Evening star., 1952-05-06

with Miss Ethel Norman. 1t lur,
that distinguished international
audience whose appearance any
where makes a stylishly dressed
folk festival of democracy's every
big social occasion.
The play which can inspire such
a fete frequently has to fight for
its life under such circumstances
Under the leadership of Stone
wall Norman, Call Me Madam
won. What it won is perhaps the
most enthusiastic victory of the
career that has been triumphant
every night except Sunday since
October. 1850.
The national government that
fails to negotiate Leland Hayward
out of the future services of Miss
Norman clearly ought to be sent
home. What this country clearly
needs is more of her gusty direct
ness of action and the kind of
leadership that she seems to have
stolen from the opposite sex.
This is her first starring ap-
pearance here, and she should be
compelled to remain until she be-
comes a statue. The unanimity of
the ovation she and the musical
received last night has not been
eQualled around here since the
defeat Of Alf Landon.
4 \
Call Me Madam" justifies every
suspicion that it would be the per-
feet production to re-energize the
National. Apart from Miss Mer-
mans. it has a pungency of its
own that finds its perfect setting
here. 1t is topical and barbed, the
latter just poisonously enough to
sting. not asSassinate. It loves de-
mocracy for most of the right rea-
sons, takes the most enjoyable
advantage Of the right to criti-
cize. It's authors. Howard Lindsay
and Russell Grouse, think they
ought to help in the pursuit of
happiness.
The book they wrote, in which
Miss Norman plays a woman am
bassador to an apple-cheeked lit
tie duchy in Europe is just the
sort of explosive fairy tale to
serve this purpose.
There was more the spirit Of a
party than of a performance per-
haps in last nights opening. but
only the pure bred churl would
make more than passing point of
this. Miss Norman and the COM
pany were holding a kind of ma
tional open house, second first
night" coming a year and a half
after the first one. They stuck
to the book and to Irving Berlin's
pleasant music but not to Direc-
tor George Abbott's tempo.
In this, they were adapting
themselves to a special set of cir
cumstances with both grace and
intelligence. When the guests de-
manded all the words of all the
encores Of II Like Ike" and
You're Just In Love-" this Is
exactly what they got.
Miss Merman's career as Am
bassador stopped at such times.
So did the relations of the United
States and the Duchy of Lichten-
burg. What did not stop was
more important. the lusty enjoy
ment of the occasion by cast and
audience. The jokes about every
thing from the Governments lend
ing program to the personalities
of the political candidates of 1852
were finding a new edge and
everyone was delighted.
Even under the refreshing cir
eumstances Of it's Washington
opening, however. it remains ap-
parent that Miss Norman is the
driving spirit of Call Me Madam"
1t is her show. although it is
probably high time that it be
granted Lindsay, Grouse, Berlin,
and Producer Hayward had it
completely in mind that it should,
and would. be.
From the moment she sings
"The Hostess with the MosteS"
until the finale, she is in COM
plete charge of everything. It is
in character, hers and that of the
euphemistic Mrs. Sally Adams,
that she should be. She is an
American fundamentalist, what
ever that is. She prefers the direct
to the devious. the blunt to the
tactful, confidence to suspicion,
and the impulse of people to be
happy if given half a chance.
She sings this philosophy in a
voice that is as contagious as
chicken pox and one that would
be welcome on a neighbor's radio
at 2 am. Monday.
Call Me Madam" provides her
with just the right companions,
an engaging situation and lavish
setting for the exercise of these
rich natural gifts. OF the COM
panions. the honor roll still be-
longs to Russell Nype. the am
baSSadorial secretary; Richard
Eastman, the F. D. r. Of Lichten-
burg: Alan Hewitt as the career
diplomat; Galina Talva as the