ent001648-038

/9?P' ' l(I 1 I III By Bill Donaldson ?╟úSeven Brides for Seven Brothers, ?╟╓ transferred from screen to stage, is a rousing, old-fashioned musical that should delight most Tulsa Summer Musicals audiences in the Tulsa Performing Arts Center through the rest of the week* Howard Keel and Jane Powell, starsnf the original screen version, headline the stage version, and on the stage ?╟÷ to the despair of the rest of us mere mortals?╟÷they seem have aged a day. Keel's voice is still a big, booming instrument toft he uses expertly. Miss Pdwell is ?╜ aeushtful co-star, and her voice s with a little help from her friends ?╟÷ comes up to match Keel?╟╓s. - ; If there were nothing in this prod-uction except ?╟úThe Challenge Dance" in the heart of Act ! ?╟÷ you'll remember it as a high point of the movie, too?╟÷that would fee worth the price of admission. The spirit and sense of Michael Kidd's original choreography for it have been transferred to the stage masterfully by Jerry Jackson. That's no easy feat when, on stage, you?╟╓re deprived of the resources of camera magic. ?╟úThe Challenge Dance" is a genuine show-stopper. I don't think I?╟╓ve heard such enthusiastic response to any other number or show in Tulsa Summer Musicals' two seasons. ?╟úSEVEN BRIDES," on stage, follows the movie original quite faithfully, Nine of the original musical numbers have been retained, A1 Kasha and Joel Hirschhorn have added ceven new numbers. Scenic design by Peter Wolf is appropriate and impressive, And costumes designed by Arthur Soccia are vivid and colorful, contributing handsomely to the atmosphere of the show The orchestra, directed by Richard ParrineUo gave a strong and stirring performance. (Even the Chapman Music Hall sound System i had been coaxed into a far more sat-performance than on ?╟úMan of La Mancha.") The only major technical flaws were some difficulties with the changing of settings for the 23 scenes m the two acts. There were traffic Jams in the movement of drops from the flies and wagons from upstage ?╟úft**?1* the wings. I?m told that/ with that many set pieces, the force of airconditioning in the building ac-i tually forced some of the drops $o closely together that they jammed on a couple of occasions. jg; '?√ß*; That minor annoyance aside, it was a thoroughly enjoyable evening. WHICH IS NOP to $ay| that the w j^pquaimed suc^,,fc^ The new music is not as good as the original score by Gene de Paul and Johnny MercerJ The new chore-ography doesn?╟╓t measure up, at times, to the original by Kidd. ("The winter/Spring Dance?╟Ñ in the second act, for example, had too many ofito seams showing.; Transition# from one set of movements to another" were obvious, a little ragged and j; awkward.) . i .?╟≤$ ^ ^ And the ?╟úclimax?╟Ñ of the first act comes in the middle (?╟úThe ChaU lenge Dance ) and not at the cun*', tain. If the act Closer, ?╟ ^obbi?? Women, can be beefed up choreo- I graphically *4visually ~ to provides excitement approaching that ready experienced, that act?╟╓s problems will have been solved. And the second act is not up to the . first. It, too, needs some wont Vi ?╟≤ .* ! That will some. The show has too more summer weeks to run, then will take a hiatus. It?╟╓sbacktorei- ?√ß nearsals in September before an an-tumn/winter run of Several weeks > eachin major'American eftiesf. Then the aim is to take it into ?·rbati#ay, probably some time in the spring. ?╟≤ a^s to the enjoyment5 ! for Tulsans. It?╟╓s rare that we are able to see a good,, new show in its* developmental stages. And that?╟╓s what "out-of-town?╟Ñ tryouts are ail about. ?╟╓ *;?? .Get in on the fun of it all. You?╟╓ll be ?· glad you did.. ?╟≤1 v; j; ^ :