Viewing page 12 of 47

[[advertisement]]

CHASE presents the battle for #1 in men's tennis!

$400,000 COLGATE MASTERS

See the top 8 point finishers of the 1977 Colgate Grand Prix circuit. WHO IS THE NUMBER ONE PLAYER IN THE WORLD?

Bjorn Borg?
Jimmy Connors?
Phil Dent?
Eddie Dibbs?
Brian Gottfried?
Manuel Orantes?
Raul Ramirez?
Stan Smith?
Harold Solomon?
Dick Stockton?
Roscoe Tanner?
Guillermo Villas?
? ? ? ? ?

Wed. Jan. 4 to Sun. Jan. 8, 1978

[[underline]] Tickets Now Available [[/underline]]
ALL CHASE BRANCHES, Garden Box Office, Ticketron, Tennis Clubs, and Tennis Shops. For information, call (212) 755-2810. Or Ticketron, (212) 977-9020.

[[image: black and white tennis player with racket raised in overhead swing]]

madison square garden
Pennsylvania Plaza, 7th Ave., 31st to 33rd Sts.

[[end advertisement]]

[[double line]]

do the wild hoofing because I thought there was nothing worse than an old bag trying to do things she can't do.) We stood like birds on a branch, and bowed.

Second call. I took Edie's hand and George's hand. We stepped forward. I was glad it was over, I was rigid. The three of us bowed, then faded back into the line again.

Now the curtain went up for the third time. That was me. And I had to thank our musical director, Lehman Engel. Well, I came forward in a crouch, bent over like the Hunchback of Notre Dame. I couldn't stand up, I was so embarrassed all alone out there.

The reviews all talked about it. The critics said they'd never seen such a humble performer, that it was a beautiful thing to witness, humility like mine.

The audience swarmed down into the orchestra pit, and I charged off to my dressing room to wait for my admirers. Nobody came. Not even my family. Finally, Marlene Dietrich, who never missed an opening night, appeared in my doorway. She was dressed in her diamonds and furs, and she clearly could not believe her eyes. "Roz," she said, "what are you doing here?"

"I work here," I said. "How was the show?"

"Everybody's waiting onstage for you," she said. "On opening night you're supposed to see them on the stage..."

That was one more thing I didn't know about the musical theatre.

Josh and Nedda Logan gave me an opening night party, and when the reviews came in, Lenny Bernstein read them aloud. They were so hyperbolic I thought he was making them up. "Now stop all that," I said, "and read what the man wrote."

It was lovely, lovely. Even a person of such rare humility as I couldn't help but get a bit puffed up. Brooks Atkinson said I should be elected President, and somebody else said he was crazy about me even though my voice sounded "like the Ambrose Lightship calling to its mate." That was my favorite notice.

We were a smash. We opened on February 25th, 1953, and a week later the box office was taking ticket orders for the following New Year's Eve.

For me, it was a whole fresh start.

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

[[advertisement]]

Constance Towers reveals her source.

Constance Towers is a woman of many talents. The most recent of which is being the 'I' in the 'The King and I.'

She is quite obviously a woman of charm and elegance. And a lover of beauty. Her particular love: diamonds, often combined with sapphires and emeralds.

And Constance, also being very smart, knows that for diamonds, jewels, gold, silver, and antiques from all over the world, there's no place like the source.

Take these inspired examples, as evidence.

A. A masterpiece of a ring. 18 karat gold with 17 diamonds. $850.

B. A necklace of 14 karat gold, and jade and 16 diamonds. $1,100.

C. A spiraling 18 karat gold rope bracelet, with intertwined white gold, $570.

And, if you want to see more, oh so much more, the source is waiting.

[[image: Constance Towers, with inlaid images of jewelry]]

WESTBURY, L.I.: 1300 Old Country Road at the Raceway. NEW YORK: 124 East 57th Street between Park and Lex. PARAMUS, N.J.: Paramus Park Shopping Center between Route #17 and Garden State Parkway. NEW YORK & WESTBURY STORES open Sunday from noon to 5:00 P.M.

Fortunoff, the source
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.