Evening star., 1947-11-11

this in favor Of the pleasant theory
that what people will like about
Edward Grieg is his music.
In itself, of course, this is not
earth shaking in it's novelty, but in
contrast to the screen treatment of
great musicians, it is wonderfully
refreshing. 1t explains simply and
almost instantly why Song of Nor
way" is in its fourth year, two of
them on Broadway where music
originates in an area identified as
Tin Pan Alley.
It also explains why music such
as Chopin's, when the screen has
finished with 1t, becomes widely as
sociated with a mad romance that
Cornel Wilde once lived and died
with Merle Oberson.
When Nature sings in Grieg's mu-
xic In Song Of Norway 1t Is from
the top of the world, and its cool,
sparkling cleanliness rather defles
any one to diminish it to sheer boy
meets-girl dimensions.
Y
Producer Edwin Lester's current
"Song of Norway company lets
down neither Grieg's music nor the
public merely because the operetta
now Is in it's fourth year and on
the road. Individually and collec-
lively, its members are quite up to
giving the warm-hearted, highly
gifted Norseman his due.
It is true, to be sure, that the
principals are not Helena Bliss and
her companions of the original
Broadway company. Their success
sors, however, are eminently compe-
tent an dthe thing to remember Is
that no one ever heard Of the New
York stars Of the operetta until they
drew greatness from Grieg. 1t Is
quite all right that Edward, R1kard,
Nina and Louisa are now such sing
ers as Ralph Magelssen, Gilbert
Russel. Melva Niles and Doreen
Wilson. All of them bring adequate
talent and admirable zest to vocal
chores which by now might have
found the original performers tired.
* **
The fact that Song OF Norway"
places It's accent so intelligently
upon Griegs music. does not nullify
the fact that it also deals story
wise with the composers life.
On this score, it has little to offer
In the way Of proof that he was
singular among composers. 1t is
shy and somewhat reticent, how
ever, in its conventional revelations
and is alway reluctant to let them
1ntrude upon the music.
1t merely says that Grieg was
fish merchants son in Bergen, Nor
way; that he had two great friends
in his home town. the poet Rikard
Nordraak and Nine Hagerup. They
were happy threesome, Rikard
writing poems to Edwards music
and vice versa, and with Nina ex-
clusively devoted to Edward. Into
their crisp, pine-scented idyll, there
eventually comes the Countess
Louisa. Louisa is diva with the
voracious appetite of her type, but
while she puts hicks in the smooth
surface of Grieg's love for Nina, 1t is
nothing serious.
Ali 1t does, actually, is provide
breathing space for the singers be-
fore going to the next Grieg song
or dance.
X X -
Another somewhat incredible vir-
tue of Song Of Norway" is its eva
sion Of the lugubrious period comedy
that has scuttled public tolerance
for so much operetta out Of the past.
That mincing buffoon combination
Of the thunderous fat man and his
pipsqueak stooge is not to be found
In the book which Milton Lazarus
wrote here.
He has been content to coin, as
Countess Louisa's husband, one OF
those elderly elegant types who hap
pens to be played by Sig Arno.
Comedian Arno is one of those rare
funny men who has discovered that
a minimum of gestures and of voice
Is fast, sure way to a maximum
of laughter He and bis roman
tically ranging operate wife provide
Song of Norway" with just enough
humorous asides to space such
music as Now" Strange Music"
Midsummer Eve" II Love YOU"