Going Backstage, Then Getting Nostalgic

Andy Propst
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Abstract

As the 1960s end and the 1970s begin, Betty Comden and Adolph Green worked on two new shows. The first was Applause, which though set in then-present-day New York was something of a backward glance. It was a musical version of the classic Bette Davis film All About Eve. The show, which had a score by composer Charles Strouse and lyricist Lee Adams, was a hit for the writers and its star, film luminary Lauren Bacall, who was making her debut in a musical. They followed with another nostalgic piece of writing, Lorelei, a revision of the musical Gentlemen Prefer Blondes, penned specifically for its original star, Carol Channing. Comden and Green were only to provide lyrics for a handful of new songs, but when the production was foundering on the road they stepped in as its directors, working on it for over a year.
去后台,然后怀旧
在20世纪60年代末和70年代初,贝蒂·科登和阿道夫·格林制作了两部新剧。第一部是《掌声》(掌声),虽然故事发生在当时的纽约,但它有点像对过去的回顾。这是贝蒂·戴维斯的经典电影《彗星美人》的音乐版。这部由作曲家查尔斯·斯特劳斯和作词人李·亚当斯谱曲的剧,在编剧和主演劳伦·巴考尔(Lauren Bacall)之间大获成功,后者是她首次出演音乐剧。随后,他们又创作了另一首怀旧的作品《罗蕾莱》(Lorelei),这是音乐剧《绅士爱美人》(Gentlemen爱美人)的修订版,专门为该剧的原主演卡罗尔·钱宁(Carol Channing)而写。科登和格林只为几首新歌提供歌词,但当制作陷入困境时,他们作为导演介入,为它工作了一年多。
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