New Musical in Manhattan

Call Me Madam (music & lyrics by Irving Berlin; book by Howard Lindsay & Russel Grouse; produced by Leland Hayward) opened with an advance sale of over $1,000,000 and the sort of fabulous buildup that can all too easily backfire. But Call Me Madam, while far from stupendous, is perfectly satisfactory--and at least can boast of one stupendous performer, Ethel Merman.

Call her madam--or Madame Du Barry, or Panama Hattie, or Annie Oakley

she remains unsurpassed in putting over a song (and a show). No lungs can send forth more compelling sounds, no lips can enunciate words more clearly. She functions with the precision of a machine and the animation of a cheer leader, and is as American--and as lowdown--as chewing gum. Beyond that is her showmanship: even when her material lays an egg, she makes it seem a golden one.

This time, in a highly topical spoof of a lady ambassador to "the Grand Duchy of Lichtenburg," she plays one of those high-up roles made to order for her lowdown ways. She observes protocol with a pratfall, practices diplomacy by outright propositioning. When she gets fired and can no longer be called Madam, a grateful Lichtenburg hangs a cross round her neck that entitles her to be known as a Dame. For romance she has Paul Lukas, a distinguished actor who manages to seem so while having no opportunity to act; and for assaulting the rafters, there are such numbers as The Hostess with the Mostes' on the Ball, Can You Use Any Money Today? and You're Just in Love.

If the show itself tags and eventually begins to toil after Merman, it never trips her up. Irving Berlin's score is pleasing and varied, offering now the pretty Old World tinkle of The Ocarina, now a pre-election selection called They Like Ike.

Lindsay & Grouse's libretto is quite primitive as satire, and rather shameless (three of those phone calls to President Truman that are beginning to outnumber, on Broadway, the old Eleanor Roosevelt gags), but it is breezy and good-natured. George Abbott's direction is pleasantly breezy too; and Jerome Robbins' light and stylish dances provide an airy contrast to Miss Merman's earthy charm.

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