Viewing page 29 of 37
This transcription has been completed. Contact us with corrections.
[[left page]] [[advertisement]] shh... Shapiro's [[image]] Dramatic Fall Buys on Designer Fashions Our savings are passed along to you. Fresh, full selection. All types and sizes. Even hard-to-find 18s & 20s Shapiro's 2150 Broadway, between 75th and 76th Streets [[/advertisement]] [[advertisement]] [[image]] By Appointment Hairdressers & Perfumers Styles of distinction In our new Steiner Salon, hair fashions are not merely followed but made, and recognized instantly wherever elegance is 'de riguer.' Our British staff offers the ultimate in personal service - the creative, quality attention which has won the Steiner reputation. Please ring Lady Audrey Raikes at PL-8-7575 to talk about an appointment soon. Steiner Steiner of London, 149 East 57th Street, New York, N.Y. [[/advertisement]] in charge of publicizing the play. Broadway publicity men, as everybody knows, will go to any lengths to avoid controversy, especially the sort that produces juicy linage in syndicated newspaper columns. So be assured the publicists working on The Best Man were the quintessence of circumspection in dealing with this highly delicate matter. Not only did they repeatedly (and repeatedly and repeatedly) deny that Joe Cantwell was really Richard Nixon, etc., they went so far as to announce - and surely this would squelch the rumors - that The Best Man would bypass Washington, D.C., during its pre-Broadway run: a gesture of good faith to Senator Cant..., er, Vice-President Nixon. And once the play opened - and, horror of horrors, drew from the usually astute Walter Kerr a column actually discussing these embarrassing similarities - Gore Vidal himself nobly sought to clear the air by writing a letter to The New York Times, in which he stated, unequivocally, that "our vice-president, who is doing such a bang-up job in Washington is neither represented nor misrepresented" in The Best Man. What The Best Man was to the 1960s, another famous play, State of the Union, was to the late 1940s. Written by Howard Lindsay and Russell Crouse, who'd enjoyed mild success with a little thing called Life with Father, State of the Union opened in 1945, with the war over, the country in a heady, patriotic mood, and Broadway audiences eager to applaud a liberal, Wendell Willkie-like industrialist who walks out on a presidential nomination rather than compromise his principles and endanger the welfare of the nation. "Mary," Grant Matthews (somehow fictional political figures have better sounding names than their real-life counterparts) exclaims to his wife, "I'm not running for president." Matthews, though, is anything but a drop-out. "It doesn't mean I'm out 54 [[right page]] [[advertisement]] The Original Cast Album COMING SOON ON ATLANTIC RECORDS [[Atlantic Records logo]] [[image]] JOSEPH CATES and HENRY FOWNES in association with WARNER BROS.-7 ARTS present RICHARD KILEY LESLIE UGGAMS in ERVIN DRAKE'S New Musical HER FIRST ROMAN Based on Bernard Shaw's Caesar & Cleopatra with CLAUDIA McNEIL EARL MONTGOMERY BROOKS MORTON LARRY DOUGLAS CAL BELLINI and BRUCE MacKAY Sets and Costumes by MICHAEL ANNALS Lighting by MARTIN ARONSTEIN Orchestrations by DON WALKER Musical Direction and Dance Arrangements by PETER HOWARD Original Cast Album by Atlantic Records Production Supervised by ROBERT WEINER and GEORGE THORN Choreography and Musical Scenes Staged by DANIA KRUPSKA Entire Production Under Supervision of DEREK GOLDBY [[Atlantic Records logo]] [[/advertisement]]
