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SHOW PLACES
by Loren Lieberthal

Have you ever wondered how producers select the theatres in which their shows will play? Most often, the choice is necessitated by the nature of the show: for straight plays and comedies, they choose small, intimate houses; for musicals, they select musical houses with orchestra pits, large stages and lots of wing space for the chorus.

But suppose the decisions were based on another consideration--the feeling that a show absolutely belonged in a certain theatre?

Without question, The King and I would play the Palace. If that theatre were not available, it would be booked into the Imperial or the Majestic. The Royal Family would be appropriate for any of these theatres, but I'd hold out for putting it into the Barrymore (especially since it's a spoof on the Barrymores).

In 1952, Dial M For Murder played the Plymouth, but like all good telephone dramas, it belonged in the Booth.

Holiday On Ice would slide nicely into the Winter Garden. Shenandoah and Greenwillow would flourish at the Longacre. And wasn't there a show The Midas Touch? I hope it played the Golden.

Right now, a tennis comedy called Doubles is playing at the Ritz. It should be at the Cort, which would also serve for The Caine Mutiny Court-Martial, Hostile Witness and Witness for the Prosecution.

In 1965, Skyscraper played the Lunt-Fontanne, but it was born to play the Biltmore. Summer and Smoke in the Hayes sound fine. And a stage Adventures of Tom Thumb should go into the Little Theatre (now the Helen Hayes).

A revival of We Bombed in New Haven would be swell for BAM (Brooklyn Academy of Music). It could play in repertory with End of the World.

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UNIQUE STAGE EVENTS
by Sy Sussman

Atomic warfare is of recent vintage, but its prophecy is at least as old as 1908, when the N. Y. Hippodrome staged a spectacle called Battle of the Skies. A program note predicted that war would be fought 75 to 100 years from then "between the U.S. of Europe and the U.S. of America."

JESSICA TANDY and HUME CRONYN were married in 1942 and have the distinction of having spent more time in bed together than any other stage couple. On October 1951 they opened at the Ethel Barrymore theatre in Jan de Hartog's The Fourposter and played the bed-bound characters on the Glee-alto and on tour for the next two years.

The largest theatrical family ever to have appeared onstage was at ELLEN TERRY'S Jubilee matinee at Drury Lane on June 12, 1906. In all 22 members of the Terry family, including John Gielgud's mother, Kate, appeared in a masked dance from Much Ado About Nothing, arranged by Ellen Terry's illegitimate son, Gordon Craig.

The actor who put most of his own sons onto the stage was JOSEPH J. JEFFERSON, 1774-1832. Seven of his eight children became actors.

Show business statistics reveal that during three years of World War II, over 9,000,000 free tickets to shows had been given to servicemen-- only 35 percent of whom had ever seen live entertainment before.

AL JOLSON created a sensation when he first jumped into theatre aisles to sing his songs intimately to the audience. However, he wasn't the originator of the technique. The first to do it in 20th century show business was burlesque singer Dave Marion in 1912.

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