.") "It usually takes four or five auditions before an actor can understand the relationship between what he does at an advertising agency and what he does on the stage. A few simply can't make the change."

Problems of transition can sometimes carry over to the shooting of the commercial as well. If unaccustomed to film, an actor has to sharply modify his facial movements, which can knock him off stride. He must also grasp the crucial importance of timing. One extra breath, one slur, one hesitation can ruin an entire take.

"Another thing you have to learn," an actress reports, "is that no matter how silly you may think the commercial is, everybody else usually takes it very seriously. I once called a product by the wrong name - the name of a competitor. It was a mistake and I thought it was kind of amusing, but it turned out the president of the company was in the control room, and he had a personal vendetta against this other company. He didn't crack a smile. He just stared."

Occupational hazards? A few. One actor spent a year trying to quit smoking, but resumed the habit again when the tobacco sponsor insisted he inhale. Another actor, answering a call for a "James Bond type," auditioned by wrestling with a black-belt judo expert. He didn't get the part, but he limped for two weeks. And a noted Broadway comedienne, in a long-running musical at the time, made the mistake of drinking a "mild diuretic" during each of the several trial takes of a commercial shooting. "How was I supposed to know the stuff was real?" she ruefully wondered the next day. "Actors are obedient people. If somebody says, 'jump in the pool,' you assume there's water."

But nobody's really complaining. The advertising agencies are delighted that more and more talented actors are showing up at auditions; they often invited performers to improvise or make suggestions during commercial filming. And the actors themselves seem happy with the trend. "Just about every young actor wants to work in commercials today," explains one of Broadway's leading character actors. "The money is important, yes. But it's something else. It's activity. You can get discouraged and depressed sitting around in your apartment waiting for the phone to ring for three months. With commercials, you always can get an audition of two during the week. It's good experience, even the audition. Good therapy."