The Waterbury Democrat., 1944-12-14

oocOCA1OAOH Wl6kb 4SOIAAAklG A1dA1V11le nd very social and has never come lore.
 The music, of course, Is all right.
 Kreisler has as much way with
 gay sentimental Viennese music as
 he has with a violin. But it is not
 complete new score written espe-
 cially for this show. Rather the
 numbers were taken from the com-
 poser's files and edited into Q score
 by Russell Bennett. Some of the
 tunes have been familiar for years, others were taken from 8 Kriesler operetta that played the Continent
 a decade ago, but never was pre- sented here.
 It is the book that messes up the evening. The program credits this to Leonard Louis Levinson and
 Arnold Sundgaard, based on an original story by A. N. Nagler, John La Touche did the lyrics. The story concerns an intrigue by Mime. Pompadour to create a scandal at the sedate Viennese court of Maria Theresa by using Casanova as her agent. About IS minutes before the end everybody forgetS the plot and has fun, but by that time it is too late.. The story's heavy hard long before has removed most of the pleasure from the proceedings.
 Along with the music, the danc- ing is high spot. This Is the cre- ation of David Lichine and he has the services of some capital ballet people-Patricia Bowman, George Zoritch, Alexandra Denisova and Jerry Ross. The singer is in good hands, too; those of Annamary Dickey of the Metropolitan Opera, Rosemarie Brancato, John Hamill and a cute little newcomer named Gloria Story. Others prominently cast are John Cherry, Bertha Bel more, Eddie Mayehoff and George Young.
 Most plays that open and close within 8 week are worth little more than an obituary line, but The Man Who Had All the Luck" is little out of the ordinary. It was written by young man named Arthur Miller and 1t is to be hoped that this venture did not discour- age him. He has ability to write above the ordinary run of new corners and also seems to be c fel- low with some imagination, which the theater certainly can use.
 His play, 1t must be admitted, didn't come off. He had too many ideas in 1t, for one thing, and along about the middle of the second act they began to get in one another's way. At the end of the first act 1t had appeared he might have some thing. A ruthless blue pencil could have done the play world of good.
 Briefly, the plot concerned a young fellow in the Middle West in the POS who had 8 lot of lucky breaks, so many, in fact, that he began to fear that the next impor- tant thing that happened to him would be a misfortune. He felt that every good thing that happens to you which is not directly due to your own engineering has to be paid for with piece of bad luck. f1na1ly ne got Tl0 or the course when 1t was demonstrated that the biggest event in his life turned out well because of his own efforts and not simply by chance. Mixed up with this was 8 lot of unnecessary stuff about the American way of life as opposed to the European and really fetching sub-plot in- volving the luckleSs brother of the lucky guy. This young fellow had been trained from childhood by his father with the idea that he would become a big-league base. ball pitcher some day. His winters were spent in the cellar pitching at 8 target. He could really put that ball over the plate with lot of stuff. Finally a big-league scout looked him over and turned the throwing, the father had neg lected to see that the boy learned thumbs down. In concentrating on some other important aspects of the game, such as what to do when